CORNELL UNIVERSITY LIBRARY GIFT OF George B. Wakeley ComrtI University Library N40 .B91 1849 aim 3 1924 030 651 842 Oven 3^2 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030651842 BRYAN'S DICTIONARY OF PAINTEUS. AND ENGRAVERS. ENLARGED BY GEOKGE STANLEY. EnaraveJ, hlj Z'T SMir,.-^.: . fr.-jTa j. 7''£uruLture o^ .£i^y: ''jr'r.pe. ^[ ■■/y//////// o -^/j /////// ^ BIQGEAPHICAL AND CEITICAL DICTIOI^ART PAINTERS AND ENGRAVERS, MOM THE EETIVAI OP THE ART MDEK OniABUE, AND THE ALLEGED DISCOVERT OE ENGRAVING BY EDflGITERRA, TO THE PRESENT TIME : CIPHEES, MONOGRAMS, AND MAEKS, TJSED BY EACH ENGEAVEE: BY MICHAEL BETAN. A NEW EDITION, REVISED, ENLARGED, AND CONTINUED TO THE PRESENT TIME, COMFRISIKG ABOVE ONE THOirSAND ADDITIONAI MEMOIRS, AND LARGE ACCESSIONS TO THE LISTS OF PICTURES AND ENGRAVINGS, ALSO NEW PLATES OF CIPHERS AND MONOGRAMS, BY GEOEGE STANLEY. LONDON : H. G. BOHN, YORK STREET, CO VENT GARDEN. MDCCCXLIX. JOHN CHILDS AND SON, BUNGAY, PREFACE. This single volume embraces, without the least abridgment, the whole of the articles contained in the two quartos published by Bryan in 1816. Each of those articles has been revised, and, where necessary, corrected ; and much additional matter respecting the lives and works of many of the artists, as well as more copious lists of their productions, especially of the earlier engravers, have been appended. Erroneous statements, derived from insufficient sources, have been elucidated by notes, or shown to be altogether without foundation. Where the article was scanty, and the artist of importance, it has been deemed necessary to amplify it, keeping in view however the bounds imposed by a work of this nature. Instances of this kind will be observed in the enlarged accounts of several an- cient masters, whose names are now familiar to the public, but whose works were, till re- cently, of little consideration with amateurs. The abundant supply of pictures imported into England during the last five-and-thirty years, and the means afforded of visiting foreign countries since the cessation of war, have made the public acquainted with the names and works of numerous excellent painters, particularly of the Spanish and Dutch Schools, which were not mentioned in the former Dictionary ; these deficiences have, to a great extent, now been remedied. Distinguished modern artists, both painters and en- gravers, especially those of our own country, have received a due share of notice; and their brethren of.France, Italy, and Germany have by no means been neglected. A perusal of the list of writers consulted, for the purpose of enlargement or correction, will show that recourse has been had to the best authorities, both historical and critical. Where there are great discrepancies between them, the statements on both sides have been succinctly given, that the inquirer may be enabled to draw his own conclusions. In the compilation of a work of this kind it is essential that the compiler should have a com- petent acquaintance with the works of the different masters, that he may be qualified to de- tect false or partial statements, and correct the erroneous attribution of pictures of one paint- er to another of greater celebrity. There is no means of acquiring this knowledge so effective as being concerned in the commerce of pictures on a general and extensive scale. The intercourse with honourable dealers in pictures of high character, fortifies that know- ledge ; for to them it is of the greatest importance to be well acquainted with all the charac- teristic marks of the several masters, and the other signs by which their works are known, and by which their genuineness is ascertained. Even from those of humbler pretensions much is to be learned, in the admission and confession of practices pursued in the management of copies, or the alteration of analogous pictures, to make them pass for the genuine works of ce- lebrated masters. The editor has had extensive practice in the sale of pictures of all schools iv PREFACE. and all ranks, and much acquaintance with dealers both foreign and English ; and to the knowledge so acquired he has added that of his own observation on the chief collec- tions, public and private, at home and abroad. Those who consult this work will have the benefit of his experience. The Dictionary has been augmented to at least double the quantity of matter contained in the two quarto volumes, there being upwards of 1300 new names' of artists introduced ; the additional lives, notes, corrections, and lists of pictures and rare prints, are enclosed in brackets, to distinguish them from the original work. It is probable that more wUl be expected by some than wiU be found ; but to have increased the bulk would have defeated the object of the publisher, which was to produce an improved Dictionary of Painters and Engravers in a commodious form at a moderate price. This the editor thinks has, to a certain extent, been accomplished ; but it is in the nature of such a work to admit of additions from time to time ; and those who are best acquaint- ed with the labour of collecting materials from so many various sources will be the readiest to pardon as trivial, what the less informed may consider as serious omissions. In concluding these prefatory observations, the editor has to acknowledge his obligations to Messrs. Smith, brothers, of Lisle Street, London, the eminent dealers in ancient prints, for their valuable and gratuitous communications during the whole progress of the work. On all occasions of doubt respecting the authenticity, rarity, or estimate of ancient prints, he has had recourse to their storehouse of knowledge, and at all times received from them the most courteous attention, and liberal information. Any oversights in these matters must be attributed to the editor, and not to them. To his friend Mr. C. J. Nieuwenhuys, the eminent connoisseur, the editor is indebted for valuable suggestions and remarks relative to Flemish and Dutch painters, and for per- mission to make extracts from his accounts of pictures, particularly of those described in his privately printed catalogue of the king of Holland's collection. Several other well-informed friends have also assisted his inquiries, as will be seen in many of the articles where their names are mentioned ; among them are some of the prin- cipal dealers, whose interest it is that the statements respecting the older masters and their works should be given correctly. These acknowledgments may serve as indications that the editor has availed himself of the judgmeiit of others conversant with the fine arts, in order to collect the best opinions for the inquirer's information, March, 1849. INTEODUCTION. The benign influence which the cultivation of the Fine Arts has produced on the civilization of so- ciety through the different ages of the world, is so universally admitted, that any further disquisi- tion on their excellence may be deemed superfluous ; but, in presenting to the public a work of this na- ture, it may be expected that something should be said respecting the attributes of painting, as well as of its origin, and of its progress among the ancients. Painting, which is deservedly ranked as one of the most important and interesting of the liberal arts, has been too frequently considered as merely calculated to charm the eye, and to gratify the senses; but a more deliberate reflection will con- vince us that it has a nobler claim to our estima- tion, and that its powers are capable of contributing to our instruction not less than to our delight. The painter's art, in the exercise of its more ele- vated faculties, inspires the mind with a taste for whatever is good, as well as what is beautiful ; fills the heart with the most salutary sensations, and promotes the love of virtue and the abhorrence of vice. Every agreeable impression of which our ideas are susceptible from the contemplation of the rich and varied scenes displayed by nature,, living or inanimate, painting has the power of producing. In minds endowed with the most exquisite sensibility, it can augment the faculty of feeling, and soften the obduracy of the most inflexible. Its. productions instil into mankind a love of order, of symmetry, of harmony of parts, and of general beauty. By an admirable eflfort of human genius, painting ofiers to our regard every feature of universal na- ture; its empire extends through every age, and over every country : it presents us with the events of the most remote antiquity, as well as those of which we are the witnesses ; and places in our view the most distant objects, not less than those by which we are immediately surrounded. In this re- spect, this admirable art may be said to surpass even nature herself, which can only set before us such objects as are actually present. The accomplished painter may be aflSrmed to pos- sess a universality of talent. He is an historian, a poet, the faithful imitator, or rather the rival of na- ture ; and by the magic operation of his art, the en- chanted vision is carried up into the mansions of celestial being, or descends into the regions of the unblest. Cicero, in his oration in favour of the poet Ar- chias, speaking of the Belles Lettres, observes, that " they nourish us in our. youth, and invigorate old age; they embellish the most fortunate situation, and console us under disaster and persecution ; they accompany us night and day in our journeys, and in our retreats from the world ; and even when our minds are not disposed to profit by their instruction, we ought still to hold them in a just admiration, finding that, to those who possess them, they afford the most delicious gratifications." These sentiments, expressed by one of the finest geniuses of antiquity, appear to be strikingly applicable to painting, as, whether the art is practised as a profession, or ex- ercised as an amusement and curiosity, it is pro- ductive of all these advantages. Historic painting, from the sublime style by which it ought to be characterized, the choice of ob- jects which concur in its arrangements, and the ex- pansive stretch of imagination of which it is suscepti- ble, deservedly occupies the most exalted rank in the various departments of the art. Though the histori- cal painter may be supposed to limit the exercise of his art to such pictures as represent the events of his- tory, yet we usually comprehend, under that deno- mination, whatever relates to mythology or ancient fable. This licence is also extended to such subjects as are found in the epic and tragic poets, and even to the most interesting fictions of romance. This ex- tensive range offers to the painter of history an almost unbounded dominion, and confers on him the pre-eminence to which he is so justly entitled. In allotting to historic painting this honourable distinction, we would by no means be- suspected of a disposition to degrade any other branch of this interesting art. Unquestionably, the painter who can successfully imitate a visible object, is an es- timable artist ; but it cannot reasonably be denied, that he who succeeds in the higher walk of art, by the representation of objects the most difficult to be accomplished, may be presumed to possess supe- rior endowments. ON THE ORIGIN OF PAINTING. In the rudest periods of existence, the love of imitation seems to have been inherent in the nature of man ; and the variety of colours and of forms ap- Eears to have been amongst the primitive sources of is enjoyments. This desire of imitating naturally led him to trace coarsely the objects which most interested his observation. Hence, instead of at- tempting to attribute the origin of design to any precise period or particular nation, it may be more reasonably presumed to have been indigenous in every country, where human reason has in any de- gree developed itself, and may be said to have been coeval with our existence. The most untutored among the savages, who scarcely attempt to cover their nudity, have been found to be sensible to the attraction of colour, even independent of design. They select the most beau- tiful" plumage of their bu-ds, to embellish their vest- INTRODUCTION. ments, and make choice of such stones or shells as are the most brilliant and varied in their colour, for their principal ornaments. It may naturally be supposed that a great length of time must have elapsed before it was discovered that the union of design with colour contributed to increase and to vary this gratification ; as it is cer- tain that the progi-ess of the human mind, in the acquisition of first principles, is usually languid and slow. But this discovery was no sooner made, than the germ of painting took root in the soil of human ingenuity. The art had long been confined to a simple out- line, before it was attempted to render the object represented more interestmg by filling up the con- tour with a general staining of colour, resembling what is called illuminating ; and it appears to have remained in the same uncultivated state even among nations to whom we cannot justly deny the merit of industry ; such as the Indians, the Chinese, and the Egyptians f among whom the arts seem to have been doomed to an eternal mediocrity. PAINTING AMONG THE EGYPTIANS. Plato, who flourished about four hundred years before the Christian era, assures us, that at the pe- riod at which he lived, the art of painting had been practised by the Egyptians upwards of ten thousand years, and that there remained, in his time, produc- tions of that high antiquity, which were neither infe- rior to, nor very different from, the paintings of the Egyptian artists at the time at which he wrote. Without regarding the precise term of ten thousand years as seriously deserving of our credit, we cannot refuse our belief that the art had been practised in Egypt during the revolution of an indefinite series of time, which ascended to an indeterpiinable anti- quity. The testimony of the disciple of Socrates therefore proves that the practice of painting was extremely ancient in Egypt ; that their works were infinitely durable ; but that, through a long succes- sion of ages, the Egyptians had made little or no progress in the art. In that superstitious country, the artist was pro- hibited from attempting any innovation or improve- ment in the old established style of his predecessor. The disciple implicitly pursued the beaten path of his instructor, who had himself been the servile fol- lower of the rules established in the most barbarous Eeriods of the art, a deviation from which would ave been punished as a heresy in religion. Hence the artist was bereft of the stimulus of emulation ; no one endeavoured to surpass another ; and if, in the torpor to which the laws of his country sub- jected him, the artist sometimes experienced the impulse of genius, or felt the inspiration of a crea- tive faculty, he was deterred from yielding to their impression by a frightful fanaticism, which suspend- ed over his head the punishment of impiety. The Egyptian painters and sculptors designed their figures in a style peculiarly stiff and formal, with the legs invariably closed, and the arms stuck to their sides, as if they had consulted no other mo- dels than their bandaged mummies. As they never dissected their dead, they must have been totally unacquainted with the construction and articulation of the bones and muscles : and though it has been pretended that the Egyptians were not ignorant of anatomy, it may be said to be little more than a mockery of the term, as it is certain that their know- ledge of that science was confined to what they could learn from preparing their dead bodies for embalment. The artists of Egypt were chiefly employed on works devoted to the purposes of rehgious worship, in which the figures were not only confined to par- ticular and consecrated postures, from which they were not permitted to deviate, but were in them- selves generally monstrous in their form j sometimes representing the bodies of animals with human heads, sometimes human bodies with the heads of brutes, which were often anomalous and imaginary, and which had no prototype in nature. According to winckelmann, the vestiges of Egyptian painting, with which we are best acquaint- ed, are the bandages of their mummies. These pro- ductions have resisted the ravages of time, and are still submitted to the examination of the curious. In these the outline of the figures is traced with black ; the colours they used were confined to four, blue, red, yellow, and green, which were not broken or blended, the red and blue being the predomi- nant colours. Norden, Pococke, Bruce, and other modem tra- vellers, make mention of several colossal paintings, found on the walls of the temples, and in the tombs at Thebes, Denderah, and other places in Upper Egypt. And Winckelmann justly regrets that those curious remains had not been visited by artists, or by persons conversant in works of art, by whose testimony we might have been correctly informed of their character, style, and manoeuvre. In the description given of them by Norden, the colours are said to be entire and unblended, like the paint- ings on the bandages of their mummies, and proves that the art, even in these gigantic productions, was confined to the manner practised in its infancy. We have now, however, the evidence of an inge- nious and enlightened artist who has lately visited these venerable relics. M. Denon, in his Voyage dans la Basse et Haute Egypte, has given a curious and interesting account of the paintings at Thebes, which he reports to be as fresh in colour as when they were first painted. The design in general is stiff and incorrect ; and whatever attitude is given to the figure, the head is always represented in pro- file. The colours are entire, without blending or degradation, as in our playing cards, the whole exhibiting the art as it was practised in its rudest state. We may therefore conclude, that though the Egyptians were among the earliest practisers of the art, yet, during a long series of ages, if it did not remain entirely stationary, there was little progress towards improvement ; and that in Egypt the arts constantly retained their ancient style, until it pass- ed under the dominion of the Ptolemies. painting among the greeks. Although the history of painting among the Greeks is better known than that of the nations by whom the art was practised at a more remote pe- riod, it is still involved in considerable obscurity. It is generally admitted that the arts were prac- tised in Asia and in Egypt for many ages before any traces of them are to be found among that people, by whom they were destined to be carried to the highest pitch of perfection. And painting, as well as her sister arts, sculpture and architecture, are -be- lieved to have been introduced into Greece by the communication that nation held with Egypt and Asia, through the channel of the Phoenician traders. INTRODUCTION. The origin of painting in Greece was unknown to Fliny, who is the only writer to whom we are materially indebted for the few fragments which have been preserved to us of the biography of their artists. He could only obtain them from the Greek authors; and on this occasion he complains that they have not been very attentive to their accus- tomed accuracy. In Greece, as in Egypt, it was to be apprehended, that, as their first efforts were rude and barbarous, the arts might have fallen into the trammels with which they had been shackled in that country from which they were imported, and have continued to languish under an hereditary mediocrity. But the mdiments they received, though their approach to- wards improvement was slow, were, by progressive cultivation, gradually carried to that summit of per- fection in which the Greeks may indisputably be said to have remained without rivals. Their finest works have ever since been made the models of our imitation ; and it has been found that nothing beau- tiful, grand, or graceful, can be accomplished with- out contemplating the monuments they have left us. Convinced that man is the noblest production of nature, by the harmony of his construction, and the admirable proportion of his members, they applied themselves to an attentive study of anatomy, and the structure and movement of the body. Their manners and customs were of infinite advantage to the artist in the prosecution of these studies, by the frequent opportunities they afforded him of viewing the athletse, or wrestlers, in their exhibitions in the gymnastic exercises. Hence we may infer, that , me Grecian artists did not entirely deduce, from the resources of their minds, that perfection and beauty of form by which their works are so characteristi- cally distinguished. The ardent imagination of the Greeks did not permit them to confine themselves to the representation of man, they soon aspired to that of their divinities. In a country, rich in natural productions, and blessed with a happy temperature, in point of cli- mate; inhabited by a brave and pohshed people, whose religious worship was as magnificent in its forms as it was ingenious and elegant in its alle- gories ; where victory and liberty were placed upon the altar, and where, impassioned with the love of glory, they bestowed on their heroes and philoso- phers the honours of deification ; the arts may be presumed to have found a genial soil. Such was ancient Greece, where it was believed, with reason, that the representation of their gods and heroes in their public temples was of the greatest efficacy in the support of religion, and in promoting the love of their country. At Athens, the portico of the Poecile was devoted to the reception of such paintings and sculpture as recorded the brilliant achievements of their warriors, or the annals of the most distinguished and virtuous of their citizens. Inspired with such sentiments, their artists felt an enthusiasm which animated them to the most fervid exertions. Although it has never been attempted to be de- nied that the ancients carried sculpture to a perfec- tion which all the succeeding efforts of the art have been unable to equal, it has been alleged that they were less successful in painting, in which they have been said to be greatly inferior to the moderns. In the inquiry into what degree of perfection the art of painting was carried by the Greeks, the different parties who have entered into the discussion have shown an unusual contrariety of opinion. On one side, a bigoteiadmiration of whatever has descend- ed to us from antiquity, has decided their unquali- fied superiority over every thing modern ; whilst, on the other, by a determined opposition, it has as roundly been pretended that the paintings of the ancients were only worthy of exciting our con- tempt. In this, as in most other disputes, it may reason- ably be presumed, that the just estimation of both will be found between the two extremes. It is de- serving of remark, that none of the works of the celebrated Greek painters have reached us, by which we might have been enabled to form a competent judgment of their talents. We are consequently under the necessity of regulating our ideas by the descriptions given us of them in the ancient writers. The paintings of antiquity, with which we are ac- quainted, are almost entirely confined to some or- naments of apartments, baths, and tombs, which were discovered in the ruins of Pompeii and Hercu- laneum, and which are very rationally believed to have been executed hy very subordinate artists, who may be regarded as the ordinary painters of man- sional decoration. The paiiitings found in the re- mains of Pompeii and Herculaneum cannot, there- fore, serve us correctly, in forming our ideas of the state of painting even at the period at which they were executed. Painted, for the most part, on walls, and exposed for a great length of time to the air, and after the disaster buried for near two thousand years under heaps of lava and ashes, it is even sur- prising that they have been so well preserved. Be- sides, Pompeii and Herculaneum were not places of the first rank, and as the paintings found there seem to have only served as the decorations of their villas, or country-houses, we may fairly conclude that they were generally either copies, or the productions of very subordinate artists. From a candid consideration of these, and the scanty information afforded us by the writers of antiquity of the works of their most celebrated painters, we may conclude, that as the Greeks car- ried sculpture to such acknowledged perfection, it will not be denied that their painters, as well as their statuaries, must have been perfect masters of design, so essential to the successful exercise of ■ either art. In comparing the paintings of the mo- derns with those of the ancients, it may be fau-ly inferred that the latter surpassed the former in ex- pression, in the purity of design, the attitudes of their figvu-es, and in what is called ideal beauty. With respect to colouring, the discovery of oil- painting has given to the moderns a powerful ad- vantage, which the ancients had no means of at- taining. The ancient paintings will also be found to be inferior to those of the modems in that illu- sion, which results from a perfect acquaintance with the principles of the chiaro-scuro. The modern painters have also surpassed the ancients in the ar- rangement of their groups, and in their knowledge of perspective. SOME ACCOUNT OF THE GRECIAN PAINTERS. The earliest essays of the art among the Greeks, as in the nations who preceded them, were confined to the tracing of a simple outline, called by Pliny Pietura Linearis, the invention of which is, by some, attributed toCLEANTHES, of Corinth. To this first stage of the art succeeded the introduction of other lines, indicative of the internal parts of the figure, but it was still only an outline, without colour. INTRODUCTION. This improvement is ascribed to TelePhanes, of Sicyon, and to Ardices, of Corinth. The progress of the art next led to an attempt to fill up the contour of the figure with one colour, said to have been first practised by Cleophantes, of Corinth, styled for his invention Monocromatos. This discovery is also attributed to Htgiemon, DiNiAS, and Chaemas, and is said to have been improved by Eumaeus, the Athenian, and Cimon, of Cleonsea, particularly by the latter, who has the credit of having been the first who attempted to place the figure in different attitudes, to express the joints of the limbs, and the veins of the body. He is also said to have been the first who introduced folds into his drapery. From this epoch, tradition supplies us with a more particular account of the artists who succes- sively appeared in the advancement of painting among the Greeks, though their history is frequent- ly enveloped in doubt and uncertainty. BuLARCHUS. The earliest picture of which the ancient writers have given a description, is the Battle of the Magnesians, painted by Bularchus, who appears to have flourished about seven hun- dred and twenty years before the Christian era, as, according to Pliny, this picture was purchased for its weight in gold by Candaules, king of Lydia, who died about seven hundred years before Christ. After Bularchus we encounter a chasm of upwards of two centuries and a half in the history of paint- ing. It appears, however, that it was practised with success in the Isle of Rhodes, at the time of Anacreon, who lived about five hundred years be- fore our era. That poet, in his twenty-eighth and twenty-ninth Odes, mentions the practice of the art, and that it was effected by mixing wax with their colours, called encaustic painting. Phidias, the celebrated sculptor, is said by Pliny to have practised painting. He flourished about four hundred and forty-five years before Christ, and painted at Athens a picture of Pericles, represented as the Olympian Jupiter. Pan^ncs, the brother of Phidias, acquired a distinguished reputation in the art. He exercised his talents in conjunction with that immortal sta- tuary, in adorning the temple of the Olympian Ju- piter, where he painted Atlas supporting the World, and Hercules preparing to relieve him of his bur- then, the son of Alcmena was accompanied by The- seus and Pirithoiis. He also painted Hercules combating the Nemeah Lion ; Hippodamia, the daughter of J5nomaiis, with her mother; Prome- theus chained to the Rock, whom Hercules is about to deliver ; and Penthesilea killed by Achil- les. But the work which most contributed to the establishment of his fame, was the Battle of Mara- thon, with which he decorated the Poecile at Athens. A reverend author of our country, in his History of the Fine Arts, asserts, that " in this painting the artist had portrayed from the life all the principal generals, both on the Grecian and Persian side ; " in which he is, in some measure, supported by the authority of Pliny. A reference to chronology will, however, convince us, that this cannot be accurate. The battle of Marathon was fought in the sixty-se- cond olympiad, at least sixty years before Panaenus was known as a painter. Among the most distin- guished leaders were Miltiades, CalHmachus, Cynae- gyrus, &c., among the Athenians ; and Datis and Artaphernes among the Persians. Miltiades died a year after the battle, Callimachus and Cynaegyrus were killed in the combat, and Datis and Artapher- nes were either dead or living in Persia, at an ex- treme old age, when the picture was painted. It is possible that these portraits might resemble the chiefs mentioned, but they must nave been drawn from pictures painted in then- lifetime. PoLYGNOTUs. This great painter was a native of the island of Thasos, and a contemporary of Panaenus, though some years younger. He flour- ished about four hundred and thirty years before our era, and, as an original artist, deserves more consideration than any of his predecessors. The force of his imagination stamped painting with a kind of national character, and his style was adopt- ed by the principal schools of Greece which suc- ceeded him, as the compositions of the versifiers were marked, more or less, with the imagery and colouring of Homer. Endowed with a taste for poetry as well as painting, he had not only stored his mind with the beauties of the Iliad and the Odyssey, but had studied all the epic poems then extant, which furnished him with the mythological subjects with which he adorned the tempjes and porticoes of Athens, Delphi, and other cities of Greece. Pliny is lavish in his eulogy on the powers of this painter. According to that writer, he was the first artist who gave an air of ease and grace to his figures ; dressed his females in rich and elegant vestments ; and, above all, characterized his heads with an expression which was entirely unknown be- fore him. The history of the siege and taking of Troy, supplied the favourite subjects which occu- pied the talents of this great master ; and though those memorable events comprehended so many interesting circumstances, and such terrible situa- tions, that it appeared to be beyond the eflbrt of human genius to combine or unite them ; the en- thusiasm of this artist, unchecked by obstacles, in- spired him with such lofty and sublime conceptions, that they filled the mind with astonishment. He gave proof of his extraordinary capacity in van- quishing difliculties, in his celebrated picture of Cassandra. He represented the daughter of Priam at the moment she had been brutally outraged by Ajax in the temple of Minerva. The face of the unfortunate captive was partially covered with a veil, but the glowing blush of confusion was visible in her countenance, which displayed all the symp- toms of modesty, insulted by a barbarian, who has been regarded as a hero. This admired performance is selected by Lucian in representing the portrait of his perfect woman. " Polygnotus," he says, " shall open and spread her eyebrows, and give her that warm, glowing, decent blush, which so inimitably beautifies his Cassandra. He likewise shall give her an easy, genteel, flowing dress, with all its tender and delicate wavings, part- ly clinging to her body, and partly fluttering in the wind." Polygnotus was fond of compositions which ad- mitted of a gi-eat concourse of figures, and it was probably the taste of the particular period at which he lived, a taste which was not long predominant. In the portico called the Poecile, at Athens, he painted the Battle of Marathon. In the fore-ground of the picture, the Greeks and Persians were repre- sented combating with equal valour ; but in extend- ing the view to the middle of the composition, the barbarians were seen flying to the Phosnician ships, which were seen in the distance. In this painting, Polygnotus allowed himself more licence than ever Pindar ventured to introduce into a lyric poem. INTRODUCTION. Minerva, the tutelar goddess of the Athenians, and Hercules, are made to descend from heaven ; the town of Marathon is personified by a genius, and Theseus is drawn from the shades of death to wit- ness a battle which took place some centuries after his death. This is considered the earliest anachro- nism that appeared in painting. Mtcon was also a contemporary of Polygnotus, and was employed with him in the Poecile at Athens. He also painted some pictures in the Temple of Theseus, but we have no account of their subjects, nor of the abilities of the artist, though they may be presumed to have been respectable, as he worked in conjunction with Polygnotus, and as his pictures were purchased by the Athenians at large prices. Pauson. This painter is to be introduced nearly at the same epoch with the two preceding artists, as he is mentioned by Aristotle, in a comparison vdth Polygnotus, and another contemporary, Diony- sius of Colophon. " Polygnotus," says that philo- sopher, " drew men more perfect than they were, Pauson worse than they were, and Dionysius such as they really were." From whence we may infer, that Polygnotus embellished nature by something of ideal beauty, that Pauson degi-aded her by a se- lection of her most vulgar and ignoble forms, and that Dionysius contented himself with representing nature as she usually appears. Dionysius, of Colophon, approached to the per- fection of Polygnotus. The subjects he chose to treat were less important ; but, according to iElian, " his works exhibited the same expressive character, the same choice of attitudes, a similar attention to propriety, and the same elegant arrangement of his draperies : but he represented the objects in a smaller proportion." By these expressions, iElian has been supposed to explain more clearly the passage oif Aristotle ; and it has been thought to result from his suggestion, that Polygnotus designed his figures larger than life, Dionysius the size of life, and Pau- son smaller than hfe. Winckehnann, however, in- terprets this in another manner. According to that writer, Polygnotus painted his figures better, that is to say, "he stamped them with a grandeur above the scale and conformation of man. As he usually chose his subjects from mjrthology, or from heroic history, his figures resembled heroes, representing nature in the most select and elevated forms of ideal beauty. Pauson gave to his figures a more common and femiliar air. In the opinion of Winckelmann, Aristotle meant to say that the pictures of Polygno- tus were in painting what tragedy is in poetry, and that the figures of Pauson resembled the characters in a comedy, which are represented more than ordi- narily ridiculous, to render the effect more ludicrous. Dionysius, whom PUny places amongst the most famous painters, held a sober medium between Po- lygnotus and Pauson, and may be said to have been, with respect to Polygnotus, what Euripides was to Sophocles J the latter represented his heroines what they ought to be, the former such as they were. Aglaophon, Cephissodobus, Phrtlus, and EvENOE, flourished about the nineteenth olympiad,, or about four hundred and twenty-one years before Christ. The manner in which these painters are mentioned by Phny and others, sufiiciently estab- lishes their claim to respectability. Apollodoeus. This painter was a native of Athens, and flourished in the ninety-third olympiad, or about four hundred and nine years before our era. After what has been already said in favour of Po- lygnotus, on the authority of Pliny, there is an ap- pearance of contradiction in the high encomium that writer bestows on Apollodorus, when he asserts that he was the first who contributed to the glory of painting, and that before he appeared there was no production of the art that was worthy of attract- ing the attention of the spectator. This seeming inconsistency may, however, be reconciled, by stat- ing that although Polygnotus divested his design of the stiflfness and formality which existed beforenim, clothed his females with more elegant draperies, gave superior expression to his heads, and more va- ried attitudes to his figures ; yet his colouring was cold and feeble, and he was little acquainted with effect. But Apollodorus showed more dexterity in the handling of the pencil, was the first who suc- ceeded in the blending of his tones, and in the dis- tribution of his light and shadow, by which he may be styled the inventor of the chiaro-scuro. Among his works is mentioned a picture of Ajax struck by Lightning, which was formerly at Pergamus. Zeuxis. This distinguished painter of antiquity was a native of Heraclea, and flourished in the ninety-fifth olympiad, or about four hundred years before the vulgar era. He is said to have been a disciple of Apollodorus. It is at least certain that they lived in habits of intimacy : and Pliny informs us, that Apollodorus wrote some verses in praise of his talents, in which he complains that " the art of painting had been stolen from him, and that it was Zeuxis who committed the theft." He did not, like Polygnotus, occupy his talents in large and abun- dant compositions, but confined himself to pictures consisting of a small number of figures, and was particularly successful in the beautiful forms of his women. Amongst his principal works, Pliny men- tions a picture of Penelope, in which he seemed to have expressed the mind of that princess. The Crotonians having commissioned him to paint a pic- ture of Helen, he selected five of the most beautiful young women of the city, and uniting in his single figure whatever was most perfect in his models, pro- duced a work of the most exquisite beauty. The painter Nicomachus seeing this picture some time afterwards, could not restrain the expression of his surprise and admiration, when a bystander, not equally capable of appreciating its excellence, de- manded what he saw in the picture to excite such sen- sations. " Ah," replied the painter, " take my eyes, and she will appear to yon a goddess ! " Zeuxis also painted an Assembly of the Gods, a picture of Her- cules strangling the Serpent, and several other works, which are highly celebrated. Paeehasius, the contemporaiy and rival of Zeuxis, was a native of Ephesus, and a disciple of Evenor. According to Pliny, he was the first who arrived at perfect symmetry in the proportion of his figures, gave them more relief and roundness, with an air of life and motion unknown before him. He was also particularly successful in the adjustment of the hair, and in giving a peculiarly beautiful ex- pression to the features of his female figures. One of his principal works, representing a High Priest of the goddess Cybele, was afterwards purchased by the Emperor Tiberius, for sixty thousand sestertii. Pliny highly commends two pictures by Parrhasius, one representing a warrior running to the combat, the other a soldier taking off' his armour. He also painted a celebrated picture of Theseus, which, in Pliny's time, was preserved in the Capitol at Rome; and another representing Meleager, Hercules, and Perseus, in one group, which was formerly at Rhodes. > INTRODUCTION. Parrhasias was not less distinguished for his ta- lents than remarkable for his vanity and arrogance. He styled himself the prince of painters, and as- serted that he had carried the art to the highest possible perfection. He was always clothed in the most sumptuous attire, and pretended to be descend- ed from Apollo. Notwithstanding this weakness and folly, Parrhasius cannot justly be denied the glory of having been one of the most accomplished painters of Greece. TiMANTHEs, the distinguished and successful com- petitor of Parrhasius, was, according to Quintilian, a native of Cythnus, in Attica, others say of Sicyon. He triumphed over Parrhasius in a picture painted in rivalship with that artist, representing Ajax dis- puting with Ulysses for the arms of Achilles. Born at a period of the art, when considerable progress had been made in expression, he devoted his studies particularly to that department, and was not less re- markable for his inventive faculties. Of this he gave ample proof in his celebrated picture of the Sacrifice of Iphigenia, rendered so famous by the orators and historians of antiquity. Having repre- sented the spectators in different degrees of sadness, he had exhausted the expression of affliction in the figure of Menelaiis, her uncle, and finding that he was not able to give an expression worthy of the grief of Agamemnon, her father, he covered his face with a veil. The expressions of Pliny are remark- able : Patris ipsius vuUum velavit, quam digne non poterat ostendere. It is well known that the ancients considered the expression of extreme grief as indecorous, and that, when they found themselves unable to repress the feelings of severe affliction, they concealed the face with the mantle. Consist- ently with this principle of decorum, Timanthes could not express the anguish of Agamemnon in a manner worthy of his character, but by covering him with a veil. Pliny appears to have weighed all his expressions. He observes, that the painter had exhausted in the other figures all the expression of sadness ; but there is a great distance between sad- ness and the extremity of grief. Valerius Maximus expresses himself on this subject in a manner little consistent with the elevated ideas of propriety, which the Greeks had conceived of the art. That writer pretends, that Timanthes had represented Calchas sad, Ulysses afflicted, Ajax weeping, Menelaiis la- menting, and not being able to characterize the grief of the father, he covered his face with a veil. It is hardly credible, that a Grecian painter, who knew and respected the character of decency and propriety, would have represented these princes weeping and bewailing like slaves, who abandon themselves, without restraint, to all their passions and affections ; or that he would have degraded personages of their rank, by a weakness whicli he would not have dared to bestow on the lowest Spar- tan woman. EupOMPUS. Of this painter, who was a native of Sicyon, tradition furnishes us with very scanty information. He was, however, unquestionably of great celebrity, and held the credit of being the founder of the Sicyonian school. Pliny only notices one picture by Eupompus, representing a conqueror in the Gymnastic combat, holding the palm of victory. Pamphilus was a native of Amphipohs, in Ma- cedonia, and a disciple of Eupompus. He flourished in the reign of Philip, the father of Alexander the Great, and has the reputation of being the first art- ist who united painting with the study of the Belles Zettres. He was well acquainted with the mathematics, which he considered so essentially necessary to the art, that he affirmed, that no paint- er could be perfect in it who was ignorant of them. From hence it may be inferred, that the painters of antiquity were not so totally ignorant of perspec- tive as has been usually supposed. He distinguish- ed himself among the painters of his time by an arrangement in his compositions, superior to what- ever had been shown by his predecessors, and ac- quired so high a reputation, that some of the youth of the noblest families became his disciples. Such was the lustre and dignity to which he elevated the art, that by his influence an ordinance was first puMished at Sicyon, and afterwards made general throughout all Greece, by which painting was placed in the first rank among the liberal arts, was forbid- den to be practised by slaves, and was only to be studied by persons of education and distinction. His pictures were usually of large dimensions, and his compositions more crowded with figures than was customary among the Grecian artists. One of his principal works represented the Battle of Phlius. He had the credit of having been the instructor of Apelles. EuxENiDAS. This artist was less indebted for his reputation to his merit as a painter, than to having been the master of Aristides. Aristides, the younger brother and pupil of Nicomachus, was a native of Thebes, and a contemporary of Pam- philus. According to Pliny, he was the first painter who succeeded in representing in the countenance the expression of the various passions of the human mind. Is omnium primus animum pinxit, el senstts humanos expressit, quce vocant Greed fidtj ; idem per- turbationes. One of his most admired works was a picture representing a city stormed, and taken by assault, in which he introduced the mother of an infant mortally wounded in the bosom, and the child endeavouring to reach the breast. In the countenance of the dying parent was expressed, with infinite art, the utmost norror, lest her infant should imbibe her blood instead of her milk. He also painted a celebrated picture of a battle between the Greeks and Persians, containing upwards of a hundred figures, which was purchased by Mnason, the tyrant of Elatia, for a thousand mirus, or about three thousand seven hundred and fifty pounds sterling. His picture of Bacchus and Ariadne was seen, at the time of Pliny, in the Temple of Ceres, at Rome ; where was also -preserved in the Capitol another work of Aristides, representing an old man teaching a child to play on the lyre. Apeiles . In the hundred and twelfth Olympiad, or about three hundred and thirty-two years before the Christian era, rose the great luminary of ancient art, in the person of Apelles. According to Phny and Ovid, he was a native of the isle of Cos ; by others he is said to have been born at Ephesus. He was a disciple of Pamphilus, and was probably of a distinguished family, as no student of mean birth was admitted into that school. Combining in himself all the excellences of the artists who had preceded him, and endowed with a genius capable of contending with the most arduous difficulties, he is generally supposed to have carried the art to the highest attainable perfection. He not only excelled in composition, design, and colouring, he also pos- sessed an unbounded invention, was select and beautiful in his proportions and contours, and, above all, his figures were always distinguished by an un- speakable grace, which was peculiar to him, and INTRODUCTION. which may be almost said to have been the effect of inspiration. No painter ever appUed to the study of his art with more persevering assiduity than Apelles. He never permitted a day to pass without practising some branch of his art ; hence originated the maxim, Nulla dies sine linea. His extraordinary talents, and the polished ac- compUshmentS of his mind, secured him the patron- age and esteem of Alexander the Great, whose por- trait he drew several times, and received from that conqueror the exclusive privilege of painting his likeness.^ Among others, was a portrait of Alexan- der holding a thunderbolt, which was placed in the temple of Diana, at Ephesus, and was so admirably executed, that Plutarch reports that it used to be said there were two Alexanders, one invincible, the son of Philip; the other inimitable, the work of ApeUes. One of his most admired productions was a pic- ture of Venus rising from the sea, called Venus Anadyomene, which Ovid has celebrated in his verses : Si Venerem Cois nunquam pinxisset Apelles, Mersa sub scquorels ilia lateret aquis. Pliny asserts, that Alexander permitted his fa- vourite mistress, the beautiful Campaspe, to sit to him for his Venus, and that the painter becoming enamoured of his model, the conqueror resigned her to his arms.* We are told by jffiUan, in his Various History, that having painted a portrait of Alexan- der on horseback, which was not so much admired by the. monarch as it deserved, a horse happened to be brought, which neighed at the sight of the horse in the picture, upon which Apelles is said to have addressed Alexander as follows : " Sire, it is plain that your horse is a better judge of painting than your Majesty." Bayle thinks this too rude and un- mannerly to be ascribed to a painter who is repre- sented as a man of an easy, complaisant, and polite behaviour. He must either have been a court buf- foon, or a person of such odd eccentric humour, as has been sometimes met with among the most emi- nent artists. It is, however, certain, that he frequently indulged in raillery. One of his disciples having shown him a picture of Helen which he had loaded with gold, "Young man," said the painter, "not being able to make thy Helen beautiful, thou hast resolved to make her rich." One of the chief excellences of Apelles in por- trait painting was to give so perfect a resemblance of the person represented, that the physiognomists were able to form ajudgment as easily from his pic- tures as if they had seen the originals. This readi- ness and dexterity in taking a likeness was of singu- lar utility to Apelles, in extricating him from a very perilous dilemma into which he was thrown, at the court of Ptolemy. When that prince reigned in Egypt, Apelles, who had not the good fortune to be in favour with Ptolemy, was driven by a storm into the port of Alexandria, where his enemies suborned a nuschievous fellow, who was one of the king's buffoons, to play a trick upon him, by inviting Apelles, in the king's name, to supper. On his ar- rival, finding Ptolemy surprised, and not very well pleased with his visit, he apologized for his coming, by assuring the king that he should not have pre- sumed to wait upon him, but by his own invitation. « other writers pretend that Phryn^ served him as a niodel for his Venus. Being required to point out the person who had thus imposed upon him, he sketched his portrait from memory, with a coal upon the wall, which Ptolemy ' instantly recognised to be his buffoon. This adven- ture reconciled him to Ptolemy, who afterwards loaded him with wealth and honours. These, how- ever, far from blunting the shafts of envy, served only to point them with more inveterate poison. Antiphilus, a painter of reputation, though greatly inferior to Apelles, who was then at the court of Ptolemy, accused him of having been implicated in the conspiracy of Theodotus, governor of Phoenicia, affirming that he had seen Apelles at dinner with Theodotus, and that, by the advice of that painter, the city of Tyre had revolted, and Pelusium had been taien. The accusation was totally groundless, Apelles never having been at Tyre, and .having no acquaintance with Theodotus. Ptolemy, however, in the height of his resentment, without examining into the aflfeir, concluded him guilty, and would have punished him with death, had not an accoiur pUce of the conspirators declared his innocence, and proved that the accusation originated in the jealousy and malevolence of Antiphilus. Stung with con- fusion at having listened to so infamous a slander, Ptolemy restored Apelles to his favour, presented him with a hundred talents, to compensate the in- jury he had sustained, and condemned Antiphilus to be his slave. On his return to Greece, as a memorial of the persecution, and to avenge himself of his enemies, Apelles painted an allegorical picture representing Calumny, in which he seems to have exerted all his inventive faculties. Of this ingenious composition, Lucian has furnished us with the following descrip- tion : " On the right of the picture was seated a per- son of magisterial authority, to whom the painter had given large ears, like those of Midas, who held forth his hand 'to Calumny, as if inviting her to approach. He is attended by Ignorance and Sus- picion, who are placed by his side. Calumny ad- vanced in the form of a beautiful female, her coun- tenance and demeanour exhibiting an air of fury and hatred. In one hand she held the torch of Discord, and with the other dragged by the hair a youth, personifying Innocence, who, with eyes raised to heaven, seemed to implore the succour of the gods. She was preceded by Envy, a figure with a pallid visage and an emaciated form, who appeared to be the leader of the band. Calumny was also attended by two other figures, who seemed to excite and ani- mate her, whose deceitful looks, discovered them to be Intrigue and Treachery. At last followed Re- pentance, clothed in black, and covered with confu- sion, at the discovery of Truth in the distance, en- vironed with celestial light." Such was the ingenious fiction which indicated the vengeance of Apelles, and which may be regarded as one of the most ad- mirable examples of emblematical painting that the history of the art affords. RaffaeUe made a drawing from Lucian's description of this picture, which was formerly in the collection of the Duke of Modena, and was afterwards placed in the French Museum. It was customary with Apelles to exhibit his pic- tures publicly, not for the purpose of being flattered with the incense of applause, but with an intention of profiting by whatever just criticism might be made on the work. That the public might feel themselves at liberty to express their sentiments freely, he usually concealed himself behind a pan- el, that his presence might not be a restraint on the expression of their judgment. On one of these INTRODUCTION. occasions, a cobbler found fault with some incor- rectness in the representation of a slipper, and Apelles, convinced of the judicious observation of the artisan, made the necessary alteration. The picture being again offered to public view in its im- proved state, the cobbler, proud of the success of his first criticism, ventured to find fault with the , leg, when Apelles, discovering himself, addressed to him the well-known sentence which has since be- come proverbial, JVe mtor ultra crepidam. The modesty of this great painter was not less worthy of admiration than his extraordinary talents. Far from being jealous of his contemporaries, he not only extolled their merit, but, favoured as he was by fortune, made use of his wealth in promoting the interest of his rivals. His generous conduct to Protogenes is generally known, and will be more particularly noticed in the account of that painter. Protogenes was a native of Caunus, a city of Caria, subject to the Rhodians. It is not known of whom he was a disciple, but it is probable that he received his instruction from some obscure artist, or that he formed his style by studying the works of the painters who had preceded him. It is certain that for some time he practised ship-painting for a livelihood, that the early part of his life was passed in indigence and obscurity, and that he was con- siderably advanced in years before he became known as an artist. One of his principal pictures, and which has been Celebrated by several writers, represented the hunter Jalisus with his Dog, which was long preserved in the Temple of Peace at Rome. It is said that this picture was the means of saving the city of Rhodes, when it was besieged by Demetrius, who, finding that the place was only assailable on that side on which was the house of Protogenes, the king chose rather to' abandon his conquest, than to destroy so admirable a work of art. The atelier of Protogenes was situated without the walls of the city, where, to the astonishment of the besiegers, he continued to paint with the most perfect tranquillity and indifference, amidst the clang of war and the shouts of the soldiers. This circumstance being made known to Demetrius, he ordered the artist to be brought to his tent, when he demanded how he could persist in the quiet exercise of his profession when surrounded by the enemies of his country ? Protogenes replied, that he did not consider himself to be in any danger, as he was convinced that a gi-eat prince like Demetrius did not wage war against the arts, but against the Rhodians. It was during these hostilities iiiat he painted his famous picture of a Satyr plapng on a Flageolet. Another admired work of Protogenes was a subject taken from the Odyssey, representing Nausicaa driving a chariot drawn by mules. Notwithstanding the distinguished talents of Pro- togenes, his fellow citizens were either insensible of his merit, or were more than usually parsimonious in the remuneration he received for his works. He lived in extreme poverty, until the generosity of Apelles, his competitor, roused the Rhodians from the indifference they had shown to his talents. When that great painter visited Rhodes, he was struck with admiration on seeing the works of Pro- togenes, and declared that nothing could surpass them. He demanded what price he put upon his pictures, and the painter of Rhodes having named an inconsiderable sum, Apelles, indignant at the injustice done to such admirable productions, paid him fifty talents for one picture, announcing pub- licly, that he would make it pass and sell it as his own. This liberaUty opened the eyes of his fellow citizens, who from that time held his works in the highest estimation. EuPHRANOR. According to Pliny, this, i)ainter flourished in the hundred and fourth olympiad, or about three hundred and sixty-four years before Christ J a date, which can neither be reconciled with tradition, nor with what Pliny himself advances on other occasions. He also places Euphranor in the first rank among the artists who appeared after Pau- sias, who was younger than Apelles. It is, there- fore, more consistent with chronology to suppose that Euphranor fiourished about the hundred and fiftieth olympiad, or about three hundred and twenty years before the vulgar era. He was a native of the isthmus of Corinth, and not only distinguished him- self as a painter, but excelled as a statuary, both in marble and metals. He gave a peculiar dignity to his heroes, and though Pliny extols him for an exact symmetry in his proportions, by an apparent contradiction, he informs us, that the bodies of his figures were too dehcate, and the heads too large. He is said, however, to have written a treatise on symmetry. One of his principal pp-intings at Athens was the Battle of Mantinea, which is highly ap- plauded by Pausanias and Plutarch. He also painted a picture of Theseus, with which he was so satisfied, that in comparing it with one of the same hero, painted by Parrhasius, he exultingly observed, that " the Theseus of Parrhasius appeared to have been fed on roses, and his with flesh. Melanthus is mentioned by QuintiUan, Pliny, and Plutarch, as a disciple of Pamphilus. Like his instructor, he excelled in the chaste propriety of his coinpositions. His school was frequented by numer- ous disciples, and he wrote some treatises on the art. AscLEPioDORUs was a contemporary of Apelles, and his works were particularly admired by that great painter, for the exact symmetry of his propor- tions. The esteem of Apelles, and his own merit, occasioned his works to be purchased at very large prices. And Pliny reports, that he painted twelve pictures of the Gods for Mnason, the tyrant of Ela- tea, for which he was paid three hundred minse, or about nine hundred pounds for each. NicoPHANES. This painter is ranked by Pliny among the most eminent artists of his time. He possessed a lively genius, and was not less ready in his invention than prompt in his operation. He was surnamed " the painter of courtesans," as he frequently made choice of them for his models, which is the more probable, as they were generally the most beautiful women in Greece. NicoMACHUS was a native of Thebes, and the brother of Aristides. Of all the painters of anti- quity, he was the most remarkable for the extraor- dinary facility of his pencil, a promptness which did not however diminish the beauty of his produc- tions; and Plutarch compares the readiness with which he operated to that of Homer in the compo- sition of his verses. Aristratus, the tyrant of Sicyon, having engaged him to decorate with his paintings a monument he intended to consecrate to the me- mory of the poet Telestus, a particular day was fixed when it was expected to be finished. The period had nearly elapsed before the painter had com- menced his work, when Aristratus, irritated by his apparent neglect, threatened to punish him severely ; but Nicomachus accomplished his undertaking vrith- in the limited time, and with as much beauty as promptitude. Among his principal works was a picture of the INTRODUCTION. Rape of Proserpine, which was for a long time pre- served in the Capitol at Rome. At the time of his death he left imperfect a picture of Helen, called Tyndarides, whicn was held in snch admiration, that no painter who succeeded had the boldness to attempt to finish it. Philoxenes, a native of Eretria, was a disciple of Nicomachus, and adopted the expeditious style of his instructor. According to Pliny, he painted for Cassander, a picture representing the Defeat of Darius by Alexander, which was esteemed one of his most considerable works. Perseus was a disciple of Apelles, and though greatly inferior to his master, he may be presumed to have possessed considerable talents, as he was favoured with the particular esteem of that admir- able painter, who addressed to him a treatise he wrote on the art. Pausias. This painter was a native of Sicyon, and was first instructed in the art by his father, Bries, but afterwards became a disciple of Pamphi- lus. He was the first artist of antiquity who intro- duced the painting of ceilings, which, previous to his time, had never been decorated in that manner. He also painted pictures of a small size, and was particularly successful in the representation of children. Some of his rival artists pretended that he made choice of those subjects as best suited to the slow and laboured style of his execution. To contra- dict the calumny, and to prove that he was capable of more spirited exertions, he finished in one day a large picture representing the infant Hercules. In his youth, he became enamoured of Glycera, the beautiful garland-maker ; and one of his most ad- mired works was a portrait of his mistress holding a garland. A copy of this picture was purchased at Athens, by Lucius Lucullus, for two talents. He also excelled in painting animals. Aetion. It is not without considerable uncer- tainty that this painter is here placed among the contemporaries of Apelles, Protogenes, and Nico- machus. Pliny takes no notice of Aetion, although he was an artist of great reputation ; and we are only supported in the presumption that he lived at that par- ticular period by a passage in Cicero, in which he men- tions him with those distinguished painters, with- out, however, informing us that they were coetane- ous. If the authority of Cicero does not sufiiciently establish that Aetion lived at the same period with Apelles, and the great artists above-mentioned, the manner in which ne is noticed by him, warrants his being placed among the ablest painters of Greece. Sirmlis in pictura ratio est, in qua Zewdm, et Polyg- notum, et Timanthem, et earwm qui non sunt usi plus quam quatuor coloribus, formas et lineamenta lauda- mus ; at in Aetione, Nicomaeho, Protogene, Apelle, jamperfecta sunt omnia. — CDe elar. orat.J The testimony of Cicero is supported by that of Lucian. That writer proposes as a model of per- fection in the graceful style a picture by Aetion, representing the Nuptials of Alexander with Rox- ana. This picture had been exhibited at the Olym- pic games, and excited such admiration in the minds of the judges, that Proxinedes, the principal arbiter, exclaimed in the midst of the assembly, " I reserve crowns for the heads of the Athletes, but I give my daughter in marriage to the painter Aetion, as a re- compence for his inimitable picture." Pliny places Apelles, and some of his contemporaries, amongst the painters who only emploj^ed four colours. This opinion is at least combated, if not rendered nuga- tory, by what is asserted by Cicero. Cicero was a b 2 zealous lover of the arts, had visited Greece, where he had seen, and had purchased, the works of the most celebrated artists, and if he did not possess a profound acquaintance with painting, he was at least what is usually called a cormoisseur. A more ample confidence may therefore be placed in his judgment than in that of Pliny, who is believed to have been no great admirer of the art, and who appears to have been chiefly led to notice painting when he arrived at that part of his great work, which made it necessary for him to treat of the ma- terials used by painters, as they were connected with natural history. Ctesilochus was a disciple of Apelles, and is chiefly remarkable for the singular manner in which he treated one of his principal works, representing the Birth of Bacchus. Aristolaus. This painter was a native of Athens, and a disciple of Pausias. He was celebrated among the painters of his time for the severity of his style ; from which we may infer, that he united a purity of form with a strict simplicity in his compositions. His pictures were usually confined to a single figure, and he made choice of those eminent personages whose memory was endeared to their country by their virtue and great exploits. Among these were Theseus, Epaminondas, and Pericles. Mechophanes was also a disciple of Pausias. His manner was dry and hard, but this defect was in a great degree compensated by a rigid correct- ness of design, which was duly appreciated by the artists. Ahtemon. This artist is introduced aboHt this period, as Pliny informs us that he painted a. pic- ture of Queen Stratonice ; as it may be presumed that he painted her from life, and that it was the same Stratonice who was married to Seleucus about three hundred years before our era. He also painted a picture of Hercules and Dejanira ; but his most celebrated works were the pictures which were car- ried to Rome, and were placed in the Octavian Por- tico, representing Hercules received amongst the Gods ; and the history of Laomedon with ApoUo and Neptune. Clessides. Although this artist is not spoken of as a painter of very distinguished talents, yet he maybe presumed not to have been destitute of merit, from the celebrity he acquired by the outrageous in- sult he offered to Stratonice, the queen of Antio- chus. Piqued at not being treated by her with the distinction which he thought he merited, he painted a picture of her in the arms of a flsherman, whom rumour gave to her as a paramour, and placing it in the most public part of the port of Ephesus, he immediately embarked. Notwithstanding the in- solence of such a procedure, Stratonice would not suffer the picture to be destroyed, such was the exact resemblance the artist had given both to her- self and the object of her affection. Theodohus, a native of Athens, was a painter of considerable celebrity. Among his principal works were the following : Clytemnestra and ^gistus slain by Orestes ; several pictures of the events of the Trojan war, which were afterwards taken to Rome, and placed in the Philippian Portico ; and a Cassandra, preserved formerly in the Temple of Concord. There are several other artists of an- tiquity of the same name, both painters and sculp- tors, mentioned by Pliny and Diogenes Laertius. Neacles. This painter is supposed to have flour- ished about two hundred and fifty years before the Christian era. He is said to have possessed a lively INTRODUCTION. genius, and an accurate judgment. Being engaged to paint a picture of a combat between the Per- sians and Egyptians oft the Nile, and being appre- hensive that river might be mistaken for the sea, he introduced a mule drinking on the border of the Nile, and a crocodile ready to attack it. An episode by which he clearly indicated the scene of the action. Ctdias was a native of Cythnus, and may be pre- sumed to have been a painter of considerable abili- tjr ;■ as one of his pictures, representing Jason and his followers embarking for Colchis, in search of the Golden Fleece, was purchased at Rome by the ora- tor Hortensius for forty-four thousand sestertii, which was afterwards bought by Marcus Agrippa, and placed in the Portico of Neptune, to commemo- rate his naval victories. Antidotus was a disciple of Euphranor, and was more remarkable for the laborious finishing of his pictures, than for the ingenuity of his invention. His colouring was cold, and his outline hard and dry. Among the few of his pictures which have been noticed, were a Warrior ready for Combat ; a Wrestler ; and a Man playing on the Flute. NiciAS. This painter was a native of Athens, and a disciple of Antidotus. Nicias not only sur- passed his instructor, but was one of the most cele- brated artists of his time. He painted women with great success : and Pliny reports that he was well acquainted with the principles of light and shadow, and gave an extraordinary relief to his figures. One of his most admired works represented Ulysses in- voking the shadows of the dead, as described by Homer. For this picture Attains, king of Perga- mus, offered him sixty talents, about eleven thousand pounds ; but such was the patriotism of the painter, that he refused the offer, and made a present of the picture to his country. It may be proper to remark, that the liberality of his fellow citizens had enabled him thus to indulge his patriotism, as he had become ■ extremely rich by the bountiful remuneration he received for his works. At the time of Pliny, a pic- ture of Bacchus, by Nicias, was preserved in the Temple of Concord at Rome. Athenion was a native of Maronea, in Thrace, and was a disciple of Glaucion, of Corinth, a paint- er of whom no other mention is made. He appears to have been a contemporary of Nicias, as his works are compared by Pliny to those of that painter, and without any disparity. Though his colouring was more austere than that of Nicias, it was not less agreeable. He painted a picture of Phylarchus the historian, for the Temple of Eleusis ; and at Athens, Achilles discovered by Ulysses disguised as a Girl. Pliny assures us, that if he had not died young, no artist would have surpassed him. PAINTING AMONG THE ETRUSCANS. The arts in general, and painting in particular, appear to have been practised in Etruria at a very remote period; and Winckelmann thinks it pro- bable that the Etruscans had made considerable progress in the arts dependent on design, before their communication with Greece. The same in- ference may be drawn from some passages in the Roman authors, though the evidence of no Etruscan writer on art has been handed down to us. It is probably not without foundation, that the Romans have been accused of having endeavoured to destroy every vestige or monument which they found in the countries they overran, that no traces might be left of the antiquity of the neighbouring nations. This jealousy is in some degree corroborated by the silence of their writers, who appear only to have preserved the names of the vanquished people as triumphal trophies, and not for the purpose of making posterity acquainted with the state of their civilization, or the arts which they had cultivated, long before Romulus and his associates carne to establish themselves on the banks of the Tiber. Pliny, indeed, admits, that at Caere, in Etruria, and at Ardea and Lanuvium, in Latium, there ex- isted in his time some paintings which attracted the admiration of the curious, and which were more ancient than the foundation of Rome. In the third chapter of the 35th book of his Natural History, he thus expresses himself : " I cannot contemplate vrithout astonishment those paintings at Csere, wnich appear recent and fresh, after so many ages. The same may be said of the Atalanta and the Helen, which are seen in a ruined temple at Lanuvium. The artist has represented Atalanta naked, and both the figures are of exquisite beauty." It had long been regretted, that the ravages of time, and the devastation of Italy, had deprived us of every vestige of the paintings of the Etruscans, when the Padre Paciaudi, a Theatine monk, dis- covered, near the ancient Tarquinia, formerly be- longing to Etruria, several tombs decorated with • paintings. He communicated this interesting dis- covery to the Count de Caylus, in a letter from Rome in 1760, in which he informed him that in the environs of Tarquinia are found a great number of small grots, which had served as tombs, which were decorated with paintings on the pilasters and friezes. An exact description of some of them, with plates, has been published by Mr. Byres. Winckelmann also speaks of the paintings found in the tombs near Tarquinia j many of the friezes represent combats and assassinations, others ap- pear to relate to the doctrine of the Etruscans on the state of the soul after death. From the few remains of Etruscan painting which have escaped destruction, it may be inferred that in Etruria, as in every other country, the art was nearly in the same state of rudeness in its in- fancy ; and that at a more advanced epoch, when it began to assume a national feature, it was marked with a similar character to that which was preserv- ed in Tuscany after the revival of the art ; that it was more distinguished by grandeur than beauty, and by energy rather than grace. PAINTING AMONG THE ROMANS. From what has been said in the account of the Greek painters, it will be seen that many of their most celebrated works were transported to Rome, for the embellishment of their temples and public edifices ; and we might from thence be naturally led to conclude, that painting was successfully prac- tised and patronized among the Romans, at an early period of the republic. On inquiry, however, it will be found that for upwards of four centuries after the foundation of Rome, the Romans were occupied in pursuits very different from the cultiva- tion of the elegant arts ; and it is certain that Rome was indebted to the Etruscans for whatever she possessed in the first ages of the republic, either of sculpture, painting, or architecture. Declared enemies of repose, they considered peace among the greatest of public calamities ; and so far from contributing to the progress of science, or the INTRODUCTION. perfection of any liberal art, they conceived glory to consist solely in amassing spoils amidst carnage and devastation. Bent on the conquest of distant coun- tries, as well as those of the neighbouring nations, the triumphs of the Roman eagle were to them more worthy objects of pursuit than the most successful cultivation of the arts. When, indeed, their domi- nion had extended itself by a continued succession of conquests, and the ambitious pride of their con- suls gratified itself, in their triumphs, by an osten- tatious display of the spoils of subjugated nations, the productions of art of the different countries they had vanquished, particularly the Greeks, became the trophies which the vain-glory of the conqueror presented to a ferocious people, who had neither " an eye to see, nor a taste to feel their perfection." Even the conquerors themselves regulated . their value of these productions of genius and taste rather by the estimation in which tney were held by the people who had been plundered of them, than the discriminating judgment of the spoliator. The glory of their arms, and the aggrandizement of their dominion, were the great objects of Roman ambi- tion, and this picture of their poUcy is even corro- borated by the most distinguished of their poets : Tu regere imperio populos, Bomane, memento : Hae tibi erunt artes ; pacique imponere morem, Parcere subjectis, et debellare superbos. — Viegil. Impressed with such ideas, it is not to be won- dered at that no painter of celebrity appeared at any epoch among the Romans, whose artists were few, and those of decided inferiority. Previous to the four hundred and fiftieth year after the founding of Rome, we have no tradition of Roman painting. About that period, Fabius, a noble patrician, executed some paintings in the Temple of Health, on the Quirinal Mount, by which he acquired the denomination of Pictar, which de- scended to his family. These pictures existed until the reign of Claudius, when mat temple was de- stroyed by fire. They were probably held in little estimation, as Pliny, to whom they must have been known, neither acquaints us with the subjects, nor commends the execution. That painting was then little respected by the Romans, and that the title of pktor was not considered as an honourable distinc- tion, may be inferred from a passage of Cicero, in the first book of his Tusculanes. An censemus si Fabio noMissimo homini laudatum esset quod pinffe- ret, non muUos eUatn apud nos Polycletos et Parrha- ' sios fuisse. It therefore appears that the art was held in little estimation, and that the title of pictor was rather intended to stigmatize the illustrious character who had degraded his dignity, by the practice of an art which was held in no considera- tion. Thus we find that the art of painting was neither esteemed nor patronized in the four hundred and fiftieth year of Rome. The example of Fabius does not appear to have been followed by any of his contemporaries ,• for we find a chasm of nearly a hundred and fifty years be- fore any mention is made of another Roman painter, when Pacuvius, the poet, showed his talent in the sis- ter art in some paintings he executed in the Temple of Hercules, in the Forum Boarium. It is probable that the celebrity he had justly acquired as a tragic writer, gave a greater degree of interest to his paint- ings than their merit would otherwise have excited. Yet his productions do not appear to have placed the art on a more honourable footing : as Pliny in- forms us, that after Pacuvius the pencil was no longer to be found in respectable hands. His ex- pression is remarkably significant, in honestis mani- bus. It must be allowed that the works of Fabius Pictor, and Pacuvius, could not reasonably be ex- pected to excite a national enthusiasm in favour of an art which they only exercised as an amusement. The paintings of Fabius were the recreations of his youth ; those of Pacuvius, the diversions of his old age. But painting is a difficult and arduous art, which requires the undivided exercise of all the powers of man, and to excel in which, the most protracted period of human existence is hardly found to be adequate. After the dissolution of the Roman republic had terminated in the establishment of the empire, and when the stern ferocity which characterized the commonwealth had yielded to softer and.more pol- ished manners, together with the cultivation of literature, it might Tiave been expected that a more prevalent taste for painting would have discovered itself, particularly as sculpture and architecture ex- cited a considerable degree of patronage and ad- miration. We find, however, from the testimony of Pliny, who certainly was not backward in giving to Rome her full share of credit in every tiling rela^ tive to the arts, that from the time of Augustus to that of Vespasian, a space of about eighty years, the number of painters mentioned by that writer does not exceed seven or eight, and the majority of those of very subordinate consideration. Arellius. This artist was of some celebrity at Rome a short time before the reign of Augustus. From the manner in which he is mentioned by Pliny, he must have possessed considerable ability. That writer reproaches him severely for having se- lected, as the models for his goddesses, the most celebrated courtesans of his time; a reproach which he never thought of making to some of the greatest artists of Greece, who constantly availed themselves of the same practice. Lnnins. He distinguished himself in the reign of Augustus as a painter of views, landscapes, ma- rines, &c., which he embellished with figures. He was the first Roman artist who painted in fresco, and he was chiefly employed in decorating the walls of the villas and country-houses, in which he is said to have excelled. Amulius. This painter flourished in the reign of Nero, who is reported by Suetonius to have him- self studied the art. He was principally employed by that emperor in the embellishment of his house of gold. His works, with the palace, became a prey to the flames. Pliny repi'esents him as a painter of low,^ common subjects, humilis rei pictor ; yet he mentions, as one of his principal works, a picture of Minerva, which cannot be considered as a humble or ordinary subject. TuRPiLius, a Roman knight, painted some pic- tures, which were formerly at V erona. The only information Pliny affords us respecting this artist is, that he painted with the left hand. Antistius Labeo, who had been praetor, and even proconsul of the province of Narbonne, is said to have amused himself with painting small pic- tures, which, instead of exciting public admiration, only brought on him the ridicule and contempt of his "contemporaries. He died at an advanced age, in the reign of Vespasian. Cornelius Pinus and Accius Prisous flourish- ed under Vespasian, and were employed by him in the Temple of Virtue and Honour, which that em- INTRODUCTION. peror caused to be repaired. The latter is said to nave approached nearer to the manner of the an- cients than his competitor. Such is the scanty catalogue of the painters of Imperial Borne, and such the miserable ebb to which the art of painting had sunk, previous to the estab- lishment of the Eastern empire. Nor could the magnificence and taste of the founder of Constan- tinople re-elevate the art from the wretched State into which it had declined. The successors of Con- stantine had little leisure to attend to the cultiva- tion of the arts. Disastrous events were hastening, which threatened the existence of their dominion, and which terminated in the downfal of the em- pire. If the art of painting can be said to have existed during the dark ages which succeeded, it will be found to have slumbered in a state of degradation in the cells of the Greek monks, until its revival in Italy, in the thirteenth century. ON THE EXCELLENCE AND UTILITY OF ENGRAVING. When we consider the amusement and informa- tion which may be derived from the contemplation of prints, it becomes matter of surprise that the num- ber of collectors has not been more considerable. Of late, however, they have been very extensively increased. It requires the possession of an affluent fortune to be enabled to form a respectable cabinet of paint- ings ; and it is further necessary that the pur ■Ihi^Nvotelmg. 4^/. PV£- \in p. Bloeiaen. 0!> »/7o. Geo.Bockman. J.J.Boissievx. MctiBlond. a i?ez2e Boivm. . LBlondel. Hans Bol. iV; Boldrmi. 1^ BoetiusAdam. a Bolswert. ScheltLns Bolswert. GinHo Bona scwi. D.Ba-rriere. D.Bttani. E) pe DojJi.J^LBoiiaveia . FeterVkuderBoTcht . A8 HexuryVaiiclerBtJirSit. BBordone. IB. Orazio Borgiam. T< v^^^'^ t JeTQzne Bosche, or Bos. J. de Brajr. Pe ter Brehiette . Dy.BTein.deiL. 'J. Bax-t^Breenberg-, m Ah. Breugbel. teB, m, Hans Bresang. G. A . diBres cia . C)0CB. "A" oBr, Crispin VkndeuBroeck. C50CB..c\s/:os/ Crispin Vanden Broeck. J" yj,^t /63^a<^ he^r. JiL yka. Brovkhorst. Hans Brosamer. I\B F ^ IWF ^QBR. ^'^.c/iS, J-W ^)B J. Vander Bmggen . ,E,^IOvWBR-FE. jTv^, lYB.F. J. Vajider Brazen. / Ab.de Brajm. M)B/JVX.^,Am,^. N.de BriLYii. '^iMT. PB '^'«, ITBJ'EB.FEA,f%. N.de Brum . J.D. Brr. Bv. Theod^'''ih'lhxi: M 0<'r. X-t '■'W^- c^ et So. LeriuxLs Crtryi. ofc, D.C. D. Castios. $c. m 1? Dui Van Coonkert. Culmhajch. ^, Bem°. (hrti. Peter Daret. H.D.F I.D.F./r Jerome David Louis David. Vtii N O C R A lyi s . fiMT^ ly: 'W" MONOGRAM S. £aiLS'Graiiwald.\Haiis OaMEnmnb. ', Sp^'^, %i C. Van Waarlpm (^ HD \JV\ * H ffll ^ CaantiragedoTiAj.Vaii ila- Engm. J.v:SaIbe±. F. Sails. \ AinHamed. Ni'c . F. Hs^m. Msatin Hemskeck j Aag.SrscbvogeL. 4^ TSEdi?Hrrsdm)geL. H G.Hoe&agd. HansMolhein. JolmHayer. CH, Ql,6„ &.Soeckgeest. W,Z] 23/ Wea^EoBar. Mffandekoetar. H SEondbis. HI tk JSenrySJondius. A JostHondius, WfJIiWm f Tnn/ff nx itH JeconLeHapfec. fWiam HowaxcL 4J ;vH S.Hoogstcaeten.. DfH-^^fH]] Dsmd.Stp&:. V\^PDH P.decEooge. IHXXOM. § ', i« ! *»H , LH, 1 1 H , I-H , l^ H , fH. ]-B IVtfi XYsuSigtenbarg. BUansen. M Mar^Kartaxias. CI QrrisCJe§fie TX /6'oz George WeUer. S IF SinumSvier. R Tfecer Isselbaarg. ^ Qaisff: Jaiaitzer. M AVmdscMbeL 15 Jamjes SkcvBC. TkeoVaiLXessel. MKager A.T. "W ONOCRi^fSigS. X I.dBEsyser. Hsais EHm. '^'M,J(of^^K %.J^ J.Eaings. M J.Ulric ISraoas. /S ' 6 Lacas EragorMnigexi. Wolf gang MEsoL G. Lair esse. I mm I J±t '<^r^, or, rrri. The following are his principal works. SUBJECTS FROM HIS OWN DESIGNS. Portrait of Pope Gregory XIII. oval, with ornaments. of Pope Urban v II. the same. of Henry IV. of France, oval. 1595. of Pietro Angelo Bargeo. Judith, with the Head of Holofemes. The Nativity ; inscribed, Deus omnipotens, l$c. The Flight mto Egypt. 1574. The Holy Family, with St. Elizabeth. 1571. Another Holy Family ; St. Joseph seated, with a Book. The Body of Christ supported in the Clouds by an Angel ; inscribed Magnum pietatis opus, 3;c. The Virgin Mary and In&nt in the Clouds ; inscribed Mary Magdalene penitent. 1582. St. Catherine receiving the Stigmata. 1574. St. Christian drawn out bf the Sea. St. Francis receiving the Stigmata. 1599. St. Charles of Borromeo, kneeling before the Virgin and Infant. 1612. Six of Children, for ceilings ; dedicated to Cardinal Vis- conti. 1607- SUBJECTS PROM THE DESIGNS OP VARIOUS MASTERS. St. Susanna resting against a Pedestal, with a Sword. The Crucifixion ; after M. Angelo. St. Jerome, meditating on the Crucifix ; after the same. 1675. St. Andrew bearing his Cross ; after the same. 1580. Two other Figures, from the Last Judgment ; after the same. 1691. Charon, with two other Figures; from the same. 1676. Prometheus devoured by the Vulture ; after the same. 1580. The famous Pieta, sculptured by M. Angelo. Three — The Creation ; Adam and Eve driven out of Pa- radise ; and the same, subjected to Labour ; Polidorus ae Caravaggio, invent. The Death of the Children of Niobe, in five sheets; a frieze ; after the safne. The Rape of the Sabines, another frieze ; from t/ie same. The Triumph of CamUlus; in the style oithe antique. Pluto holding a Torch. Fortune standing on a Shell. The Presentation ; after R^aelle. The Resurrection, a grand Composition ; after the same. The Holy Family ; after Mafaelle. 1582. Jupiter and Ganimed'e ; after the same. 1680; The Graces and Venus leaving Juno and Ceres ; after Raffaelle. 1582. • The Adoration of the Magi; after II Rosso. 1574. The Transfiguration ; afte>- the same. Christ praying on the Mount ; after the same. 1574. The Stoning of Stephen ; after tke same. A Piece of Architecture ; after the same, in two prints. Roma, 1575. The Baptism of our Saviour, by St. John ; after A. del Sarto. 1579. The Miracle of St. Philip Benizzo ; after A. del Sarto. Very fine. Tobit and the Angel ; after Pet. Tibaldi. 1576. Christ praying in the Garden ; after Perino del Vaga. The Adoration of the Shepherds ; after Tad. Zucchero, in two sheets. 1675. The Holy Family ; after the same. The Scourging of Christ ; after the same. The Conversion^ of St. Paul ; after Tad. Zucchero. The Assumption of the Virgin ; after the sam,e. Another Assumption ; after Fed. Zucchero. The" Coronation of the Virgin ; after the same. Cherubino Alberti died in 1615. [ALBERTI, Antonio, of Ferrara, Uved in 1450, painted portraits and sacred subjects, and was dis- tinguished in his day. He had a son of the same name, who was also a superior artist, Uving in 1550. There are numerous painters of the name Alberti recorded, but whose genuine works it would be diflicult to ascertain.] ALBERTI, PiETRO Francesco. This artist was the son of Durante Alberti, bom in 1584. He painted history in the style of his father, and is the engraver of a plate called Academia de Pittori, a large print lengthways; a composition of many figm-es, etched with great spirit, and evidently the work of a painter. It is inscribed Petrits Francis- cus Albertus, inv. etfee. [He died in 1638.] ALBERTI, Giovanni, brother of Cherubino Alberti, born at Borgo S. Sepolcro, iii 1558, and was instructed in the art by Miehele Alberti, his father. According to Baglioni, he visited Rome in the time of Gregory XIII., and was employed by that pontiff in the V atican. He excelled in painting landscapes and perspective, in which the figures were usually gainted by Cherubino. He was also employed by lement VIII. to paint the sacristy of St. John of Lateran. He died in 1601. His portrait is placed in the academy of St. Luke. ALBERTINELLI, Mabiotto. This painter was bom at Florence, in 1475. He was the disci- ple and friend of Fra. Bartolomeo di S. Marco, whose manner he imitated, and whose mprit he nearly approached. Vasari asserts, that he was of so unhappy and jealots a disposition, that on hear- ing some reflections passed on his works, he was so disgusted that he abandoned painting for some time. The persuasion of his friends induced him to return to the exercise of his talents. His works are held in considerable estimation ; several of which are to be met vidth in the churches and convents at Rome, Florence, and Viterbo. At Rome, in the church of S. Silvestro a Monte Cavallo, is a picture by this master, of the Virgin and Infant on a throne, with S. Domenico, and S. Caterina da Siena ; and 9 albe] A DICTIONARY OF [alde at Florence, one of his best works, representing the Visitation, painted for the Congregamone de Preti, hut since transferred into the tribune in the Flo- rentine gallery. He died in 1520. [ALBEBTOLLI, Raffaelle, distinguished him- self as an engraver in mezzotinto and etching, and executed many portraits of eminent persons. He died at Milan in 1812, at the age of 42.] [ALBERTONI, Paolo, a follower o"f Carlo Ma- ratta, and painted in his manner : died about 1695. There are pictures by him in the church of San Carlo, in Santa Maria, aiid other churches in Rome.] ALBERTUS, H. C. This artist was a native of Saxony, and flourished about the year 1660. We have by him a portrait of John Seckendorfij Rector and Professor at Zwickau, engraved from a picture painted by himself, [which is considered a fine work of art. He died in 1680.] ALBINI, Alessandro. According to Malvasia, this painter was a native of Bologna, and a distin- guished disciple of the school of the Caracci. He acquired great reputation by some designs he made for the funeral ceremony of Agostino Caracci. In the church of S. Michele in Bosco, at Bologna, is a picture by this master, of the Sepulture of St. Va- lerian and St. Tiburtius ; and in S. Pietro Martyro, St. Peter, St. Catherine, and St. Cecilia. [He was born in 1586, and died in 1646, according to Zani; others place his birth in 1575.] [ALBONI, Paolo, (Oretti calls him Paolo An- tonio,) was a Bolognese landscape painter. After practising some time in Italy, he went in 1710 to Vienna, where he remained nearly thirteen years, but being deprived of the use of his right side by an attack of paralysis, he returned to Bologna, and commenced painting with his left hand. He imi- tated the style of Ruysdael and other Dutch masters ; but his latter pictures are inferior to his earlier pro- ductions. He died in 1734. He had a daughter, Luigia Maria Rosa, who also distinguished herself as a landscape painter.] ALBORESI, GiACOMO, a Bolognese painter, born in 1632, and was a scholar of Agostino Metelli. He painted historical subjects, but was more celebrated for his pictures of architectural views. He worked chiefly in fresco, and in conjunction with Pulgenzio Mondini, painted for the church of S. Petronio, at Bologna, the Death and Canonization of St. An- thony of Padua. In the church of S. Giacomo Maggiore, he painted some subjects of perspective, in which the figures were by Bartolomeo Passarotti. He died in 1667. ALBRECHT, C, an obscure German engraver, mentioned by M. Heineken. He worked only for the booksellers, and his plates are so indifierent, that they are not considered by that author worthy of being specified. ALDE, H. VAN, a Dutch painter and engraver, who flourished about the year 1650. He etched a portrait of Gaspar de Charpentier, an ecclesiastic of Amsterdam, from a picture by himself ALDEGREVER, Henry, sometimes incorrectly called Albert Aldegraef. This celebrated artist was bom at Zoust, in Westphalia, in 1502. Sandrart has called him Albert, from a misinterpretation of his monogram. Being struck with the beauty of the works of Albert Durer, he went to Nuremberg for the purpose of placing himself as a disciple of that master, whose manner he followed, both as a painter and an engraver; and he became a very able proficient. On his return to his own country, 10 he apphed himself at first entirely to painting j and, according to Mr. Fuessh, painted some pic- tm'es for the churches and convents, which approach the excellence of Albert Durer. A picture of the Nativity by this master, is mentioned by M. de Piles as an admirable production.* After a few years he devoted himself entirely to engraving, and in that branch acquired a distinguished reputation amongst those artists who are called the little mas- ters, from their having generally engraved plates of a small size. His execution is imcommonly neat ; he worked entirely with the graver, in a style that is evidently founded on that of Albert Durer, and his plates are finished with great precision and deUcacy. His design, without being incorrect, must, however, be allowed to be Gothic, though not more so than the artists of his country at that time. He usually marked his plates with the cipher ^^. His works are very numerous ; the following is as general a list of them as the nature of this work will admit, and comprises all his principal plates : [for fuller information the inquirer is referred to the minute descriptions to be found in Heineken, and Bartsch's " Peintre Graveur."] PORTRAITS. Aldegrever, without a Beard ; Aldegrevers. iBtatis 27. 1530. The same, with a thick Beard. Anno 1538. JStatis suae, 35. Bust of Martin Luther. 1540. Ditto of Phihp Melancthon. 1540. Albert vander Helle. 1538. William, Duke of Juliers. 1540. John van Leyden, head of the Anabaptists. Bernard Knipperdolling, the fanatic. VARIOUS SUBJECTS. Six — Of Adam and Eve driren out of Paradise. 1540. Fou!>— Of the History of Lot. 1555. Four — Of the History of Joseph and his Brethren. 1528. 1532. Seven — Of the History of Thamar and Absalom. 1640. David and Bathsheba. The Judgment of Solomon. 1555. Judith with the Head of Holofernes. 1528. Four — Of the History of Susanna. 1555. Four — Of the Parable of the merciful Samaritan. 1554. Five — Of the Bich Man and Lazarus. 1554. The Four Evangelists. 1639. The Adoration of the Shepherds. 1553. The Virgin and Infant, reposing under a Tree. 1527. The Virgin carrying the Infant Jesus, with a Standard. 1552. Medea and Jason. 1529. Komulus and Kemus, exposed on the Banks of the Tiber.' Tarquin and Lucretia. 1539. Sophonisba taking the Poison. 1553. Marcus Curtius going to leap into the Gulf. 1532. Mutius ScSBVola before Porsenna. 1530. Titus Manlius ordering his Son to be decapitated. f The Count d'Archambaud destroying his Son before his Death : inscribed Pater ne post atcam mortem. &c. 1553. ^ The Combat of Hector : small frieze. Hector Troiemua 1662. -^ The Battle of Hannibal and Scipio. Seven — The Divinities that preside over the Planets. Thirteen — The Labours of Hercules : fine, and scarce. Orpheus and Euridice ; the only etching by this master ; very scarce. * [Some pictures by him are preserved in the galleries of Munich and Schleissheim ; and at Berlina remarkable one of the Last Judgment.] t It is curious to observe that in this print, as well as in one of the same subject, by George Peins, the instrument of execution resembles the guillotmc used in France during the Revolution. aidr] PAINTERS AND ENGRAVERS. [alex Fourteen small plates of different allegorical subjects. 1649 and 1550. Seven— Of the Virtues. 1652. Seven— Of the Vices. 1652. Eight — Of the Empire of Beath over Humanity. 1541. Twelve — Of the Procession of a Wcstphalian Wedding. 1638. Eight — Of a similar subject. 1651. Six — Of Death dragging away Persons of both Sexes. 1662. A Woman holding an Hour-glass, with a Skull and a Globe, on which is inscribed Respicefinem. 1529. A Woman with "Wings, hovering over a Globe, holding the Symbols of Prudence and Temperance. 1565. An Of5cer carrying a Flag. 1540. A Man with a Sword, surprising a Honk and a Nun. Dated 1630. Very rare. The Society of Anabaptists, with a Nimiber of Figures in a Bath. [The exact time of the death of this lahorious artist is not ascertained ; but according to the date, 1562, in some prints by him, it must have taken place subsequently.] ALDROV ANDINI, Tommaso, an Italian paint- er, bom at Bologna, in 1653. He was instructed in the first principles of design by his uncle Mauro Aldrovandini, an eminent architect. His talent was painting perspective views and architectural subjects, in which the figures were painted by Marc Antonio Franceschini and Carlo Cignani. His most considerable work was the Council Chamber ,at Genoa, which he executed in conjunction with Franceschini. He died in 1736. [ALDROVANDINI, Pompeo Agostino, cousin and scholar of Tommaso, was the most celebrated painter of his time in Italy. He was employed much in Dresden, Prague, and Vienna, in the churches, palaces, and theatres, and executed many excellent works in oil, in fresco, and in distemper. He was bom in/1677, and died in 1739.] [ALE,- Egidius, of Liege, flomished in the latter half of the 17th century, and was distinguished for the purity of his style, according to the principles of the Roman school. He painted in conjunction with Morandi, Bonatti, and Romanelli; and exe- cuted an altar-piece in oil, and the ceiUngs of the chapels in fresco, for the church of Santa Maria dell' Anima in Rome. He died in 1689.] [ALEMAGN A, Giovanni, called Zoane, Zuane, or ZoHAN, a German painter, who flourished in the middle of the 15th century. He painted at Venice, from 1441 to 1451, and in conjunction ■«'ith An- tonio Vlvarini, called da Murano; which circum- stance has caused some controversy, from the sup- position that Zuane stood for Giovanni, a brother of Antonio ; but as other pictures bear the inscrip- tions Johannes di Alemania el Antonius de Muriano pinxit, and Antonio de Muran e Zohan Alemanus pinxit, the question may be considered as decided.] [ALEMAGNO, Giusto di, a German painter who practised at Genoa, in the 15th century. He •painted in fresco an Annunciation in a cloister of S. Maria di CasteUo, in 1451 j Lanzi considers it a precious picture of its sort, finished in the manner of the miniaturists, and which seemed to be the pre- cursor of the s^le of Albert Durer.] [ALEMANS, N., a Flemish paintcsr of portraits in miniature, and of animals. He practised chiefly at Brussels.] ALEN, or OLEN, John van, a Dutch painter, bom at Amsterdam in 1651. He was an imitator of Melchior Hondekoeter, and his pictures, like those of that master, represent fowls, landscapes, and still- life. Though inferior to Hondekoeter, he represented those objects with great fidehty. [He not only copied Hondekoeter, but other masters of the pe- riod, with so much success that his copies and imi- tations pass for originals. He died in 1698.] ALENI, Tommaso, was bom at Cremona in 1500, and, according to Orlandi, was a disciple of Galeazzo Campi. He painted history in the style of his instmctor, and his works in the church of S. Domenico, at Cremona, where he was employed, in competition with Galeazzo, are so much in the manner of that master that it is difiicult to dis- tinguish them. [He died in 1560.] ALESIO, Mateo Perez de. This painter flour- ished about the year 1585. He was a Roman by birth ; but he is chiefly known by the works he ex- ecuted in Spain, whitiier he had been induced to migrate by the Uberal protection bestowed on the art by Philip II. It does not, however, appear that he went thither by the invitation of the king, or that he was employed by that monarch in the Es- cmial. His principal works are his fresco paintings in the churches at Seville. His manner of design- ing partakes of the grandeur of Michael Angelo. The most remarkable performance of this master, is a colossal picture, painted in fresco, in the cathedral at Seville, representing St. Chiistopher carrying the infant Saviour on his shoulder. It is of prodi- gious dimensions, the figure of St. Christopher be- ing nearly forty feet nigh. Palomino Velasco speaks of this enormous production in very high terms. He painted some other pictures for the church of St. Miguel, and the other pubhc edifices at Seville. .After residing some years in Spain, he is said to have quitted it on account of the prefer- ence given to the works of Luis de Vaa-gas, whose superiority the candour of Alesio induced him to be one of the first to acknowledge. He returned to Rome, where he died in 1600. ALESSANDRI, Innocenzio, a modem Italian engraver. He was bom at Venice about the year 1740, and is said to have been instructed by F. Bar- tolozzi, before that artist left Venice. He has exe- cuted several prints in aquatinta, and in the crayon manner, among which are the following : Four prints, representing Astronomy, Geometry, Music, and Painting; after Dominica Majotto. The Virgin Mary, with the guardian Angels and the Souls in Purgatory ; after Set), Ricci. The Virgin S^uy with a Glory of Angels ; after Pia- zetta. The Annunciation ; after F. Le Maine. The Flight into Egypt ; after the same painter. Two Landscapes ; after Marco Ricci. A Set of Twelve Landscapes, after the same. There are some other trifling prints by him. [ALEWYN, W., an amateur paintei', who made many designs after the pictures of the old masters. He resided at Amsterdam, and at Utrecht, where he died in 1839.] ALEXANDER, John. This enmaver was a native of Scotland, and according to M. Heineken, practised engraving at Rome about the year 1718. His prints are shght etchings, principally after Raf- faelle, not very correctly drawn, and but very indif- ferently executed. There is a set of six middle-sized plates, lengthways, dedicated to Cosmo III., grand duke of Tuscany, as follows : The Benediction of Abraham, dated 1717. The Sacrifice of Abraham. 1718. The Angels appearing to Abraham. The Departure of Lot &om Sodom. Jacob's Ladder. 1718. Moses and the Burning Bush. 1717- [ALEXANDER, William, an EngUsh artist, bom at Maidstone in 1768. He accompanied Lord 11 alfa] A DICTIONARY OF [alia Macartney to China as di'aughtsman ; the drawings which he made of the scenery and customs of that country served to illustrate Sir George Staunton's Narrative of the Embassy. He also published a work of the Costumes of China. He was teacher of drawing at the' Royal Military College at Great Marlow ; and afterwards Keeper of the Antiques in the British Museum, where he made the drawings of the marbles and terra-cottas for Taylor Combe's work in 3 vols. He died in 1816.— He was a man of mild, unassuming, and gentlemanly manners, and was much respected by his contemporaries in art, and beloved by the younger students who had access to the antiquities in the Museum.] [ALPANI, DoMENico Di Paris, a native of Pe- niria, and scholar of Perugino, was bom, according to Pascoli, in 1483. He improved on the manner of his master, and his works bear a great resem- blance to those of Raphael ; and were it not for the delicacy and suavity of the colouring, might be as- signed to his school. The reputation of his son Orazio has injured that of his father ; and even in Perugia some iine pieces were long considered to be by Orazio, which nave since been restored to Dome- nico. The difficulty of discriminating their works is increased by their having painted in conjunction several altar-pieces ; particularly that at the church of the Conventuals at Perugia, which is mentioned by Mariotti. Domenico was living, according to Mariotti, in 1536 ; and Zani says that he painted in 1553, but does not record the year of his death.] ALFANI, Orazio di Paris. According to Mo- relh, this painter was a native of Perugia, and flour- ished about the year 1550. He was a scholar of Pietro Peragino, and studied the works of RafFaelle, whose graceful manner he imitated with such suc- cess, that some of his best pictures have been mis- taken for the early productions of that master. He died about the year 1583. [Zani places his birth about 1510.] ALFIANO, Epifanio d', was a monk of S. Salvi, at Valombrosa, and is mentioned by M. Hei- neken as a lover of the arts, who amused himself with engraving. He engraved a set of plates of fes- tivals and decorations, dated 1592; and a book of writing, in which he styles himself Priore dello 8pi- rito Santo di Firenze. ALFARO, Y Gamon, Don Juan de, a Spanish painter, born at Cordova, in 1640. He was first a scholar of Antonio de Castile, but finished his stu- dies under Don Diego Velasquez, whose manner he followed, particularly in his portraits, which also partake of the pure and tender colouring of Vandyck. In the church of the CarmeUtes is a fine picture, by Alfaro, of the Incarnation ; and in the church of the Imperial College at Madrid, is his celebrated picture of the Guardian Angel.* He died at Madrid in 1680. * [According to Palomino he was possessed of more vanity tlian skill. Being employed to paint subjects from the life of St. Francis for the cloister of the convent of that name, he took them from prints, but had the folly to put to each of them Alfaro pinxit. His first master, Castillo, to chastise his vanity, obtained permission to paint one, and placed at the bottom non pinxit Alfaro^ which passed into a proverb. He knew very little of design, but was a good colourist, having been employed by Velasquez, when in his school, in copying the works of Titian, Bubens, and Vandyck. He was fond of travelling, was well versed in literature, wrote poetry, and some interesting notes on the Lives of Becerra, Cespedes, and Velasquez. He painted the portrait of Cal- deron de la Barco, which was placed on the tomb of the poet in the church of San Salvador at Madiid. His conduct to- wards his patron, the Admiral of Castille, has left a greater 12 stain on his memory than even his vanity. He forsook the Admiral when he was banished, and meanly solicited his pn^ tronage when recalled: the repulse he received produced melancholy, and caused his death.] [ALPON, Juan, born at Toledo, painted in 1418 several reliquaires for the cathedral, which are still preserved.] ALPOR.S;, NiccoLO GuGLiELMi. This engraver, of whom little is known, was a native of Lorraine, but resided at Rome. There is a set of twelve small upright prints of flowers by this artist, which al- though not very delicately executed, are done in a masterly style, and with great spirit. They are in- scribed Nicholaus Gulielmus Alforce Lotharingus, fecit, Momm, ALGARDI, Alessandro. This eminent artist distinguished himself as an architect, a sculptor, and an engraver. He was born at Bologna, in 1598, and was educated under Giuho Cesare Conventi. As an engraver the few plates we have by him are exe- cuted with the graver in a free, bold, and open man- ner, in the style of Agostino Caracci. He generally marked his plates Ckft . The following are attri- buted to him : The Crucifixion ; a large upright plate. The Souls delivered from Purgatory ; oval. A Blind Beggar and his Dog ; after Caracci. The Cries of Bologna, after Caracci, in eighty plates, en- graved by Algard/i, in conjunction with Simon Guillain. ALGAROTTI, Count Francesco. This emi- nent writer was considered one of the greatest con- noisseurs in Europe in painting, sculpture, and architecture. It is affirmed, by M. Heineken, that he designed and engraved for his amusement several plates of heads, in groups, one of which, containing thirteen heads, in the style of the antique, is dated 1744. ALIAMET, Jacques, an ingenious French en- graver, born at Abbeville in 1728. He was a pupil of J. P. Le Bas, and was first employed in vignettes for the booksellers, but he soon attempted more im- portant works, and distinguished himself by some plates he engi'aved from the pictures of Vernet. He principally excelled in landscapes and sea-pieces, though he sometimes undertook other subjects.* The following are among his best prints : A Landscape, with Figures and Cattle ; after Berchem. The Port of Genoa ; o/ifer the same. A Landscape, with a Stag-hunt ; after the same. The Female Villagers ; after the same. The Village Pleasures ; after the same. The Spanish Halt ; after Wowermans. A Guard of Houlans ; after the same. The Moon rising ; after A, Vander Neer. A View of Boom, by Moonlight ; after the same. The Amusements of Winter ; after A. Vandervelde. A Storm ; after Vernet. A Fog ; after the same. A Fire in a Sea-port by Night ; after tlie same. Two Sea-pieces — The Fishermen, and Return from Fishing ; after the same. Four — The Four Times of the Day ; after the same. Two plates of the Sabbath; after Teniers. The Birth of Venus ; after Jeurat. * [His style of engraving was very neat ; he worked with the graver and the dry point, expressed the various de- grees of colour well, and carefully avoided any exaggeration of shadow. He died in Paris in 1788.] ALIAMET, Franqois Germain, younger bro- ther of the preceding artist, bom at Abbeville, in 1734. After having learned engraving at Paris, he came to London, and was for some time under Sir Robert Strange. He has engraved several portraits, alib] PAINTERS AND ENGRAVERS. I^ALLE and historical subjects, of which the following are the principal : Mrs. Pritchard, in the Character of Hermione : Pine. after Portrait of Dr. Sharp. The Adoration of the Shepherds ; after Caracci. The Circiimcision ; after Guido, oval. The Annunciation ; after Le Maine. St. Ignatius kneeling ; after the same. The Stoning of Stephen ; after Le Suevr. The Sacrifice to Pan ; after A. Sacchi. The Flattery of the Courtiers of Canute reproved ; after Fine. The Reduction of Calais ; after the same. Two— The Bathers ; after Watteau. [His works are considered inferior to his brother's, although his line is neat and firm. The time of his death is not known.] ALIBERTI, .Giovanni Carlo, a Piedmontese painter, born at Asti, in 1680. It is not stated under whom he studied ; but, according to Lanzi, he exe- cuted several considerable works in fresco in the churches of his native city. He painted the cupola of the church of S. Agostino, representing that saint taken up into heaven surrounded by angels ; and in the same church, a picture of S. Agostino baptizing a niunber of children, and other figures. The com- position is ingenious, with a fine expression in the heads, and embeUished with architecture. He died in the year 1740. [His style consists of a mixture of Maratta, of Gio. da S. Giovanni, and of Coreggio ; heads and feet that might be attributed to Guido or Domenichino ; forms peculiar to the Caracci, drapery of Paolo, and colours of Guercino. ] ALIBRANDI, Girolamo, a Sicilian painter, born at Messina, in 1470. He studied at Venice under Gio. Bellini, and was the friend of Giorgione. He afterwards went to Milan, where he became a disciple of Leonardo da Vinci. His works are chiefly at Messina, of which one of the principal is a large picture of the Purification, in the Chiesa della Candelora. He died of the plague in 1524. ALIENSE. See Vassilacchi. ALEX, John, a French painter and engraver, who was a scholar of Philip de Champagne. Of his works, as a painter, we have no account ; but he exercised the point for his amusement. There is an etching by him, of a Holy Family, after RaffaeUe, executed in a very light and pleasing style. It is marked R. V. P., for Rafiaelle Urbino, pinxit. [ALIX, P. M., bom at Honfleur in 1752, was a scholar of Le Bas. He engraved with the roulette a set of poitraits of eminent men, which were print- ed in colours. In 1804 he published a large portrait of Napoleon in his coronation robes, in the same style. He died in 1809.] [ALLAN, David, a Scotch painter, was bom at Alloa in 1744. He received the rudiments of his art in the academy at Glasgow, founded by Robert and Andrew Foahs, the printers. He went to Italy to pursue his studies, and gained the prize medal given by the academy of St. Luke, for the best historical composition. It is said that he resided there for some years, and painted landscapes in the style of Caspar Poussin; but, judging from his etchings and the engravings made by Paul Sandby of the Sports of the Carnival by Allan, his gtudies must have been in a different Section. These produc- tions are very poor aflfeu's in every point of view : he may be more favourably seen in the illustrations of Allan Ramsay's " Gentle Shepherd." Mr. AUan died in 1796.] ALLARD, Abraham, an engraver and print- seller of Leyden. M. Heineken mentions twelve plates of views of towns engraved by this artist ; and amount the miscellaneous prints at the British Museum, is a large print, lengthways, representing the Garden of Love, entitled Het Lust. Hof. van Flora,- partly etched, and finished with the gi-aver in a stiff; clumsy style, inscribed A. Allart cecinit. C. Allart edit. ALLARD, Charles, an engraver and printseller. According to Heineken, he scraped some mezzotin- tos. Of Ms eng-avings, there are, amongst the loose prints in the British Museum, four plates of the Seasons, represented in half-length figm-es, executed in a coarse, heavy style, without any taste. ALLARD, HuYCH, a Dutch engraver, by whom we have some portraits, amongst which is that of David Gloxin, I. V. D. ; ■ and that of Adrianus Paw, Legat. Holland ; both signed with his name. [ALLEGRAIN, Etienne, a French painter, bom in Paris in 1655, painted landscapes which were much esteemed : he died in 1736.] [ALLEGRAIN, Gabriel, son and pupil of Eti- enne, painted in the manner of his father : he died in 1748.] [ALLEGRI, Lorenzo, uncle to the celebrated Antonio AUegri, called Correggio, and was his first instructor in the rules of art. A Madonna, painted in 1511, and ascribed to Antonio, is supposed to be by Lorenzo ; and, although the style is but mid- dling, it is softer in tone than that of the chief part of its contemporaries, and nearer to the modern nianner. He died in 1527, leaving his property to his brother Pelhgrino, and his nephew Antonio, by whom he was much beloved.] ALLEGRI, Antonio da Coreggio; or, as he sometimes signed himself, Antonio Lieto da Cor- reggio.* This illustrious painter may be regarded as one of those rare examples of innate and daring genius which, without a precursor, and deprived by circumstances of the advantages of technical edu- cation, ventures to supply those deficien1|ies from the resources of the mind. He was born at Coreggio, a small town in the duchy of Modena, in 1494. Of his origin nothing is accurately known.f The Padre Orlandi and Sandrart assert, that he was of * [" AUegri, Antonio da Correggio ; or, as Tie sometimes signed himself, Antonio Lieto." A little attention will sa- tisfy the reader that Allegri and Lieto are synonymous, both having the same signification as L(Btus in Latin. That Antonio sometimes used Allegri and sometimes Lieto is certain ; but the latter was evidently done when writing to a familiar friend in a cheerful and jocund mood. His general signature to documents of importance, such as contracts for painting in churches and monasteries, or wit- nessing legal proceedings, and on giving receipts for pay- ments made to him, was simply Antonio, or:, Antonius manu propria, or, Antonio mano propria, the other design- ation, da Correggio, being inserted in the instrument. It i^ true that he sometimes put Lieto on small pictures, per- haps to indicate that they were painted und,er cheerlul in- fluences, and to oblige a patron or friend; hut it has not been discovered that any of his family ever used it as a name.] t [" Of his origin nothing is accurately kmyum." The assertions of writers on this point have been in extremes; • on the one part, that his family was of high station and wealthy, and on the other, that they were abjectly poor. Late discoveries show that although his family might not be termed in the fullest meaning opulent, yet their circum- stances were good. His father, Pelligrini AUegri, was a general merchant in Correggio, and h^d a respectable rank with his townsmen : his mother's maiden name was Ber- nardina Piazzoli, degli Aromani. His father's means be- ing snificient, he intended his son for a learned profession ; but whether from an inherent vivacity of disposition, or that in his earliest years he felt a divine impulse for paint- ing, he did not so far apply hiniself as to make much profi- ciency in the Latin language.] lo allb] A DICTIONARY OP [alle a noble family, named de Allegris ; that he received an education suited to his rank, and that he hved in affluence, and died rich. On the other hand, he is stated, by V asari, to have been the son of a la- bourer, and that he Uved and died in indigence. The elevated sentiments discernible in his works, and his knowledge of architecture, with other ac- quirements, appear to corroborate the statement of his having received a cultivated education ; but the estabUshed fact of his having died of a fever, brought on by his anxiety to bring home to his family, in hot weather, on foot, a small sum paid him at Par- ma, in copper, is a powerful contradiction of the affluence of his circumstances.* He is said, by some of the Italian biographers, to have been in- structed in the art by Francesco Bianchi,t and Gio- vanni Murani, called II Frari. However that may be, it is evident this wonderful man owed little of his celebrity to any thing he could acquire from such assistance; that he was the sole founder of his fame, and the first estabhsher of that admirable system of grace, grandeur, and harmony, which has not hitherto been equalled, and is not likely to be surpassed. The most important work of Coreggio, is the cupola of the cathedral at Parma, finished in 1530 ; and it has ever been considered as one of the most extraordinary productions of the art. Its'form is octangular, in which he has painted, in fresco, the Assumi)tion of the Virgin. In the lower part of the composition, he has represented the apostles in pious admiration of the event. In the upper part is the Virgin Mary, surrounded by an immense congrega- tion of the blessed, and environed by an infinite number of angels ; some throwing incense, others chanting, rejoicing, and triumphantly applauding ; in their heads the most angelic expression of joy and festivity, whilst a beautiful effiision of light is spread over the whole, forming a spectacle truly celestial. Notwithstanding the dusky hue which this admirable work has now assumed from the smoke of the tapers constantly burning in the church,, and the disadvantage of a very unfavour- able light, the grandeur of the forms, the admirable conduct of the design, and the astonishing effect of light and shadow in this stupendous performance. * [" Tlie established fact of his having died of a fever, brought on by his anzietj/ to bring home to his family , in hot weather, on foot, a small sum paid to himat Parma, in copper, is a powerful contradiction of the affluence of his circumstances.^^ This is a mere gratuitous anecdote, misap- plied to Antonio Allegri. The researches and discoveries of the learned Tiraboschi, the indefatigable Dr. Michele An- tonioli, and the zealous and impartial Padre Luigi Pungi- leoni, fiilly disprove the probabQity of such an occurrence. The numerous works, public and private, on -which he was employed, and the liberal payments he received, negative the supposition that he was ever in pecuniary difficulties ; and the virtuous life he led, that, by any extravagance in expenditure, he should be reduced to want.] t [" He is said to have been instructed by Francesco Bi- anchi." It is possible that he may have received some in- struction from Bianchi, when in his fifteenth or sixteenth year ; but the probability is that he took his first lessons from his uncle Lorenzo Allegri, a painter, with whom he appears to have been a great favourite, and who bequeathed to him one-half of his property at his death. Antonio Bartolotti, called Tognino, however, appears to hafve been his first in- structor in the more erudite pirts of design. Some writers say that he was pupil to Lionardo da Vinci; others, to An- drea Mantegna ; there is no substantial proof that he ever practised in their schools. In other matters of learning, it appears that Giovanni Bemi taught him the elements ; that S. Marastoni instructed him in eloquence and poetry ; and that he studied anatomy and philosophy under Gianbatista Lombardi, who was public professor at Bologna, and after- wards at Ferrara.] 14 continue to excite the surprise and admiration of every judicious beholder. The dome of the church of St. Giovanni, of the Benedictines, at Pa,rma, is another splen(Md display of the powers of this great painter. It represents the Ascension of our Saviour, with the twelve apostles, and the doctors of the church; which may be considered as a model of perfection, for the copious and masterly composition, and the correctness and grandeur of the design. Of his oil paintings, we have first to notice his cele- brated picture called the St. Jerome of Coreggio. It represents the Virgin Mary seated, with the in- fant Jesus on her knee ; Mary Magdalene, kneeling, embraces the foot of the Saviour, whilst St. Jerome presents a scroll to an angel. For the church of St. Giovanni he painted two altar-pieces, one re-, presenting the Descent froni the Cross, and the other the Martyrdom of St. Placido. These inestimable pictures, the St. Jerome, and the two last mentioned, have been torn from their venerable situations by the, revolutionary eruption of France, and are now deposited in that receptacle of spoliation and plun- der, the Museum of the Louvre.J In the gallery at Dresden, is his famous work called the Notte,§ re- presenting the Nativity, and an exquisite little pic- ture of the Magdalene reading.|| This extraordinary genius is justly regarded as one- of the great luminaries of the art ; to him it is indebted for one of its most effective illusions; the faculty of foreshortening ; and he has confessedly carried the magic of the chiaro-scuro to the highest possible pitch. Without having wandered from his obscure home, -without having visited Rome, or contemplated the beauties of antiquity,^ he was the X To the honour of the French artists then resident at Home, they presented a memorial to the National Conven- tion, stating the injury the cultivation of art would receive from removing those ohef-d'osuvres, and others, from the situation for wiich they were originally painted. A docu- ment, as estimable for the elegance of its composition, as for the liberal sentiment from which it emanated. It is, perhaps, superfiuous to remark, that this amiable appeal met with the reception that might be expected from such » tribunal. [They were restored at the time the allies had possession of Paris.] § V' In the gallery at Dresden, is his famous work called the Notte." This picture it appears was painted ori^nally for Messer Giulio Perdoniera, or Alberto Pratonieri, who agreed to pay for it scudi guaranta et un Porco grosso e grasso. This contract, it is said, Antonio communicated in a letter to his friend and scholar Lelio Orsi ; and, in an- other account, that Lelio had a share in the transaction. The reader ,may place both in the same category with the copper money that caused Antonio's death.] I \_" The Ma^dalen^ reading." It is supposed, and with good reason, that this picture was painted by desire of Manfredo, governor of Mantua, or of Veronica Gamhara, the widow of his brother Giberto, lord of Correggio, to pre- sent to Charles V., when he visited, for the second time, his dominions in Italy in 1932, as a valuable and acceptable offering to a monarch who was a warm admirer and an in- telligent jud^e of painting, and as a specimen of the ability that existed m the cities under their government. Let it be recollected that Giulio Romano, and other eminent painters, were, on that occasion, called to Mantua to deco- rate public buildings for this monarch's reception ; and it is vnth great probability stated that Antonio painted in fresco the palace of Veronica Gambara for that purpose. It may not be out of place to mention here, that on the 24tli of January, 1534:, (the year in which he died,) Antonio is found in the palace of Manfredo in Correggio as a witness to the marriage contract between Clara of Correggio, daugh- ter of Gian Francesco, and Ippolito, son of Veronica Gam- bara. This lady, Clara, some years afterwards, was sponsor to the child of Pomponio, the son of Antonio : a proof of affectionate regard to his memory.] t [" Without having wandered from his obscure home. alle] PAINTERS AND ENGRAVERS. [ilLLE creator of the grandeur of his own. His forms are exquisitely soft and heautiful ; and the airs of his heads exhibit a graceful tenderness of expression that is truly inimitable. His colouring is equally delicate and pure with that of Titian, with more of the impasto ; and, in point of breadth of effect, he is undoubtedly his superior. [He died suddenly on thei fifth day of March, 1534, in his fortieth year, and was buried with becoming pomp, in the church of San Francesco, at the foot of the altar in the chapel of the Arrivabene.] It has been much disputed by the writers on en- graving, whether this distinguished painter ever amused himself with the point. The Abb6 Marolles asserts that he engraved several plates, which is positively denied by M. Heineken, whose claim to authenticity is certainly preferable. We have, how- ever, a few etchings, signed Ant. Correg. fee. ; but they are very shght, and are executed in a style greatly inferior to what might be expected from the hand of that mEister.* [Although none of the writers of the time em- bodied a clear account of the events of Antonio's life, sufficient may be gathered from the authentic documents discovered by Tiraboschi, Antonioli, and PungUione, to show that he was held in the highest esteem by his contemporaries. That he was of a cheerful and lively disposition maybe gathered from the expression of a writer respecting nim, " La vi- vacita e dal bno del nostra Antonio ,-" yet gentle and affectionate, as appears by his being sponsor on three occasions to infants of friends (in 1511, 1516, and 1518) before he had reached his twenty-second year. In 1520 he was admitted, by diploma, a brother of the Congregation Cassinensi at the monastery of St. John the Evangelist at Parma ; a fraternity of which the illustrious Tasso was a member. In the same year he married Girolamo Merlini, a lady of good family, great beauty, and amiable manners, who fell in love with him, and who was his model for the ' Zingara,' probably after the birth of his first child. without having visited Rome, or contemplated the beauties of aTitiguity." It is not ascertained whether Antonio ever ■visited Rome, bnt it is certain that he spent some time in Mantua, on two occasions, with the Marehese Manfredo, and the celebrated patroness of arts and letters, Veronica Gambara, widow of Giberto, lord of Correggio. There he had an opportunity of examining the works of Andrea Mantegna, the ftescoes of Costa, of Lion-Bruno, and Dosso ; also the grand collection of pictures, cameos, medals, and antiquities of Isabella da Este.] * ["It has been much disputed by writers on engraving," §e. The question is now pretty generally given up, as no print has yet been ascribed to Imn, against which there are not valid objections as to the authenticity. Pungilione has given an account and description of an extraordinary wood print of St. Thomas, one of the figures in the cupola at Parma, of the size of four feet seven inches in height, and three feet four inches in breadth, French measure. This print, he says, was in the possession of Signer Alfonso Fran- ceschi, a painter, and it is said to have all the characteristics of originality ; but, he a^lds, it is unknown to whom the honour of engraving it is to be given, though it is certain it was done m the 16th century. Signer Franceschi ob- tained it with other cartoons by Rondani, and sketches by Allegri for the two cupolas, which had lain unobserved and decaying in the compr of a chamber of the cathedral of ■ Parma. Zani and BrulUot refer to two prints, each repre- senting the Virgin and Child, one of which has the figure of a HEART with the word Reoio over it, as a rebus of CoEKEOGio ; the other, a heart with a ducal coronet, and the word Invent on it. . These marks are evidently ca- prices of the engravers, as Antonio never signed his works in this manner. The same writers refer to some other prints ascribed to Correggio, but which are in their opinion evidently from his designs, or pictures, by engravers of a later period.] By her he had three daughters and one son. She died at Parma, in 1529, to the great grief of her hus- band, and was buried, by her own desire, in the church of St. John there. He did not marry a se- cond time. It appears by the public registers of Correggio that, at the time of Antonio's death, his father Pelhgrino possessed considerable property in land, houses, and merchandise.] ALLEGRI, PoMPONEO, was the son of Correggio, born in 1522. He had commenced the first rudi- ments of art under that great master, when he was deprived of the advantage of his instruction by the death of his father when he was only twelve years of age. He is said to have continued his studies after Correggio's death, under Francesco Maria Rondani, the ablest disciple of his father. In the cathedral at Parma, there is a work in fresco, by Pomponeo, representing Moses showing the Israel- ites the Tables of the Law; in which, though there are many defects as a whole, there are beautiful parts, and some heads full of Correggiesque ex- pression f and, above all, an excellent colour. ALLEGRINI, Giuseppe, an Italian engraver, who flourished about the year 1746. We have the following plates by him : The Virgin Mary with the infant Jesus ; half figures, with this inscription, Egreditur virgo de radice, f c. The Circumcision ; inscribed Guis. AUegrini, Stamp. %c. The Stoning of Stephen. A small print of Rinaldo and Armida. A large architectural Scene, lengthways ; after Cha- mont. ALLEGRINI, Francesco, a designer and en- graver, bom at Florence about the year 1729. In 1762, he published, in conjunction with his brother, a collection of one hundi'ed portraits of the family of the Medici, with a frontispiece, engraved by him- self. He also engraved fourteen portraits of Flo- rentine poets, painters, and other eminent person- ages. We have also a print by him of the image of St. Francis d'Assisi, wmch is held in much venera^ tion at Florence. ^LLEGRINI, Francesco, called da Gtjbbio. This painter was born' in 1587, and was a disciple of Cavaliere Gioseffo Cesare d'Arpino. He painted history with reputation, and executed several works, both in oil and in fresco, for the churches and palaces at Rome. He had a great number of scho- lars, amongst which were his two sons, Flaminio and Angelo, who also painted history. He died in 1663. ALLEMAND. See L'AllemAnd. ALLEN, Floppart van, a German designer and engraver, who floinished about the year 1686. The view of the city of Vienna engraved by MuUer, is from a drawing by this artist, made in 1686 ; and he has engraved himself a large plate of the city of Prague, a shght print, with several figures, marked with his name, van Allen. ALLET, Jean Charles. This artist was a de- signer and engraver, bom at Paris about the year 1668. He resided a long time in Italy, and is sup- posed to have died at Rome in 1732. Owing to his having marked his plates sometimes Charles, and sometimes Jean Charles, the collectors were for some time inclined to beUeve there were two artists of the name of AUet ; but from the evident similarity in the style, it is no longer doubted those plates are by the same hand. He engraved several portraits and subjects from sacred history. In his execution he appears to have wished to imitate the manner of F. Spierre and Com. Bloemaert, but he has not been ALLO] A DICTIONARY OP [als^ very successful in his imitation. His principal plates are the following : PORTRAITS AND HEADS. Andrea Pozzo, Painter and ArcMtect ; dated. 1712. Cardinal Aloisio Amodei ; after J. M. Morandi, 1698. Ferdinand Charles de Gonzaga, Duke of Mantua ; after Ant. Lesma. Pope Alexander VIII. ; after H. Calendmcci. — J. C. Allet, sc, Roma, 1695. St. Aloyse Gonzaga, Jesuit ; oral. St. Ignatius ; after P. Lucatelli; oval. SUBJECTS FROM SACRED HISTORY. The Conception of the Virgin ; after%And. Pozzo ; oval. The Adoration of the Shepherds ; after S. de Pesaro, The Virgin Mary and St. Joseph adoring the infant Je- sus ; t^er the same. The Saviour brought before Pilate ; after P. de Petris. Ananias restoring Sight to St. Paul ; t^ter P. de Cortona. The Vision of St. Paul ; from the same painter. These two plates are considered his best works in historical subjects. The Death of a Saint, in presence of the Virgin, St. Jo- seph, and St. Francis Xavier. The Death of St. Stanislaus Kostka; after P. le Groa, sculptor. St. Gaetan, accoinj)anied with a figure of Religion, and Christ holding his Cross ; after Laz. Baldi. St. Auronicus, and St. Athanasius; after F. B. Zuc- chelli. St. Augustine with a Child, getting Water from the Sea ; after J. B. Leonardi. St. Rosa, crowned by angels ; signed Carolus Allet, del. § scu^. ; small plate. Twelve plates of the Life of Christ ; after Passeri, en- graved in conjunction with A. V. Westerkout. ALLOISI. See Galanino. ALLORI, Alessandho, called Bronzino. This artist was born at Florence in 1535. He was the son of a painter ; but having the misfortune of losing his father when he was only five years of age, he was placed under the care of his uncle, Agnolo Bronzino, who brought him up with all the affection of a parent. Before he was seventeen years of age, he had made such progress under this able master, that he painted, from Ms own design, an altar-pjece representing the Crucifixion, a composition of several figures ingeniously arranged, and well coloured. When he was nineteen, he visited Rome, where he remained two years. The chief objects of his ad- miration and study in that city, were the works of M. Angelo Buotiaroti ; and the grand style of that master is discernible in his pictures. On his re- turn to Florence, he was greatly occupied for the churches and other public edifices. ■ He was, how- ever, occasionally prevailed on to paint the por- traits of some of the distinguished personages of his time, which he treated in a great and admirable style. In 1590, he pubhshed a book on the art of drawing the human figure, illustrated with ana- tomical prints, from his designs. [Some of his pic- tures in Rome, representing horses, are beautiful. His Sacrifice of Isaac, in the Royal Museum, is co- loured almost in the Flemish style. He was expert in portrait painting, but he abused his talent by in- troducing portraits in the modem costume in an- cient histories, a fault not imcommon in that age. On the whole his genius appears to have been equal to every branch of painting ; but it was unequally exercised, and consequently unequally expanded. Lanzi.'] He died in 1607. ALLORI, Cristofano, called Bronzino, son of the preceding artist, born at Florence in 1577- He was for some time instructed in the art by his father, but he afterwards studied under Santo di Titi, and 16 ' finally improved himself in colouring, by imitating the harmonious tinting of Lodovico Cardi, called Cigoli. He painted several considerable works for the churches and convents at Florence, and for the palace of the Medici. He was also a very cele- brated portrait painter ; and many of the most dis- tinguished persons of his time were painted by him. [Owing to vicious habits that often seduced him from his labours, his works are extremely rare, and he himself comparatively little known. The St. Juhan of the Pitti palace is the grandest efibrt of his genius ; his picture of Judith with the head of Holofemes is, however, more generally known. Judith, so beautifully and magnificently attired, is a Eortrait of his mistress; the attendant is that of er mother, and the head of Holofernes tha.t of the painter. Numerous copies of this, and duplicates of his most celebrated pictures, are scattered over Italy; the productions of his scholars Tanteri, Bruno, Cer- tosini, Cervini, and others.] He died in 1621. [ALLSTON, "Washington, a native of America, but an English painter, was an associate of the Royal Academy. He produced in England several pictures of great excellence ; particularly Jacob's Dream, a Dead Man revivified by touching the Bones of Elisha, Elijah in the Desert, Uriel in the Sun, and others of high imaginative quality. He returned to his native country, where he devoted himself to elegant studies in literature as well as painting; married a sister of the celebrated Dr. Channing, whom he survived several years, and died in 1843. It is not certain under what master he studied; Nagler says that it was in the school of Sir Joshua Reynolds, but this is not sufficiently established ; Northcote does not mention him among the scholars, nor does his style of painting warrant the supposition.] ALMELOVEN, John, a Dutch painter and en- graver, born about the year 1614 [according to Huber and Rost; in 16'i4 according to others.] He is more known by some etchings of landscapes, executed with great ughtness and intelligence, than by any thing he has left us as a painter. His plates are, A Portrait of Gisbert Voetius ; signed J. Almeloven, inv. etfec. A set of twelve Landscapes, with small Figures ; J. Al- meloven, inv. etfec. Six mountainous Landscapes, with Figures ; Joan, ab Almeloven, inv. etfec. Four Landscapes, the four Seasons ; after H. Saftleeven. [And seversd others after his own designs, and tliose of Saftleeven. The time of his death is not known.] [ALPHEN, William van, a Dutch portrait painter, lived in 1620.] [ALS, Peter, a Danish historical and portrait painter, bom at Copenhagen in 1725 ; after gaining the first great prize given by the academy at Copeii- hagen in 1755, he went to Rome and entered the school of Mengs. He occupied himself chiefly in copying the pictures of Raphael and Andrea del Sarto, which it is said that he did with great ac- curacy. On his return to his own. country he painted some good portraits ; but his colouriijg was too sombre to give a pleasing effect to his pictures of females, and he also laboured his work so much as frequently deprived them of all animation. It is singular that, after copying Raphael and Andrea del Sarto with great accuracy, he should fall into a practice so opposite to those masters ; but it affords another instance of the utter worthlessness of stu- alsl] PAINTERS AND ENGRAYERS. [alto dents copying instead of studying the works of their great predecessors. Als died in 1775.] [ALSLOOT, Daniel, a landscape painter, born in Brussels in 1550, died in 1608.] [ALSLOOT, Denis van, a distinguished land- scape and portrait painter, flourished about 1612.] [ALTAMONTE, or ALTOMONTI, Martino, born at Naples in 1657, (or, according to some writers, in 1682,) painted history and architecture, and ranks among the better artists of his time. He died in 1745.] ALTDORFER, Albert, a painter, and a more eminent engraver, was born at Altdorff, in Bavaria, in 1488. It has been asserted by some writers, that he was a native of Switzerland, but it has been very satisfactorily proved by M. Heineken that he was a Bavarian. He is said to have been a scholar of Albert Durer ; and it is not improbable, from the resemblance of theu' manner, both in their pictures and engravings, particularly in their wooden cuts, although it must be confessed that Altdorfer did not equal that great artist in any of his works. Some of the paintings of this artist are preserved with great care at Ratisbon ; and in the town-house is a complete collection of his engravings. As an engraver, he holds a very respectable rank amongst those artists that are distinguished by the appefla^ tion of the httle masters; and .his wooden cuts, which are by far the best of his performances, nearly approach to the excellence of those of Hol- bein. His entire work, on wood and copper, is upwards of one hundred and seventy prints ; but as some of them are of httle consequence, the follow- ing hst of them is hkely to satisfy the curious col- lector. The two monograms used by this master and PRI\TS engraved on COPPER. Portrait of Albert Altdorfer, by himself ; with his cipher. Portrait of Mai'tin Luther, with an oval of foliage. Adam and Eve in Paradise. Samson and Dalila. Solomon's Idolatry. Judith, with the Head of Holofemes. The Virgin and infant Jesus, with two Children, one holding a Pot. 1507. The Virgin and Child in the niche of an Altar. The Virgin and Child, dressed in the Costume of R^is- bon, with a Palm-tree. The Virgin with the Child standing on her Knee, with a Glory round the Head. The Repose in Egypt, the Virgin sitting with a Child on her Knee with a Hat on, St. Joseph standing with a Hat on and a Staff'. Our Saviour on the Cross, with several Figures. St. Jerome, with the Lion; one of his best plates. St. Jerome in a Grotto, with an Altar, on which is a Crucifixion and a Book, on a Tablet over it is his Mo- nogram. St. George and the Dragon. The Death of Dido. The Death of Lucretia ; an etching. Mutius Scevola. Venus going into the Bath with Cupid; after Marc Antonio. Venus coming out of the Bath with Cupid ; after Marc Antonio. Hercules and a Muse, sometimes called Apollo and Venus. Cupid mounted on a Sea-horse, with thi-ee other Figures. Amphion saved from Shipwreck by a Dolphin, with a Nereid holding an Anchor. 1625. Pyrsunus and Tlusbe. A Woman holding a Sceptre, seated on an Altar, sur- rounded by several Persons holding Lanterns. A Naked Woman with Wings seated on a Star, with a c Torch in one Hand, and an Escutcheon in the other, called Lascivia. A Man in Armour leaping into the Sea ; in the distance a Camp, and several Persons observing him. A Man and Woman dancing. Six Children dancing, whilst Three are playing on In- struments. Two Landscapes, one a rocky Scene, the other with Trees. The Synagogue ; inscribed Porticus Sinagogce Judaicce, %c. 1519, Two ornamental plates ; for a Goldsmith. WOODEN CUTS. Forty — Of the Fall and Redemption of Man ; fine. Abraham's Sacrifice. Joshua and Caleb passing through a Gateway. The Annunciation. 1613. The Purification. The Murder of the Innocents. 1611. The Decollation of St. John. 1512. The Resurrection of Christ. 1512. The beautiful Virgin, of Ratisbon, after the picture in the Cathedral. This is one of his best works, printed in chiaro-scuro. St. Jerome in a Grotto, kneeling before a Crucifix. St. Christopher in the Water, stooping to take up the in- fant Jesus. 1613. St. George and the Dragon, in a Landscape. 1511. Paris dymg on Mount Ida, with the three Goddesses. 1511. A Knight sitting with a young Woman. 1511. An Officer with a Flag, in a Landscape. A mountainous Landscape, with Buildings. The Inside of a Church, *ith the Virgin, a Pilgrim, and Angels. The Faf ade of a Portico, with the Cipher in the upper part. [ALTHAM, , a German painter, who flour- ished about 1660 ; he painted landscapes and marine subjects with considerable ability.] [ALTISSIMO, Cristofano dell', a Florentine painter, who flourished about 1568, was a scholar of Bronzino, and an excellent portrait painter. He copied a series of portraits of illustrious men, in the possession of the Conti Giovio, for Cosmo I. of Florence. He paid more attention to the features than to other circumstances, and they are very faithfully expressed ; his pictures, in general, have a high degree of finishing without an appearance of labour. The family name of this paiiiter was Papi, but neither the year of his birth nor death has been ascertained : he was living in 1568.] [ALTOBELLO, Francesco Antonio, a Neapo- htan painter of the 17th century, was a scholar of Massino Stanzioni, and is probably the same as Antonio de Bellis, an artist of gi-eat promise, who studied under that master, and died young in 1656. In the accounts of both it is stated that they did not follow the manner of their master ; AltobeUo used ultramarine excessively in his pictures, which was contrary to Stanzioni's practice ; de Bellis painted in the manner of Guercino, in which it abounds. Both are mentioned with like commend- ations, as men of genius, correct in drawing, of good invention, and skilful in composition.] [ALTOBELLO of Cremona, Kved in the early part of the sixteenth century, and is praised by Va- sari in his Life of Garofalo, as being superior to most of the Lombard painters of his time. He painted frescoes in the cathedral of Cremona, and in a chapel of the chm-ch of St. Agostino there ; he painted also at Milan. Resta says he was a scholar of Bra- mante; and Lomazzo calls him Altobello da Me- lonej ALTOMONTE, Andrea, an Italian engraver, who resided at "Vienna about 1723. He assisted A. J. de Prenner, in engi-aving the plates from the ALTZ] A DICTIONARY OF [ambr pictures in the Imperial Gallery, published in that year. ALTZENBACK, William, an engraver, who, according to M. Heineken, flourished about the middle of the seventeenth century. He lived at Strasburg, and, in conjunction with his son, exe- cuted twenty plates of Bible subjects. ALUNNO, NicGOLO. This painter was bom at Foligno, about the year 1450. According to the usage of the painters before Pietro Perugino, he painted in distemper, and his colouring has still preserved its original lustre. In the church of S. Niccolo at Foligno, is an altar-piece by him, of the Virgin and Infant, with Saints ; and in the same church is his picture of the Pieta, so highly com- mended by Vasari. Some of his works are dated soon after 1500. [Mariotti, however, states that he painted as early as 1458, and that in 1460 he was established as a painter in Foligno. His works' were numerous, and highly esteemed in his time.] [ALVAREZ, Lorenzo, studied at Valladolidand Madrid under B. Carducho ; he established himself at Murcia, in 1638, and executed several works in the convents there, that are not without merit.] AMALTEO, PoMPONio, was born at S. Vito, a town in the' Friuli, about the year 1505, and, ac- cording to Ridolfi, was a relation, and the scholar, of Pordenone. He painted several historical works in the churches and public places in the vicinity of Friuli. At Belluno, there are some pictures painted by this master, representing subjects of Roman his- tory, in one of the public halls. [The pictures said to be fi'om Roman nistory, ere probably the Three Judgments in a lozzia at Ceneda, supposed by Ridolfi to have been painted by Pordenone, but were really the work of Amalteo, and finished by him in 1536. He was Uving in 1577, as appears by his name and date on a picture : Zani places his death in 1588.] [AMALTEO, GiEOLAMO, the brother of Pompo- nio, was instructed by him, and gave proofs of a noble genius, which is manifested in his works of design in smaU pictures, which appeared Hke minia- tures, in several fables executed in fresco, and in altar-pieces which he painted in the church of San Vito. Ridolfi commends him highly for his spi- rited manner ; and another of the old writers gives his opinion that if he had flourished for a longer period he would have proved no way inferior to the great Pordenone. He died young. Graziano, in his poem of Orlando, styles him " Girolamo Amalteo de' vita sareio."] AMATO, Giovanni Antonio d', called II Vec- CHio. This painter was born at Naples about the year 1475. He was the disciple of Silvestro Bruno, or Buono, an old Neapolitan painter then in repute, but did not study long under him, as he died when this artist was young ; he afterwards applied him- self to the study of the works of Pietro Pemgino, whose manner he followed. There are several of his works in the churches at Naples. In S. Do- minico Maggiore, in the chapel of the family of Carrafa, is a picture by this master of the Holy Family. He worked both in oil and in fresco, and was an artist of considerable eminence, [and had a great number of scholars. Though professionally a painter, his favourite study was theology; and he was celebrated for his expositions of many obscure passages of Scripture.] He died in 1555. [AMATO, Giovanni Antonio d', the younger, was nephew to the former, and was bom at Naples in 1535. He excelled chiefly in colouring, and some of his pictures are as richly coloured as those 18 of Titian. His best work is the large altar-piece of the infant Christ in the church of the Banco de' Poveri at Naples, where he died in 1598.] AMATO, Francesco, an Italian painter and engraver. Of his paintings httle is known ; but he has left some slight etching, which are executed with spirit, in the style of Biscaino, among which are the following : St. Joseph seated, reading a Book, with the infant Jesus near him, an upright plate ; inscribed Franciscus Amafus, inv. St. Jerome, a similar-sized plate ; with same name. The Prodigal Son. [AMATRICE, dell', Cola, is mentioned by Va- sari in his Life of Calabrese. He painted in 1533, and resided in AscoU del Picino ; he had a distin- guished name through all that province. His man- ner was hard in his earlier pictures, but in his subsequent works he exhibited a fulness of design, and an accomplished modern style. He is extolled in the Guida di Ascoli for his picture in the oratory of the Corpus Domini, which represents the Saviour in the act of dispensing the Eucharist to the Apostles.] [AMAYA, , an historical painter, scholar of Vincenzo Carducho, painted at Segovia, in 1682, several pictures remarkable for their correct design and colour.] [AMBERES, Francisco de, a painter and sculptor of Toledo, the cathedral of which he orna- mented with his pictures in 1502; from 1508 to 1510 he painted, in conjunction with Jean de Bour- gogne and Villoldo, the arabesque chapel, which is still an interesting object.] [AMBERES, MiGDEL de, a Spanish painter, who was originally of Antwerp, flourished about 1640. Several of his pictures are to be found in the churches and religious estabhshments in Spain. His portraits are said to be painted in the manner of Vandyck.] AMBBRGER, Christopher. This artist was born at Nuremberg about the year 1485 ; [Michel says 1490.] He was the disciple of Hans Holbein, [the elder,] and painted so much in the style of that master, that his works have been sometimes mis- taken for those of Holbein. He painted a set of twelve pictures, representing the History of Joseph and his Brethren, which gained him great reputa- tion. He succeeded, however, better in portraits than historical subjects. In 1530, he painted the Emperor Charles V. ; and Sandrart reports, with a pardonable partiality for the fame of his country- man, that this portrait was considered by that monarch equal to any of the pictures painted of him by Titian. He certainly honoured him with a gold chain and medal on the occasion. [Fiorillo says that he imitated and copied the portraits of the younger Holbein, and that many of those pic- tures are considered originals by Holbein.] He died at Augsburg in 1550, [according to some ; but Zani says in 1563.] AMBROGI, Domenico, called Meniohino del Brizio. According to Malvasia, this painter ac- quired that name from his being the scholar of Francesco Brizio. He was a native of Bologna, and distinguished himself as a painter of history, both in oil and in fresco. He also excelled in re- presenting landscape^, perspective, and architectural views, and was much employed in the churches and palaces at Bologna. In S. Giacomo Maggiore, is a picture by this painter of the Guardian Angel, and [ in the Nunziata, S. Francesco, with a glory of amel] PAINTERS AND ENGRAVERS. [amma angels. In 1653, he published some wooden cuts, from his own designs, printed in chiaro-scuro, of which one represented a woman in a triumphal car, holding two flambeaux, and a serpent, con- ducted by Neptune. [AMELSFOORT, Quirinus van, born at Bois- le-duc in 1760, and died there in 1820. He painted allegories, history, and portraits; in the last the likenesses were remarkable for their truth.] AMICl, Francesco, a modern Itahan engi-aver, who, according to M. Heineken, engraved some small plates of devout subjects, among which are, Christ praying in the Garden. Christ before Pontius Pilate. The entombing of Christ. AMICONI, or AMIGONI, Ottavio, was bom at Brescia in 1605, and was a scholar of Anto- nio Gandini. His chief excellence was in fresco painting, which he treated with great ability, [and m the manner of P. Veronese.] In the Carmelite church, in his native city, is a very considerable work in fresco, executed in conjunction with Ber- nardino Gandini, the son of his master, which is much extolled by Averoldi. The subjects were taken from the Life of S. Alberto. He died in 1661. AMICONI, or AMIGONI, Jacopo. This artist was bom at Venice in 1675. He painted history and portraits. His iirst works at Venice were two altar-pieces in the church of the fathers of the oratorio, and a picture of St. Catharine and St. Andrew, for the church of St. Eustachio. He after- wards visited Rome, and from thence went to Mu- nich, where he settled for some time j but his chief performances are in England, where he came in 1729, and resided many years. Whatever may be the merit of his works, they were for some time in' great vogue. He was employed by several of the nobihty in ornamenting their houses. After leaving England, he visited Spain, and died at Madrid, in 17-58. He etched a few plates in a tame, spiritless style, of which the following are the principal : Salrator Mundi ; half length. Jupiter and Calisto. Zephirus and Flora. The Four Elements ; in the style of Watteau. AMIDANO, PoMPONEO. This painter was a native of Parma, and flourished, according to Lanzi, about the year 1595.- From the resemblance of his works to those of Parmigiano, he is supposed to have frequented his school. If not his disciple, he was one of the most successful fpllowers of his style. The airs of his heads are noble and graceful, and his design full of taste. His best performance is his picture in the church della Madonna del Quartiere, [which has been mistaken by good judges for the work of Parmigiano. Orlandi relates that many of the pictures of Amidano were purchased by foreigners ; it is to be apprehended that, as his name does not occur in any of our catalogues, the ma- jority of those ascribed to Parmigiano are by Amidano.] [AMIGAZZI, Gio. Batista, a painter of the Venetian school, was a scholar of C. Ridolfi ; his chief talent consisted in the excellence of his copies : in San Carlo is one from a Supper by P. Veronese, not only finely drawn, but exhibiting colours fresh and vivid even at the present day.] AMLING, Carl Gustavus, a designer and en- ^ graver, bom at Nuremberg in 1651. He was taken ' under the protection of the Elector of Bavaria, who sent him to Paris for improvement, where he received the instruction of F. de Poilly, whose manner he c 2 followed, but whose excellence he never equalled, although a very respectable artist. He engraved a great number of plates, of historical subjects and portraits, but was much more successful in the latter, many of which have great merit. His draw- ing, particularly in the nude, is not correct ; and in all his. prints, except his portraits, there is a want of efiect. The following list comprises all his plates, except those he engraved for the academy of San- drart, and some prints after tapestry, which were pri- vate plates in the possession of the Elector of Ba- varia. [He died in 1701.] portraits. Maximilian Emanuel, Electoral Prince; after Thomas Masculimis, dated 1670; an oval, very scarce. Maximilian Emanuel, Elector of Bavai'ia ; J. B. Cham- pagne ; a large upright plate, said to be one of his best. Eouestrian Statue of Maximilian Emanuel, Elector of Bavaria ; Amling, fee. Monachii ; large plate. Henrietta Maria Adelaide, Buchess of Bavaria ; after De- lamonce, 1675 ; oval, lai'ge plate. Ferdinand Maria, Elector of Bavaria, 1676 ; large plate, oval. John Count de Berlo de Brass, General, 1680 ; large oval. Alexander Sigismund, Count Palatine, &c. ; Hamiltan, pin. Komain Liberiet, Abbot of St. Ulrich ; C. G.ab Amling, adviimm del. et sail. Monachii; a fine portrait; lai'ge plate. Petrus Marinus Sormanus ; in a medallion; large plate. Don Livio Odeschalchi ; in a medallion. Marcus ab Aviano, 1680 ; oval. A young Prince conducted to the Throne by Hercules and Nestor, on the Throne is inscribed, Ungaria; Amling, scul. Two plates of Statues ; engraved for Sandrart's academy. SACRED AND HISTORICAL SUBJECTS. The Virgin and Child, with two Portraits ; after J. A. Wolf, engraved by C. G. oA Amling; a very large plate. The Image of the Virgin of Consolation ; C. G. Amling, . sc. 1682 ; large plate, oval. Vero Kitratto di S. Francesco d'Assisi, da Carlo Giistavo ah Amling ; small folio. Image of St. Nicholas Tolentin; J. A. Wolf, pin. 1691; large plate. Vrai Portrait de St. John de S. Facundo; same painter; large oval. St. Godard kneeling before the Virgin; J. Dreutwet, del. ; folio. Ten plates in foKo — Of a Triumphal Arch in Honour of the Elector Maximilian Emanuel ; C. G. Amling, Munich. Grand Thesis, dedicated to the Emperor Leopold, and his son Joseph ; B. P. Antonitts Lumlinshy, del. ; C. G. AmMng, fee. Another large plate, representing the Virgm Mary tread- ing on the Serpent, accompanied by the four Doctors of the Church; Amling, fee. AMMAN, Justus. This artist was a painter and an engraver, but owes his reputation chiefly to his excellence in the last-mentioned branch of art. He was bom at Zuric in Switzerland, in 1539. Of his paintings we have no further account, than that his works in stained glass were richly and brilliantly coloured. His pen-drawings partake of the spirit and neatness of his prints, and ate preserved in the portfoUos of the curious. As an engraver, he was one of the most laborious of the industrious artists of his country, who have so ably and amply con- tributed to the advancement of the art. The num- ber of his plates is prodigious, and his work amounts to upwards of five hundred and fifty prints, many of which being of a -diminutive size, he is ranged among the artists denominated the little masters. He engraved on wood and on copper, but the latter are very inferior to the former. His_ drawing, in general, is tolerably correct; and his execution, 19 amma] A DICTIONARY OP [amst particularly in his animals, is smart and spirited; his manner of engraving is neat and decided. This artist used iio less than six different marks in his plates, but they all consist in a cipher composed of the letters I. and A. as follows : 1666. COPPEE PLATES. Twelye small plates arched — Of illustrious Women, be- ginning Trith Eve : title, Eva die Gebeverinn. Jost. Ammano. The Woman of Samaria; after the eame. Pour plates of the Loves of Venus and Adonis ; after the aame,_ engraved at Rome in 1672. Four circular prints of the Four Elements; after the aame ; dated 1695. The dead Christ on the Knees of the Virgin Mary ; after Ann. Caracci. The Stoning of Stephen ; after the aame. 1677. Adam and Eve ; after Domenichino ; very fine. The Nativity ; after J. Blanchard. The Holy Family; after S. Bourdon; round. Six Landscapes ; after the aame. BAI7D] PAINTERS AND ENGRAVERS. [bate Six — Of the great Staircase at Vei-sailles ; after Le Brun ; that of the ceiling is engrared by C. Simmoneau. The Tribute Money ; after Valentine. The Communion of the Primitive Christiims ; after C. de la Fosse. , Moses treading on the Crown of Pharaoh; after N. Poussin. Moses striking the Rock ; after the same. The Worshipping the Golden Calf; after the same. The Holy Family ; after the same. Venus reposing ; after the same ; dated 1666. Four Grand Landscapes; after the same; dedicated to the Prince of Condi. Dated 1684. Four other Grand Landscapes; after the same; dedi- cated to the King of France. BAUDOUIN, S. R. This amateur engraver was an officer in the French guards, who amused himself with the point. He etched a set of plates from his own designs, representing the military exercise of the French infantry. He also engraved some prints of battles, after the pictures of Charles Parrocel, and a set of small landscapes, after Michau and others. BAUDUINS, Anthony Francis. This artist was bom at Dixmude in Flanders in 1640. He first studied painting imder F. A. Vandermeulen, but afterwards devoted himself entirely to engraving. His plates are chiefly after the pictures or designs of Vandermeulen, and are etched in a bold free style, producing a good eflect. He died at Paris in 1700, aged 60. His works are as follow : Six Landscapes, with Figures ; niiddle-sized plates. . Six large Landscapes ; dedicated to Ph. de Champagne. Eight Landscapes, with Buildings. Two Stag-hunts ; one dedicated to the Marquis de Lowooia. A large Landsca:pe, with the march of the King to Vin- ceunes ; dedicated to Ch. le Brun. A large Landscape, with the Queen going to Versailles ; dedicated to the Duke de Noailles. Six Views of Towns in France. Two Views of Versailles ; as it was, and as it is. View of the Castle of Vincennes. View of the Palace of Fontainbleau; two sheets. Two Views of Gardens in Italy; after A. Genoels. BAUGIN, J., a French engraver, who flourished about the year 1660. He engraved Several portraits, among which is that of H. de la Mothe. BAUR, John Wiiliam, a painter and engraver of some eminence, bom at Strasburg in 1600. He studied painting under Frederick Brendel, and it was not long before he surpassed his instructor. On leaving that master he went to Italy, and passed some years at Rome, where he painted views of that city and environs, with small figures, neatly touched, which were greatly admired. The Prince Giustiniani favoured him with his protection; and he was also patronized by the Duke di Braeciano, who accommo- dated him with apartments in his palace. In 1637 he left Rome, and went to Venice, where his works were equally admired. He afterwards visited Vienna, and was taken into the employment of the Emperor Ferdinand III., in whose service he died, in 1640, aged 40. His pencil is very neat and spirited, and his colouring warm and glowing. It is to be regret- ted that he was not more correct in his design. As an engraver, he acquired considerable celebnty, and executed a great number of plates from his own de- signs, the best of which are those taken from the Metamorphoses of Ovid. They are slightly etched, and finished with the graver. They are very spirited, and resemble the manner of C allot. He marked his plates sometimes with his name, and sometimes with the cipher Vq. The following are his principal works : Portrait of Don Paolo Giordano II., Orsino Duca di ' Braeciano ; oval ; dated 1636 ; scarce. A set of Habaiments of different Nations, with his Por- trait ; eighteen prints. A set of Battles ; entitled Caprici di varie hataillie ; fifteen prints. Another set of Battles ; fourteen prints, with the title. A set of Landscapes, among which are the Four Ele- ments ; twelve prints. Twenty of Battles, for the History of the Belgic War ; by F. Strada. The Metamorphoses of Ovid ; one hundred and fifty prints, published at Vienna after his death, in 1641. [BAUR, Nicolas, bom at Harlingen in 1767, was the son of Antony Baur, a portrait painter. He painted landscapes and views of cities, and many nouses in Holland are embellished by his works. He also painted moonlight and winter scenes ; and was particularly successral in marine subjects. Two of the latter were purchased by the king of Holland, in 1807, and placed in the Museum. He is con- sidered one of the best of the modern Dutch marine painters. He died at Harlingen in 1820; but the catalogue of the pictures at the Museum at Amster- dam says 1822.] BAUSA, Gregorio, a Spanish painter, bom at Mallorca, a town in the vicinity of Valencia, in 1596. He was a scholar of Francisco Ribalta, and was a reputable painter of history. The principal altar- piece in the church of S. Philippe of^the Carmehtes at Valencia is by this master, representing the Martyrdom of that Saint. There are also several pictures by him in the monastery of Los Trinitarios Calzados in that city. He died in 1656. BAUSE, John Frederick, a modem German engraver, born at Halle, in Saxony, in 1738. Heis stated to have learned the art of engraving without the instruction of a master, and to have formed his manner by an imitation of the admirable prints of J. G. Wille. His plates are chiefly executed with the graver, which he handled with great purity and firmness. His work is of considerable extent. The following are his principal plates, except his por- traits, which are chiefly of German characters of Httle celebrity. The Good Housewife ; after G. Dow ; dedicated to J. G. Wille. The Old Confidante ; after Kupetsky. Artemisa; ai'ter Guido. Venus and Cupid; after' Ca/rh Cignani. Michael Ehrlich ; after B. Denner ; a mezzotinto. Three Apostles ; after Caraver Welt Lauf. There are some prints marked with a B on a dye, (3S and sometimes with the dye only, which have been by some attributed to Nicholas Beatrici, but are now with more probability supposed to be by Bartel Beham, as they are every way much superior to the usual style of Beatrici, and are much in the manner of B. Beham. They are as follow : PRINTS WITH the B ON THE DYE. Apollo causing Marcyas to be flayed ; after Raffaelle. Christ giving his Charge to St. Peter ; 'after the same. A Naval Combat. A Landscape, with Animals lying about a Tree, and at the Top of the Tree a Phoenix setting fire to her Nest. Four irieses, with Boys playing, and Festoons of Flowers : EAPH. VEB. IN. Ant. Laferiiformis. PRINTS WITH THE DYE WITHOUT THE LETTER. Apollo and the Python. Apollo and Daphne. beha] PAINTERS AND ENGRAVERS. [beit BEHAM, Hans, or John, Sebald, a distin- guished German engraver, born at Nuremberg in 1500. He was the younger brother of Bartel Beham, from whom, according to Sandrart, he received his instruction in the art; this probably' was only the case previous to Bartel's going to Italy, at an early period of his hfe, as his manner bears a greater re- semblance to the style of H. Aldegrever. Like that artist, he is classed by the collectors among what they denominate the little masters, on account of their prints being generally small. John Sebald Beham engraved on copper and on wood, and some few etchings have been attributed to him. He possessed considerable genius, and a ready inven- tion. His drawing of the figure is generally correct, and the airs of his heads and turn of his figures, lliough rather Gothic, have great merit. His cop- per-plates are executed entirely with the graver, in an uncommonly neat and delicate manner ; and his wooden cuts are remarkably free and spirited. In the early part of his life, he Uved at Nuremberg, during which time he marked his plates with a cipher, composed of the three letters, H. S. P., and dated from 1519 till 1530. He afterwards resided at Frankfort, when he changed his mark to a cipher composed of H. S. B., and dated from 1531 to 1549. His works on copper are very numerous, of which the following general list is as detailed as the neces- sary limit of this work wiU permit, and it is hoped will be satisfactory. PLATES WITH THE CIPHER Engraved at Nvremherg, and dated from 1510 to 1530. The Portraits of Sebald Beham and his Wife, and in the middle the Cipher, with a Wreath of Laurel ; this is also engraved by Hollar. Adam and Eve in Paradise ; two small plates. 1519. St. Jerome, with a Cardinal's Hat and the Lion. 1619. The Virgin suckling the infant Jesus. 1520. The Virgin, with a Glory, standing, holding the infant Jesus. 1520, The Death of Bido ; Begints Didonis imago. 1520. St. Anthony, Hermit, writing. 1521. St. Sebald seated between two Trunks of Trees, and holding in his right hand the Model of a Church. 1521. Two Peasants playing on the Flute and Bagpipe ; very small. Two Peasants, Man and Woman, dancing. 1622 ; very small. A Triton carrying a Nereid on his shoulders. 1523 ; very small. ' A Woman sitting on a Lion. 1624. A Young Man and Woman embracing. 1526. The Death of Cleopatra. 1529. A Vase, a Model for a Goldsmith, with a German in- scription. 1630. Combat of the Greeks and Trojans ; very small, &iese. Combat of Achilles and Hector ; same. PLATES WITH THE CIPHER ff«I Engraved at Frankfort, and dated from 1531 to 1549. A Vase, embellished with sculpture, with two Syrens. 1631. Adam and Eve, behind them a Stag. 1536. Adam and Eve in Paradise, with the Serpent presenting the Apple. 1543 ; very fine. The Emperor Trajan, with his Army, listening to the complaint of a Woman against his Son. 1637. Melancholy ; inscribed Melancolia. 1539 ; c^Her Albert Dwrer. Patience; inscribed Patientia; on a tablet is written, Sebaldtis Beham Noriaus faciebat. 1540. Fortuna ; a Woman holding a Wheel. 1541. Infortunium ; a Woman stopped by an Evil Genius with a Lobster. 1541. A Young Woman, with a Buffoon, presenting Fruit ; an etching. 1640. Four very small plates of the Four Evangelists, with Wings. 1541. Twelve small plates of the Labours of Hercules ; inscrib- ed Aerumnte Herculia; dated from 1542 to 1648. An Ensign Eind a Drummer. 1544. The Soman Charity, with a German inscription. 1644 ; fine. The Arms of Beham. 1544, Bust of Domitia Calvilla, with the Emperor Trajan; after Antique Medals. 1546. The Twelve Months of the Year, each represented by a Man and Woman, dancing ; two Months on one plate; six small plates. 1545. The Judgment of Paris ; Judicium Paridis. 1646 ; iiue. Death seizing a Young Woman ; inscribed Omnem in homine, S$c. 1647 ; fine. A Man trying to pull up a Tree ; inscribed Impossibik. 1649. The Virgin holding the infant Jesus in her Arms, with a Parrot and an Apple ; S. Maria. 1549 ; after Bar- tel Beham. WOODEN CUTS, Which tire sometimes yna/rked with the one and sometimes with the other of his two ciphers. Portrait of Beham ; with a Cap. 1646. Eight prints of the Passion of our Saviour. The Holy Family — St. Joseph plucking the Branch of a Tree. The Virgin with the infant Jesus on her Knee. St. Jerome with a Book and a Crucifix. A Young Man and Woman. A Female with Wings, with a Crown and Stars, with a Skeleton at her Feet— a Child with Wings holds a part of her drapery. 1548. The Baptism of the Anabaptists ; circular ; scarce. Another of the same subject; large print of four sheets; very scarce. A Village Fair, with a Steeple and a Clock ; large friese ; very scarce. A March of Soldiers; large friese, in four sheets ; veiy scarce. Biblicffi Historise — Comprising three hundred and forty- eight prints, of which the greater part have figures on both sides. [For a full account of his works see Bartsch, P. G. Tom. VIII.] BEINASCHI. SeeBsNASCHi. BEISCH, Joachim Francis. This artist was born at Munich, in 1665. He was the son of Wil- liam Beisch, a painter of little celebrity, who was a native of Ravensburg, in Suabia, but was resident at Munich, from whom he received his instruction in the art. He excelled in painting landscapes and battles. His best works are in the palaces of the Elector of Bavaria, in whose employment he was for several years ; among which are several large pictures of the battles fought in Himgary by the Elector Maximilian Emanuel. With the permis- sion of his patron, he visited Italy, and made many designs from the beautiful views in that country. His landscapes exhibit very pleasing scenery, and he appears to have imitated the tasteful style of Gaspar Poussin, in the arrangement of his pictures. He died in 1748, aged 83. As an engraver, he has contributed several charming etchings to the port- folios of the collectors. We have liy him four sets of landscapes, with figures and buildings, amount- ing together to twenty-six plates, etched with great spirit and facihty. [BEISSON, Etienne, an engraver, bom at Aix, was a scholar of Wille. He engraved several sub- jects after the Italian masters for the Galerie du Musee, and Susanna at the Bath after Santerre. He died in 1820.] BEITLER, Mathias, a German engraver, who resided at Augsburg about the year 1616. Accord- ing to Professor Christ, he engraved several small plates of foHage, which are very neatly executed. 65 belb] A DICTIONARY OF [bell He usually marked his prints with a monogram composed of an M and a B, reversed, ^JVl. BELBRULE, T., a French engraver on wood, vjrho flourished about the year 1580. Papillon men- tions some cuts of ornamental flowers, very deli- cately executed by this artist. BELEJAMBE, Petee, a modem French en- graver, born at Rouen in 1752. He has engraved some plates of fancy subjects, from the contem- porary painters of his country, and a few prints for the collection of the Palais Royal. Among others the following : Portrait of Pilatre de Rosier. Cupid reposing on the Breast of Psyche ; after J. S. Re- naud. La petite Jeanette; after J.B. Greuze. The Circumcision ; after Gio. Bellini ; for the Orleans Collection. The Adpration of the Magi ; after Carlo Cagliari; the The Holy Family ; after M. Angela ; the same. [BELKAMP, Jan van, a Dutch artist, who pass- ed the greater part of his artistic life in England, where he died in 1653, and was much employed in copying the pictures in the royal collection. Some are still in the royal collection; and at Drayton there were formerly portraits of Henry VII. and VIII., copied from large pictures by Holbein, which were burnt at Whitehall.] [BELL, Lady, the sister of J. Hamilton, R. A., received instructions from her brother and Sir Joshua Reynolds. She delighted in copying the pictures of the latter, and was happy in her tran- scripts. She also copied some pictures fi'om Rubens in Carlton Palace, among which was a Holy Family that gained great applause. She was widow to Sir Thomas Bell when she died, in 1825.] BELL, William. This artist was a native of Newcastle upon Tyne. He came to London about the year 1768, and was among the first of those who entered as students in the Royal Academy. In 1771 he obtained the gold medal, for a picture represent- ing Venus soliciting Vulcan to forge arms for JJneas. He was much patronized by Lord Delaval, for whom he painted two Views of Seaton Delaval, and the Portraits of the family. He died at Newcastle, about the year 1800. BELLA, Stefano Della. This ingenious artist was born at Florence, in 1610. He was the son of a goldsmith, and he is said to have been intended for his father's profession, but having shown a genius for dravring, he was placed under Cesare Dandini to learn painting ; a decided inclination for the art of engraving, induced his father to permit him to be- come a pupil of Canta Gallina, who was also the master of Gallot. He at first imitated the manner of C allot, but soon abandoned it, and adopted a style of his own. No artist has handled the point with more facility and finesse than Delia Bella. His execution is admirable, and his touch spirited and picturesque. He designed his subjects virith infinite taste, and his plates produce a clear and brilliant eifect. It is not surprising that some of his prints are slightly, though spiritedly etched, when we con- sider that the number of them exceeded one thou- sand four hundred. He visited Paris in 1642, where he engraved some plates for Henriet, the uncle of Israel Silvestre. The Cardinal Richlieu employed him to make drawings of the siege and taking of the town of Arras, by the royal army, which he after- wards engraved. On his return to Florence, he was 66 appointed by the Grand Duke to instruct his son Cfosmo in di-awing, with a suitable pension. He died at Florence in 1664, aged 54. The follovring is a list of his principal worlts : VARIOUS SUBJECTS. Portrait of S. Delia Bella, in a Persian costume; after his design, Sigismond Boldoni, nohle Milanese. Mount Joie, St. Denis, King at Arms ; very scai'ce. Horatius Gonzales ; oval ; very scarce. Ferdinand, King of the Romans. Bernardo Ricci on Horseback, Buffoon to Ferdinand II. 1637. St. Antonine kneeling, in the Clouds ; said to be h^s iirst plate. St. Anthony mounted on a Monster with two Heads ; inscribed Svper aspideni, S;c, Jacob and Rachel leaving Laban. Jacob's Journey to Egypt, to find Joseph. , Battle of the Amalecites. St. John Baptist, with a Lamb. St. John Baptist getting Water with his Cup. The Virgin, with the infant Jesus on her Knee. The Virgin, with the infant Jesus standing on her Knee. The Virgin suckling the infant Jesus., The Virgin suclding the infant Jesus, with St. Elizabeth and St. John. The Virgin sitting, with the Infant standing on her Knee; oval. The Virgin suckling the Infant ; Caracci, inv. A small plate of the Flight into Egypt, St. Joseph lead- ing the Ass. A round plate of the Flight into Egypt, with the Heads of Angels. The Repose in Egypt ; a round plate. The Repose in Egypt, with St. Joseph reading, leaning against a Tree. The Holy Family, with St. John and St. Elizabeth, with a Flowerpot. The infant Jesus explaining the Writings to the Virgin and St. Joseph ; very rare. Effigie del glorioso Martyre Sto. Benedetto ; very scarce. The finding of the miraculous Image of our Lady, near Florence. 1633. The Triumph of the Church. St.' Prospero descending from Heaven ; very scarce. The tyrant Phalaris ordering Perillus to be put into the Brazen Bull ; after Polidora. 1634. A basso relievo, antique ; after the same. Lucretia ; after Parmegiano. Three Children carrying a Plateau ; after Guido. A basso relievo, antique, a Woman stopping a Bull, Clovis on Horseback, carrying off Clotilda ; scarce. A Seaman, of whom a Beggar is asking Charity. A Seaman, with his Hand on the Head of his Dog, an& other Figures. A Child teaching a Dog to sit up. Four Turks, half-length figures. Three Turks, with a Boy and a Negro. A Polonese, with his Battle-axe. A Soldier, with his Musket, and holding a Fowl, and a Woman on Horseback, with a Child. A Florentine Sportsman, with his Gun, and a Girl spin- ning. A Lady holding a Dog ; marked twice S. D. Bella. Mount Parnassus ; very fine. An Eagle devouring a Fowl, with its Wings extended, and below two Horses, and a number of Spectators. The Rock of the Philosophers ; fine and scarce. The Fair, representing a Festival on the Amo; oval. This plate was a long time attributed to Callot. Perspective View of tSie Catafalco of the Emperor Fer- dinand II., with the Arms of the Medici. A Thesis, on the Canonization of Francis Solanus. 1639. Plan of the Siege of La Rochelle ; S. Del. Bella, del. etfec. Plan of the Siege of Arras, for the Cardinal Richlieu ; marked Stefano Dellq, Bella, irm. etfta. The Reposoir, or Fete Dieu : lengthways. It is seldom a good impression of this plate can be met with. The View of the Pont-neuf. The first impressions of this plate are without the weathercock on the steeple of St. Germain I'Auxerrois. View of the Castle of St. Angelo. bell] PAINTERS AND ENGRAVERS. [bell VARIOUS SETS OF PRINTS. Two Landscapes in one, a Peasant carrying a Basket at the end of a Stick ; and in tlie other, a Feasant carry- ing a Package on his Head. Two Landscapes, one with a Man leading Bogs; and the other, a Man leading a Horse loaded with Sheep. Six Views of the Port of Leghorn. 1655. The Four Seasons ; four figures in ovals. The Four Elements, Landscapes and Marines. Eight Marines, in the style of Callot ; dedicated to Lo- renzo de Medici, Six— Of Vases. Six Landscapes ; circular. 1656. Four charming Landscapes, with Figures. Four Views of Roman Ruins. Three Battle-pieces ; large plates. 1622, 1627, 1641. Eleven — Of Moors, Hungaiians, Asiatics, and Afi-icans. Sixteen small square plates — Of Soldiers, Hunters, Fish- ermen, Peasants, Children, &c., which some attrihute to Callot. Eighteen ; entitled Saccolta di vari capricei. 1646. Twenty-four Views of Edifices; published by Israel Twenty-two sketches, &c., by Stef. Delia Bella. The Five Deaths ; ovals ; the last of his works. The Sixth Death, plate he^n by Delia Bella, and finished TayJ.B. Galestrucci his scholar, after his death. BELLANGE, James, a Frencli painter and en- graver, bom at Chalons about the year 1610. He studied under Claude Henriet, a paintei; of Nancy, and afterwards went to Paris, where he became a scholar of Simon Vouet. Of his merit as a painter little is known, but as an engraver, he has certainly been treated with unmerited severity by Basan, who says " that he was a bad painter, and a worse en- graver." Although he cannot be classed among the ablest artists of his country, his plates, though ex- ecuted in rather a singular style, possess consider- able merit, particularly for their general effect. His point is free and masterly, and he conducted his masses of light and shadow with more than usual intelhgence. His drawing is not very correct, and there is an appearance of affectation in the turn of his figures, which is not unfrequently discernible in the works of his countrymen. The following are his principal plates : The Annunciation. The Holy Family, with St. Catherine and St. John. The Adoration of the Magi. The Resurrection of Lazarus. Christ bearing his Cross. The dead Saviour lying on the Knees of the Virgin Mary. The Three Maays going to the Sepulchre. The Magdalene, half-length. St. John the Baptist in the Wilderness. The Martyrdom of St. Lucia. The Death of Virginia. Adbnis carrying Diana on his Shoulders. BELLANGER, J. A. Basan mentions this ama- teiu" engraver as having etched some plates from his own designs with considerable taste, intelli- gence, and correctness, and a few plates after Haf- faelle, among which are the Miracle of the Loaves and Fishes, and the School of Athens. BELLE, Clement-Louis-Marie-Anne, born at Paris in 1722, studied under Lemoyne, and after- wards in Italy. His subjects are chiefly of a reli- gious kind, with an occasional representation of thq poetical. He was an academician and inspector of the royal manufactories at the Gobelins. He died in 1806. BELLE, AuGUSTiN-Louis, son of the preceding, was bom at Paris in 1757, and was probably in- structed by his father, whom he assisted at the Go- belin manufactory. He painted many pictures, the subjects taken from sacred and profane history, and the ancient poets: he was Uving in 1831. F 2 BELLE, Nicholas Simon Alexis, an eminent French portrait painter, bom in 1674, and died in 1734. He was a scholar of P. de Troy, and had much practice in his day. BELLEVOIS, a painter of marines, sea-ports, and storms at sea. It is not mentioned by whom he was instracted, but he was a respectable artist in his department, and his works are to be seen in many of the collections in Flanders. [He resided at Hamburg, where he died in 1684. His style of painting indicates that W. Vaudervelde and Back- huysen were his models.] BELLI, James. According to Basan, this en- graver was a native of Chartres, but he resided chiefly in Italy. He was probably a painter, from the style of his plates, which are httle more than etchings, although his pictures are not mentioned. We have some plates by him after Annibale Caracci, and the following, supposed to be after his own designs : Jupiter and Juno. Venus and Adonis. Hercules and Omphale. Diana and Endymion ; dated in 1641. BELLINI, Jacopo, an old Venetian painter, born at Venice about the year 1405. He was a disciple of Gentile Fabriano, and, according to Ri- dolfi, was one of the most reputable painters of the early period at which he lived. That author men- tions several of the works of this master in the public edifices at Venice, particularly in the church of the Confraternity of St. John the Evangehst, re- presenting different subjects from the life of our Saviour and the Virgin Mary, which were held in great estimation at the time. He was also an emi- nent portrait painter, and left several pictures of the principal personages of the repubUc and others, one of which is particularly noticed by Bidolfi, that of Jacopo Lusignano, King of Cyprus, who was be- headed at Venice. He died in 1470. BELLINI, Gentile Cav"'- This painter' was the eldest son of Jacopo Bellini, bom at Venice in 1421. His first exertion in the art was assisting his father in some works he was employed in for the government, in which he showed such abiUty, that he was engaged to decorate the great council- chamber at Venice, for which he painted several largje pictures representing the most celebrated achievements of the Venetian repubUc, of which a particular description is given by Ridolfi. These considerable works gained him great reputation. His next productions were some sacred subjects painted for the Confraternity of St. Marco. Some pictures by Gentile BelUni having been carried to Constantinople by some Turkish merchants, were shown to the Sultan by Mahomet II., who applied to the senate of Venice to permit the painter to visit his court, where he was received with particular favour, and painted the portraits of the Sultan and Sultaness, which were regarded as prodigies by the Turks. He was honoured with the order of knight- hood, and presented with a gold chain and medal. On his departure to return to Venice, the Grand Signior gave him letters to the repubUc expressive of his satisfaction, and the senate bestowed on him an honourable stipend for Ufe. He died in 1501. BELLINI, Giovanni, was the yoimger son of Jacopo Bellini, and the brother of Gentile, bom at Venice in 1422. Having learned the first prin- ciples of the art from his father, he for some time worked in conjunction with his brother, and assist- ed him in the works he was engaged in for the 67 bell] A DICTIONARY OF [bemm council-chamber, but he was not long satisfied with the dry and Gothic style, which at that time pre- vailed in the art, and by a contemplation of the simple eiFects of nature, he w£is the first of his coun- trymen that attempted in some degree to reform it. His design however still partook of the stifihess and formahty of his time. Ridolfi states him to have been the first Venetian who painted in oil, and re- ports him to have learned it from Antonello da Messina. Many of the works of this master are to be seen in the churches, at Venice, as he was very laborious, and lived to an advanced age. Some of his smaller pictures are placed in the collections of this country. Gio. Bellini has the credit of having been the instructor of two of the greatest painters ,of the Venetian school, Giorgione and Titian. He died in 1512, aged 90. [" II Capo maestro della Scuola Venetiana," was living, according to Lanzi, in 1516. It would appear that he continued to employ his talents to the last, there remaining in the gallery of Santa Giustina of Padua a Madonna bearing that date. In that year he was visited by Albert Durer, who pronounced him the best painter of the time. Mechel also describes a picture in the imperial gal- lery at Vienna, in which a young lady almost naked is seated arranging her hair before a mirror. At the lower part of the picture is Johannes Bellinus facie- hat MDXV. Brandolesi, in his account of the pic- tures at Padua, mentions another with the date 1516.] BELLINI, FiLippo. This painter was a native of Urbino, and flourished about the year 1594. Al- most unnoticed in the history of art, he is stated by Lanzi to have possessed uncommon capacity. He was a follower of the style of Federigo Baroccio, and one of the most successful of his imitators ; as appears in his picture of the Circumcision in the Basilica of Loreto, and in the Marriage of the Vir- gin in the dome at Ancona. Amongst his most important works are fourteen pictures of the works 'of Charity in the Chiesa della Carita at Fabriano, and the Martyrdom of S. Gaudenzio in the Conven- tuali di M. Alboddo. BELLINI, GiACiNTO Cavaliere. This painter was a native of Bologna, and a scholar of Francesco -Albano. On leaving the school of that master, he was taken under the protection of the Count Odo- ardo Pepoli, by whom he was sent to Rome with Francesco Caracci, for the advantage of study. He was not long at Rome before he discovered an ability that recommended him to the patronage of Cardinal Tonti, by whom he was employed for some time, and who was so satisfied with his perform- ances, that, according to Malvasia, he procured him the knighthood of the order of Loretto. He painted in the manner of Albano, and his pictures possess much of the graceful style of that esteemed master. [He was living in 1660.] BELLINIANO, Vittore, wBeiTain. BENASCHI, or BEIN ASCHI, Giovanni Batis- ta Cav*"^, a Piedmontese painter, born in 1684. He went early to Rome, where he became the scholar of Pietro del Po ; but afterwards studied under Lan- franco, or at least he formed his style from an imi- tation of the pictures of that master. The principal works of this artist are at Naples, where he painted several ceiUngs, and other works in fresco. He possessed an inventive genius, and was an able de- signer. He died in 1688, aged 54. There is an etching by this painter of a Holy Family, after Do- menico Cerini, who was his intimate friend. [Lan- zi asserts that he was not bom until 1636, and that he was not a scholar of Lanfranco, but adinits that he trod in his steps.] BENASECH, Peter Paul, an engraver, who is said to have been bom in London about the year 1744. He was a pupU of Vivares, and, according to Basan, worked some time at Paris, but returned to England. We have several plates by him of landscapes and other subjects, of which the follow- ing are the principal : Feasants playing at Bowls ; after A. Ostade. Fishermen ; after Vernet. Return from nshinff ; c^ier the same. A Calm at Sea ; after the same. Morning ; o^er the same. Four large Landscapes ; after Dietricy ; engiaved in 1770 and 1771. These are his finest prints. [BENAVIDES, D. Vincente de, a Spanish painter, born at Oran in 1637. He was a scholar of Francesco Rizi, at Madrid; he did not succeed in the figure, but became a good painter in fi-esco. He was much employed in theatrical decorations : was appointed painter to Charles II. in 1691, and died in 1703.] BENCOVICH, Fedeeigo. This painter was a native of Dalmatia, but was educated at Bologna, and flourished about the year 1753. He appears to have studied the style of Carlo Cignani, whose firmness of design he approached more than the amenity of his colouring. Correct in his design, vigorous in his Ught and shadow, and intelligent in the theory of the art, he produced several esteemed works at Bologna, Milan, and Venice. In the church of la Madonna del Piombo at Bolo^a, is an altar-piece by this master of the Crucifixion of St. Andrew. He was more employed in painting easel pictures than large works, many of which are in Germany, where he resided some years. BENEDETTI, Don Mattia. This painter was a native of Reggio, and a scholar of Orazio Ta- lami. According to Averoldi, he flom-ished about the year 1700, and was esteemed as aft-esco painter. One of his best performances was the ceiling of the church of S. Antonio at Brescia. BENEDETTIS, Dominioo de. This artist was a Piedmontese, born in 1610. He was sent to Naples when young, where he was placed under the tuition of Fabrizio Santafede, and after studying some time under that master, he went to Rome, where he had the advantage of becoming a scholar of Guido, whose gi-aceful and elegant manner he imitated with success. On his return to Naples, he was favoured with the protection of the king, whose palace he ornamented with several pictures, and painted some works for the churches. Domi- nici mentions, as his most capital work, the Dome of the Chiesa di D. Regina, where he has represented, in the diflferent compartments, subjects from the life of the Virgin Mary, entirely in the manner of Guido. He died in 1678. BENEDETTO. See Castiglione. [BENEDICTO, Roque, an historical painter of Valencia, and scholar of Gaspar de la Huerta. The pictures of Benedicto are often mistaken for the work of his master. He was at better colourist than designer. His most distinguished picture is the Miracle of St. Francis de Paul feeding 3000 per- sons with a small quantity of bread. He died at Valencia in 1735.] BENEFIAL, Cavaliere Marco. This painter was born at Rome in 1684. There are several of his works in that city, which prove him to have possessed very considerable ability. In the academy of St. Luke is a fine picture of Christ and the Sa- maritan Woman ; and in the church of the Stim- mate, the Flagellation. In the Palazzo Spada, there is a saloon entirely painted by him, which is considered one of the finest productions of his time, where are also preserved the cartoons for his great fresco work of the dome of the cathedra] at Viterbo. He died in 1764. [BENET> EL PADRE Geronimo, painted por- traits, figures of the Virgin and Christ, to which he gave considerable expression. He died at Vallado- lid in 1700.] BENFATTO, Luigi. This painter was born at Verona in 1551, and was the nephew and scholar of Paolo Veronese, under whom he acquired a bold, vague, and vigorous style of painting, and, accord- ing to Ridolfi, supported for some time after the death of Paolo the celebrity of the school, and the splendid system of colouring established by that great master. He distinguished himself by many admired works in the public places at Venice. In the church of St. Nicholas is a grand composition by this painter, representing the Ascension of that Saint to Heaven, attended by a Choir of Angels, and figures emblematical of the virtues of Faith, Hope, and Charity. In the Chiesa di S. Marta are several pictures of the hfe of that Saint. Many other works of Benfatto are mentioned by Ridolfi. He died in 1611. BENINI, SiGiSMONDO. This painter was born at Cremona about the year 1675, and studied under Angelo Massarotti. He excelled in painting land- scapes, in which the degradation in the distances was well observed, and 9ie efiects of hght managed with intelligence. His pictm-es are highly finished 69 benn] A DICTIONARY OF [berg and very agreeably coloured. His talent was, how- ever, confined to landscape, and when he attempted to introduce figures of his own, it always diminished their value. [BENNINGS, LiEViNE, daughter of Simon Beni- chius, or Bennings, a miniature painter of Bruges, was instructed by her father. Her remarkable talents, it is said, recommended her to the notice of Henry VIII. of England, who invited her to his court, and procured for her a noble and rich hus- band. The productions of her pencil were equally admired in the reigns of Mary and Elizabeth ; with the latter she was in great favour in 1570. The time of her death is not recorded.] BENOIST, or BENOIT, William Philip, a French engraver, born at Coutances in Normandy, in 172.5. He engraved some portraits, and a few other subjects, executed in a neat style. He re- sided during the latter part of his life in London, where he died about the year 1780. The following plates are by him : PORTRAITS. Galilee Galilei ; after F. Villdmena. The President de Montesquieu. Alexander Pope. , Sosen de Kosenstein, physician. Sir Isaao Newton. Blaise Pascal. Albert HaUer. SUBJECTS. Jupiter and Juno ; after Giuliano di Parma. Bathsheba bathing ; after Bonnieu. . [BENOIST, Madame, whose maiden name was Delaville Leroux, and to whom Desmoustier ad- dressed " Les Lettres sur la Mythologie," under the name of Emilie, was born about 1770. She painted many interesting famihar subjects, and the por- traits of several mstinguished persons, among which are the Emperor Napoleon, and his wife, Marie- Louise.] BENSHEIMER, J., a German engraver, by whom we have a set of portraits of the Electors of Saxony. He marked his plates with the initials of his name, J. B. BENSO, GiuLio. This painter was born at Genoa, about the year 1601, and was a scholar of Gio. Batista Paggi. Soprani states him to have been also an eminent architect. He painted his- tory and perspective, was patronized by the house of Doria, and executed some ornamental works in their palace. His most esteemed performance is the Crowning of the Virgin Mary, painted in fi:esco, in the church of the Nunziata ; a very capital work. There are several of his pictures in oil, in the churches at Genoa, of which that of St. Domenico is much admired. He died in 1668. BENT, John vander, a Dutch painter, bom at Amsterdam in 1650. He was first instructed in the art by Peter Wowermans, but afterwards be- came a scholar of Adrian Vande Velde. His style of painting, both in his landscapes, his figures, and cattle, bears a much nearer resemblance to the works of Nicholas Berghem, than either of those masters, and may easily be mistaken for those of that painter. His pictures are frequently met with in the collections in this country ; and without be- ing ranked with the works of the artists before mentioned, they are nevertheless deserving of esti- mation. He died in 1690. [BENTUM, Justus van, a pupil of Godfrey Schalcken, born at Leyden in 1670, died in 172/, painted in the manner of his master.] 70 BENVENUTO, Giovanni Batista, called l'Or- tolano. This painter was born at Ferrara, about the year 1490. After studying some time in his native city, he went to Bologna, and became a scholar of Bartolomeo Ramenghi, called il Bagna- cavallo. Barotti mentions several of the works of this master in his description of Ferrara, where they are highly esteemed. In the church of S. Nicolo, is a picture by him of the Virgin Mary and infant Jesus, with several Saints, painted in 1520. For S. Maria de Servi, he painted the Nativity, and in S. Lorenzo, he has represented the Adora- tion of the Magi. He died at Ferrara in 1525. BERAIN, or BBRRAIN, John, a French en- graver, born at Paris, about the year 1636. He has etched several plates, mostly from his own d.esigns, in a very neat manner, though rather stiff and formal ; among others are the following : Twelve plates— Of the ornaments of painting and sculp- tui-e, which are in the gallei-y of Apollo in the Louvre. Three plates — Of ornaments invented and engraved by J. Berain. The Mausoleum for the Funeral of Maria Anne Christine Victoire de Baviere. Devices for a Funeral Ceremony ; Berain, fee. BERARDI, Fabio, an Italian engraver, bom at Siena in 1728. He went to Venice when young, and learned the art of engraving under Joseph Wagner. He has engraved several plates of his- torical subjects, and others, chiefly after the modern Venetian painters : St. Seraphinus worshipping the Cross, half length ; &on- tiepieoe. 1767. A woman sleeping, surprised by a Sportsman ; after Piazetta. Isaac blessing Jacob ; after J. B. Pittoni ; F. Berardi Vene, sctd. The Sacrifice of Gideon ; after the same ; same inscrip- tion. Jacob and Bachel ; after J. Varotti. Agar and Ismael in the Desert ; after J. Va/rana, Six Views in Venice ; after Canaletti ; engraved by 5er- ardi and Wagner. 1742. Four Pastoral Subjects ; after Piazetta. BERCHEM. See Berghem. BERCHET, Peter, a French painter, born in 1659. He was a scholar of Charles de la Fosse, under whom he studied till he was found capable of undertaking some works in the palaces in France. He came to England in 1681, and met with employ- ment in ornamenting the houses of some of the nobilitjr. His best work is the ceiling of the chapel of Trinity College, Oxford, where he has represented the Ascension. He died in 1720. BERG, Mathias vanden, a Flemish painter, bom at Ipres in 1615. According to M. Descamps, his father had the management of Rubens's estates in the neighbourhood of Ipres, who took this artist under his protection, and brought him up in his academy. , He was an able and diligent designer, but, whether from a want of genius or from having too long accustomed himself to the servihty of a copyist, he was unequal to the arrangement of original composition, and is only known by the ex- cellent copies he left of some of the pictures by Rubens. [Balkema says he died at Alkmar in 1 687 ; Brulliot, following Descamps, that he died at Ypres in 1647; and Zani places his death in 1685.] BERG, Nicholas vander, a Flemish engraver, supposed to be a native of Antwerp. He etched some plates after Rubens, which he marked N. V. D. Berg ; among others, The Portrait of Justus Lipsius ; a middle-sized plate. The Portrait of a devout Person, with a Crucifix ; half length. berg] PAINTERS AND ENGRAVERS. [berg BERGE, P. VANDER, a Dutch engraver, of no gi-eat celebrity. His principal work was a set of plates for a folio volume of prints, published at Amsterdam; entitled Theatrum Hispaniae, or Views of the Towns, Palaces, &c. of Spain. They are etched in a decided manner, but formal and stiff. He also engraved some portraits, one of which is a Jew Rabbi, with a Hebrew inscription ; inscribed P. V. D. Berge ad vivwh del. et fee, and the Tri- umph of Galatea, after A. Coypel. BERGEN, Dirk, or Theodore van, a Dutch painter of landscapes and cattle, born at Haerlem, about the year 1645. He had. the advantage of being brought up under Adrian Vander Velde, whose channing manner he imitated, and was his ablest scholar. It has been asserted that " his colouring is more glowing than that of his master," with what truth the connoisseur will have little difficulty in deciding. Without approaching in any respect to the exquisite quaUties of that admired painter, his works notwitlitanding possess considerable merit, and are deservedly placed in the collections of the curious. His cattle, without the correctness of Adrian Vander Velde, are spiritedly touched, and his pencil is free and firm. We regret a blackness in his shadows, which renders the effect of his pictures abrupt and harsh. He died in 1689. [The censure in the last sentence, though in some instances true, is too general. Some of his finest works are little inferior to Adrian Vander Velde, and are often ascribed to that master.] [BERGEN, Nicolas van, born at Breda in 1670, imitated the manner of Rembrandt ; he painted sub- jects of history, interiors, and conversations. He died at Breda at the age of 29.] BERGER, Daniel, a modem engraver, born at Berhn in 1744. He was instructed in the art by his father, who did not amve at great celebrity. He has engraved several portraits of the Royal Family of Prussia, and other distinguished personages, and also many historical and other subjects, prin- cipally after the painters of his country. In 1787, he was appointed rector and professor of en- graving of the academy at Berlin. Among others we have by him the following plates : A Bust of a Man with a gold chain.; after G. van Eckhowt. The Virgin and Child ; after Coreggio. The Virgin Mary ; after Raffaelle. Servins Tnllius ; fifter Anqmica Kauffman. The Death of Major de Kleist; after D. Chodoteiec/ee. The Death of Schwerin ; after J. C. Frisch. [IbERGERET, Pierre-Nolasque, a verydistin- guished French historical and landscape painter, a native of Bourdeaux and scholar of David. His subjects are of the most interesting kind, whether taken from national histories, or particular facts re- lating to individuals. Many of his pictures have been placed in the Luxembourg and other royal palaces. The bas reliefs on the column of the Place Vendome were designed by him; he painted four of the portraits for the hall of the chancellors, and made designs for the medals struck at the Mint. Many of his pictures have been engraved ; and some serve as illustrations to the splendid editions of Boileau, La Fontaine, and other French classics. As his death is not recorded, it will be for some one of his countrymen to do justice to his merits when it occurs ; but it would be reprehensible to omit in this Dictionary the name of a man so eminent for his fine taste and talents, and who has done so much to commemorate others.] BERGHEM, sometimes called Berchem, Ni- cholas. The family name of this admirable painter was Van Haerlem ; he was the son of teter van Haerlem, a painter of little notoriety, and was born in 1624. He received his first instruction from his father, but was afterwards a scholar of John van Goyen, and lastly of John Baptist Weeninx. The circumstance by which he acquired the name of Berghem, is thus related by the Dutch biographers. During the time he studied under Van Goyen, his father (probably for some indiscretion) pursued him, with an intention of chastising him, into the house of his master, who, perceiving his father's purpose, and being desirous of sheltering his favourite pupil, called out to his other scholars Berg hem, which in Dutch signifies hide him, and his fellow students afterwards called him by that name. His genuine signature on his pictures, drawings, and etchings is generally Berghem. The pictures he painted in the early part of his life have some resemblance to the works of Weeninx, although touched with more deUcacy ; and, like the pictm-es of that master, they represent sea-ports and embarkations. He after- wards formed to himself a different and a more in- teresting manner, representing landscapes of most deUghtfiil scenery, enriched with architectural ruins, and decorated with charming groups of figures and cattle. His pictures of those subjects are superior to any painter of his- country, except his contempora- ry John Both, and there appears to have been some degi-ee of rivalship between those celebrated artists. M. Vanderhulk, the Burgomaster of Dort, a great encourager of art, engaged Berghem and Both to paint each a picture, for which he stipulated to pay them a hberal remuneration, and a certain sum, as a premium, to the artist whose work should be esteemed to be preferable. Berghem, animated by emulation, exerted the utmost effort of his art, and painted a picture of extraordinary beauty, represent- ing a grand mountainous landscape, richly embel- lished with figures and cattle of every description. The effort of Both was no less successful, and he produced an admirable Itahan scene, glowing under the clear atmosphere of that dehghtml country, and painted with all the charm of penciUing for which he is so distinguished. The competitors produced their works, and their patron pronounced his judg- ment in terms as honourable to his UberaUty, as they were creditable to the talents of the artists. He assured them that their admirable performances had deprived him of the possibility of preference, and that, as they had both reached the perfection of the art, they were both entitled to the premium, the prize of fame. The style of Berghem is excellent ; he painted with surprising facility, yet his pictures have all the finish that could be wished. Extremely happy in the choice and arrangement of his compo- sitions, he has given a singular grace and beauty to his figm-es, without departing fi'om the propriety of costume. The distribution of his masses, and his conduct of light and shadow, are masterly and in- telligent ; and the delicate degradation of his aerial perspective, the Ught floating of his skies, and the transparence of the water, have never been surpassed by any painter of his country. This celebrated artist has also amply contributed to the portfohos of the curious collector, by the numerous exquisite drawings and etchings he has left us. Of which the latter are executed in a much more finished manner than we are led to expect from the point of a painter. There is a descriptive catalogue of the etchings of 71 ' berg] A DICTIONARY OF [BERN Berghem, by Henry de Winter, published at Am- sterdam in 1767. The following Hst comprises his principal plates : SETS OF PRINTS ETCHED By BERGHEM. Six plates of Cows, with the title, called the Milkmaid ; C. Berghem, fee. et exo. 1634 to 1644. Six of Sheep ; m the title print, a woman sitting on a stone. Six of Goats ; in the title print, a man sitting with a dog. Eight of Sheep ; in the title print, a woman standing near a rock. Eight of Sheep and Goats ; in the title print, a man. Five larger plates upright, one dated 1652 ; aU marked Berghem, fee. Four smaller plates of different animals, lengthways ; marked N. B. Six of the Heads of Sheep, Goats, &c. ; small ; scarce. SINGLE PRINTS ETCHED BY BERGHEM. A Cow drinking ; Berehem, fee. 1680. A Cow watering ; C. P. Berghem, inv. et fee. ; fine and rare. A Landscape, with two Cows lying, and one standing ; Berghem, fee. A Landscape, with Cows, and a man riding on an Ass ; N. Berghem, fee. A Landscape, with a "Woman bathing her Feet in a Brook, and a Man behind leaning on a Stick, with Animals and Figures, and a Buin m the distance. A Boy riding on an Ass, speaking to another Boy, who is playing on the Bagpipes, called the Bagpiper ; fine. A Landscape, with a Man playing on the Flute, and a "Woman sitting ; scarce ; without a mark. A Landscape, with a Man standing, and a "Woman seat- ed suckling a child ; without a mark ; very scarce. Berghem died in 1683. [The family name was Claas, Or Klaas, and his father was called Pieter Claas van Haarlem, that is, Peter Claas of Haerlem, probably to distinguish him from another painter of the same name elsewhere. "With regard to Berg- hem, or rather Berehem, it is difficult to say "with cer- tainty how it originated. On his best pictures, where the signature is genuine, it is ^C/jfT/fl^/YVh it is the manner of joining the letter c to the h (it being carried down and returned with a loop like a ^ in writing) that has given rise to the mistake. Mr. C. I. Nieuwenhuys, against whose knowledge and judgment of the merits and history of the Dutch and Flemish painters and their works there is no appeal, is decidedly in favour of Berchem. (See his account of the lives and works of some of the most eminent painters.) If the dates on the six plates of Cows be correct, he must have commenced etching in his tenth year ; and it may be observed that they are signed C. (that is, Claas) Berghem.] [BERGMULLER, John George, was born at Dirkheim in Bavaria, in 1688, and studied under Andrew "Wohf. He painted history and portraits ; some of his works are to be seen in the churches at Augsbourg, where he resided. He is chiefly known by his engra"vings, which he made from his own de- signs.] Among others we have the following : Four; the Baptism of Christ, the Transfiguration, the Resurrection, and the Ascension. The Conception. The Virgin Mary caressing the infant Christ. The Death of St. Joseph ; inscribed S. Joseph moriens. Christ on the Mount of Olives. Sancta Catherina Victrix. St. Sebastian, Martyr. The "Virgin and infant Jesus presenting the Eosary to St. Dominick. St. Francis kissing the Foot of the infant Jesus. An emblematical subject on the Misfortunes of the Times ; inscribed TumvMum adduxit tempus. Justice and Peace ; Justitia et Pea;, Sjc. The Four Seasons. 1730. 72 Four of the Signs of the Zodiac; I. G. B. 1730. Five figures of Women, emblematical of the Virtues. [He died in 1762.] BERGUNZONI, Lorenzo. This painter was born at Bologna in 1646, and was first a scholar of Gio. Batista Bolognini, but he afterwards studied under Guercino. His first attempts were in his- torical subjects, in which he had some success j but having painted the portraits of some persons of dis- tinction at Bologna, he met with such encourage- ment, that he devoted himself entirely to that de- partment of the art, in which he excelled. BERKHEYDEN, Job, a Dutch painter, born at Haerlem in 1643. It does not appear that he had any instructor, but by a natural inclination for the art, he employed himself, when young, in making sketches of tine environs of Haerlem, and the commendation bestowed on his first essays en- couraged hirti to adopt it as a profession. His genius led him to paint landscapes, and views of the Rhine, which he represented m a very pleasing manner, and his attentive observance of nature en- abled him to give an appearance of air and sun- shine to his pictures, which produces a very agree- able effect. He decorated his landscapes with small figures, tolerably correctly drawn, and very neatly touched. He sometimes painted village feasts and merry-makings, which are not without considerable merit. In company vnth his brother, who is the subject of the following article, he travelled through Germany, and was for some time in the employ- ment of the Elector Palatine, for whom he painted several pictures, and was presented with a gold chain and medal. He returned with his brother to Holland, where he met with great encouragement; In the year 1698, he had the misfortune io fall into a canal at Amsterdam, and was drowned. BERKHEYDEN, Gerard. He was the younger brother of Job Berkheyden, born at Haerlem in 1645. The success of his brother encom-aged him to the attempt of becoming a painter, and he was assisted by his instruction. These artists appear to have been bound to each other by the most affec- tionate attachment, their pursuit of the same pro- fession, instead of producing jealousy or iU-will, seems only to have inspired them with a laudable emulation, and a desire of contributing to each other's celebrity. The pictures of Gerard Berkhey- den are faithful representations of select -views of the interior of the principal towns in Holland and Germany, painted "with great neatness, and well coloured. They are sometimes ornamented with figures by Job Berkheyden, who surpassed his bro- ther in that branch of the art. He died at Amster- dam in 1693. BERKMANS, Henry, a Dutch painter, born at Clunder, near WiUiamstadt, in 1629. His first master was Thomas Willeborts Boschart, under whom he studied some time. He afterwards be- came a scholar of J. Jordaens. On leaving that master, he painted some historical pictures "with reputation, but the encouragement he met with in painting portraits, induced him to forsake a path which promised to lead him to celebrity. Such was the desire of possessing his portraits, that it was with difficulty he could fulfil his engagements. He painted the Count of Nassau, the Admiral de Ruy- ter, and many of the most distinguished personages of his country. His most capital work is a large picture of the Company of Archers, in the town- house at Middleburg, [where he died in 1690.1 BERLINGHIERI, Camillo, called il Ferra- BERN]. PAINTERS AND ENGRAVERS. [BERN RESiNO. This artist was born at Ferrara, about the year 1 596. He was the scholar of Carlo Bononi, and proved a very reputable painter of history. His works are chiefly at Ferrara and at Venice, where he was called il Ferraresino. In the church of S. Niccolo, at Ferrara, is a fine picture, by him, of the Miracle of the Manna, and in S. Antonio Abate, the Annunciation. He died at Ferrara in 1635. BERNABEI, Pier Antonio, called della Casa. This painter was a native of Parma, and flourished about the year 1550. He was not a scholar of Parmegiano, as has been asserted, but was rather a follower of the style of Coreggio. Al- though Orlandi contents himself with st^ng this excellent artist Pittor non igndbUe, his great work of the Cupola of la Madonna del Quartiere, proves him to have. been one of the ablest fresco painters of his time in Lombardy. It represents a Multitude of the Blessed, a grand composition, copious without ^ confusion ; the figures designed in a Coreggiesque style, with great relief, and a vigour of colouring which has stiU preserved its original freshness. There are other considerable works by this master at the Carmehtes, and in other public places at Parma. [BERNAERTS, Nicaise, was bom in Antwerp, according to Nagler, in 1608, and was a scholar of Francis Snyders. The subjects of his pictures are the same as those of his master, and bear a great resemblance to them ; indeed some writers afiirm that they are very Uttle inferior in execution. It is certain that they have been sold as the genuine pro- ductions of Snyders. He died, according to Nagler, in 1678. Zani places his birth in 1593, and his death in 1663 ; thus both make him of the age of 70.] [BERNARD, , a Neapolitan painter, bom in 1680, was a scholar of Solimena, whose manner he studiously followed. He died in 1734.] BERNARD, B. The name of this engraver is affixed to several plates of biblical subjects, en- graved from the designs of Bernard Picart, publish- ed at Amsterdam in 1720. They are executed in a very indifierent style. [BERNARD, Jan, a copyist of Paul Potter and Berghem, bom in 1765, died in 1833. He was a member of the Institute, and of the Academy of Fine Arts at Amsterdam.] BERNARD, op Brussels. See Van Orlet. BERNARD, Solomon, or Little Bernard, a French engraver, bom at Lyons in 1512. He ac- quired the name of Little Bernard, according to Sandrart, from his diminutive size, but it is reported by others, with more probability, to have been given him on account of the small size of his prints. He executed a number of wooden cuts for the booksell- ers, which are well designed, and cut with great spirit and neatness. His best prints are those he executed for the Bible which was pubhshed at Ly- ons, at different times, from 1550 to 1580. Besides which we have by him the following : A set of prints foi the Metamoiphoses of Ovid ; publish- ed at Lyons, in 1557'. A set of Medals for the Epitome of the Antiquities of Giacomo Strada, of Mantua ; published at Lyons, in 1353. Thirty-four of the History of Psyche ; with Italian verses. Eighteen of Baths ; printed at Lyons, in f 572. A set of prints for the Golden Ass of Apuleus ; published at Lyons, in 1558. A set of vignettes for the French Translation of Virgil ; printed at Lyons, in 1560. The Seven Planets, represented by the Figures of Hea- then Divinities. Twenty-two of Theatrical Decorations. A set of oval prints, for a Book of Hymns : printed at Lyons, in 1560. [According to BruUiot he must have been livine in 1598.] ^ BERNARD, Samuel, a miniature painter and engraver, bora at Paris in 1615. He was a scholar of Simon Vouet, and made some attempts at fresco painting, but not succeeding to his expectation, he for some time painted miniature, but finally devoted himself entirely to engraving. He engraved several plates, both with the point and in mezzotinto, of which the following are the principal : ETCHINGS. Charles Louis, Duke of Bavaria ; after Vandyck; S. Ber- nard. 1657. Louis Gamier, sculptor and painter. Philip, Count of Bethune. Anne Tristan de la Beaume de Luze, Archbishop of Paris ; after de Troy. , The Apparition of St. Peter and St. Paul to AttUa ; after Haffiielle. The Young Astyanax discovered by Ulysses in the Tomb of Hector ; after Bourdon. The Crucifixion ; after Ph. de Champagne. The Virgin Mary, with the dead Christ ; after the same. The Ascension ; after the same. An allegorical subject of Concord. The Flight into Egypt ; after Guido. MEZZOTINTOS. The Portrait of Louis XIV. ; oval. Sebastian, le Prestre de Vauban ; after F. de Troy. The Nativity ; after Rembrandt. A Herdsman driving Cattle. An Ox Market ; after B, Castiglione. The Bepose; called LaZingara; after Coreggio. Basan, and after him Mr. Strutt, have been led into an error, in respect to this artist, in conse- quence of his having used the point as well as mez- zotinto, and have divided his plates between two artists of the name of Bernard ; M. Heineken, and M. Huber, however, very satisfactorily prove them to have all been by this engraver. BERNARDI, Francesco. According to Aver- oldi, this painter was a native of Brescia, and paint- . ed history with reputation. His principal works were in the churches of Santa Croce and S. Gio- vanni, in his native city. [He was called Bigolaro, was a native of Verona, and a disciple of Domenico Feti.] [BERNASCONI, Laura, or Lucia, a Roman lady, who was a scholar and imitator of Mario Nuzzi, better known as Mario da Fiori. Her works, like those of her preceptor, have lost much of their original beauty, owing to the use of some seductive, but treacherous vehicle that gave briUiancy at first, but in the lapse of years has changed to opacity, giving them a black and squalid appearance. The date of her birth is not exactly stated, but she was living in 1674.] BERNAZZANO, a Milanese painter, who flour- ished about the year 1536. He painted landscapes, animals, and fruit, in which he excelled, particu- larly as a colourist. The figures in his landscapes are generally painted by Cesare da Sesto, a scholai' of Leonardo da V inci. [Wonderful things are related of this artist, parallel with the stories told of Zeuxis, Protogenes, Apelles, and other painters of "anti- quity.] BERNIGEROTH, Martin, a German engraver, bom at Ramelsbourg in the county of Mansfeld, in 1670. He resided at Leipsic, where he engraved a BERN] A DICTIONARY OF [BERT great number of portraits, executed with the graver, in a tolerably neat manner, among which are, Prince Leopold of Anhalt-Dessau, on Horseback, with a Battle in the background. Frederick August. II. King of Poland. He died at Leipsic, in 1733. BERNIGEROTH, John Martin. He was the son and pupil of Martin Bemigeroth, bom at Leipsic in 1713. He engraved several plates for the booksell- ers, but he is most known as an engraver of por- traits, which are neatly executed in the style of his father ; the principal of which are, Frederick Augustus III. King of Poland. Frederick Christian, Prince Keg. Pol. John Adolphus, Duke of Saxe Weissenfeld. 1745. This is esteemed his best plate. Sebastian FeliK, Baron von Schwannenberg. Christianus, Prince of Denmark. John Gottfried Richter, Antiquary. He died at Leipsic in 1767, aged 54. BERNYNCKEL, John, an engraver, whose works are little known. There is a small oval print by him, of the Adoration of the Shepherds, after John van Achen, which is not without merit. [BERR^, Jean Baptists, bom at Antwerp in 1777, painted subjects in the manner of Weeninx. He settled at Paris, where he painted objects of a higher order. His pictures are esteemed for their great finish and fine execution, and are sought for by amateurs who delight in that style of painting, and obtain large prices. They are to be found in several rich collections. He died in 1828, (according to Bal- kema,) but Gabet mentions him as living in 1831.] BBRRESTYN, C. V.,'a German engraver, who flourished about the year 1650. He engraved some plates of landscapes, among which is one represent- ing a woody scene, signed with his name and the above date. It is very scarce. BERRETINO, Pietho. See Cortona. BERRETONI, Nicolo. This painter was bom at Montefeltro, near Macerate, in 1627. He was the ablest scholar of Carlo Maratti, and painted history with some reputation. One of his best pictures is an altar-piece, in the church of S. Maria de Montesanto, at Rome, representing a subject from the life of St. Francis. He was received into the Academy of that city in 1675, and died in 1682, aged 55. BERRUGUETTE, Alonso, an eminent Spanish painter, bom, according to Palomino, at Parados de Nava, in Castile. "When he had made some pro- gress in the art, the fame of the gi-eat Michael An- gelo induced him to visit Italy, and he had the advantage of studying under that sublime master. He was the contemporary and friend of Andrea del Sarto, and made such improvement during his stay in Italy, that he returned to Spain an eminent pro- ficient in both painting and sculpture. He also excelled as an architect. The Emperor Charles V. took him under his immediate protection, appointed him one of his painters, and employed him in many considerable works at Madrid, in the palace of the Pardo, and in the Alhambra of Granada, which established his reputation, and for which he was honourably remunerated by his munificent patron. He died at Madrid in 1545. [Berruguette was born in 1480. He was one of the most distinguished and fortunate artists of his day. He was patronized for his merits, both by Charles V. and his son Philip II. He lived respected by his contempora- ries, and died rich, at Alcala, in the year 1561, and was buried with the greatest magnificence at the expense of his sovereign.] 74 BERTANI, Gio. Batista. See Ghisi. BERTAUD, Marie Rosalie, a French female engraver, born at Paris, about 1760. She was in- structed in the art by St. Aubin and Choffard, and has engraved several plates, the best of which are those after the pictures of Vern'et, entitled, Orage imp6tue\ix: an oval plate. La Pgcheurs a la ligi^p. Le Kocher perc^, , La Barque mise a flot. La PSche au clair de la Lune. Les PJcheurs Italiens. [BERTAUX, DuPLESSis, a French engraver, somewhat in the manner of C allot. His etchings are numerous, and many of them illustrate Choiseul's Travels in Greece and Italy, and the work on Egypt. He died in 1813.] BERTELLI, Cristopano, an old Italian en- graver, a native of Rimini, in the duchy of Modena, about 1525. We have by him a few plates, executed with the graver, in rather a stifl" manner. The Portrait of Ottavio Farnese, Duke of Parma. The Conversion of St. Paul ; marked Per me Christo- fano Bertelli. The Virgin and Infant, irith St. Sebastian, St. Francis, and St. Eoch ; aftfr Coreggio. The Virgin and Infant, with St. Augustine, St. Sebas- tian, and St. Helena, with St. Joseph sleeping ; in- scribed Per me Christofano Bertelli. The Virgin and Child, with St. George and other Saints ; inscribed the same. The different ages of Man ; Christofano Bertelli, sc. BERTELLI, Ferrando. This old engraver was born at Venice, about the year 1525. He engraved some plates after the Venetian painters, and others. By him we have : A print, entitled Omnium fere gentium, ^c. Ven. 1569. Christ curing the sick. Farinati, pinx. F. Bertelli, ex. 1566. The Crucifixion ; after Guilio Roma-no. Venus and Cupid ; after Titian ; etched by F. Bertelli. Nic. Bertelli, exc. 1566. Specchio della vita humana. In Vonezia per F. Bertelli, 1566. BERTELLI, Lucas. This engraver was pro- bably a relation of the preceding artist. He nas engraved several plates after the great Italian paint- ers, and is said to have been a pnntseller. Some of his prints are very scarce. A Bust of Hippolita Gonzaga, Daughter of Ferdinand > Lttcas Bertelli, ex. The Israelites tormented by Serpents ; after M. Angela. The Baptism of Christ; L. Bertelli; with an inscription, Nonisti Christum latices, ^c. Christ washing his Disciples' feet ; Lucas, sc. The Flagellation ; inscribed Etfuiflagellatus,Ssc.Luc(B Bertelli. The Crucifixion ; marked M. A. Lucas Bertelli formis. The Descent from the Cross; LMcm Bertelli formis ; fine. The Four Evangelists; after Coxcie; Luces Bertelli formis. Tne Last Judgment; after J. B. Fontana; iMCce Ber- telli formis. A "Woman and Children wanning themselves by a Fire; after Titiojn; Iaiob Bertelli, ex. BERTERHAM, or BBXTERHAM, J. Mr. Strutt has noticed this engraver under the two names of Berterham and Bexterham. It is, how- ever, evident that they belong to one and the same artist. He was a native of the Netherlands, and resided at Brussels about the end of the 17th cen- tury. He engraved a few plates of devotional sub- jects, among which is a print representing St. Roch, with other figures, signed J. Berterham, sculp. Brux. 1696, without the name of the painter. It is exe- cuted with the graver, in a stiff, tasteless style, and the drawing is very incorrect. bert] PAINTERS AND ENGRAVERS. [bett [BERTHELEMY, Jean-Simon, an historical painter, born at Laon in 1743, and died in Paris in 1811. He was a scholar of N. Halle, and painted, in addition to some historical and poetical subjects, which have been engraved, the ceilings of the palace of Pontainebleau, the Luxembourg, and the Museum. He was a member of the Academy, and director of the School of Design.] BERTIN, Nicholas, an eminent French painter, bom at Paris in 1667. His father was a sculptor, who, dying when he was a boy, he was placed under the tuition of John Jouvenet, and afterwards studied under the elder Boulogne. His progress was? rapid, and at eighteen he gained the first prize at the Academy, and was sent to Italy for improve- ment, with the pension of the king, where he re- mained four years. On his retmn to Paris, he dis- tinguished himself by some historical works, and was made a Royal Academician in 1703. He was employed by L6uis XIV. in the chateau of Trianon, where he painted Vertumnus and Pomona, and other works. His principal performance was the ceiling of the church at Plessis Saint Pierre, in Nor- mandy. In the abbey of St. Germain des pres, is a fine picture by Bertin, representing the Baptism of the Eunuch of the Queen of Candace. This able artist died at Paris in 1736. BERTOJA, GiACOMO, [or Jacopo.] According to Padre Orlandi, this painter was a native of Parma, and a scholar of Francesco MazzuoU, called Parmegiano. He painted history, and is stated by that author to have died in 1558. [Orlandi is in error respecting the death of this painter ; Padre Afib has shown clearly that Bertoja was Uving in 1573; and Zani, in a very elaborate note, has col- lected authorities, not only to establish that fact, but to prove that he died at a very great age, in 1618. Bertoja was not a scholar, but a successful imitator of Mazzuoli; in his lifetime he was called " Parmegiano," and there is very Uttle doubt that many of his easel productions are ascribed to the Eainter to whom that appellation is now particu- irly apphed.] BERTOLOTTI, Giovanni Lorenzo. According to Ratti, this painter was born at Genoa in 1640, and was a scholar of Francesco Castiglione. He painted history with considerable reputation ; and his biographer speaks in very favourable tenns of a picture painted by him in the church of La Visita- zione, at Genoa, representing the Visitation of the Virgin Mary to St. Elizabem, which is finely com- posed, and coloured with great clearness and suavity. He died in 1721, aged 81. BERTRAM, , a Dutch engraver, who flourished about the year 16ff0. He engraved several plates, representing views and public buildings, which are executed in a very neat style. BERTRAM, Charles. According to Mr. Strutt, he was the engraver of a frontispiece to a book pub- lished by himself in the year 1758, entitled, Britan- nicarum Gentium Historic Antiguee Scriptores tres ; it is from his own design, and is inscribed, C. B. inv. at sc. 1758. It is a very indifferent performance. BERTR AND, P., a modern French engraver, who was chiefly employed in portraits. Among others, he enmaved that of Pope Clement X. BERTUSIO, Giovanni Batista. This painter was a native of Bologna, and studied under Denys Calvart at the same time with Guido and Albano, and he followed their example, in leaving that master, to place himself in the great school of the Caracci. He painted history, in the manner of Guido, but in endeavouring to imitate the suavity of that esteemed master, his colouring became cold and chalky. His drawing is correct, and the turn of his figures graceful. There are many of his pictures in the churches at Bologna, mentioned by Malvasia. In S. Giovanni, in Monte, is a picture of the Virgin Mary and infant Jesus, with St. Anthony, and other saints. In S. Domenico he has painted the Death of St. Joseph, and in S. Stefano a picture of St. Guiliana. [Bertusio was a native of Faenza. The name is generally written Bertucci, and there were several artists so called both of Faenza and Bologna. Giovanni Batista died in 1644.] BERVIC, Charles Clement, a modem French engraver, bom at Paris, in 1756, and received in the Academy in 1784. He was a pupil of J. G. Wille, and has engraved several plates, in the clear finished style of his master. We have by him, among others, The Portrait of Lotus XVI. ; engraved in 1790 ; after Collet; fine. Jean Senac de Meilhan, a celebrated Physician ; after Duplessis, Charles Linneus, a celebrated Botanist ; after Roslin. Le Eepos ; after Lepieier. La Demande acceptee ; after the same. The Education of Achilles; after J, B. KegnavM; very fine. [He was a capital engraver. The Laocoon and his sons, done by him for the Musee Fran9ais, is the best representation of a marble group that has ever been engraved; a fine proof of it has been sold as high as £30. He died in 1822.] BESENZI, Paolo Emilio. This artistwas born at Reggio in 1624. He distin^shed himself as a painter, a sculptor, and an architect. Although the friend and companion of Lionello Spada, he differed from his style, preferring the graceful manner of F. Albano. His principal pictures are in the church of S. Pieti'o, which establish his reputation as a painter. He died in 1666. BESOZZI, Ambrogio, a painter and engraver, bom at Milan, in 1648. He was first a scholar of Gioseffo Danedi, and afterwards studied under Ciro Ferri. He excelled in painting architectural views, friezes, basso rehevos, and other works of decoration. He died at Milan, in 1706. He etched two plates, The Portrait of Coreggio. The Apotheosis of a Princess ; in which the Portrait was by Bonacina, and the other part of the plate by Besoz- zi ; after Cesare Fiori. [BESSCHEY, or BISCHEY, J. F., was bom at Antwerp in 1739. He made copies of Moucheron, Wynants, Pynacker, Gerard Dou, Rembrandt, Te- niers, Terburgh, and various others. His small copies of Rubens and Vandyck are admirable ; they do not affect to be any thing but what they are, charming reminiscences for those who dehght in the art, but have not the means to obtain originals by the masters. He died at Antwerp in 1799.] [BESTARD, a Spanish painter, who lived at Palma about the end of the seventeenth century. He painted for the convent of Monte Sion there a superb picture, measuring 24 palms in length, and 15 in height, representing Christ in the Desert at- tended by angels; it is considered as one of the marvels of the city. He also ornamented several other public buildings at Palma, which exhibit proofs of his knowledge of composition, colour, and chiaro-scuro.] [BETTELINI, Pietro, a very eminent Italian engraver, was born at Lugano in 1763, and applied at an early age to the study of the art. He received dett] A DICTIONARY OF [bewi instructions from Gandolfi and Bartolozzij but in his subsequent works he inclined more to the style of R. Morghen. He is particularly happy in his transcripts of light and elegant forms, and enters with much taste and spirit into the subject he copies. He does not aim at producing brilliant eflects, but exercises his graver with care and delicacy, corre- sponding with the style of the original picture. In those of a sombre or forcible character he is not equally successful. He was held in high estimation by Thorwaldsen, who employed him to engrave some of his finest works both in figures and bassi- riUevi. His engraving of the Entombment, by Andrea del Sarto, in the Florence Gallery, exhibits all the beauties of the original, and may be quoted, not only as his capo d'opera, but among the finest examples of art. The following are a portion of his justly esteemed productions : Madonna col de- voto, from the picture by Correggio in possession of the king of Bavaria, and Ecce Homo, after the same master ; Madonna and sleeping Infant, after Raphael ; St. John, after Domenichino ; Ascension of the Virgin, after Guido ; Magdalene, after Schi- done ; Sibylla Persica, after Guercino ; the portraits of Pohziano, Galileo, and Macchiavelli. He is now employed on the Judgment of Solomon, after Ra- phael; which will be an addition to his deserved re- putation. As a classic engraver whose works will, no doubt, increase in estimation, the rule not to ad- mit living artists in this Dictionary may be violated.] BETTES, John and Thomas. These brothers were eminent nainiature painters in the reign of Queen Elizabeth, by whom they were patronized, and John painted her portrait. [John was a disciple of old Hilliard.] BETTI, Padre Biagio. This painter was born at Pistoja in 1545, and was a disciple of Daniello da Volterra. Soon after the death of that mMter, he became a monk of the order of Theatines. His works are principally confined to the monastery of that order at Rome. In the refectory, he painted the Miracle of the Loaves and Fishes, and in the Ubra- ry, Christ disputing with the Doctors. Baglioni as- serts, that he was fifty years a religious, and died in 1615. BETTINI, Domenico. According to Padre Or- landi, this painter was born at Florence in 1644. He was first a scholar of Jacopo Vignali, but after- wards went to Rome, and became a disciple of Mario Nuzzi. His pictures, like those of his in- structor, represent fruit, flowers, birds, and fish, which are well painted. BETTINI, PiETRO, an Italian engraver, who etched a few plates, in a slight manner. By him, among others, we have, Christ appearing to Peter; after Domenico Campelli; marked Pietrtss. Bettinus, del. et scul, 1681. The Martyrdom of S. Sehastian ; aftei- Domenichino. BETTOLI, Cajetanus. The name of this art- ist is afiixed to an etching representing the Death of St. Joseph, after Marc Antonio Franceschini. It is executed in a free, spirited style, and appears to be the production of a painter. BEVILAQUA. See Salimbene. BEUCKELAER, Joachim. This painter was born at Antwerp, in 1530. He was the nephew of Peter Aertsen, by whom he was instructed. His pictures, hke those of his uncle, represent the inte- riors of kitchens, with dead game, fish, fruit, &c. They were much admired, although M. Descamps states that he was so poorly paid for them, that he lived in poverty. [He painted market-places, fairs, 76 kermesses; and ornamented them with numerous figures. He died in 1570.] BEURS, William. This painter was born at Dort in 1656. He was a scholar of W. Drillenbm'g, and painted landscapes, portraits, and fiowers, with some reputation. BEUSEKOM, F. Van, a Dutch engraver, who flourished from about the year 1640 to 1650. He was principally employed by the booksellers in en- graving portraits. Among others, he engraved that of Ant. le Brun, after a picture painted hy A. V. Hulls. BBUTLER, James, a German engraver, who, according to Professor Christ, was a native of Ra- vensburg, and flourished about the year 1593. The prints he engraved are generally very small, on which account he is ranked among the artists dis- tinguished by the name of the Httle masters. He usually marked his prints with the initials of his name, I. B. As the mark was occasionally used by other German engravers, particularly James Binck and John Burgkmair, who lived about the same pe- riod, it requires great attention to distinguish their works. [BEWICK, Thomas, the eminent restorer of the art of engraving on wood, was born at Cherry Bum, in the county of Northumberland, in 1753. At the age of fourteen he was apprenticed to Ralph Beilby of Newcastle, a copper-plate engraver. He might have had a master of more eminence, but he could not have had one more anxious to encourage his talents, and to point out to him his pecuUar une of excel- lence. It happened that Charles Hutton, (afterwards the distinguished Dr. Hutton of Woolwich,) then a schoolmaster at Newcastle, was preparing his great work on mensuration, and applied to Beilby to en- grave on copper the figures for the work ; he judi- ciously advised that they should be cut on wood, that each figure might accompany the proposition it was intended to illustrate. The young apprentice was employed to execute many of these ; and the beauty and accuracy with which they were finished led his master strongly to advise him to devote his attention to the improvement of this long-lost art. At the expiration of his apprenticeship, he spent a short time in London and in Scotland, and on his return to Newcastle, entered into partnership with Beilby. About this time, Thomas Saint, a printer of Newcastle, projected an edition of Gay's Fables, and Bewick was engaged to furnish the cuts. One of these, the Old Hound, obtained the premium offered by the Society of Arts, for the best specimen of wood engraving, in the year 1775 ; but the work was not published until 1779. His success in this and an edition of Select Fables by the same printer, induced Bewick to project the " Histoi-y of Quadru- peds." This work, after several years of preparation and labour, was published in 1790. In the prepar- ation he was encouraged and patronized by Mar- maduke Tonstal of Wycliffe, whose museum of animals, both winged and quadruped, living and ■ dead, was very extensive. In the intervals of col- lecting materials for this work, Bewick was employ- ed engraving on copper the specimens of natural history in a small quarto volume, entitled "A Tour through Sweden, Lapland, &c., by Matthew Cou- sett, the companion of Sir G. H. Liddell ; " " The Whitley large Ox;" and the remarkable "Kyloe Ox," bred in Mull, which is a very curious speci- men of copper-plate engraving, combining the styles of wood and copper, particularly in the minute man- ner in which the verdure is executed. From the moment of the publication of the " History of Quad- beyl] PAINTERS AND ENGRAVERS. [bick rupeds," Thomas Bewick's fame was established. He subsequently, in conjunction with his brother John, supplied the wood cuts for the elegant edition of " Goldsmith's Traveller and Deserted Village," and for "Parnell's Hermit," both printed by Bulmer. These appeared in 1795, and were allowed to excel every thing of the kind that had before been pro- duced. In 1797 was published the first volume of •'British Birds," for which Beilby furnished the written descriptions ; the second volume, on "British Water Birds," devolved on Bewick alone, who was assisted in the literary corrections by the Rev. Henry Cotes, Vicar of Bedlington. These v?ere fol- lowed by numerous illustrations of pubUcations of the day, in which he availed himself of the talents of the several pupils whom he had instructed, and who have since so eminently distinguished thein- selves in the same line of engraving ; among these were Nesbitt, Harvey, ClenneU, Ransom, and Hole. Bewick was indefatigable; he was an early riser; fond of indulging in rustic and athletic sports, which are so prevalent in the north ; he was warm in his attachments, and had some humorous pecu- harities. He died, as he had lived, a truly honest man, at Gateshead, near the Windmill Hills, in 1828. His brother John, who assisted in some of the publications, was his junior by seven years ; he is said, by his biographer, to have been, in some re- spects, even superior to Thomas, but he died at the early age of 35, his last engravings being some of those in " Somerville's Chace," wmch issued from the press of Bulmer in 1795.] BEYLBROUCK, M., a Flemish engraver, who resided in England about the year I7I3. He en- graved a plate representing the Death of Dido, after Sebastian Bourdon, which was published in London by James Grame, and dedicated to the Duke of De- vonshire. It is neatly executed, but in a stiff, for- mal style, and without much effect. Prom the re- semblance the manner of Gerard Scotin the younger bears to that of Beylbrouck, Mr. Strutt thinks it probable that he received some instruction from him. BIANCHI, Baldassabe. This painter was bom at Bologna in 1614. He was first a scholar of Giovanni Padema, but afterwards studied under Agostino Metelli. He passed the greater part of his life in the employment of the dukes of Modena and Mantua, whose palaces he ornamented with a freat number of his paintings. Orlandi states, that e had a daughter, Lucrezia Bianchi, who also distinguished herself in the art. He died in 1679. BIANCHI, Cav"^ Is'idoro. This painter was a native of Milan, and flourished about the year 1626. He studied under Pier Francesco Mazzuc- chelli, called Morazzone, and was one of the ablest followers of his style. He excelled in fresco paint- ing, more than in oil, as is evident in his works in the church of S. Ambrogio at Milan, and in dif- ferent churches at Como. He was chosen by the Duke of Saxony to finish a grand saloon at Rivoh, which had been commenced by Morazzone; and was left unfinished at his death. He was alFterwards made painter to the court, and was knighted in 1631. BIANCHI, Pederigo. This painter was a Mi- lanese. He was a relation and a scholar of GiuUo Cesare ProcaccinL 'Padre Orlandi reports, that at the early age of seventeen he painted thi-ee works in fresco, in the cloister of the monastery of the Padre Zoccolanti, at Milan. Several other works by this master were in the chin'ches of that city. He was greatly patronized by the duke of Savoy, Who held his talents in high estimation, and hon- oured him with a gold chain and medal. BIANCHI, Francesco, called il Prari. Ac- cording to Vidriani, this painter was bom at Mo- dena in 1447. His works were much esteemed at his time, and are said by that author to have been gracefully designed, and painted with a fine irapasto of colour. He also gives him the credit of having been the instructor of Coreggio. He died in 1510. BIANCHI, Orazio, was born at Rome, and, according to Abate Titi, was a respectable paint- er of history. His best work was the Marriage of St. Joseph and the Virgin Mary, in the church of St. Gioseffb at Rome, BIANCHI, Paolo. This artist, who was chiefly employed in engraving portraits for the booksellers, flourished about the year 1670. His plates are neat- ly executed with the graver, but in a stiff, tasteless stylp. He engraved some of the portraits for Prio- rato's History of Leopold, among which are the fol- lowing : Cardinal Flavio Chigi, nephew of Alexander VII. Luigl de Beuevides Carillio. BIANCHI, PiETRO. This painter was bom at Rome in 1694, and was a scholar of Benedetto Luti. He had acquired considerable celebrity as a painter of history, when he died young. One of his most esteemed performances is a picture of the Concep- tion, in the church of S. Maria degli Angeli, at Rome. BIANCHI, Sebastiano, an Italian engraver, who flourished about the year 1580. He engraved some plates of devotional subjects, which are exe- cuted with the graver in a very indifferent style. Among others is a print representing the emblems of our Saviour's Sufferings, with Angels, &c. It is inscribed Sebastiano Bianchi, fee. BIANCUCCI, Paolo, was bom at Lucca, in 1583, and, according to Lanzi, was a distinguished scholar of Guido, whose graceful and delicate style he followed. His works bear a near resemblance to those of Sassoferrata. Of his best pictures may be noticed, a representation of Purgatory, in the church of the Suffi-agio, and an altar-piece of several saints in S. Francesco. He died in 1653. BIARD, or BIART, Peter. According to Flo- rent Le Comte, this artist was a sculptof. He re- sided at Paris about the year 1627, and is said to have engraved a set of twelve plates, but the sub- jects are not specified. He also engraved an emblem- atical subject, into which he has introduced many figures. It is etched in a bold, spirited style, some- what resembling that of Antonio Tempesta, and is inscribed Petrus Biard, fecit. 1627. BIBIENA. See Galli. BICCI, Lorenzo di. This old painter was born at Florence, in 1400, and, according to Vasari, was a disciple of Spinello. He painted several works in fresco, in the churches at Florence, of which the most esteemed were, the History of S. Francesco, the Assumption, in the church of S. Croce, and bthers in S. Maria del Piore. He died in 1460. BICHARD, , a French engraver, who flourished about the year 1760. He engraved some plates representing tombs and buildings, from the designs of G. M. Dumont. BICKHAM, George, senior, an English en- graver : he was chiefly employed in engraving plates of writing, in which he excelled. We have a few portraits by him, but indifferently executed. Among others the following : 77 bick] A DICTIONARY OP [binc George Shelly, a writing-master : after his own desicn. 1709. " John Clark, also a writing-master; G. Bickham, senior, scul. Robert More, another wiiting-master ; same. Sir Isaac Newton, with emblematical Ornaments; G. Bickham, senior, soul. 1752. Sold by John Bickham, engraver. BICKHAM, George, junior, the son of the preceding artisf. He was not more distinguished in the art than his father. He engraved the portraits of his father and himself in a kind of friese, repre- senting a view of Newmarket. BIE, Adrian de, a Flemish painter, born at Liere, near Antwerp, in 1594. He received his first instruction in the art from Wouter Abts, an obscure artist. At eighteen years of age he went to Paris, where he studied some time under Rodolph Schoof, a Fleming, who was painter to Louis XIII. He afterwards visited Rome, where he remained eight years. In 1623, he returned to Flanders, and was much employed for the churches and in painting portraits. His most esteemed work was a picture of St. Ely, in the coUegial church of St. Gommer at Liere. He was the father of ComeUus de Bie, who has celebrated the works of the painters of his country in Flemish verse, under the title of Set Guide Cabinet der Edele Schilderkonst. [It is sup- posed that he died in 1640.] BIE, James. See Bye. BIESELINGHEN, Christian John van, a Dutch portrait painter, born at Delft in 1558. Karel van Mander states, that this artist painted a Eortrait of the Prince of Orange from memory, after is assassination by Gerards. He died in 1600. BIBVRE, De. By this artist, who flourished about the year 1766, we have a few prints of por- traits, among which is that of Caroline Matilda, Queen of Denmark. BIGARI, ViTTORio. In the Pitture di Bologna, are mentioned several pictures by this master, in very favourable terms. He was a native of Bologna, and his works are to be met with in almost every pubUc edifice in that city. In the church of the Madonna del Soccorso, is an admired picture by him of the Virgin Mary and infant Jesus, with S. Pe- tronio and other saints. In the palazzo Aldovrandi, [Aldrovandi ?] he painted a gallery, in which he re- presented the principal transactions of that noble family. [BIGIO, Francia, or Fhangiabigio, a Floren- tine painter of architecture, landscapes, and animals. Writers differ much respecting the date of his birth; some place it as early as 1445, others in 1483. There is a nearer agreement in the date of his death, which is placed in 1524 or 1525.] BIGNON, Francis, a French engraver, who flourished about the year 1690. He was principally employed on portraits, which are generally executed with the graver, though he occasionally called in the assistance of the point. His style is neat, but there is a want of harmony in the eflfect of his prints. Some of his portraits are ornamented with borders, with small emblematical figures, &c. We have by him, Thirty-five Portraits of the Plenipotentiaries assembled at the Peace Of Munster. A set of Portraits of the illustrious Personages of France ; engraved in conjunction with Zachary Heince, after the pictures by S. Vowet, in the gallery of the Palais Royal. They are dated in 1690. BILIVERT, Giovanni. This painter was born at Florence in 1576, and was brought up in the 78 school of Lodovico Cardi, called Cigoli. He finished some of the works left imperfect at the death of his instructor, to whose style he endeavoured to unite the expression of S. di Tito, and something of the splendour of Paolo Veronese. There are several of his works in S. Gaetano and S. Marco, one of the most admired of which is the Elevation of the Cross, considered as his best performance. Another ad- mired work of this painter is the Chastity of Joseph, in the gallery at Florence. [Many cop.es of this celebrated work are to be found in Florence, and in foreign collections. Amateurs should be on their guard.] He died in 1644. [BILLONI, Giambatista, a painter of Padua, born in 1576, and died in 1636. He painted land- scapes and portraits, and sometimes attempted his- tory ; but his reputation is now confined to his por- traits.] BILLY, or BILLI, Niccolo and Antonio, two Italian engravers, who flourished about the year 1734. They engraved several plates of portraits and historical subjects, executed with the graver in rather a stiff, dry manner. Niccolo engraved some plates for the Museum Florentinum. Fredericus Kuccharus. Hans Holbein ; se ipse pinx. , Pietro Leone Gfhezzi j se ipse del. Giovanni Morandi ; se ipse del. The Cardinal Pompeo Aldrovandi ; G. Berti, pinx. N. Billy. The Cardinal Spinelli ; Dom. Dupra, pinx. N. Billy, 1734. The infant Jesus sleeping; oval; Nic. Billy, soul. Roma. St. Philip Neri kneeling before the Virgin; after S, Conca. The Holy Family ; after Caracci ; half-length figures. The Flight into Egypt; after Guido. BILTIUS, Francis. This artist was a native of the Netherlands, and flourished about the year 1650. He excelled in painting dead game, and other inan- imate objects, particularly fowling-pieces, pouches, powder-horns, nets, and other implements used by the sportsman. These subjects he represented on a white ground, as if they were attached to the wall, and they are designed and painted with such sur- prising truth and fidelity, as to become a perfect illusion. [He was hvingin 1671, as appears by that date and his name on a picture mentioned by Zani.] [BIMBI, Bartolommeo, a Florentine artist, bom in 1648, died about 1725, weis an excellent painter of fruit and flowers ; he was considered the Mario of his school.] BINCK, James, an old German engraver, born at Cologne about the year 1504. From the testi- mony of the German authors, it appears certain, that he was first a scholar of Albert Durer, which is also supported by the resemblance of some of his plates to the works of that master. He afterwards visited Rome, and, according to Sandrart, was a dis- ciple of Marc Antonio, and engraved some plates after the works of Raffaelle, under his direction. This artist holds a distinguished rank among the engravers denominated by the name of the little masters, on account of the small size of their prints. His style is very neat, sometimes resembhng the works of H. Aldegrever,but his plates evince greater facility in the execution. His drawing is more correct, and there is a more agreeable taste in the turn of his figures. There has existed considerable confusion respecting the marks of the artists of this period, particularly those whose name commences with a B. The works of this master are generally either marked with the letters I. B. or with the bine] PAINTERS AND ENGRAVERs! [BISC cipher ~[^Q- The style of his plates will also distinguish them. The following are his principal prints : The Portrait of James (or Jacob) Bink, with a Cap, a Skull in his Cloak, and a Cup in his right hand. The Portrait of Lucas GasseU ; /. S. 1529. Inscribed Ima^o ab Jacob Binck ad vimim delineata. Portrait of Francis I. ; Franciscus rex FranciiB. Portrait of a young Princess. 1626. Christiemiis II. Danorum Rex. 1525. Elisabeta, Danorum Begina. Bust of Martin Luther. Bust of Philip Melancthon ; inscribed Si Deus pro no- Ms, Sfc. St. Jerome, with the Lion. Marcus Curtius on Horseback, going to throw himself into the Gulf. The Triumph of Bacchus ; a frieze. 1528. Infant Bacchanalians, Children pressing Grapes; &iese. 1529. The Seven Planets, represented by figures. 1528. I. B. The Seven Virtues, of Faith, Hope, Charity, Justice, Patience, Fortitude, and Temperance ; marked I. B. An emblematical subject of Four Women forging a naming Heart on an Anvil ; marked 15 I. B. 29. An emblematical subject of Hope, Envy, Tribulation, and Forbearance ; 15 I. B. 29 ; the two last from the designs of B. PirkheiTtier, An armed Man at the Foot of a Tree. An emblem of History, represented by a Woman writing on a Tablet ; circular. A Lady and her Servant buying a Duck of a Peasant. A Peasant selling Vegetables to a Woman. Twenty, representing the Divinities ; copied after Caror liuSj who engraved these plates after It Rosso. THE FOLLOWING ARE MARKED WITH THE CIPHER BEFORE MENTIONED. Adam, holding the Branch of a Tree. Eve, with a Branch with Two Apples. Lot and his Daughters ; circular ; marked twice. David, with the Head of Goliah. 1526. Judith, ^vith the Head of Holofemcs. St. Michael vanquishing the Evil Spirit. The Virgin Mary and St. Joseph adoring the infant Jesus in the Manger. The Virgin Mary and Infant crowned by an Angel. 1526. The Massacre of the Innocents ; copied after mat'e An- tonio; very scarce. The Descent from the Cross; surrounded with other little subjects. St. John sleeping, with his Lamb. 1526. St. George and the Dragon. Mercury ; a circular. A Man lying near a Pedestal, and a Woman arranging Flower-pots. A Woman approaching a Man with surprise, seated near a Pedestal, on which is a Child and some Vases ; after Raffaelle, engraved under the direction of Marc An- tonio. A Woman beating and driving away the Devil with her Crutch. 1528. An old Man embracing a Girl. 1525. A Soldier and a young Woman. A Peasant carrying a Basket of Eggs. A Peasant and Woman dancing. A Child leading a Blind M!an. A vignette, four Cupids mounted on Dolphins. A Vase, ornamented with the Heads of two Unicorns. BINET, a French engraver, who flourished about the year 1760. He engraved several plates, representing landscapes and views; after Fernet, and other masters. BINNEMAN, Walter. This artist is supposed to have been a native of England, and flourished about the year 1675. He engraved a few portraits, which are very indiflerently executed ; among which is that of Robert Chamberlaine, an arithmetician, prefixed to his Accompiant's Guide. BIORD, Peter. The name of this artist is afiixed to an etching representing Cupid and Psyche. It is executed in a bold, spirited style, and is ap- parently the production of a painter. BIRCK, Paul. Mr. Strutt mentions this artist as the engi'aver of four plates, exclusive of a title, representing the Four Elements, in circles, sur- rounded with ornaments, which appear to be pat- terns for goldsmiths. They are executed with the g'aver in a style resembUng that of J. T. de Bry. n the title is the following inscription : Quatuor Mundi Elementa, Elegantibusjisuris seu Imaginibus ArMficiosa expressa. Paulus Birck, f. BIRCKAERT, or BIRCKART, Anthony, a German engraver, who resided at Prague about the year 1680. He engraved some large plates of archi- tecture, with figures, which are executed with the graver in a stiff, formal style, and are inscribed Birehart, sculp. Prog. Basan mentions a print by him representing the Martyrdom of forty Portu- guese Jesuits ; (rfter Borgognone. BIRCKENHULT, Paul. This artist was a na- tive of Germany, and flourished about the year 1670. He was a printseUer as well as an engraver, and pubhshed a set of small plates, representing waxlike trophies, with figures, &c. They are ex- ecuted chiefly with the graver, in a neat, but formal style. The title to these plates is Omnia generis In- strumenta Bellica, and is signed Paulus Birchenhult, sculp, et excudit. [BIRD, William, an English painter, bom at Wolverhampton in 1772, served an apprenticeship to a maker of tea-trays, and was employed to em- bellish them with fruit, flowers, and fanciful designs. At the expiration of his term of service he left Birmingham, and set up a school for drawing at Bristol. By teaching others he improved himself in the knowledge of the art. During the intervals of instruction he made sketches, designs, and com- positions for pictures ; and it would appear that his progress was due to his own observation and perse- vering industry ; so far he was his own master. He painted humorous and pathetic subjects, which at- tracted much of public attention, and induced the members of the Royal Academy to enrol his name as an academician. His best pictures, as historical compositions, are the results of the battle of Chevy Chace, which he treated in a manner truly con- sonant with the old ballad fi-om which the subject is taken, and the surrender of Calais. His chief merit, as an artist, lay in natural and touching re- presentations of homely and social things ; history, either sacred or profane, required a spirit more imaginative than he possessed. He had seen the living nature which exhibits the former, but it was necessary that he should conceive the nature which belongs to the latter ; in that rare quality he was de- ficient. He was a kind-hearted man, much respected by his brother artists and all who knew him. He died in I8I9, and was buried in the cloisters of Bristol cathedi-al.] [BIRKHART, Antoine, an engraver, bom at Augsbourg in 1677, died at Prague in 1748. Dlabacz has given a numerous catalogue of his works.] BISCAINO, Bartolomeo, was the son of Gio. Andrea Biscaino, bom at Genoa in 1632. He was instructed by his father in the first rudiments of the art, and wa^ afterwards a scholar of Valerio Cas- teUi. -From the early indications he gave of un- common genius, great expectations were formed of his future eminence, and they were not disappointed. Before he had reached his twenty-fifth year, he had painted many considerable works, when his career was •unfortunately stopped, by the dreadful visita- BISC] A DICTIONARY OP [biss tion of the pla^e, with which Genoa was afflicted, in 1657, to which his father and himself both fell victims. In the Gallery at Dresden there are three pictures by this artist. He etched several plates, in a free, bold style, resembling in some degree the works of Benedetto Castiglione, but in a more finished manner. His subjects are finely composed and elegantly drawn. He marked his plates some- times B. B. The following are his most esteemed prints : Moses in the Bulrushes. Susanna and the Elders. The Nativity, with Angels. The Circumcision. The Wise Men's Offering. Herodias, with the Head of St. John. The Virgin Mai-y and infant Jesus, with Angels. The Virgin suckling the infant Jesus, with St. Joseph. The Virgin suckling the Infant, with St. Joseph, and St. John with his Lamh. The Virgin adoimg the infant Jesus. The Virgin with the infant Jesus on her Knee, St. John kissing his Foot, and St. Joseph behind. The Vir^n, with the infant Jesus standing on her Knee, stretching out his Arm to St. Joseph; half-length figures. The Holy Family, with St. John holding a Cross. The Kepose in Egypt, with Angels in the Clouds. The infant Jesus reposing on the Globe. St. Joseph, with the infant Jesus ; half-length. St. Christopher giving his Hand to the infant Jesus. St. Christopher, with the infant Jesus. Mary Magdalene in the Desert ; dated 1656. A Bacchanalian subject. BISCAINO, Giovanni Andrea. This painter was a native of Genoa. He painted landscape in a bold and spirited style, but, according to Soprani, the necessity he was under to paint with despatch, to support a numerous family, prevented his be- stowing that care and attention which would, under more prosperous circumstances, have rendered them more deserving of our esteem. He died of the plague in 1657. BISCHOP, Cornelius, a Dutch painter, bom at Dort in 1630. He was a scholar of Ferdinand Bol. He painted history and portraits, in the style of his master, but with very indifierent success. He died in 1674. BISCHOP, Abraham, son of CorneUus, was emi- nent as a painter of birds. BISCHOP, John de, a designer and engraver, born at the Hague in 1646. He was brought up to the law, and, according to Houbraken, practised in the courts in Holland. His favourite amusement was drawing, and his perfoi-mances excited the admiration of the artists themselves. He excelled in copying the pictures of the most es- teemed masters, m small coloured drawings, very well drawn and highly finished. As an engraver, he is more deserving notice, and he has left a great number of plates, principally etched, and har- monized with the graver, in a free and pleasing manner. There is great reUef and rienness of efiect in his prints. His most important work was a set of prints for a book, entitled, Paradigmata grapMces variorum artiphicum, tahulis teneis. Pars 1 et 11. Sagce. \&I\,fol. The first edition, publish- ed by the artist, contains one hundred and two plates. The second, published by Nic. Visscher, the same year, contains one hundred and thirteen plates. This engraver, with a whimsical affectation, latinized his name, and assumed that of Episcopus for Bischop, on which account he marked his plates with a cipher, composed of the letters J. E. M . 80 Besides the above work, there are other prints by him, among which are : Christ and the Samaritan Woman; after An. Caracci. Joseph distributing Corn to the Egyptians; after B. Breemherg. The Martyrdom of St. Lawrence ; after the same. He died at Amsterdam, in 1686, aged 40. BISET, Charles Emanuel, a Tlemish painter, born at Antwerp in 1633. It is not said by whom he was instructed, but he went to Paris when he was young, and met with great encouragement. His pictures were adapted to the taste of thit nation, representing gallant assemblies, balls, concerts, and what are called conversations. Notwithstanding his success in that metropolis, the love of his na- tive country brought him back to Antwerp, where he was appointed director of the Academy, in 1674. He designed his subjects with taste, and his pencil is neat and flowing, although his colour is rather cold and grey. His most considerable work is a large pic- ture in the hall of the Society of Archers, at Ant- werp, representing William Tell compelled to shoot the Apple from his Son's Head. BISI, FRA BoNAVENTURA, was a monk of the order of St. Francis, at Bologna. He had been instructed in drawing when young, by Lucio Mas- sari, and was celebrated for his copies in miniature from the works of Coreggio, Titian, Guido, &c., many of which were in the cabinet of the duke of Modena. He also etched a few plates after Parme- giano, Guido, &c., and one after his own design of a Holy Family, with St. John and St. Elizabeth, marked F. B. B. F. 1631. He died in 1662. [BISI, Michael, a celebrated Milanese engraver, whose works do honour to the schools of Bartolozzi, Rosaspina, and Longhi. He first distinguished himself by the publication of the " Pinacoteca del Palazzo Reale, della Scienze delle Arti, &c." In 1819. he undertook a series of engravings from the paint- ings of Andrea Appiani, in which he was assisted by some of the best scholars of Longhi. His en- graving of Venus embracing Cupid, happily ex- presses the beauties of the original picture. Sub- sequently appeared, the Virgin and infant Christ enthroned, attended by Saint Anthony and Saint Barbara, after Luini, which he has treated in a bril- liant and deUcate manner, preserving the beauty and grace peculiar to the master ; Andromeda and Perseus, after Guercino ; an Adoration of the Vir- gin, after Sasso Ferrato; and the offering of the Magi, after Gaudenzio di Ferrara. He also suc- ceeded as a painter of landscapes. It is not ascer- tained whether he is still living, but his merit enti- tles him to notice in this Dictionary.] [BISQUERT, Antonio, a Spanish historical painter, bom at Valentia, was a scholar of Ribalta. He established himself at Teruel in 1620, as a painter of reputation. He was a good colourist and designer, and infused much sentiment in his pictures, which are chiefly subjects from Romish legends. He also copied Sebastien del Piombo's dead Christ in the arms of the Virgin, attended by the Marys and St. John. He died in 1646.] BISSOLO, Pier Francesco. This painter was a native of Venice, and wels brought up in the school of the Bellini. He flourished about the year 1520. Some of his works at Murano, and in the cathe- dral of Trevigi, are compared by Lanzi with those of the elder Palma. BISSONI, Giovanni Batista. This painter was born at Padua in 1576. According to Ridolfi, he was first a scholar of Francesco Appolodoro, bize] PAINTERS AND ENGRAVERS. [blan called il Porcia, an eminent portrait painter, and after\yards studied under Dario Vai'otari. He pailit- ed several pictures for the churches and convents at Padua and Ravenna. He died in 1636. BIZEMONT, Andre de. This artist was a na- tive of Prance, and flourished about the year 1780. He etched several plates, representing landscapes and views, which are executed in a neat, pleasing style. BIZZELLI, Giovanni, a Florentine painter, bom in 1556. He was a scholar of Alessandro Al- lori, called Bronzino. He afterwards went to Rome, where he studied and painted some pictures for the churches. On his return to Plorence, he executed several works for the pubhc edifices, which are de- scribed by Borghini in his account of the painters and sculptors of Florence. He died in 1612. BLACEO, Bernardino. Ridolfi describes se- veral works of this painter in the churches at Udine, in the Prioul. He appears to have flourished about the year 1550. The principal altar-piece of the church of S. Lucia at tJdine is by this master, re- presenting the Virgin Mary and infant Saviour, with a group of Angels, and St. Lucia and St. Agatha. In Porta Nuova, the Virgin and infant Christ, with St. Peter and St. John. BLACKMORE, John, an Enghsh mezzotinto engraver, who is said to have been bom in London about the year 1740. We have some weU-scraped plates by him, chiefly portraits, after Sir Joshua Rey- nolds, among which are the following : Samuel Foote ; after Sir Joshua Reynolds. 1771. W. H. Bunbury, caricaturist ; after the same ; J. Black- more, fee. Henry Bunbury ; after the same. Innocence ; Blaokmore,fec. 1770. Ryland ^ Bryer exc. BLAGRAVE, John, an eminent mathematician, who flourished at the end of the sixteenth, and in the beginning of the seventeenth century. Among his other works, he published, in 1582, The Mathe- matical Jewel, illustrated with wooden cuts, exe- cuted by himself, in a neat style. On the frontis- piece is inscribed, " By John Blagrave, of Reading, gentleman, and well-wilier to the mathematics, who hath cut all the prints or pictures of the whole, with his own hands." Where he has not put his name at length, it is thus abbreviated, J. Blag, sculp. [BLAIN, Jean Baptiste, a French artist, bom at Caen in 1654, was a scholar of Monnoyer, better known as Baptieste. He painted flowers and fruit in the manner of his master. He had a delicate pencil and a good eye for colour ; he painted insects with great exactness, and finished all his pictures carefudly. He died in 1715. There is a disparity respecting his birth, some place it in 1654, others in 1645. It may be a typographical error. [BLAKE, B., a painter of still life, birds, fish, and other objects of that kind. His works, when carefully painted, are very pleasing, but his circum- stances^ and, it is with regref added, his mode of hving,. ojiliged him to hurry his pictures, and too frequency to repeat them. As they were to a cer- tain degree popular in his day, the dealers held him in thrall to their rapacity, and even injured his repu- tation by employing others to copy his works. He was also compelled by necessity to make copies of the works of Dutch painters for these patrons, in which he was sometimes so successful as to enable his employers to cheat their customers, retaining to themselves the profits, and leaving the disgrace to the artist when detected. Little of his history is known. He died-about the year 1830.] BLAKE, C. J. This ingenious young lady etched a portrait of her uncle. Sir Francis Blake Delaval. It is dated 1775. [BLAKE, William, an English artist of singu- larly eccentric genius, whftse flights of imagination sometimes astonish by their sublimity, and at others excite pity or contempt by their extrava- gance or absurdity, was born in London in 1757. His propensity to drawing induced his father, a hosier, to place him as an apprentice with Basire the engraver. While his hand was employed on the mechanical part of his duty, his mind was busy in the regions of fancy, and his wild imaginings came forth sometimes clothed in the language of poetry, sometimes in the combinations of forms that seemed to belong to another state of existence, but all bearing the impress of genius of the highest order. It may be lamented that his genius was not restrained by judgment ; but had that been the case, the world would have lost those wonderful exhi- bitions in his illustrations of "Young's' Night Thoughts," "Blair's Grave," "The Book of Job," and other works even more astounding in their con- ceptions. Such productions were incomprehensible by the many ; and even Plaxman and FuseU, while they admired the power that produced them, were compelled to withhold their approbation. It can hardly be said whether he be entitled to praise or blame for continuing his course, notwithstanding the neglect of his woms, and the consequent poverty it entailed. He had his enjoyments in the world of visions, and perhaps of a higher kind than wealth would have conferred. His application was con- tinuous, his labom- great, and he looked to futurity for his reward. His published works are now suf- ficiently known to render description or criticism unnecessary. He died in 1828.] BLANCHARD, James, an eminent French painter, born at Paris in 1600. He was first in- structed in the art by Nicholas Botteri, his maternal uncle ; and when he was 24 years of age, he went to Italy, and passed two years at Rome. He re- turned by way of Venice, when he was so struck with the beautiful colouring of the great Venetian masters, that he was induced to remain two years in that city. On his return to Paris, his works were greatly admired, and he was certainly the first that established a true and natural style of colouring, in which the artists of his country were very deficient. His chief works at Paris are the two pictures he painted for the church of our Lady, one represent- ing St Andrew kneeling before the Cross, the other the Descent of the Holy Ghost, and the Galleiy in the Hotel de BoulUon, where he painted thirteen large pictures of subjects from Ovid. He died at Paris in 1638. Blanchard etched some plates from his own de- signs and others, among which are the following : The Holy Family ; witbout his name ; Chez Huart. Another" Holy Family, with St. Catherine and St. John ; Chez dartres. The Birth of the Virgin ; Blanchard, pinx. ; Huart, exc. St. Agnes adoring the infant Jesus in the arms of the Virgin Mary; after Lodovico Caracci; without the name of the engraver. [BLANCHEBI, Vittoke, a scholar of Beau- mont, in the latter period of the Venetian school. He flourished from 1736 to 1775. , He spent the greater part of his artistic hfe in the service of the king of^ Sardinia, and was employed in painting large pictures in the palaces and for the churches.] BLANCHET, Thomas, a French painter, born 81 blan] A DICTIONARY OF [bles to Paris in 1617. His genius at first directed him to sculpture, but after studying that art for some time under Sarrazin, he was advised to abandon it, on account of the deMcacy of his constitution, and to apply himself to painting. He visited Rome, where he became acquainted vrith Nicholas Pous- sin, and the famous architect Algardi, who en- couraged him in his studies, and assisted him with their advice. He had also the advantage of study- ing under Andrea Sacchi, by whose instruction he was greatly benefited. Encouraged by the com- mendations of these great masters, he applied him- self with increased assiduity. After passing some years in Italy, he returned to Paris, where his talents were already known. After painting his pictures for the church of our Lady, representing the Vision of St. Philip, and the Baptism of the Eunuch, he was engaged in some considerable works for the town-house at Lyons, which he executed in a man- ner that established his reputation as one of the ablest historical painters of his country. He was soon afterwards made a Royal Academician, in 1676, and on that occasion painted for his picture of reception, Cadmus killing the Dragon. He died at Lyons in 1689. BLANCUS, Christopher, an engraver, sup- posed to be a native of Germany, who flourished about the year 1600. He engraved a few plates in the manner of John MuUer, but with not much success. We have by him, A Holy Family, accompanied by Angels ; half-length ; after Spranger. 1595. The Portrait of Michael Angelo Bnonarotti; Christo- phorm Blarums faciebat. 1612. BLANCUS, or BIANCHI, John Paul. Ac-' cording to M. Heineken, this artist flourished about the year 1682. We have some etchings by him, which are executed in a heavy, indiflerent style. Among others, are an emblematical print, after C. Stores, inscribed, lo. Paul, Blancus incid., and Christ praying in the Garden, vnthout the name of the painter, dated 1682. BLANKHOP, John Teunisz, a Dutch painter of sea-pieces, born at Alkmaer, in 1628. He learned the first rudiments of the art from Arnold Tierling, a painter of no reputation, and became afterwards a scholar of Ceesar van Everdingen. On leaving that master, he went to Italy, and passed some time at Rome, where the Flemish Society of Painters conferred on him the name of Maat, or comrade. He excelled in painting marines and sea-ports. His best pictures represent storms on the coast of the Mediterranean, in which he combined the truth and nature of the Dutch school with the grand scenery of Italy. He died in 1670. BLANSERI, ViTTORio. This painter was bom at Venice, about the year 1735, and^was educated in the school of the Cav" Beaumont. He is considered his ablest scholar, and succeeded him in the service of the court of Turin, in which city are his princi- pal works. Three of his pictures are in the church of S. Pelagio, one of which is particularly admired, representing S. Luigi fainting, supported by an angel. He died in 1775. BLEAVIT, . This artist is mentioned by Mr. Strutt as an engraver of portraits. Among others, he engraved that of Rene des Cartes, the philosopher. BLECK, or BLEECK, Peter van, a Flemish engraver, who came to England about the year 1730. He is supposed to have been the son of Richard Bleek, a painter of portraits. He engraved several 82 plates in mezzotinto, which, without any superior ex- cellency, are clearly scraped, and have considerable merit. He sometimes marked his plates ^y^. We have by him, Richard van Bleeck, painter; ae ipse, pinx. P. van Bleeck, junior, fee. 1735. Rembrandt van Rhyn ; se ipse, pinx. Van Bleeck. 1727 ; ■with the cipher. Francis du Quesnoy, called Fiammingo, Squlptor, A. Vanch/ek, pinx. P. V. B. I. f. 1751. Nell Gwyn ; after Leh/. Mrs. Clive, in the Character of Phillida ; P. van Bleeck, fee. 1735. Mrs. Gibber, in the Character of CordeUa ; the same. Griffin and Johnson, in the Characters of Tribulation and Ananias ; the same. The Virgin Mary and Infant ; after A. -Vanderwerf. BLECKER, J. G., a Dutch designer- and en- graver, bom, according to M. Huber, at Haerlem, about the year 1600. He etched several plates, both from his own designs and after other masters, executed in a slight and spirited style, of which the following are the principal : SUBJECTS FROM HIS OWN DESIGNS. A Landscape, with Jacob and Rachael ; J. G. Blecker,fec. A Landscape, with Rebecca and the servant of Abraham ; the same. A Feasant, and a Woman riding in a Waggon ; the same. A similar subject. A Landscape, with a Carriage at the Door of an Inn : J. G. BUckerJec. 1643. A Landscape, with a Woman milking a Cow, and a Peasant. 1643. A Landscape, with Cattle. A Landscape, with a Woman on Horseback. A Landscape, with Figures on Horseback. A Landscape, with a Shepherd watching his Flock. SUBJECTS FROM CORNELIUS POLEMBURG. Jacob and Laban dividing their Flocks ; J. G. Bleclcer, aq.fort. 1638. The Lystrians wishing to sacrifice to Paul and Barnabas ; same mark. 1638. The Crucifixion ; C. P. pinx. I. C. B. The three last are engraved in the style of Rem- brandt. [BLEKERS, BLEEKER, or ' BLECKERS, Jan Gaspar, was a native of Plaerlem, bom in 1608, (according to Balkema and Zani,) painted history and landscape ; and is mentioned wim com- mendation in Hoet's Catalogue. • The date of his death is not accurately ascertained. It is probable that this is the same artist mentioned in the pre- ceding article, as Zani says he was hving in 1643.] BLEKERS, N— — — , a Dutch painter, bom at Haerlem about 1635. He painted history, and was patronized by the Prince of Orange, for whom he painted one of his best pictures, representing the Triumph of Venus. Vondel, a poet of his country, has celebrated the works of this painter. [He died at Haerlem in 1682.] BLES, Henry de, an old Flemish painter of landscapes, bora at Bovines in 1480. He imitated the style of Joachim Patenier, and painted in the stiff and dry manner of his time. He generally introduced into his landscapes scriptural subjects, with a number of figures neatly drawn. Instead of marking his works with his name, he usually paint- ed an owl in one of the comers. He died in 1550. [This artist is generally called Herri de Bles, or Henrijck met de Bles ; by the Italians he was nick- named " Civetta," because of his mark, an owl. His pictures are very curious, and much esteemed ; they are rare in commerce.] BLESSENDORF, Samuel, a Pmssian enamel BLES] PAINTERS AND ENGRAVERS. [bloe painter and engraver, bom at Berlin in 1670. He designed and engraved several portraits for Puffen- dorfs History of Sweden. He worked chiefly with the graver, and his plates are very neatly finished. Among others we have by him, Charles XI. King of Sweden. Charles XII. Frederick Kodolphus Louis, Baron of Canitz. Samuel Baron de Puffendorf. Frederick III., Elector of Brandenbourg. 1696. Frederick William, Prince Electoral. Frederick "William ; Adam de Clerc, pinx. The Portraits of John Frederick of Brandenbourg, MargraTe of Anspach, and the Margravine, in a Gar- den ; after Gasp. Netscher. 1682 ; very fine. BLESSENDORF, Constantine Frederick, the brother of the preceding artist, born at Berlin in 1675. He was a miniature painter and engraver. He worked chiefly for the booksellers. We have by him, A Frontispiece for Julian! Opera ; S. Blessendorf, inv. C. F. Blessendorf , fee. Frontispiece for Beyeri Thesaurus Antiquitatum ; C. F. Blessendorf; fee. Portrait of Frederick William, Elector of Brandenbourg. 1688. BLEYSWICK, P. Van, a German engraver, who flourished from the year 1725 tiU 1746. He en- graved many portraits for the publications of his time, which are highly finished, but without much taste. Among others, he executed part of the plates for the collection entitled Portraits Histo- rigiies des hommes iilustres de Danemark, dated 1746. He also engraved some small landscapes, in which the point and the graver are handled with great delicacy. [BLIEK, Daniel de, or Van Blicke, was a good painter of interiors and exteriors of churches, and other public buildings : he lived in 1656. His man- ner of^painting resembles that of Van Vliet.] [BLINKVLIET, M. The exact time of this painter's birth is unknown ; but he imitated Berg- hem so successfully that his works have been ascribed to that master : probably they wpre con- temporaries.] BLOCK, Daniel, a painter of portraits, bom at Stettin, in Pomerania, in 1580. He was a scholar of Jacob Soberer, a portrait painter of reputation, under whom he soon became a proficient, and ulti- mately surpassed his instructor. lie was employed at the courts of Denmark and Sweden, and passed many years in the service of the Prince of Mecklen- burg. He gained a large fortune by the exertion of very reputable talents, of which he was deprived by plunder. He died in 1661. BLOCK, Benjamin. This artist was the son of Daniel Block, bom at Lubeck in 1631. He was insti-ucted in the art by his father, and proved a re- putable painter of history and portraits. The Prince of Mecklenburg, in whose service his father passed great part of his life, took him under his protection, and sent him to Italy for improvement. He visited Rome, Naples, and Venice, and met with employ- ment as a portrait painter in each of those cities. On his return from Italy, he was invited to the court of Saxony, where he painted the Electoral fa/- mily, and the principal courtiers. His historical works were altar-pieces for the churches in difierent parts of Germany. BLOCK, Jacob Roger, a Dutch painter, bom at Gouda in 1580. He went to Italy when he was very young, and applied himself particularly to the study of architecture and perspective. He made designs of the fine remains of antiquity in the envi- G 2 rons of Rome ; and, on his return to Holland, paint- ed some pictures composed from those subjects, which were highly esteemed. Houbraken reports, that Rubens, in a journey he made through Hol- land, visited this artist, and on seeing his works, pronounced him the ablest painter of his country in the subjects he represented. He also excelled in military architecture, and was taken into the service of the Archduke Leopold, whom he accompanied in some of his campaigns, and was killed by a fall from his horse, [in 1632.] BLOCKLANDT, Anthony de Montfort, a Dutch painter, born at Montfort in 1532. He was one of the ablest disciples of the celebrated school of Francis Ploris, and painted history in the style of his master. He was much employed for the churches in Holland. Van Mander mentions three pictures, by this painter, in the great church at Utrecht, representing the Birth of the Virgin Mary, the Annunciation, and the Assumption, which were greatly admired in his time. At Gouda he paint- ed the Decollation of St. John, and at Dort several pictures of the' Passion of our Saviour. Some of his works have been engraved by Hubert Goltzius and others. His style of design and composition partakes more of the Italian taste than that of his country. He died at Utrecht in 1583. BLOEM, A. This artist was a native of Ger- many, and resided at Vienna about the year 1674. He was chiefly employed by the booksellers. He engraved the portraits, views, plans, battles, &c. for a book entitled Istoria di LeopoMo Cesare, published at Vienna in 1674. The plates are etched, and finished with the graver. BLOEMAEBT, Abraham, a Dutch painter and engraver, bom at Gorcum, according to Houbraken, in 1564; Sandrart says in 1567. The established accuracy of the former has a claim to our belief. He was the son of an architect, who placed him un- der the tuition of Joseph de Beer, but he seems to have profited most by studying and copying the works of Francis Floris. He painted history and landscapes ; his colouring is excellent, but his draw- ing is very defective, and frequently negligent. One of his best works was a picture ■painted for the Emperor Rodolphus, representing Niobe and her Children destroyed by the Arrows of Apollo and Diana, and the Feast of the Gods, painted for the Count de la Lippe. He painted several pictures for the churches in Flanders. In the church of the Jesuits at Brussels, is a picture by Bloemaert, re- presenting the Wise Men's Ofiering; in the ca- thedral at Mechlin, the Virgin Mary and infant Saviour, with a Glory of Angels; and at Lehendael, the Nativity. As an engraver, he has a claim to considerable attention. We have by him a number of plates etched in a free, bold, and masterly man- ner, some of which are in imitation of pen-drawings. But his most esteemed prints are those executed in chiaro-scuro, the outlines of which, contrary to the usual process, are not cut on the blocks of wood, but are etched on copper. These are very spirited, and produce a good eflfect. His prints are sometimes signed with his name at full length, but more fre- quently marked Ab. Bl. p., or A. Bl., or thus, A. Bloem. The following are his principal prints : etchings by a. bloemaert. St. John, with a Lamb. The Magdalene, penitent. St. Peter, penitent. - ~ rta " 1593. The Holy Family ; J. Starterus, exc. Juno. Four Landscapes, -with Figures and Animals. 83 bloe] A DICTIONARY OF [bloe PRINTS IK CHIARO-SCURO. Moses and Aaron. The Virgin and infant Jesus. The Holy Family. Two Busts, the Virgin Maiy and St. Joseph. St. Simon, with the Instrument of his Martyrdom. The Magdalene, with a Crucifix. St. Jerome reading ; A. Bio. Another St. Jerome ; after Pa/rmegianp ; marked F. P. A naked Infant ; after Titian. A Woman with a Veil ; after Parmegiano. Abraham Bloemart died at Utrecht in 1647, aged 80. BLOEMAERT, Henry, was the eldest son of the preceding artist. He painted portraits, but never rose above mediocrity. •BLOEMAERT, Adrian. This artist was the second son of Abraham Bloemaert, and received his first instruction from his father. He was sent to Italy, where he studied some time. He after- wards visited Vienna, where he met with employ- ment, and ultimately settled at Saltzburg, and was killed in a duel. He painted history and portraits with some reputation. M. ' Heineken attributes to this artist several plates of portraits, although they are without his name. BLOEMAERT, Frederick, was the third son of Abraham Bloemaert, born at Utrecht about the year 1600, and distinguished himself as an engraver. He learned the art from his father, and was chiefly occupied in engraving after his designs. We have a number of etchings by him, as well as prints in chiaro-scm-o. His principal work was a drawing- book, containing one hundred and seventy-three" plates, engraved from the designs of his father. He also executed a few plates entirely with the graver. His prints are sometimes signed A. Bloem. inv. F. B. fiUus feci^, and sometimes F. B. The following are principally after his father's designs : Twelve of the Archbishops and Bishops of Utrecht ; two of which are by Corn. Bloemart. Thomas a Kempis. St. Francis in a Hemiitage. The Body of Leander on the Sea-shore. A set of sixteen figures of Men and Women ; marked F. B.fec. A set of thirty — Of Beggars ; on the title is inscribed Nu- diis inops mutilus, F. B. fee. The Five Senses. The Four Seasons. Twenty Landscapes ; F. B.filius, fecit et exc. A Landscape, with a Pigeon-house. Fourteen of Animals and Birds ; entitled Verscheyde Besten and Vogelen. Foul- of Cock-fighting ; De Hamabyters. BLOEMAERT, Cornelius. This very eminent engraver was the youngest son of Abraham Bloe- maert, born at Utrecht in 1603. He was instructed by his father in the first principles of design, and from a natural inclination for engraving, he devoted himself entirely to that art. His first master was Crispin de Passe, and it was not long before he sur- passed his instructor. In 1630, he went to Paris, where he distinguished himself by some plates he engraved for the Temple of the Muses. From Paris he went to Rome, where he fixed his residence, and where he lived the greater part of his life. This es- teemed artist signalized himself, not only by the lieauty of his graver, but by a talent, unknown be- fore him, of effecting an insensible degradation from his lights to his shadows, and introducing a delicate variety of. tints, in the difierent distances in his subject. Previous to his time, there was a great inat- tention to harmony, by leaving the lights indiscrim- inately clear, by which the effect was rendered spot- 84 ty and incongruous. By this essential improvement he has established his claim to originahty, and may be said to have given birth to that admirable style which Was afterwards ■ so successfully followed by the great engravers of the French school, Audi-an, Baudet, Picart, and Poilly. His works are univer- sally admired ; they are numerous, and several of them are become very scarce. Some of his prints are marked C. Bl. and others. Corn. Bio., or C. Bio. SUBJECTS FROM HIS OWN DESIGNS. Frauciscus Bouisignus, secretary to Prince Leopold: C. Bl. John Baptist Toretti Florentine ; Roma. P. Grebber: P. Harlem consec ; C. Bio., sc. J. Doens : Scot. Theol. Jacques Farerau ; after Diepenbeck ; oval. Moses in the Bulrushes. The Virgin Mary, and the infant Jesus caressing her. A Thesis, with three of the Popes in Niches. A Frontispiece, where St. Ignatius is presented with a Map. SUBJECTS AFTER ABRAHAM BLOEMAERT. Bartholomem Aribertus, liber Bairo MalgraU. Athanasius ICircher, Jesuit. Cardinal Francesco Peretti di Montalto. TheTombofD. Nomi. The Virgin Mary, with the infant Jesus sleeping. The infant Jesus, with a Glory. The Assumption of the Virgin ; fine composition. St. Jerome in the Desert. The Four Doctors of the Church disputing on the Sacra- ment. St. Francis kneeling before the infant Christ. Christ carrying his Cross, and St. Ignatius ; very iine. Avarice, an old Woman counting Money by Candlelight. Liberah^, a young Woman giving Drink to a Child. An old Woman warming her hands with a Stove. A half-length figure playing the Komel-pot, called the Mustard Grinder. Four, called Travellers reposing. Two Landscapes, in one a Woman with a Basket, sitting under a Tree, and in the other, a Woman sitting ; fine and scarce. Thirteen, the Twelve Months of the Year, and the Zo- diac. A Cat, with a Rat under her Paws ; fine. There are many copies of this plate. The great Owl, with a Pair of Spectacles and a Book. SUBJECTS AFTER ITALIAN MASTERS, ETC. The Virgin with the Infant seated on a^hrone, with St. Roch and St. Sebastian ; after Baroccio. The Holy Family ; after Pa/rmegiano. The Virgin Mary adoring the infant Jesus sleeping; after Guido. The Virgin and infant Christ ; after Titian. The Annunciation ; after Lanfranco ; inscribed Spiritus sanctus, Sjc. The Resurrection ; after Paolo Veronese. The Holy Family, with St. Joseph with Spectacles; after Caracci. The Crucifixion ; after the same. St. Margaret ; after the same. St. Luke painting the Virgin and Infant; after Raffaelle. The Adoration of the Shepherds ; after the same. St. John in the Wilderness ; Videns Joannes, ^c. ; after Ciro Ferri. Christ at Table with his Disciples ; after the same. The Resurrection ; after the same. St. Paul preaching at Athens ; after the same. The Holy Family, mth St. Francis kneeling ; after the same. * St. Anthony of Padua kneeling before the infant Jesus ; after the same. St. Peter raising Tabitha from the dead; after Guercino; extremely fine. The most capital plate of this master. The Nativity ; after P. da Cortona. The Virgin and infant Jesus, with St. Martha holding the Palm of Mar^dom ; after the same. The Genius of Poetry distributing Wreaths ; a circular plate. He is supposed to have died' at Rome in 1680, aged 77. bloe] PAINTERS AND ENGRkVERS. [BLON BLOEMEN, John Francis van, called Ori- ZONTI. This eminent painter was bom at Antwerp in 1656. The pictures of this artist bear no re- semblance to the taste of. his country, which may be accounted for, by his having visited Italy when he was very yoimg, where he passed the remainder of his Ufe. The name of Orizonti was given him by the Society of Flemings at Rome, on account of the beauty and delicacy with which he painted the distances in his landscapes. His works are well known in this country, and are justly esteemed. Inferior to Gaspar Poussin, he may still be ranked among the able painters of landscape. He made choice of the most interesting views in the vi- cinity of Rome and TivoU, which he represented with great truth and even grandeur. In his forms, as well as in his touch, he appears to have imitated the fine style of Gaspar Poussin, and in some of his best pictures (for he is very unequal) he has ap- proached the' picturesque beauty of that admirable painter. There is scarcely a palace at Rome that is not ornamented with some of his works. His best pictures are in the pontifical palace at Monte Ca- vallo, and in the Colonna, Doria, and RospigHosi palaces. He etched five plates of views near Rome, executed in a bold and masterly style. He died in 1740. BLOEMEN, Peter van, called Standard. This artist was the brother of John Francis van Bloemen, and was a native of Antwerp. Following the example of his brother, he went to Italy for im- ■ provement. The name of Standard was given him by his countrymen at Rome, from his painting sometimes attacks of cavalry. After passing some . years in Italy, he returned to Flanders with the studies he had made from the objects worthy notice in the neighbom-hood of Rome. The pictures of this master represent battles, the march of cara- vans, horse-fairs, &c., ingeniously composed, with a number of -figures, horses, and animals, extremely well drawn, and painted with uncommon freedom and spirit. He decorated his landscapes with the ruins of architecture and statues, from the studies he had made in Italy, and his figures are designed in a superior style to the usual taste of his coimtry. He was made director of the Academy at Antwerp in 1699. [He was born in 1649, and died in 1719.] BLOEMEN, Norbert van. This painter was the younger brother of the two prececfing artists. He painted conversation and portraits, but did not arrive at any great eminence in the art. BLOIS, Abraham de, a Dutch engraver, who flourished from the year 1690 till 1720. He worked chiefly for the booksellers, by whom he was much employed. Among, other plates, he engraved the portrait of Anthony de Leuwenhoek, the celebrated physician, prefixed to his works, published in 1695, which is executed in a neat but formal style. ' He also executed part of the plates for a work entitled Figures de la Bible, from the designs of Picart and others, pubhshed at Amsterdam, 1720. BLOIS, De, a mezzotinto engraver, who resided some time in England. We have some portraits by him, among which is that of Eleanor Gwynn. BLOND, Michael le, a German engraver, bom at Frankfort about the year 1580. He chiefly re- sided at Amsterdam, and appears to have been principally employed in ornaments for the gold- smiths. In 1626, he pubhshed a set of ornaments, foliage, fruit, and flowers, engraved with great neat- ness. His prints, which are all veiy small, are exe- cuted entirely with the graver in the finished manner of Theodore de Bry. He sometimes marked his plates with a cipher composed of an M and a B, thus, ]^ .' We have the following by him : St. Jerome, seated at a Desk writing, with an ornamental ■border ; a small circular plate, about the size of a sliil- ling ; dated 1610. Figures da^cing, in a smaU cyal, with an ornamental border; signed M. Blondus, 1612. The Representation of a Maniage ; M. Blondus, 1615. Two ornaments for goldsmiths ; inscribed Wilhelm van Weelichkeit. A very small plate of ornaments with three Goblets. Six plates numbered, of Arabesque ornaments for Knife- handles ; Michael Blondus, fecit ; very highly finished. BLOND, or BLON, James Christopher le. This artist was born at Frankfort in 1670, and was sent early to Italy, where he is said to haVe been a scholar of Carlo Maratti. At the solicita- tion of Bonaventura van Overbeek, he accompanied him to Amsterdam, where he was employed for some time in painting portraits in miniature, which were much esteemed. He quitted Holland, and came to England, where he set on foot a project for printing mezzotinto plates in colour, so as to imitate the pictures from which they were engraved. He executed some large plates in this way, and disposed of the prints by a kind of lottery. In 1730, he published a volume explanatory of the process, entitled II Colorito, or the Harmony of Colouring in ' Painting, reduced to mechanical Practice, under easy Precepts and infallible Rules. The book was printed in EngUsh and French. He soon afterwards pro- jected a plan for copying the cartoons of RaffeeUe in tapestry, and he made some fine drawings from the originals for that purpose ; houses were bought, and gi-eat expense incurred, but the scheme failed of success, and Le Blon left England, and went to France in 1737. He was not more successful in that country, and is said to have died in an hospital at Paris in 1741, aged 71. The following are the principal prints he published, which, independent of the novelty of the manner, certainly possess con- siderable merit : PORTRAITS. George II. of England. The Queen. Louis XV. of France. Prince Eugene of Savoy. Cai'dinal de Fleury. The Children of Charles I. Peter Paul Rubens. Anthony Vandyck. VARIOUS SUBJECTS. St. Agnes ; after Dor/ienichino. St, Cecilia ; after the same. The Repose in Egypt ; after Titian, Venus ; after the same. The Triumph of Galatea ; after C. Maratti, Cupid maMng his Bow ; after Correggio or Parmegiano. The Chastity of Joseph ; after C. Ctgnafii. Christ on the Mount. The Entombing of Chi'ist ; after Titian. Mary Magdalene. St. Mary of Egypt. St. John embracing the infant Jesus ; after Vandyck. BLONDEAU, James, a French engravei, born at Langres, about the year 1639. He engraved several plates at Rome after the Itahan painters, and some plates after Pietro da Cortona, from the pictures by that master in the Pitti palace at Flo- rence. He seems to have imitated the style of Cor- nehus Bloemaert, without however in any way equalling that fine engraver. He also engraved some poi-traits, without putting his name on the plates. We have by him the following : blon] A DICTIONARY OF [bloo PORTEAITS. Cardinal Francesco Lorenzo Brancati. 1681. Cardinal Fortuna Caraffa. 1686. Cardinal Maximilien Gandolfl. 1686. Cai'diual Opitius PaUavinci. General En^e, Count of Capraxa. Ren6 d'Est, Duke of Modena. Jolin George III., Elector of Saxony. .Tohn Sobiesld, King of Poland. Cardinal Bichi ; after Bowrgignone ; oval. SUBJECTS AFTEU VARIOUS MASTERS. The Martyrdom of St. Lawrence ; after P. da Cortona. Eight allegorical subjects, from the pictures by P. da Cortona, in the Pitti palace ; small plates. The Pulpit of St. Peter ; after Bernini. The Magdalene, half length ; after Calandrucci. The Circumcision ; after C. Ferri. The Crucifixion ; after the same. St. Augustine appearing to St. Theresa ; after the sttme, BLONDEL, John Francis. This artist was a native of France, and resided at Paris about the year 1740. He published a description of the festi- vals given by the city of Paris in 1740, on the mar- riage of Madame Louise Elizabeth of France, with Don Phihp, Infant of Spain. The plates, repre- senting the temporary buildings, fireworks, &c., are chiefly engraved by himself. He also etched the plates for some large volumes of Architecture, pub- lished by himself [BLONDEEL, Lansloot, bom at Bruges in 1500, died in 1559, painted architectural ruins and conflagrations. His works are marked with a trowel, in addition to the initials of his name, in allusion to his original pccupation as a mason.] BLOOT, Peter. This painter was a native of Holland, and flourished about the year 1650. He painted drolls, di-unken frolics, and the quarrels of the peasantry. So far from attempting, like Teniers, Brower, and Ostade, to reconcile us to the vulgarity of his subjects, by the ingenuity of his compositions, the spirit and delicacy of his pencil, and the beauty of his colouring ; he has rendered them doubly dis- gusting, by the most gross and offensive absurdities ; and his characters are outrageously uncomely, gro- tesque, and extravagant. He died in 1667. [The censure is here carried too far ; his works are rare and much esteemed in Holland.] BLOOTELING, or BLOTELING, Abraham, a very eminent Dutch designer and engraver, born at Amsterdam in 1634. From the style of his etchings it is not unlikely that he was brought up under the Visschers. On the inroad of the French into Holland in 1672, he came to England, where he met with encouragement, but did not reside here longer than two or three years. This laborious artist produced a great number of etchings, some plates executed with the graver, and several in mezzotinto. In 1685, he published the collection of gems of Leonardo Augostini, etched by himself He sometimes signed his plates with his name at length, and sometimes marked them with a cipher, composed of A and B, thus j4j . The works of this engraver are sufficiently interesting to excuse our giving a more than usually detailed Est of them : etchings and plates with the graver, portraits. Sir Thomas More, Chancellor of England. Thomas Sydenham, Bishop of "Worcester; after Mrs. John Wilkins, Bishop of Chester ; after the same. Edward Stillingfleet, Canon of St. Paul's. Edward, Earl of Sandwich ; after Lely. Edward, Earl of Montague ; after the same. James, Duke of Monmouth ; after the same. 86 Anthony, Earl of Shaftesbury ;_ after GreenMU. One of the scarcest prints of this ai'tist. Henry, Duke of Norfolk. 1678. Jane, Duchess of Norfolk. 1681. Prince Rupert ; after Lely. 1673. Jerome de Bevemingh ; after Vaillant. ■William van Haren ; after the same. 1680. The Marquis de MirabeUe ; after Vandyck. Constanter Hugenius ; after Netseher. John Henry Thim ; A. ^tech, jrinx. Ferdinand de Furstenberg, Bishop of Paderbom; A. Bloteling, sc. 1669. Egbert Meesz Kortenaer, Admiral of Holland ; Bart. Vanderhelst, pinx. Augustus Stellingwerf, Admiral of Friesland. Cornelius de "Witt, Vice Admiral of Holland. Tierok Hides de Fries, Admiral of Friesland. Aert van Nes, Admiral of Holland ; L. de Joughe, pinx. Michael Adriaensz Ruyter, Admiral; Bloteling, fee. aqua forti. Cornelius Tromp, Admiral of Holland ; after Lely. Cornelius Speeunann, Vice Admiral. VARIOUS subjects AFTER HIS DESIGNS AND OTHER MASTERS. Two Heads of Children ; after Rubens ; rare; some im- pressions have the name of Rubens. The Study of the Head of a Man; after Rubens; A. Bloteling, fee. et exe.; rare. Four Studies of Lions ; after Rubens ; inscribed Varies Leonmn leones, a P. P. Eighteen circular plates of subjects of sacred history, with flowers ; A. Bloteling, fee. Twelve Views of Gardens ; inscribed .i4fc««e Vedute, ^c. Six "Views of the Environs of Amsterdam ; Jac. Buys- dael, inv. ; A. Bloteling, fee. 1670. Two Huntings of the Boar and Stag; fine. Acteon devoured by his Dogs ; G. Flink, pinx. A Shepherd playing on his Pipe, with a Shepherdess ; after the same. A Landscape, with Diana bathing ; J. van Neek, pinx. ; A Bloteling, exe. A Landscape, with Alpheus and Arethusa ; the same. The Golden Age ; G. Lairesse, pinx. ; N. Visscher, exe. The Marriage of St. Catherine ; after RaffaelJe. PRINTS IN MEZZOTINTO. PORTRAITS. Desiderus Erasmus ; H. Holbein, pinx. 1671. Justus Lipsius ; A. Bloteling, fee. Michael Angelo Buonarotti ; A. Bloteling, fee. Francis Mieris, painted by himself; A. Bloteling, fee. Henry Bennet, Earl of Arlington ; after Lely ; oval. Charles, Earl of Derby ; after the same. Abraham Symmonds, an artist ; after the same. Queen Catherine ; after the same. John de "Wit, Grand Pensionary of Holland ; after de Baan. Cornelius de "Wit, the brother of John ; after de Baan. Constantino Hughens ; B. Valliant, pinx. John de Cronefeld ; after the same. The Ernperor Leopold I. ; C. Morad, pinx. Henry Casimir, Prince of Nassau ; M. van Mmscher, pinx. Titus Gates; Th. Hawker,pinx. William Henry, Prince of Orange ; after Lely. 1678. Eleanor Gwyn ; P. Lely, pinx. Maria Beatrice, Princess of Modena, Duchess of York; the same painter. Cornelius Tromp, Admiral of Holland; sam^ painter. Staverinus, an old Jew, holding a Medal; Com. Bega, pinx. Michael Adrieuze de Ruyter, Admiral of Holland; J. Lievens, pinx. Porti-ait of a Venetian Lady ; Titiamo, inv. VARIOUS SUBJECTS FROM HIS OWN DESIGNS, AND OTHER MASTERS. Bust of a Man ; circular. Bust of ayoung Man crowned with Laurels ; circular. Bust of Hyppouta ; oval. Two Heads, with Phrygian and Grecian Head-dresses ; one plate. The Satyr, and a Peasant; oval. Vanitas, a Child blowing Bubbles. Abundance, a figure sitting. The Head of a Vestal, crowned with Roses. blot] PAINTERS AND ENGRAVERS. [bocc Small Bust of Jupiter ; circular. Small Bust of Venus ; same. Half length, of a Boy holding a Cat. Cupid and Psyche. The Five Senses ; after C. Bega. The Four Ages ; circular ; after the same. A Blind Man playing on the Flute. A Man holding a Gla.sB ; Rostrate, pinx. St. Peter penitent ; after P. Moreels. Andromeda. Hercules destroying the Monster ; £f . Lairsesse, pinx. The Temptation of St. Anthony; Cam. Procaccini, pinx. A Landscape, with mythological figures ; F. de Neve, pinx. BLOT, Maukice, a modern French engraver, bom at Paris in 1754. He was a pupil of Aug. St. Aubin. He has engraved some plates of portraits and fancy subjects in a neat style. We have by him: Giovanni Angclo Braschi, Pope Pius VI., a frontispiece for the Life of that pontiff. 1799. Guillaume de Gery, Canon of St. Genevieve ; M. Blot, fecit. Tne Dauphin and Madame Koyal, the Children of Louis XVI. ; after Madame Le Brun. 1786. , The Promise of Marriage, and Companion ; after Fra- gonard. A Boy blowing Bubbles ; after F. Mieris. L'Occupation du Menage, et Companion ; after Avbry. [The Judgment of Paris ; after Vander Werf. Meditation; after Guide. Vanity, and the Companion ; after L. da Vinci. La Vierge aux Candelabres ; after Raphael. Mars and Venus ; after N. Poussin. . Marcus Sextus ; after Guerin.\ He died at Paris in 1818. [BLYHOOFT, I., a Dutch painter, of whom but little is known ; it is supposed that he Uved between 1625 and 1700. Two pictures by him are noticed in the Catalogues of Hoet and Terwesten, and, in regard to their merit, compared to those of Netscher. For this reason he is noticed here, as many pictm'es are ascribed to Netscher that resemble his manner, but are not by him.] BLYTH, Robert, a modem English engraver, by whom we have some spirited etchings from the fine drawings by J. Mortimer. The following are his best plates : Three, of Studies ; in the style of Sal. Rosa and Lairesse. Four, of the same, with inscriptions. Bust of an Oriental Chief. 1779 ; oval. Bust of an old Man ; oval. Banditti going on an Expedition. 1780. Banditti returning from an Expedition. 1780. The Captive. 1781. The Life and Death of a Soldier ; four plates. Fishermen. A Nymph, with a Basket of Flowers, sitting on the Sea- shore, with a Shepherd. Caius Marius reflecting on the Kuins of Carthage. Nebuchadnezzar recovering his reason ; companion. Homer reciting his Verses to the Grecians. [BOBA, Geobge, a painter and engraver. Van Mander names him among the disciples of Francis Floris. His name in full, or included in a mono- gram very small, is found on some landscapes with historical subjects, after Primaticcio ; Bartsch gives an account of six.] [BOBADILLA, Geronimo, bom at Antequerra, was a scholar of Zurbaran, at Seville. He was a good colourist, but an indifferent designer ; he per- fectly understood perspective, and employed it suc- cessfiilly in arranging in his compositions the small figures on which he chiefly employed his talents. He used a pecuhar varnish on his pictm-es, which MmiUo compared to crystal He was a great col- lector of academic figures, drawings, models, and sketches after celebrated artists. He was one of the founders of the Academy at Seville in 1660, and continued to support it until his death in 1680.] BOCANEGRA, Don Pedro Atanasio, a Spanish painter, born at Granada, m 1638. He was a scholar of Alonso Cano, but, according to Palomino, improved himself in colouring by study- ing the works of Pedro de Moya and Vandyck. In the cloister of Nuestra Senora de Gracia, at Gra- nada, is a picture by him of the Conception, and at the College of the Jesuits is one of his most esteemed works, representing the Conversion of St. Paul. He died at Granada in 1688. [He was vain and arrogant, and boasted his superiority to all the artists of his time; but on being challenged to a contest of ability by Mathias de Torres, he slunk from the trial, and left Madrid. His works were, however, much coveted, and no collection was con- sidered complete without a specimen.] BOCCACCINO, Boccaccio, was bom af Cre- mona in 1460, and is said by Pascoli, in his Vife de Pittore Perugini, to have been a scholar of Pietro Vannucci, called P. Perugino. Lanzi observes of this painter, that he was the best modern among the ancients, and the best ancient among the moderns. He has the credit of having been one of the in- structors of Benvenuto Garofalo. Vasari asserts that he studied some time at Rome ; and in this he is supported by the authority of Cavaliere Antonio Campi, in Le Cronache di Cremona. Some of his works bear a strong resemblance to those of Peragi- no, particularly his Marriage of the Virgin and la Madonna, with S. Vincenzio and S. Antonio, in the church of S. Vincenzio at Cremona, which have been fi-equently regarded as the productions of Van- nucci. One of his most admired performances is a frieze in the dome at Cremona, where he has repre- sented the Birth of the Virgin, and some subjects ft'om her hfe. In these Lanzi considers him inferior to Perugino in composition, less beautiful in the airs of his heads, and less vigorous in Ught and shadow, but richer in his drapery, more varied in colour, more spirited in his attitudes, and perhaps not less harmonious and pleasing in his architec- ture and landscape. He died in 1518. [It is not certain that he died in I5I8, as there are works by him of that date.] BOCCACCINO, Camillo, was the son of the preceding artist, bom at Cremona in 1511, and was brought up under his father. Educated in the Gothic maxims of Boccaccio, and only permitted the career of a very short life, he however formed to himself a style which was both pleasing and grand; and he was considered as the greatest genius of the Cremonese school. In' 1537; he painted in the niches of the cupola of S. Sigismondo the Pour Evangelists, so much in the style of Coreggio, that it appears almost incredible, that a young man of twenty-six years of age, who had never frequented the school of that painter, could approach so near to the great gusto of Coreggio, both in the intelli- gence of perspective, and in foreshortening. Two other works of this painter, at Cremona, are justly admired; the Raising of Lazarus, and the Adulteress before Christ, surrounded by friezes of a nunferous group of Angels, finely composed, and designed in the greatest style. This promising artist died in the prime of hfe, in 1546. [If the elder Boccaccino died in 1518, Camillo could not have received much instruction from him.] ' 87 BOCO] A DICTIONARY OF [bode BOCCACCINO, Francesco. This painter was bom at Cremona, about the year 1080. He studied at Rome, first under Brandi, and afterwards in the school of Carlo Maratti, under whom he acquired a pleasing mamier of composing and painting easel pictures of historical subjects, which- were well esteemed in private collections, and of which he painted more than of larger works for the churches. He sometimes imitated the style of Albano, and, like that painter, he was fond of treating mythologi- cal subjects. He died in 1750. BOCCHI, Faustino. According to Orlandi, this painter was bom at Brescia, in 1659. He was a scholar of AngeloEverardi, called il Fiamminghino. He chiefly excelled in painting battles and skirm- ishes of cavalry, which he composed vidth gi-eat in- genuity, and touched with a spirited pencil. His figm-es, though on a small scale, are correctly drawn, and his landscapes are very pleasing. He died in BOQCIARDO, Clemente, called Clementone. This painter was bom at Genoa, in 1620. He was a scholar of Bernardo Strozzi, and, according to So- prani, was called Clementone, from the prodigious size of his person. He accompanied Benedetto Castiglione to Rome, where he studied some time, and afterwards visited Florence, where he met with encouragement, and painted his portrait for the Florentine Gallery. His principal works are at Pisa,^of which Lanzi distinguishes his Martyrdom of St. Sebastian, in the church of the Carthusians. More ingenious in his compositions, and more cor- rect in his design, than Strozzi, he is inferior to him in the truth and purity of his tints. He died in 1658. BOCCIARDO, Domenico, was born at Fi- nale, near Genoa, about the year 1686, and was a disciple and a follower of the style of Gio. Maria Morandi. Without the possession of much inven- tion, he was a correct designer, and an agreeable colourist. In the church of S. Paolo at Genoa, is a picture by this painter of St. John baptizing several figures. BOCHOLT, Francis van, an old German en- gi'aver, who lived soon after the time of Martin Schoen, and Israel van Mecheln. He is said to have been a shepherd at Mons, in Hainault ; but it is more probable he was a native of Bocholt, a small town in the bishopric of Munster, where the latter of the above-mentioned artists resided. His prints are chiefly copies after the plates of Schoen and van Mecheln, although he engraved some few plates from his own designs. They are all executed in a laboured, stiflF style, and are generally marked F. V. B. The following are by him : copies prom martin schoen. St. Anthony carried into the Air by Demons. St. James reading. St. Michael and the Dragon. COPIES FROM ISRAEL VAN MECHELN The Judgment of Solomon. The Annunciation. The Virgin and Child ; in an arch. SUBJECTS FROM HIS OWN DESIGNS. A Friar struggling with a Girl, who defends herself with herJDistafi. Samson strangling the Lion. Two Men quarremng. St. George and the Dragon, with Francis van Bocholt ; in Tery old characters. 88 [InBartsch there are thirty-eight pieces mentioned ; and a few have been since discovered.] BOCKHORST, John van, called Langen Jan. This eminent painter was born at Munster in 1610. He was of a reputable family, which settled at Ant- werp when he was young, and he became a scholar of Jacob Jordaens. Under that able instructor, he became a very distinguished painter of histoiy. There are many of his pictures in the churches in Flanders, which are deservedly ranked among the best productions of the Flemish school. He seems to have taken the works of Vandyck as his model, and some of his best pictures are so much in the style of that admired painter, that they may easily be mistaken for his works. In the church of the Beguines at Antwerp, is a fine picture by Langen Jan, representing the Resurrection, painted entirely in the manner of Vandyck, and not unworthy of that great artist. There is another very fine picture by this master, at the principal altar in the church of St. James, at Ghendt, representing the Martyr- dom of that saint. He also excelled as a portrait painter, many of which are only inferior to mose of Vandyck. BOCKLIN, J. C, an obscure German engi-aver, who executed a set of British portraits for a German edition of the History of England. They are poorly engraved, and the whole are copied from the prints by White. BOOKMAN, G., a mezzotinto engraver, who, if not a native of England, resided here about the year 1745. He appears to have been also a painter, as he engraved a plate of St. Dunstan, which is signed vdth his name, with the addition of pinx. el sculp. 1743. We have several portraits by Mm, among which are the following : William Augustus, Duke of Cumberland, uncle to the King; after Vanloo. Another Portrait of the same, with his hat on ; ad vivum. 1746. Maiy, fourth daughter of George II., consort of Frederick II., of HesseCassel; after J. Worsdale. Philip Yorke, Earl of Hardwicke ; after M. Dahl. Thomas Chubb, the Deist. BOCQUET, Nicholas, a French engraver, men- tioned by Basan. He lived about the year 1601. There are two indifferent prints by him : Adam and Eve ; after Raffaelle. St. Bruno kneeling before a Crucifix; after Bon de Boulogne. BODART, Peter. This artist was a native of Holland, and resided at Leyden about the year 1723. His prints are little known in England. His prin- cipal work is a drawing-book, entitled Les Prinei- paux fondements du Dessein, published at Leyden in 1723. It consists of a great number of plates of heads, hands, feet, figures, and groups, from the de- signs of Gerard Hoet. They are chiefly etched, in an indifferent style. BODECKER, John Francis, a portrait painter, born at Cleves, in 1660. He was a scholar of John de Baan, and met with great encouragement in his profession at Amsterdam and the Hague. There is a poorly scraped mezzotinto by this artist of a Boy and a Girl, half figures, with flowers, after his master, J. de Baan. [BODENEHR, Maurice, engraver to the court at Dresden, was bom at Pribourg in 1665, died at Dresden in 1749. He engraved a suite of thirty-two mythological and poetical pieces after Samuel Bots- child, which were published with his name in 1693. bode] PAINTERS AND ENGRAVERS. [bois His father, John George, was an eminent engraver, born in 1631, and died in 1704; and his brothers, Gabriel and George Conrad, followed the same pro- fession. Their sons seem to have continued it, for their names are found to a late period, but with no particular distinction.] BODERECHT, Mark, a German engraver in mezzotinto, who flourished about the year 1739. He was chiefly employed in portraits, and among others engraved that of John Thomas Rauner, with the above date. BODEWYNS,N. See Bout. BOECE, C. F. See Boethjs. BOEHM. SeeBEHAM. [BOEHMER, Charles "William, a painter and engraver of Saxony. He was brother-m-law and scholar of Dietricy. There is a series of landscapes and marine subjects engraved by him, with the dates 1744 and 1754, published in 8" and 12"° with his name, or monogram. The series is rare.] [BOEKEL, VAN, a pupil of Francis Snyders, painted living and dead animals in the manner of his master. He died in 1673.] [BOEKHORST, or BOCKHORST, Jan van, born at Deutekom in 1661, was a scholar of G. Kneller. He passed some time with that artist in London, and painted portraits in his manner. He also painted battle-pieces and some historical com- positions, which are rare. He returned to his own country, where he died in 1724.] BOEL, Cornelius, a Flemish engraver, born at Antwerp about the year 1580. He worked chiefly with the graver, in the style of the Sadelers, in whose school it is probable he was instructed. His plates are executed in a clear neat style, and possess considerable merit. He engraved a set of oval plates for the Fables of theOtfio Vaenius, published at Antwerp in 1608. His most considerable works were eight large plates of the battles of Charles V, and Francis I., after Anto. Tempesta. He was pro- bably in England, as appears from one of his plates, the Frontispiece to a Bible, pubhshed by the royal authority in 1611, very neatly engraved, which is signed C. Boel, fecit, in Richmont, 1611. We have also by him, a Portrait of Henry, Prince of Wales, an oval plate, with an ornamental border; and another plate, of the Last Judgment, Cornelius Boel, fedt, without the name of the painter. BOEL, Peter, an excellent painter of animals, bii'ds, flowers, and fruit. He was bom at Antwerp in 1625, and was a scholar of Francis Snyders. De- sirous of improvement, he went to Italy, where his works were much admired, both at Rome and at Genoa. On his return to Flanders, he met with great encouragement. Four of his best pictm'cs are at Antwerp, representing the Four Elements. His touch is free and spirited, and his colouring natural. We have some very spirited etchings by Boel of various animals, and a set of six plates of birds of prey, with landscapes, entitled Diverd Uccelli a Pe- tro Boel. BOEL, QuERiN, or Cortn, was related to the preceding artist, bom at Antwerp about the year 1622. He engraved several of the plates for the book called Teniers's Gallery, after the pictm-es in the collection of the Archduke Leopold. We have also some etchings by. him, principally after the pictures of the elder Teniers, representing Pea- sants rerahng and merry-makings. BOETIUS, or BOECE, Christian Frede- rick, a German engraver, bom at Leipsic in 1706. He was a pupil of C. A. Wartman, and resided chiefly, at Dresden, where he was made professor of the Electoral Academy in 1764. He engraved se- veral of the plates for the collection of pictures at Dresden, published in two folio volumes in 1753 and 1757, entitled Be^ueil d'Bstamps d'apres les plus celebres Tableaux de la Oallerie de Dresde. He also engraved several portraits, and various other sub- jects. The following are among his best prints : The Portrait of Boetius ; in imitation of a chalk draw- ing. 1771. Portrait of Charles Hutin ; the same. Portrait of KaffaeUe Mengs ; 'the same. Portrait of J. Cassanova ; the same. A Landscape, with a Cow and a Sheep; after C. du Jardyn. A Landscape, with a Monument ; after Breemberg. The Interior of an Inn ; after T. Wylp- Sportsmen at the Door of an Inn ; after Wowermans, A Woman holding a Pot with Coals, and a Boy blowing ; eifter Rvbens. A Swiss Family kneeling before the Virgin and infant Jesus ; after Holbein ; fine. BOETTGER, John Gotlieb, a modem German engraver, bom at' Dresden in 1766. He was a pupil of J. G. Schulz, and has engraved several plates for the booksellers and others, among which we have : Portrait of F. "W. B. de Ramdohr ; after Graaf. Ganimede; after Vogel. A Vestal ; after the same. Calliope ; after Angelica Kaufmann. BOETTO, GiovENAL. According to Delia VaUe, this artist was a Piedmontese, and flourished at Turin, from the year 1642 till 1682. He distin- guished himself as a fresco painter, and was princi- pally employed in embellishing the palaces and public edifices at Tmin with ^legorical subjects, which were ingeniously composed, and designed with taste and elegance. Among his most admired works are twelve frescoes, in the Casa GarbalU, re- presenting subjects emblematical of the Arts and Sciences. Lanzi affirms that he excelled as an en- graver, but his prints are not specified. [BOEYERMANS, Theodore, a pupil of Van- dyck, painted history and portraits. He was a na- tive of Antwerp : his works are correctly designed and agreeably colom-ed, and show a good knowledge of chiaro-scuro.] BOGDANB, James, a painter of fowls, flowers, and fruit, of some reputation, in the reign of Queen Anne, by whom he was employed ; and there are yet some of his pictures in the royal collection. [He was an Hungarian by birth, and died in 1720.] [BOILLY, Louis-Leopold, a painter of multi- farious subjects, was bom at Bassee in 1761. He painted nearly 500 portraits ;-he represented mili- tary, domestic, and comic scenes ; interiors of ate- liers, merchants' shops, banditti, popular amuse- ments, and whatever was suitable to Parisian taste. He engraved also, and produced about 100 pieces. It is said that he had no master.] BOIS, Elias du. This artist was a native of France, and was chiefly employed in engraving por- traits. Among others, he engraved that of the Duke de Sully, which bears the date 1614. BOIS, Martin du, a French engraver, who re- sided at Paris about the year 1691. He executed some of the plates for the collection of prints fi-om the works of the Italian painters, published by C. Paten, in the year above mentioned. He also en- graved frontispieces for books, after Dorigny and others. BOIS, Peter du, was probably a relation of 89 BOIS] A DICTIONARY OF [bol the artist mentioned in the preceding article. Ac- cording to Florent Le Comte, he engraved se- veral plates, representing funeral processions, monu- ments, &c. [BOISSARD, Robert, an engraver, born at Valence about 1590. He worked in the manner of Theodore de Bry. He used the same mark as Rene Boivin, but their works should not be confounded.] BOISSART, Robert, a French engraver, who flourished about the year 1600. Accorifing to Flo- rent Le Comte, he engraved several portraits, but they are not specified. He is said to have resided some time in England. BOISSEVIN, L., was a printseller, and is sup- posed to have engraved the following plates : Charles I. Oliver Cromwell. Franc. Barberini, Cardinal ; dated 1623. BOISSIERE, Simon de la, a French engineer, who also distinguished himself as an engraver. He engraved several plates from his own designs, and after Sebastian Le Clerc. We have by him : The Death of a Prince, surrounded by his Court. Forty-one plates of Antique Medals ; in the collection of the King of France. A View of the Palais Royal ; in two sheets. Several plates for the work entitled Traiti des Edifices Antiques de Rome; by A. Desgodets, published at Paris in 1682. BOISSIEU, Jean Jacques de, a French painter, but more celebrated engi'aver, was born in 1736, and died in 1810. He painted some pictures of similar •subjects to those by Ostade, and also some portraits ; but he is principally known by the charming etch- ings he has left us of landscapes and other sub- jects, both from his own designs and after other masters. His point is remarkably pleasing and picturesque, yet spirited and masterly. The num- ber of his plates is about sixty, which, are generally marked D. B., with the date. The following are his best prints : An Old Man, with a Boy reading; in the manner of Rembrandt. A Cooper working in a Cellar ; t?ie same. An Italian Landscape, with Women washing. A Landscape, with Shepherds, by the water-side ; after Berghem. A Landscape, with a Boy driving an Ox ; after Ruysdael. A Forest, with a Cottage, and a Man on Horseback, with Peasants. Another Forest scene ; the companion. A Landscape, with figures and animals, in the middle a Hill, on which is a Cross, and an old Man kneeling. A View near Tivoli, with a Man and a Woman mounted on a Mule, driving Cattle through a Kivulet. The Quack Doctor ; after C. du Jardyn. A Landscape, with figures in a Boat, and a Mill ; after The great Mill, a charming landscape ; after tlie same. A mountainous Landscape, with a Waterfall ; after A grand Landscape, with a Hermit, at the entrance of a Cavern. 1797. A pleasing Landscape, with large figures, and two Cows standing in the Water. The four last mentioned are his most capital plates. BOIT, , an eminent painter in enamel, who resided in England in the reign of Queen Anne. He was a native of Stockholm, though of French parentage, and was bred to the profession of a jew- eller, which he intended to follow in this country. He changed his pursuit for that of enamel painting, which he practised with the greatest success. After passing some years in London he went to Paris, where ne was countenanced by the regent, and was 90 much admired in a country where they had seen no enameller since Petitot. He died at Paris in 1726. BOITARD, L , a French engraver, who chiefly lived in England, and flourished about the year 1760. He engraved in a neat slight style, without much taste, and not very correctly drawn. His best prints are those he engraved for Spence's Polymetis, and the Rotunda at Ranelagh, after Pa- nini. He also engraved some portraits, among which is that of Brown, the soldier who distinguish- ed himself at the battle of Dettingen, and one of Ehzabeth Canning. He died in London. BOIVIN, RenbT, a French engraver, bom at Angers about the year 1530. He engraved several plates in the style of Cornelius Cort, executed with the graver; but we have also some etchings by him. His plates are neatly engraved, but his draw- ing is by no means correct ; some of them are from his own designs, and several after ■// Rosso, called by the French Maitre Roux. He sometimes signed his plates with his baptismal name, Renatus, fecit, and sometimes with a cipher composed of an R and B, thus, ^Q^, The following are his principal plates : Twelve of Philosophers and ancient Poets. Portrait of Clement Marot ; dated 1556. The same Portrait ; without date. Portrait of John Sebastian Psanserus. Portrait of George Vicelius, Theologian. Susanna and the Elders. The departure of Hagar and Ishmael from the House of Abraham ; a spirited etching. Banditti robbing the Cart of a Peasant ; etching. The Plates for a work entitled Livre de la Conque-ste de la Toisan d'or, par le Prince Jason de Tessalie. An emblematical subject of the Triumph of Virtue; Rous Florent, inv. ; Renatus, fecit. Francis I. advancing towards the Temple of Immortality, leaving behind him Ignorance and the Vices; Rous Florent, inv. Dom. Zenoi venetus, exc. BOIZOT, Marie Louise Adelaide, a French female en^aver, born at Paris in 1748. She was instructed in the art by J. J. Flipart, and engraved with great neatness several plates of portraits, and other subjects, among which we have the following: John Joseph William Brut6, Doctor of Sarbonne ; M. L. A. Boizot, del. etfec. The Emperor Joseph II. Louis XVI., King of France. Marie Antoinette, Queen of France. Louis Stanislaus, Count of Provence. Marie Josephine Louisa, Countess of Provence. Charles Philip, Count of Artois. Marie Elizabeth, sister of the King. St. Catherine ; after L. Caracci. The Dutch Breakfast ; after G. Metzu. A Boy with a Birdcage ; after Netscher. A young Turk; after the same. A Girl reading ; after Greuze. BOJAN, J. L., a French engraver, who flourished about the year 1670. He was chiefly employed by John Berain, in engraving some of the plates for his large work of the Ornaments in the Louvre and the Tuilleries. [BOKSHOORN, Joseph, a portrait painter, born at the Hague, came to London in 1670, where he died at the age of 35. He employed the greatest part of his time in copying the portraits of Van- dyck and P. Lely.] BOL, Cornelius. This artist was a native of Holland, and flourished about the year 1660. He visited England before the fire of London, as he painted views of that dreadful conflagration. He also painted views of Sutton Place in Surrey, Arun- del House, Somerset House, and the Tower. He bol] PAINTERS AND ENGRAVERS. [BOLO etched some plates representing the sea-ports of Holland, among which is that of the Briel. BOL, Ferdinand, an eminent painter and en- graver, born at Dort in 1611. His family removed to Amsterdam when he was young, where hi had the advantage of being educated in the school of Rembrandt. He was a successful imitator of the style of his master, both as a painter and engraver. He painted history and portraits ; in the latter he particularly excelled, and some of his best portraits may be mistaken for those of Rembrandt. One of his principal historical works was a picture he painted for the Admiralty at Amsterdam, which is celebrated by the Dutch poet Vondel. There are several of hiis pictures in the courts of justice in the Town-house at Amsterdam. His etchings are highly esteemed, they are executed in a bold and free manner, and his lights and shadows are very judiciously managed. Although they are not equal in hghtness of touch and tasteful style to the etch- ings of Rembrandt, they possess great merit. The foUowing is a list of nearly the whole of his prints : PORTRAITS AND HEADS. A young Man, with, a round Hat; marked, Bol, fee. An Officer with his Hands on the Hilt of his Sword ; Bib, fee. 1643. A young Man, with a Cap and Feathers ; F. Bol. 1642. A young Woman, half length, with a Cap and Feathers ; marked F. Bol, f. 1644 ; fine, oval. The Woman with the Pear, at a Window ; in the man- ner of Rembrandt ; Tery iine. An old Man sitting in a Chair, with some Books, and an unlighted Candle ; marked Bol. ; scarce. An old Man, half length, witlj a Bonnet, in the manner of Kembrandt, leaning on a Cane ; F. Bol, fee. 1642. Bust of an old Man, seen in front, with a fur Bohe, fastened with Diamonds ; no name ; very scarce. VARIOUS SUBJECTS. A Philosopher in meditation, resting on a Table, on which are some Books and a Globe ; very fine. Another Philosopher, holding a Book ; F. Bol, 1642. The Astrologer, an old Man sitting at a Table, with Books, and a Globe ; he wears a flat Hat, and his Hands crossed. The Family— A Woman suckling a new-hom Infant, with a Man holding Linen. F. Bol. 1649. Abraliam's Sacrifice ; an arched plate ; F. Bol,f. A very scarce print, mentioned by M. Heineken, of Agar in the Desert, with the infant Ismael; F. Bol,f. . The Sacrifice of Gideon. St. Jerome in a Cavern, contemplating a Crucifix ; F. Bol,f [Balkema places his death in 1681.] BOL, Hans (John), a Flemish painter and en- graver, born at Mechlin in 1534. After studying two years under an obscure painter, he travelled through Germany, and passed some time at Heidel- berg, where he copied some pictures of the most eminent masters. He afterwards settled at Amster- dam, where his works were esteemed. Van Mander speaks highly of two pictures by this master, repre- senting Dedalus and Icarus, and the Crucifixion. He is however more known as a painter of land- scapes and views in the neighbourhood of Amster- dam. He etched several plates from his own designs, in a shght spirited style, which he sometimes marked H. B., and sometimes |--|-lol- We have the fol- lowing prints by him : The Reconciliation of Jacob and Esau ; circular. The first interview between the Servant of Abraham and Kebecca. Twelve circular plates of the Twelve Months of the year ; Ad. Collaert, excud. A set of twelve Landscapes ; H. Bol, inv. Joh. Sadeler, exc. A set of twelve Landscapes ; H. Cock, exc. H. Bol. A large Landscape, with a Man in a Boat catching a Goose, with several figures. H. Bol died at Amsterdam in 1593. BOLDINI, NiocoLO, called Vicentino, an en- gi-aver on wood, born at Vicenza, about the year 1510. His prints are chiefly after Titian ; and it is thought that he studied under that master; they are executed in a bold free style. His works are scarce. He marked his prints with the cipher i-fj-i . We have the following by him : John, Baron de Schwarzeuberg ; with a border ; after Albert Durer. The Wise Men's Offering ; cifler Titian, with his cipher. St, Jerome praying ; in a landscape ; after the same. St. Catherine, St. Sebastian, and four other Saints ; after the same. A mountainous Landscape, with a Woman milking a Cow. Venus seated on a Bank, holding Cupid, a Squirrel on the Branch of a Tree ; marked Titianus inv. Nicolaus Boldrinus Ficentinus incidebat. 1566. [The name should be Joseph Nicolas Boldrini, not Boldini. There is some confusion respecting him even in the accounts by the best writers on the sub- ject. ' Zani is most to be relied on ; Huber is quite in error both with respect to the place of his birth and the date. BOLLMAN, HiERONiMUS, or Jerome. By this artist, who was probably a native of Germany, we have some prints, after Raffaelle, and other eminent painters of the Italian school. They are executed in a bold, free, and eflfective style, and possess con- siderable merit. BOLOGNA, Lattanzio de. According to Bagli- one, this painter was a native of Bologna, and a scholar of the Caracci. On leaving that celebrated academy he went to Rome, and was employed by Sixtus V. in painting the ceiling of one of the saloons in the palace of St. John of Lateran. He also painted the ceiling in the chapel of Sixtus V. in the church of St. Maggiore, representing a choir of angels. In S. Maria de Monti, is a fine picture by him of the Flagellation. This painter promised to arrive at a high rank in the art, but being na- turally of a weak constitution, which was probably impaired by constant application, he died, much regretted, at the age of 27. BOLOGNESE, il. See Grimaldi. BOLOGNINI, Carlo. This painter is men- tioned in the Abecedario Pittorico of Padre Orlandi. He was bom at Bologna in 1678, and was first a scholar of Mauro Amrovandini. He afterwards studied under Giulio Trogli. He excelled in paint- ing architectural views and perspective, and was much employed at Vienna, where he resided some years. [Zani says Carlo was born in 1662, and died in 1704. He also mentions several others of the same family who were distinguished painters, but of whom ve^ few particulars are recorded.] BOLOGNINI, Giovanni Batista, a Bolognese painter and engraver, born at Bologna in 1611. He was one of the ablest scholars of Guido Reni. There are several of his pictures in the churches at Bo- logna. In S. Maria Nuova is a picture by this master, representing the Virgin Mary and infant Jesus, with St. Dominick, St. Eustatius, and Mary Magdalene. In the church of the Servi, the dead Christ, with the Virgin Mary, St. John, and others ; and in S. Lucia, the immaculate Conception. This artist etched some plates after the works of Guido, 91 BOLO] A DICTIONARY OF [bois in a slight spirited manner, among which are the following : The Murder of the Innocents ; after Guido. St. Peter made Head of the Church ; after the same. The Crucifixion ; aft^r the picture in the church of the Capuchins at Bologna. Bacchus and Ariadne ; in three sheets ; after Guido. He died at Bologna in 1688. [Zani says he was born in 1612, and died in 1689.] BOLOGNINI, GiACOMO. This painter was the nephew of Gio. Batista Bolognini, born at Bologna in 1664. He received his mstruction in the art from his imcle, and became a reputable painter of histoiy. There are some of his pictures in the churches at Bologna, which are described in the account of the works of art in Bologna. In the church of SS. Sebastiano e Rocco, there is a picture of St. Francis receiving the Stigmata; and in the church of the Puritd, the dead Christ, with the Virgin Mary and Mary Magdalene. [He died in 1734.] BOLSWERT, or BOLSUERD, Boetius Adam, an eminent engraver, born at Bolswert, a town in Friesland, about the year 1580. It is not said by whom he was instructed in the art of engraving ; but, in company with his younger brother Scheltius, he settled at Antwerp, as a printseller and engraver. He worked entirely with the graver, and seems to have adopted the free open manner of Cornelius Bloemaert. The plates that he engraved after Ru- bens are however in a more finished style, and fuller of colour. He sometimes signed his plates Jy^jdams ^olsvert, and sometimes ^Aolsuerd. His principal plates are the following : PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. F. Adam Sashout ; inscribed Omnia vanitas. John Bergman, Jesuit, kneeling before an Altar, point- ing to a Skull. St. A. Gonzaga kneeling before a Crucifix, William Louis, Count of Nassau. William of Nassau lying in State. 1618. Seventy-seven plates for the Life of Christ ; published at Antwerp 1622 and 1623 ; Het Leven, ^c. The plates for a book entitled The Pilgrimage ; publish- ed at Antwerp in 1627. VARIOUS SUBJECTS AFTER DIFFERENT MASTERS. The Adoration of the Shepherds ; after Abr. Bloemaert. -1618. ■' The B.epose in Egypt ; after the same. Twenty-four of the Hermits of the Deserts ; Silva Ana- ghoretica ; published at Antwerp in 1619 ; after the same. ■ Twenty-six of the Hermitesses ; after the same. Four of landscapes and figures. 1613 ; after the sam^e. Set of twenty landscapes ; numbered. 1616 ; after the same. Fourteen of animals ; after the same ; B. u, Bolswert, fee. 1611. Jesus Christ, with Mary and Martha ; after J. Goiemar ; B. a Bolswert, sc. ; scarce. Men contending against Animals; after D, Vincken- booms ; B. a Bolswert, sc. ; scarce. A Landscape, with Adam and Eve in Paradise ; after the same; B. a Bolswert, sc.; scarce. The Judgment of Solomon ; after Rubens. The Resurrection of Lazarus ; after the same ; very fine. The Last Supper ; after the same ; P. B. Rvhens, pinx. Boet. a Bolswert, sc. ; very fine. BOLSWERT, or BOLSUERD, Scheltius a. This very distinguished engraver was the younger brother of the preceding artist, bom at Bolswert in Friesland, about the year 1586. He settled with his brother at Antwerp, where he became one of the most celebrated engravers of his country. The 92 plates of this excellent artist are worked entirely with the graver, and it does not appear that he made any use of the jjoint. He engraved many plates after the most eminent of the Flemish mas- ters, but he has particularly distinguished himself by the admirable performances he has left us, after some of the finest pictures of Rubens and Vandyck, which he represented with a judgment and ability that gives them more efiect than can well be ex- pected in a print, and appear to exhibit the very character and colour of the paintings. It was not unusual for Rubens to retouch his proofs, in the progress of the plates, with chalk or with the pen- cil, which corrections, attended to by the engraver, contributed not a little to the characteristic expres- sion we find in his prints ; proofs of this descrijjtion are to be met with in the portfolios of the curious. He engi'aved with equal success historical subjects, huntings, landscapes, and portraits ; and the num- ber of his prints is very considerable. His plates are generally signed with his name, or thus, ^jg<^ols. The following are his principal prints, of which we have given rather a detailed list : VARIOUS subjects, MOSTLT AFTER HIS OWN DESIGNS. The infant Jesus and St. John playing with a Lamb. The Virgin Mary, and infant Jesus sleeping. The Virgin giving suck to the Infant. The Virgin Mary, with her hands folded on her Breast. The Virgin Mary with the Infant in the Clouds, with Angels and Cherubim. The jnfant Jesus caressing the Virgin Mary, and St. Joseph holding a Pear. Twelve half-length figures of Saints. Twelve other half-length figures of Saints, beginning with St. Peter. A Hermit kneeling before a Crucifix. Mater Dolorosa. Jesus Christ triumphing over Death. St. Barbe, Martyr. St. Stanislaus Koska, kneeling before an Altar. St. Francis Borgia. St. Alfonso Rodriguez. Robert Bellarmin, of the Society of Jesus. Leonard Lessius ; another Jesuit. The Death of a Saint, and that of a Sinner ; after Die- penbeck. An emblematical subject of Prince Ferdinand ; inscribed In te spes reclinata reeumbit. Two plates of a Thesis ; dedicated to Sigismund, King of Poland. Six plates, with the Frontispiece, for tho Academic de I'espee; by ThiboMlt. 1628. The Dispute between the Gras and the Meagre ; B. A. Bolswert, inv. S. A. Bolswert, sc. VARIOUS SUBJECTS, AFTER DIFFERENT FLEMISH MASTERS. The Cmcifixion; Ja€. Jordans, inv. etpinx.; the best impressions are before the cum Privilegio Regis. Mercury and Argus: after the same ; the good impressions are before the address of Blotelling ; fine. The infant Jupiter ; after the same ; fine. Pan playing on a Flute ; after the same; fine. A Concert; entitled Soo d'oude songen, soo pepen de Jongen ; after the same. Pan holding a Basket of Fruit, and Ceres crowned with Corn, and a Man sounding a Horn; after the same; very scarce. The Salutation ; after Gerard Seghers. The Return of the Holy Family out of Egypt ; after the same. The Virgin appearing to St. Ignatius, who is kneeling ; after the same. St. Francis Xavier, tempted by the Devil; after the Peter denying Christ ; after the same ; very fine. Abraham sacrificing Isaac ; after Theodore Rombouts. A Conceit ; after the same. BOLS] PAINTERS AND ENGRAVERS. [bona The Virgin, with the infant Jesus holding a Globe ; after Erasmus Qitelimis. The Communion of St. Kosa; after Erasmus Quelinus. The Dead Christ on the Knees of the Virgin Mary ; after Diepenbecfe, The Crucifixion of the Three Jesuits at Japan ; after the same. PORTRAITS, ETC. AFTER VANDYCK. Scheltius a Bolswert; Ad. Lommelirii sc. Andrew van Ertvelt, painter of Antwei-p. Martin Pepin, painter. Adrian Brewer, painter. John Baptist Bai'b6, engi-aver. Justus Lipsius, historiographer. Albert, Prince of Aremberg. Mary Ruthven, wife of Vandyek. Margaret of Lorraine, Duchess of Orleans. William de Vos, painter. Sebastian Vranct, painter. Maria mater Dei. The Holy Family, with an Angel holding a Crown. The Virgin and infant Christ on her Knee, with a Fe- male Saint holding a Palm. The Holy Family, with the Infant sleeping in the Arms of the Virgin. The HolyPamily in a landscape, with several Angels. Christ crowned with Thorns ; very fine. The Elevation of the Cross. The Crucifixion, a grand composition, with two Men on horseback, and a figure presenting the Sponge to Christ. On the other side, tihe Virgin Mary and St. John standing, and Mary Magdalene kneeling and em- bracing the Cross. This is considered one of the most beautiful en- gravings by Bolswert. In the first impressions, which are very scarce, the hand of St. John is not seen on the shoulder of the Virgin : in the second impressions, the hand of St. John rests on the Virgin's shoulder, and the name of Vandyek is changed from the left to the right hand corner of the. plate. In the last impressions, the hand was erased, probably to give them the appearance of first impressions, but the trick is easily discovered by the superiority of the first in point of clearness and colour. SUBJECTS AFTER RUBENS. The Brazen Serpent; the best impressions are those which have the word Antwerpia at the right hand comer, without the name of G. Hendrix. The Marriage of the Virgin ; the best impressions have the name of Hendrix, without the word Antwerpia. The Annunciation ; the best impressions are those with the address of M. Vanden Enden. The Nativity ; the best impressions have the same ad- dress. The Adoration of the Magi ; the same. The Return of the Holy Family from Egypt; the same. The Feast of Herod, with Herodias presenting the Head of St. John to her Mother. The Executioner giving the Head of St. John to He- rodias. The miraculous Draught of Fishes ; in three plates. Christ crucified between the Thieves ; G. Hendrix, exe. The Crucifixion, a Soldier on horseback piercing the side of our Saviour ; dated 1631 ; extremely fine. The Crucifixion, with the city of Jerusalem in the dis- tance ; M. Vanden Enden, exe. The Dead Christ in the Lap of the Virgin Mary, with St. Francis ; the same subject is engraved by Pontius. The Resurrection ; M. Vanden Enden, excudit. The Ascension ; the same. The Four Evangelists. The Fathers of the Church ; Nic. Lawers, exe. The Destruction of Idolatry ; in two sheets ; the same. The Triumph of tihe Church ; in two sheets ; the same. The immaculate Conception ; Ant. Bon. Enfant, exe. The Assumption ; arched ; M. vanden Enden, exe. The Assumption, with one of the Disciples lifting the Stone of the Sepulchre ; M. vanden Enden; the im- pressions with the address of G. Hendrix are posterior, and those with the name of C. van Merlen are re- touched. The infant Jesus embracing the Virgin Mary ; M. van- den Enden, exe. The Virgin Mary holding a Globe, and the infant Jesus holding a Sceptre. The Holy Family, with the infant Jesus and St. John caressing_a Lamb. The Holy Family, with a Psirrot on a Pillar ; A. Bonen- fant, exe. St. _ Ignatius and St. Francis Xavier ; the first impres- sions are before the name of Riihens. The Education of the Virgin by St. Anne ; the best im- pressions are without the name of Hendrix. St. Cecilia ; veiy fine. St. Theresa at the Feet of Christ, interceding for the Souls in Purgatory ; M. vanden Enden, exe. The Continence of Scipio ; the best impressions are be- fore the address of G. Hendrix, Silenus, drunk, supported by a Satyr, with another fi- gure ; the best impressions are those with the name of Bolswert only, without the address. LANDSCAPES AND HUNTINGS. A grand Landscape, deluged by a Torrent, and in a moxmtainous part of it; the subject of Baucis and Phi- lemon. A large Landscape, with a view of the Sea-coast and a Shipwreck. A grand woody Landscape, with the Chase of Meleager and Atalanta. A view near Mechlin, with Haymakers and a "Waggon, and figures driving Cattle. A view of a Stable with Horses and Cows, and the sub- ject of the Prodigal Son. These five landscapes are highly esteemed and finely executed. A set of twenty smaller Landscapes. A set of twelve Huntings of different animals, of which one is a Lion Hunt, with figures on horseback ; very spirited and fine. BOLTRAFPIO, Giovanni Antonio, a Milanese painter, who, according to Vasari, was a scholar of Leonardo da Vinci. He was a reputable artist, and painted several pictures for the churches and con- vents at Bologna. One of which was an altar-piece in the church della Misericordia, representing the Virgin Mary and infant Saviour, with St. John Baptist and St. Sebastian, painted in 1506. [The name of this artist was BeUraffio, as appears by his monument at Milan. He was a gentleman, and only employed his leisure hours in painting. The picture in the Misericordia bore his signature with that of his master Vinci, and the date 1500 ; but both have been erased. It is the only production of Beltraflio placed in public, and is on that account esteemed the more valuable.] [BOM, Peter, a Flemish artist bom in 1530, painted landscapes in distemper. He died in 1572.] BOMBELLI, Sebastian. This painter was bom at Udina in 1635, and was a scholar of Guerdino. He afterwards went to Venice, where he studied and copied the works of Paolo Veronese and Tintoretto. He painted history in the early part of his life, but from the lucrative prospect opened to him in por- traits, he was induced to devote himself to that branch of the art, although he had already painted some historical pictures of great promise. He visit- ed most of the courts of Germany, where he painted portraits with success. He died in 1685. [Sebas- tiano Bombelli was so fine a copyist of P. Veronese, that some of his are scarcely to be distinguished from the originals. Boschini says that for imitating the character of P. Veronese he had^not an equal, and for portraits he could not be surpassed. He was living in 1716.] BONACINA, Giovanni Batista, an Italian en- graver, bom at Milan about the year 1620. He engraved some plates of portraits, and historical bona] A DICTIONARY OF [bona subjects, in a neat style, though rather dry and stiff. They are executed entirely with the graver, and he seems to have imitated, without however equalling, the style of Cornelius Bloemaert. We have the fol- lowing by him : PORTRAITS. Pope Clement IX. Guide Visoonti. ■Hermes Visconti. Giovanni Batista Conte Truchi. SUBJECTS. The Alliance of Jacob and Laban ; after Pietro da Cor- t&na. St. Martin kneeling before the Virgin and infant Jesns ; after the same. The Holy Family, with St. Catherine and St. John; after Ambrea del Sarto. BONASONI, GiULio, an Italian painter and very distinguished engraver, born at Bologna, about the year 1498. He studied painting under Lorenzo Sabbatini, and there are some of his works in the churches at Bologna ; particularly in the church of St. Stefano, is a fine picture by him of the Souls in Purgatory. He is however much more celebrated as an engraver than a painter, and in this branch of art had the advantage of being educated by Marc Antonio. Bonasoni has engraved after the works of Michael Angelo, Eaffaelle, Giulio Romano, Parme- giano, and others, and several plates from his own designs. His prints, with a very few exceptions, are entirely worked with the graver, and although his style is neither so clear, firm, nor masterly as that of his admirable instructor, nor his outline so correct and pure, his works are executed with great facility and considerable elegance, and they are held in no small degree of estimation by the judicious collector. We admire in his prints an excellent distribution of the lights and shadows, and a breadth in the masses that is very masterly. His plates are generally marked with his name, either at length or con- tracted, as JuMo Bonoso, and sometimes with the initials, B. — I. B. or I. B. P., and also with the cipher "KZjJ • His work is considerable ; the fol- lowing is a list of his plates most worthy of notice : PORTRAITS. The Pope Marcellus II., without the name; scarce. Phiiippus Hispaniarum princeps, Caroli V. filius ; Julio B. F. Cardinal Pietro Bembo. JEA. 77 ; after Titian. Raifaelle d'Urbino, with and without the name. Michael Angelo Buonaroti ; circular. Francisci Flon Antwerpiani inter Belgos pictoris. Joannes Bemardinus Bonifacius, &c. M.D.XLVIII. Cardinal Ardingbello ; after a 7)ionumenf. SUBJECTS OF SACRED HISTORY. The Creation of Eve ; after Michael Angela ; with his name. Adam and Eve ; after his own design. Adam tilling the Earth, and Eve spinning ; t!ie same. Adam and Eve driven from Paradise; after Amico Aspertino. Noah coming out of the Ark ; after Eaffaelle. Joseph sold by his Brethren ; after the same. The Cup found in Benjamin's Sack ; with the names of Raffaelle and Bonasone. The Miracle of the Manna, and Moses striking the Bock, on the same plate ; F. Parmesanino, inv. ; Julio Bo- lognese,fec. 1546. Judith with her Servant coming out of the Tent of Holo- femes ; after M. Angelo. The Nativity of John the Baptist ; after Pontormo ; Ja^ cdims Florentinus Inventor, Julio B. F. The. Nativity; Julius Bonasone, Invent. The Nativity, a grand composition ; attributed to Giulio Romaiw. Another Nativity ; after Parmegiano. 94 The Holy Family ; after Giulio Romano. Another Holy Fanuly ; J. Bonasone, Inventore. The dead Christ on the Tomb, with the Virgin Mary; after Raffaelle, without the name of the engraver. Christ seated on the Tomb, supported by two Angels, with the Vii'gin Mary and St. John ; after Polidoro B. 1532. The entombing of Christ ; after J\tian, with the names of the painter and engraver. 1563. The Resurrection ; J. Bonasone, inventor. St. Peter made Head of the Church; after Raffaelle. St. Peter and St. John healing the Lame ; after Perino del Vaga. St. Paul preaching ; oval; after the same. The Last Judgment ; after M. Angelo-; inscribed Julitts Bonasonius Bonone propria MtchaeUs Angeli, ^c. Solomon, David, and Jesse, part of the Sistme chapel ; after M. Angelo; Julio Bonasone imitando, S;c. St. Joachim and St. Anne, presenting the Virgin Mary to the High Priest ; after Parmegiano. Christ meetmg St. Peter ; after Raffaelle. The Virgin M^iry and infant Jesns in the Air ; after Par- megiano, F. P. I. V. ; J. Bonasonis imitando, S^o, St. Cecilia ; after Raffaelle. > St. George; after Giulio Romano; with the names of the artists. . Twenty-nine of the Passion ; entitled Passio Domini. nn. Jem, Christi; JuKi Bonasonis opus, IjC. Thirteen of the Life of the Virgin ; marked with a B., and some of them with a D. SUBJECTS OF PROFANE HISTORY. . Achilles dragging the Body of Hector ; after Prinmiicno, The taking of Troy ; after the same ; two sheets i 1S45. Bonasonis F. \ The Shipwreck of JEneas,; after Parmegiano. \ Alexander with Bucephalus and Eoxana ; circular ,\ Ju- lio Bonasone, inventor. \ The Roman Charity ; a frieze ; after Polidoro. \ Clelia, with one of her companions on Horseback escap- ing from the Camp of Porsenna; /. V. Bonoso imi- tando, ^c. Scipio wounded, retiring from the Battle ; I. V. Bmi.aso imitando, 8^e. Twenty-^Of the History of Juno, with Italian verses; after his own designs. The Rape of Europa; after Raffaelle; with the names of the artists. Mars and Venus ; after Primaticcio. Venus attended by the Graces ; after Raffaelle. The Birth of Adonis ; dated 1686. The Triumph of Cupid and Psyche ; Julio Bonasone, in- ventore. Apollo in his Car, with the Hours, and Time walking on Crutches before ; L. V. B. Julio Bonasone, inventore. Niobe and her Children ; after Perino del Vaga. 1641. The Fall of Phaeton ; after M. Angelo. Three Female Figures with Veils ; after M. Angelo. There are also several plates of free subjects and statues, bassi rilievi, and architectural subjects, de- scribed in the three volumes of the Dictionaire des Artistes, hy M. Heinehen. [Cumberland's Catalogue of the prints of Giulio Bonasone, is the most ac- curate tnat has hitherto been published.] BONATTI, Giovanni. This painter was born at Perrara in 1635, and having shown an early in- clination for the art, he was at the age of fourteen taken into tlie protection of Cardinal CarV) Pio, who E laced him in the school of Guercino, under whom e studied three years. He afterwards went to Rome, where he became a scholar of P. Prancesco Mola. He was employed in several works for the pubhc edifices. In the gallery of the Capitol are two pictures by this master, one representing Rinaldo and Armido, the other Sisera and Jael. There are other works by him in the Chiesa Nuova, and St. Croce in Gerusalemme at Rome, where he died in 1681. BONAVERA, Domenico Maria, an Italian en- graver, born at Bologna about the year 1650. He learned the art of engraving from his uncle Dom. Maria Canuti. His plates are chiefly etched, and finished with the dry point. He engraved. eighteen bona] PAINTERS AND ENGRAVERS. [boni plates, from the designs of Titian, for a book of anatomy for the use of students. He used a similar cipher to that of Dom. Barriere, and of Dom. Bet- tini, Jxl. We have the following prints by him : St. Anne teaching the Virgin Maxy to read ; after Dom. Maria Canuti; Dom. Bonavera, fee. St. Theresa with the infant Jesus ; after the same. The Martyrdom of St. Christiana ; cmer the same. The Baptism of our Saviour by St. John ; after AJhano ; D. Bonavera, sc. The two lEist are the best prints of this artist. St. John preaching; after Lodo. Caracci; D. Bonavera^ Lot and lus Daughters ; after Ann. Caracci ; D. Bona- vera. The Cupola at Parma, the Assumption ; after Coreggio ; Dominico Bonavera, sc. 1697. [BONAY, Francisco, a Spanish landscape painter, bom at Valencia in 1655, and died in 1730 in Portugal. His landscapes are ornamented with buildings after Perelle, and cattle in the manner of Berghem. His chief work is a landscape in the sacristy of the Carmehtes at Valentia.] BONCONSIGLIO. See Buonconsiglio. BONCUORE, Giovanni Batista. This painter was bom at Abruzzo in 1643, and studied at Rome under Francesco Albano. He painted history with considerable reputation, and his pictures are distin- guished by great force and vigour of effect, though sometimes heayy in the execution. One of his most esteemed works is an altar-piece in the Chiesa degU OrfaneUi, at Rome. He died in 1699, aged 56. , [BONE, Henry, a celebrated enameller, was born at Truro in Cornwall in 1755. His first em- ployment was with a manufacturer of china at Plymouth; he afterwards employed his talents at Bristol in painting landscapes and groups of flowers to ornament porcelain, by which means he acquired a thorough knowledge of that art, in which he be- came so eminent. He removed to London, and be- came distinguished by painting in enamel the Sleep- ing Girl after Sir Joshua Reynolds. But the works that will give him lasting fame are the Portraits of the illustrious Men and w omen of England, which he enamelled after the original pictm-es in the royal and other collections. These must have cost him much labour, expense, and anxiety; but, unfortun- ately, little pecuniary reward. Since his death they have been dispersed by auction, and will hereafter be found in uie cabinets of tastefiil collectors of what is beautiful rather than curious. He was a member of the Royal Academy, and died in 1834.] BONESI, Giovanni Gieolamo. According to Zanotti, this artist was bom at Bologna in 1653, and was a scholar of Giovanni Viani. He painted several pictures for the churches and pubhc edifices at Bologna, in which he appears to have imitated the style of Carlo Cignani. Among his most esteemed productions are the following: St. Francis of Sales kneeUng before the Virgin, in the church of St. Marino ; S. Tommaso di Villanuova giving Ahns to the Poor, in S. Biagio ; and the Virgin and infant Christ, with Mary Magdalene and S. Ugo, at the Certosa. He died in 1725, aged 72. ^ BONPANTl, Antonio, called il Torricf.lla. This painter was a native of Ferrara, in which city there are several of his works in the churches and convents. His most esteemed pictures are the Puri- fication, and Christ disputing with the Doctors, in the church of S. Francesco, and the Holy Family in that of la Santissima Trinita. BONFIGLIO, Benedetto. According to Va- sari, this painter was a native of Perugia, and flourished about the year 1503. He was a reputable artist, and is said by that author only to have been equalled, at the time in which he lived, by Pietro Perugino. In the church of S. Domenico at Pera- gia, is a picture by BonfigUo, of the Adoration of the Magi, and agU OrfaneUi, a fine picture of the An- nunciation. [BonfigU is described by several writers of credit as being one of the best artists of his time. Lanzi says P. Perugino was his scholar. Zani places his birth in 1420. He was living in 1496.] BONI, GiACOMO, was bom at Bologna in 1688, and was a scholar of Marc Antonio Frances- chini, whom he greatly aided in his works, particu- larly at Rome. He is also said to have studied under Carlo Cignani, whose style is discernible in many of his works, such as the ceiling of S. Maria della Costa at S. Remo, and in that of S. Pietro Celestini at Bologna. He excelled particularly in fresco, and painted a saloon in the Palazzo Pallavi- cino, which was much admired, and a fine picture of the infant Jupiter. He died in 1766, aged 78. BONIFACCIO, Francesco. This painter was bom at Viterbo in 1637, and was a scholar of Pietro da Cortona, at the time that Giro Perri and Ro- manelli studied under that master. He was a re- spectable painter of history, which he treated in the manner of his instructor, and painted several pictures for the public edifices of his native city; In the Palazzo Braschi, is a picture by this master of the Adulteress before Christ. BONIFACCIO, or BONIFAZIO, Natalis, an Italian engraver, who flourished about the year 1590. His plates are principally etchings, which are executed in a free, spirited style. His most con- siderable woi-ks were the plates he engraved for a book published at Rome in 1590, composed by D. Fontana, architect to Pope Sixtus V., concerning the removal of the Vatican obelisks. He has in- scribed his name on these plates, Natalis Bonifacius Sibenicensis, fee. BONIFACIO, called Venetiano. " This paint- er," says Ridolfi, " was born in the finest era of Ve- netian art." He was a native of Venice in 1491, and was a scholar of the elder Pahna. The works of Titian, however, had such attraction, that he studied them with the greatest attention, and he foimed to himself a style that partook of the excel- lencies of both. His compositions are abundant and ingenious, and there is an exquisite suavity in his colour that nearly reaches the perfection of Ti- tian. Many of his large works are in the palace of the Gouvernment at Venice, which are particularly described by Ridolfi. There are also some admir- able pictures in the churches ; among others the fol- lowing : In the church of Padri Serviti, Christ in the midst of the Apostles. In S. Giovanni, the Archangel Michael driving the Evil Spirits from Heaven. In S. Giovanni di Rialto, the Virgin in the Clouds, and below, St. Peter, St. Paul, and St. Mark, and in the Sacristy, the Baptism of Christ, and the Sacrifice of Abraham. [Sig. Ab. Morelli has pointed out in his Notitia, the true birth-place of Bonifazio. He was a native of Verona, and not of Venice, notwithstanding the authority of Va- sari, Ridolfi, and Zanetti.] This eminent artist died in 1553. BONINI, GiROLAMO. According to Padre Or- landi, this painter was a native of Ancona; and flourished about the year 1660. He was a favourite scholar of Francesco Albano, and assisted that master in many of his principal works, particularly in^he Sala Farnese, and in the palaces at Bologna. 95 BONi] A DICTIONARY OP [bono BONISOLI, Agostino, was bom at Cremona in 1633, and was first a scholar of Batista Tortiroli, and afterwards studied a short time under Miradoro Agostino Bonisoli, a relation, an artist of little note. He was indebted to his natural genius, and his study of the works of Paolo Veronese, more than to either of his instructors. He was more employed in easel pictures of sacred subjects, than for the churches. The only large work by him that is re- corded, is a picture in the Conventuali at Cremona, representing the Dispute between S. Antonio and the Tyrant Ezzelino. He died in 1700. BONITO, Giuseppe. This painter was born at Cateir a Mare, in the kingdom of Naples, in 1705. He was a scholar of Francesco Solimene, and was one of the most successful followers of his style. He acquired considerable celebrity as a painter of his- tory, and was much employed as a portrait painter. He was appointed painter to the court of Naples, where he died in 1789, aged 84. BONNART, Robert and Nicholas. These engravers were brothers, born at Paris about the year 1646. They were instructed in the art by F. Vandermeulen, and engraved several plates from his designs. We have the following prints by them : Portrait of Louis XIV. ; Robert Bonnart,fee. .. Portrait of tlie Dauphin Louis ; the same. Portrait of Claude le Pellatier ; Nie. Bonnart, sc. The Virgin, with the infant Jesus and St. John, half- length figures ; tJie same ; oval. The teking of Valenciennes in 1677 ; after Vandermeu- len; engraved by R. Bonnart. The taking of Cambray in 1677 ; after the sam^. The Siege of Douay ; after the same. The Entrance of the Queen into Arras, two sheets ; after the same. BONNART, John, Jun". This engraver was probably related to the preceding artists. In Pe- rault's Cabinet des Beaux Arts, published at Paris in 1690, there is a plate by him of a ceiling orna- mented with figures ; it is etched in a free, masterly style, and finished with the gi-aver ; marked Joan Bonnart, Junior, del. et sculp. BONNCIONB, B. The name of this engraver is affixed to a small plate, representing Diana seat- ed in a chariot drawn by Dragons, with a Cupid behind her, after F. Bol. It is slightly etched, in a poor dark style. He flourished about the year 1670. BONNEAU, Jacob, a French engraver, who re- sided in England about the year 1/41. He was principally employed by the booksellers; and, amongother plates, engraved the heads of the Alne- ricanBuccaniers, prefixed to their History, publish- ed in London in the above-mentioned year. [BONNEMAISON, -, an excellent French painter of portraits and sentimental subjects. He also excelled in lithography, and was one of the best judges of pictures of ms time. His country- men owe him a more extended notice than has been given by Gabet. He died in 1828.] BONNEMER, Francis. This artist was a na- tive of France, and flourished about the year 1670. He engraved several plates after Le Brun, and other French painters, among which is Moses and the Burning Bush. BONNET, Louis, a modem French engraver, bom at Paris about the year 1735. He resided some time at Petersburg, where he engi'aved some portraits of persons of the Russian court. On his return to Paris, he published several plates, exe- cuted in imitation of drawings in crayons, of which style he pretended to be the inventor. They are 96 chiefly after BoucMr, and other modem French [BONNINGTON, Richard Parkes, a land- scape painter, was born at Arnold near Notting- ham in 1801. He was a student of Nature, and delighted to observe her workings in all their varie- ties. He, however, had a full appreciation of his own talents, and not finding them sufliciently es- timated in his own country; he went to Paris at the age of sixteen, and obtained the notice which had been withheld at home. He went from France to Italy, where he improved on his earlier manner; but finding the climate not congenial to his state of health, he returned to England, where his reputation had preceded him, and diedin 1828. It will be for posterity to judge whether the praise bestowed on his productions has been exaggerated; but poste- rity should be made aware that many ijictures and drawings attributed to this artist, are copies and imitations made to satisfy the avidity of collectors, and amply to remunerate the skill of the copyist and the cupidity of the dealer.] BONONE, Carlo. This eminent painter was born at Ferrara in 1569, and was instructed in the art by Giuseppe Mazzuoli, called il Bastaruolo, un- der whom he studied until he was twenty years of age. Contemporary with Ippolito Scarzellino, and unable to equal him in the tenderriess of his tints and the beauty of his expression, he endeavoured to rival him in the boldness of his design and the vigour of his colouring. Bent on improvement, he visited Bologna, where the Caracci were then in the zenith of their fame. Their works inspired him with a new idea of his art. After passing some time at Bologna, he went to Rome, where he im- proved his style of design, by Btud3dng after the an- tique. His predilection for the style of the Caracci drew him again to Bologna, where he copied some of their principal works. He afterwards went to Venice, where the splendid productions of Paolo Veronese appear to have excited the liveliest ad- miration. The domes of Coreggio at Parma seem to have been not less the objects of his contemjpla- tion. In his smaller works he approaches so near to the style of the Caracci, that he was called the Caracci of Ferrara. In his extensive machinal works he exhibits the magnificence and richness of Paolo Veronese. Such are his Feast of Ahasuerus in the Refectory of the Regular Canons at Raven- na ; which, in abundant and copious invention, may almost vie with the Marriage of Cana by Paolo, the Feast of Heyod in S. Benedetto, and the Mi- racle at Cana in the Refectory of the Certosini at Ferrara.' Many other works by this painter are in the public edifices at Fen-ara, and his academy pro- duced some of the piincipal painters of the Ferra- rese school. He died in 1632. BONONE, LioNELLo, was the nephew and scholar of Carlo Bonone, and flourished about the year 1649. The excellent instniction of his uncle might have enabled him to arrive at celebrity in the art, but his negligence and depravity of con- duct presented his ever going beyond mediocrity. His most creditable performances are two pictures in the chapel of the hospital of S. Maria Novella, representing the Visitation of the Virgin to St. Eli- zabeth, and the Holy Family. BONONIENSIS, Pr., an Italian en^aver, by whom we have some very spirited etchings, exe- cuted in a bold, masterly style. They are chiefly from the works of Paoh Veronese, and are usually signed with his name. BONV] PAINTERS AND ENGRAVERS. [bord BONSER, J. This aa-tist was a native of Hol- land, and resided at Leyden about the year 1642. He was principally employed by the publishers, for whom, among other book-plates, he engraved some frontispieces, with figures and ornaments. They are executed with the graver, in a very indifferent style. BONVICINO, Alessandro, called il Moretto. This painter was born at Brescia in 151 4j and was brought up in the school of Titian, whose style he approached nearer than any of his countrymen. In 1532, when he was only sixteen years of age, he painted a picture of S. Niccolo, in the church of the Madonna de' Miracoli. He afterwards attempted to introduce into his works something of the greatness of Raffaelle, and became the author of a very atti-ac- tive style. An uncommonly graceful turn of his heads, an expression of devotion and fervent piety in his figures, (which generally represent sacred sub- jects,) a freshness of colour approaching to Titian, are tlxe characteristics of the works of Bonvicino. The portraits of this able artist have been compared to those of Titian. He occasionally painted in fresco, but was less successful than in oil. In the Chiesa di S. Clemente at Brescia, are two pictures by this painter, of S. Lucia, and S. Caterina ; a superior production to both is the principal altar- piece, representing the Virgin and Infant in the Clouds, with St. Clement and other Saints below. At Milan, is a fine picture by this master of the Conversion of St. Paul, which he has signed with his name, contrary to his usual practice. He died in 1564. [Lanzi is of opinion, that the date of his birth, 1514, is erroneous, as he was painting in 1516. Supposing the date 1514 to be correct, in 1532 he would be 18 years old.] BOON, Daniel, a Dutch painter, who flourished in England in the reign of Charles II. He painted drunken scenes and reveUings, in which his ambi- tion appears to have been to introduce as much of ugliness and deformity as a mind naturally vulgar could conceive. He died, in England in 1698. BOONEN, Arnold, an eminent portrait painter, bomatDortin 1669. He was first a scholar of Arnold Verbuis, but afterwards was instructed by Godfrey Schalcken. He painted a few pictures in the style of the latter, representing subjects by candlelight, but met with such encouragement in portrait paint- ing, that he devoted himself almost wholly to that branch of art. His style was well adapted to suc- ceed in it. An excellent colourist, a faithful designer of his model, and an uncommon facility in his oper- ation, he was soon distinguished as one of the ablest artists of his day. . He painted a great number of portraits of the n;iost distinguished personages of his time, among which were Peter the Great, the Elector of Mentz, the Landgrave of Hesse Darmstadt, the Prince and Princess of Orange, the great Duke of Marlborough, and several others. He painted some large pictvu-es for the halls of the different companies at Amsterdam and Dort. He died in 1729. BOONEN, Gaspahd. This artist was the son of the preceding, and painted portraits with some reputataon, but in no way equalled his father. BORCHT, Peter vander, the elder, a Flemish landscape painter and engraver, bom at Brussels about the year 1540. His works, as a painter, are of no great celebrity, but he applied himself with great assiduity to engraving, and has left a great number of plates, etched in a rough, careless style. He possessed great fertility of invention, but is not very judicious, either in the attitudes of his figures, or in the composition of his gi-oups. He usually marked his plates with the initials of his name P. B. F., or with the cipher K8. Mr. Strutt has been led into an error in stating that this artist flourished in 1622, as will be seen by the dates on some of his prints in the following hst. Among his numerous works are : A set of Landscapes, with subjects from the Old and New Testament. Rural Enjoyments; Cornelius van Tienen, exc. The FestiTal of the Company of Archers ; same address. A Country "Wedding ; fecit Petrus vander Borcht. 1560. A Landscape, with tie subject of Hagar and Ishmael ; dated 1586. A set of plates for the Metamorphoses of Ovid ; one hun- dred and seventy-eight prints, published at Antwerp ; Theodore Galle, exc. BORCHT, Henry vander, a painter and en- graver, born at Brussels in 1583. The troubles in the Low Countries obliged his family to remove in- to Germany when he was very young, and they set- tled at Frankfort, where he was placed under Giles van Valkenborg. The Earl of Arundel, passing through Frankfort, found Vander Borcht possessed, intelligence and taste for antiquities, sent him to Italy to collect for him, and he remained in the service of that nobleman until the death of the Earl. He was afterwards employed in the same capacity by the Prince of Wales, afterwards Charles II. Vander Borcht painted flowers and fruit, and his pictures were much esteemed. Towards the latter pai't of his life he resided at Antwerp, where he died in 1660, aged 77- We have a few etchings by this artist, as follow, they are generally marked with the cipher j|^. The Virgin and infant Jesus ; after Parmegiano. 1637. The dead Christ, supported by Joseph of Arimathea, from a drawing by Parmegiano ; after Raffaelle. 1646. Abraham at Table with the Angels ; after L. Caracci. The infant Jesus embracing St. John, from Guide's print; after Agost. Caracci. Apollo and Cupid ; after Perino del Vaga ; oval. Twenty-two plates of the Entry of Frederick, Elector Palatine, with Elizabeth, Princess Royal of England, his Consort, into Frankenthal; dated 1613. BORCHT, James a, an engraver, who executed several of the plates for the Academie de I'espee, by G. ITitbault, published at Antwerp in 1628. He worked entirely with the graver in a style resembling that of James de Gheyn. BORDIER. See Petitot. SORDINO, J. F., an Italian engraver, who flour- ished about the year 1604. He engraved the plates for a volume in quarto, entitled, Series et Gesta Pon- tifieum, pubUshed in the above year. BOBDONE, Paris, an eminent painter of the Venetian school, born at Trevigi in 1513. He was of a noble family, and after receiving an education suited to his birth, having shown a decided inclin- ation for the art, he was placed in the distinguished school of Titian, under whom he studied some time. Under so able an instructor, and endowed with great natural genius, he gave early proof of uncommon ability, and before he was twenty years of age he painted, for the family of Tiretta, a picture of Me- leager and Atalanta, and a Holy Family, which ex- cited universal admiration. His most important work was the dome of 'the church of S. Vicenzo at Trevigi, where he has represented, in six compart- ments, the Annunciation, the Nativity, the Adora- tion of the Magi, the Crucifixion, the Ascension, and the Assumption of the Virgin Mary. Ridolfi men- bore]. A DICTIONARY OF [BORR tions many other works by this master, in the churches and other pubUc edifices at Venice, Milan, Genoa, and Florence. The pictures of Bordone partake more of the grand simplicity of Giorgione, than the style of his instructor, and he appears to have paid particular attention to the works of that great painter. He also excelled in painting portraits, and his pictures of that description are infeiior to no artist of his country, Titian only excepted. He was invited to France. by Francis II., where he paint- ed the portrait of that monarch, and of the principal personages of his court. He died at Venice in 1588. [According to Lanzi and Zani, he was born in 1500, and died in 1570.] BOBEKENS. See Borrekens. BOEGANI, Francesco. This painter was a native of Mantua, and flourished about the middle of the seventeenth century. He was a scholar of Domenico Feti. He did not, however, follow the style of his instructor, but imitated, with some suc- cess, the graceful manner of Parmegiano. There are several of his works in the churches of S. Pietro, St. Simone, and S. Croce, at Mantua; which prove him to have been an artist of no mean ability ; and ac- cording to Lanzi, are deserving of more admiration than is generally bestowed on them. BORGHESE, Giovanni Ventura. This paint- er was a native of Citta da Castello, and a scholar of Pietro da Cortona. He assisted that master in some of his most considerable works at Rome, and after the death of his instructor, was engaged to finish some of his paintings left imperfect. In the chrach of S. Nicolo da Tolentino, there are two pictures by this painter, representing the Annun- ciation, and the Virgin Mary crowned by Angels. BORGHESI, Ippolito, was a native of Naples, and a scholar of Francesco Curia. He floinished about the year 1620, and painted history with some reputation. His most considerable work is an altar- piece in the church of S. Lorenzo at Perugia, repre- senting the Assumption of the Virgin. BORGIANI, Orazio, a painter and engraver, born at Rome in 1580. He was instructed in the art of painting by his brother GiuUo Borgiani, call- ed Scalzo ; but was more advantaged by assiduous- ly studying and copying the works of the great masters in his native city. The patronage bestowed on the arts by Philip II. of Spain, induced this painter to visit that country, where he passed some years, and met with considerable success, his works being held in great estimation. On his return to Rome, he was patronized by the Spanish ambassa- dor, for whom he painted several pictures, and also was employed in painting for the churches. In S. Adiiano a campo vaccino, and in S. Salvatore del Lauro, are two altar-pieces by this master ; and in S. Elena alii Cesarini, is a picture of the Assump- tion of the Virgin. As an engraver, he has left some plates etched in a bold, free manner, and more finished than is usual in the works of a painter. He usually marked his plates lyith a cipher composed of an H. and a B. thus fTT? • or IB- or X\D- We have by him : The Resurrection, a composition of many figures; marked with the last of the above ciphers. The dead Christ, in a foreshortened position, with the two Marys and St. John ; dated 1615. St. Christopher giving his Hand to the infant Jesus. St. Christopher carrying the Infant on his Shoulder. Fifty-two Bible histories, called Raffaelle's Bible ; dated 1616. [He was born in 1577, and died in 1615. Zani.'\ 98 BORGOGNONE. See Cortese. BORGOGNONE, Ambrogio. According to Lo- mazzo, this artist was a native of Milan, and flour- ished about the year 1500. He was a disciple of Vincenzio Foppa, and was one of the earliest of the Milanese painters who attempted to reform the dry and Gothic style which prevailed before him. One of his most considerable works is a picture in the church of S. Simpliciano, at Milan, representing the Martyrdom of S. Sisinio and his companions. [He was a follower of Foppa, and painted in the style now called antico moaerno. He painted at S. Simpliciano the histories of S. Sisinio and some ac- companying mart3T:s, which adorn one of the clois- ters. The beauty of his youthful heads, variety of countenance, simplicity and elegance of drapery, and an uncommon grace of expression, not met with in this or any other school, entitle Ambrogio to dis- tinction. A Coronation of the Virgin, in the same place, of which Rosini has given a representation, shows how far he was in advance of his age. He was living in 1522, as appears by the date on one of his pictures.] _ [BORGONA, Juan de, a Spanish painter, who flourished iVom the year 1495 till about 1533. He was a distinguished artist of the time, both in fresco and oil, and produced several works at Toledo, which were held in great estimation. He worked in conjunction with Alvar Perez de Villoldo, Alonso Sanchez, Fran9ois d'Anvers, and other eminent painters. At Avila, he finished the pictures com- menced by Pedro Berruguette and Santo-Cruz. He also painted portraits of several cardinals. His co- louring and mode of casting his draperies were con- sidered equal to the best masters of the Italian and Germaii schools of the time.] [BORRAS, iL Padre Francisco Nicolas, a Spanish historical painter, was born at Cqcentayna in 1530, and studied under Vincent Joanes at Va- lentia. He painted the great altar-piece of the mon- astery of St. Geronimo of Gandia, and required for payment to be admitted as one of the order, which was gladly conceded to him. He painted an aston- ishing number of pictures for this immense estab- lishment, employing the greater part of his life to the purpose of decorating it. Some of his pictures were also at Cocentayna, at Ontiniente, at the Es- curial, at Aldaya, and Valentia. He led an exem- plary life, and died, at the age of 80. A catalogue of his principal works may be seen in Berrmtdez.'] [BORREKENS, John Peter Francis, bom at Antwerp in 1747, painted landscapes, many of which are ornamented with cattle and figures by Ommeganck and other masters. He died at Ant- werp in 1827.] BORREKENS, Matthew, a Flemish engraver, born at Antwerp about the year 1615. He was chiefly employed in copying the plates of the emi- nent engravers, particularly Bolswert, and others, for Martin vanden Enden, and other printsellers. He worked entirely with the graver, and appears to have imitated, though without much success, the style of Pontius. We have also some original plates by him of portraits, and other subjects. His prin- cipal prints are as follow : Augustus Carpzon, Plenipotentiary of the Duke of Sax- ony at the treaty of Osnaburg ; Am. van Halle, pinx. Gerard Schepeler, another Plenipotentiary at that treaty ; after the same. 1649. The Crucifixion, with the Virgin Mary, Magdalene, and St.John; after Vandn/ck ; Ant. Vamh/ck,pinx. ; Eras. Quellinus, del. borr] PAINTERS AND ENGRAVERS. [bosc The immaculate Conception denenden, exe. St. Francis XaTier,on a white ground tion. Rvhem, pinx. ; M. Van- the same inscrip- St. Ignatius ; the same inscription. St. Barl)ara,with a Tower on her Head ; Rtibens,pinai. ; Mat. Boreckens, sc. ; scarce. Christ bound, and kneeling, with two Angels holding the instruments of the Passion ; after Diepenbeek. The good Shepherd ; after the same, BORRONI, Cavaliere Giovanni Angelo, was bom at Cremona in 1684, and was a scholar of An- gelo Massarotti, and afterwards of Roberto le Lonee. On leaving those masters, he was taken under the protection of the noble family of Crivelli, and was em- ployed some years in ornamenting their palace. He afterwards painted several pictures for the churches at Cremona and Milan, particularly in the latter city. In the dome at Milan, he painted S. Benedetto, in the act of interceding for the city, of which he is the pro- tecting Saint, which Lanzi says may compete with the best painter of his time. He died in 1/72. [BORSUM, Abraham van, painted landscapes, views of cities, animals, and birds. His colouring and chiaro-scuro bear a resemblance to Rembrandt's, but not so artistically apphed. His drawings are fine, and highly estimated in Holland ; one sold for 400 florins, at the sale of C. Ploos van Amstel's collection.] [BORSUM, Adam van, hvedin 1666. He paint- ed landscapes and animals, and imitated A. Vander- meer and Paul Potter. His colouring is natural, and his pencilling firm, yet fi-ee and spirited.] BORZONE, Luciano. This artist was bom at Genoa in 1590, and was a scholar of PiUppo Berto- lotti his uncle. He painted history and portraits, but particularly excelled in the latter. In the church of S. Domenico at Genoa, is a picture by Borzone, of the presentation in the Temple, and in S. Spirito, the Baptism of Christ. Soprani reports him to have been a man of great acquirements, and that his house was the resort of persons of taste and literature. While he was painting the ceiling of the Chiesa della Nunziata at Genoa, he fell from the scafiblding, and Wcis killed, in the year 1645, at the age of 55. He left three sons, Giovanni Batista, Carlo, and Francisco Maria, who were all painters, the last mentioned excelled in painting landscapes in the style of Claude and Gaspar Poussin. Luci- ano Borzone etched some plates from his own com- positions, as follow : The Portrait of Giustiniani. St. Peter delivered from Prison. Prometheus devoured by the Vulture. Children playing. A set of devout subjects. BOS, or BOSCHE, Jerome, a very ancient Dutch painter and enn-aver, bom at Bois le Due, about the year 1470. He made a whimsical choice of the subjects for his pictures, which are generally grotesque representations of spectres, devils, and in- cantations, which, however ridiculous, are treated with singular ingenuity. He painted some pictures of a more serious cast, among which were the Flight into E^pt, and Christ bearing his Cross, in the church of Bois le Due, which Karel van Man- der speaks of in very favourable terms. One of his most singular compositions, was a picture represent- ing our Saviour delivering the ancient Patriarchs from Hell. Judas, in attempting to escape with the Select, is seized on by Devils, who are in the Act of hanging him in the Air. The works he has left as H 2 an engraver exhibit the same eccentric drollery. His plates are executed in the stifl" Gothic style of the early time in which he lived; they are now become scarce, and are sought after bjr the curious collector. He sometimes marked his prints with his name in length as BOSCHE, and sometimes in Gothic letters The Temptation of St. Anthony ; dated 1522. The Last Judgment, Christ appears in the Air, seated on a Rainbow, and on each side of him are two Angels sounding Trumpets, with Labels beai-ing this inscrip- tion: Hie est dies piem fecit ; Surgite mortwi, venite adjudicium. At the bottom of the print are small figures of Men and Devils of all shapes intermixed. St. Christpphier carrying the infant Jesus across a River, and a Hermit with aLantern. Constantine at the Head of his Army, an Angel showing him the Cross in the Sky. The Baptism of Christ by St. John. An assemblage of grotesque figures; inscribed Al dat op, Isc. Another similar subject ; inscribed Dese Jeron. Bosch droUen. BOS, Balthasar, a Flemish engraver, who flour- ished about the year 1520. He engraved a middle- sized plate, lengthways, representing the Judgment of Paris, which is probably from his own design, as he adds the wori fecit to his name. BOS, Cornelius. See Bus. BOS, Lewis Janssen, or John. According to Van Mander, this painter was born at Bois le Due, about the year 1450. He painted flowers, fruit, and plants, which he finished in an extraordinary pol- ished manner. The insects on the plants are curi- ously drawn, and painted with surprising precision. He also painted small portraits in the same labour- ed style. He died in 1507. BOS, Gaspar vanden, a Dutch painter of sea- pieces, bom at Hoom in 1634. His pictures of storms and calms, with shipping, are not without considerable merit, for their finish and tmth of colouring. He died at the early age of 32, in 1666. BOS, Marie Renard du, a French engraver, who flourished about the year 1770. He was a pupil of Nicholas Gabriel Dupuis, and engraved several plates in the style of his master, after Itosalba, Basseporte, and other artists. BOSC, Claude du, a French engraver, who came to England about the year 1712, by the in- vitation of N. Dorigny, to assist him in engraving the cartoons of Raffaelle ; but on account of some dispute, he left Dorignjr, and engaged to engrave the cartoons for the printsellers. He also under- took the" Duke of Marlborough's battles, and sent to Paris for Baron and Beauvais, to assist him in that undertaking, which occupied him two years. He published an English translation of Picarfs Beli- gious Ceremonies, in which, part of the plates were engraved by himself, and the others by Scotin and Gravelot. He engraved a plate of the Continence of Scipio, after Nicholas Poussin, and others after some of the most eminent masters. His manner is coarse and heavy, and his dravping incon'ect. BOSC, J. DU. This artist was a native of France, and flourished about the year 1749. Among other prints, he engraved some plates of flowers, whichi are executed with the graver in a very neat style. BOSCH, or BOSSCHE, Balthasar vanden, a Flemish painter, bom at Antwerp in 1675. The 99 BOSC] A DICTIONARY OF [boss only instruction he received was from an obscure artist, named Thomas, whom he soon surpassed. He excelled in painting the interiors of saloons and galleries richly decorated with statues and pictures, with appropriate figures, habited in the mode of the time. He also represented the inside of a painter's room, or the elaboratory of a sculptor, wherein the artist was smTounded with the DDJects of his art, an'anged in a very picturesque manner. His pic- tures became extremely popular, and were bought at large prices. He also painted portraits of a small size with great success, and his reputation in that way induced the Duke of Marlborough, when he was at Antwerp, to have his picture painted by Vanden Bosch. He represented that illustrious personage on horseback ; and that the work might be more complete, engaged Peter van Bloemen to paint the horse. The pictures of this master are ingeniously composed, his figures not incorrectly drawn, and his colouring; like most of the artists of his country, is good. He died in 1715. BOSCH, Elias, a German engraver, whose works are little known, though they are not destitute of merit. His plates are executed entirely with the graver, in a neat, finished style. His name is affix- ed to a small print, representing the Holy Family, with Angels, after John Van Achen, or ab Ach. [BOSCH, Jacques vanden, born at Amsterdam in 1636, painted fruit-pieces almost to deception. He died in 1676.] BOSCHAEET, Nicholas. Tljis artist was born at Antwerp in 1696, and was a scholar of Crepu, a flower painter of some reputation, whom he soon surpassed, and became a very eminent artist in that line. His pictures of flowers and fruit are painted with great lightness of touch, are delicately colour- ed, and are (fisposed with taste. He was firequently employed in painting flowers and fruit in the pic- tures of his contem;goraTy artists. BOSCHI, Fabeizio. According to Baldinucci, this painter was born at Florence about the year 1570. He was a scholar of Domenico Passignani, under whom he made so great a progress, that at the age of nineteen he executed, in fresco, a consi- derable work of the Life of S. Bonaventura, which that author reports to have excited the admiration of the artists of his time. One of his best perform- ances was the Martyrdom of St. Teter and St. Paul, painted for the church of the Certosa, at Florence. Another capital picture by him is in the church of the Dominican convent of St. Lucia, representing the Assumption of the Virgin, surrounded with An- gels, and the Apostles below. He died in 1642. BOSCHI, Francesco. This painter was bom at Florence in 1619, and was the nephew and scholar of Matteo Roselli. He finished some of the works left imperfect at the death of his master, and painted several pictures of his own composi- tions, for the churches at Florence. His gi-eatest merit, however, consisted in portrait painting, which he practised with great ability. He died m 1675, aged 56. BOSCHINI, Marco, was born at Venice in 1613, and was educated in the school of Palma. He did not confine himself to an imitation of the man- ner of his master, but occasionally attempted the bolder style of II Tintoretto. One of his most esteemed works is an altar-piece, representing the Last Supper, in the sacristy of S. Girolamo, at Venice. He also distinguished himself as an en- graver, and usually signed his -name on his plates, 100 Marcus Boschinius. Boschini was also a writer on art, and was the author of La Carta del Navegar pittoresco, pubhshed at Venice in 1660. BOSCOLI, Andrea, was a native of Florence, and flourished about the year 1580. He was a scholar of Santo de Titi, and acquired some rej)ut- ation as a painter of history. His best work is a picture of St. John preaching, in the church of the Teresiani at Rimino. He also painted portraits with considerable success ; that of himself is in the Florentine gallery. Florent le Comte says, he engraved nineteen plates, but does not specify them. [He died about 1606, at the age of 56.] BOSELLI, Antonio. Thi^ old painter is mentioned with distinction in the Vite de Pittori Bergamaschi, by Count Francesco Maria Tassi, who states him to have been a native of the terri- tory of Bergamo, and to have flourished about the year 1500. He was a sculptor as well as a paint- er; and many of his works are noticed by that author. In the church of S. Cristoforo at Bergamo, is a picture "by this master, representing St. Peter, St. Paul, and St. Luke, bearing the following in- scription : Hoc opus Antonmm scito pinxisse Bosel- lum, die 23 Februarii, 1509; and in the church of the Augustines is another of his works, representing the Virgin and infant Jesus in the Clouds, and several Saints below. [It is probable that he worked to a much later period, as there are accounts of monies paid to him in 1527 ; and it is believed that he assisted Pomponio Amalteo, in Friuli, in the years 1.534 to 1536.] BOSELLI, Felice. This painter was bom at Piacenza in 1650, and was a disciple of Giosetfo Nuvolone. For some time he attempted historical Eainting, in which he was not very successful ; but e afterwards adopted a branch of the art more suited to his genius, and became a very reputable painter of animals, bu-ds, and fish. His pictures of these subjects are highly esteemed in his native country, and are to be found in the best collections at Piacenza. [He succeeded so well in copying an- cient pictures as to deceive experienced judges : they are numerous, but rarely admitted to be his by the possessor.] He died in 1732, aged 82. ' [BOSSAM, John, an English painter, who hved in the reigns of Queens Mary and Elizabeth. Old Hilhard said, that his pieces were equal to any whatsoever, and lamented " that he lived in a time when the arts be not esteemed." He calls him " the most rare EngUsh drawer of story-works, in black and white," and says that " for his skill he was worthy to have been Serjeant painter to any king or emperor."'\ BOSSART, Robert, a German engraver, who flourished about the year 1595. He is supposed to have been a pupil of Henry Goltzius, from the re- semblance in their style, although much inferior to that master. He engraved a set of prints, in which the diflerent nations of Europe are represented by figures, emblematical of what each country was ce- lebrated for. He also engraved a portrait of B. Spranger, dated 1595. BOSSCHAERT, Thomas Willeborts. This eminent painter was bom at Bergen-op-Zoom in 1613. Having shown an inclination for the art, his parents sent him to Antwerp, at that time the residence of the greatest masters of the Flemish school, and he became a scholar of Gerard Segers, under whom he remained, until he had made great proficiency, and was recommended by his instructor boss] PAINTERS AND ENGRAVERS. [both to visit Italy for fiirther improvement. After study- ing at Rome four years, he returned to Flanders, wnere he soon gave proof of his ability, in some pic- tures he painted for the churches in the Low Coun- tries. His style nearly resembles that of Vandyck, both in his historical works and his portraits, in which he excelled. His colouring is extremely ten- der and harmonious, and the airs of his heads grace- ful and agreeable. His genius was equal to great compositions, and his works, though placed by those of Rubens and Vandyck, sustain their rank among the most estimable productions of that school. In the church of the Capuchins at Brussels, is a fine picture by Bosschaert, of the Martyrdom of St. Basil ; and in the church of St. James at Bruges, is a grand composition, representing the Martyrdom of that Saint, which, in point of colour and design, would not dishonom- Vandyck. In the palace called the House in the Wood, at the Hague, is a capital work of this master, representing an emblematical subject of Peace and War. In the year 1646, he was made director of the Academy at Antwerp, and died in that city in 1656. BOSSE, Abraham, a French engraver, born at Toiars about the year 1610. It is not known by whom he was instructed, but he appears to have formed his style by imitating the least finished plates of Callot. He principEilly worked from his own designs, although he also engraved after other masters, the number of his plates being very con- siderable. His plates are etched in a spirited style, with uncommon freedom, and afterwards finished with the graver, in a bold masterly manner. He published a treatise, entitled La maniere de graver a Ceau forte, et au Burin, a work which M. Cochin aftei-wards republished, with additions. The fol- lowing are his principal works : The Queen-Mother seated, with the young King and his Brother standing by her. Bust of Cardinal Bichlieu. Portrait of J. Callot, with his Epitaph. A Man with a Cloak resting against a Tree ; engraved by Basse and Mellan. Judith and her Servant, with the Head of Holofemes. The Adoration of the Magi. The Holy Family. Six plates of the History of the Rich Man and Lazarus. Six ditto of the History of the Prodigal Son. Seven ditto of the Parable of the wise and foolish Virgins. Seven ditto of the Wrks of Mercy. St. Anne and her Mii'acles. Preparation of a Christian Soldier for the spiritual Warfare. The King and Queen offering their Vows to the Virgin. The Forces of France. The Siege of La Motte. The Keduction of Mantua. Six of the Reception of the Knights of the Holy Ghost. The Procession of the Chase of St. Genevieve. The Contract of Marriage between the King of Poland and Louisa de Gonzague. The Marriage of Louis XIV. The Hall of Charity. The Gallery, du Palais marchand. Fifteen of the Occupations and Actions of Private Life. Four of the Painter, the Sculptor, the Engraver, and the Printer. Five of the Surgeon, the Apothecary, the Man's Shoe- • maker, the Woman's Shoemaker, and the Hairdresser. Two of the Schoolmaster and Mistress. Four of the Four Elements ; half-length figures. Four of the Four Quarters of the Globe. Four of the Seasons. Five of the Senses. A set of plates for the History of the Maid of Orleans ; from the designs of Vigrwns and others. BOSSI, Benigno, a modem Itahan designer and engraver, born in the Milanese in 1727. He was intended to have studied painting under Pompeo Battoni, but the death of that artist prevented it ; and he was advised by Mengs and Dietrich to ap- ply himself to engraving. He settled at Dresden, but during the seven years' war he was under the necessity of leaving Saxony, and he went to Parma, where he was favoured with the patronage of the duke. We have the following prints by him : His own Portrait. The Presentation in the Temple. 1755. Forty small etchings of Heads, and other subjects ; very spirited. A set of Vases, and a Masquerade ; after Petitot. Four of Trophies. 1771. Four of the Attributes of the Seasons ; circular. 1770. Two of Children. A set of twenty-nine small plates ; after the drawings of Parmegiano. Allegorical figures representing the Towns in Piedmont. St. Catherine ; after the celebrated picture belonging to the family of Sanvitali. The most esteemed plate of the artist. BOSSIUS, James, an old Flemish engraver, born about the year 1520. He resided chiefly at Rome, and he is supposed to have learned the art of en- faving from some of the pupils of Marc Antonio, e worked vrith the graver in a neat style, bnt rather stiff, and his drawing is not very con-ect. His prints, however, possess considerable merit. He sometimes marked his plates with his name at length, and sometimes BB. We have the following by nim: The Portrait of M. Angelo Buonarotti. Bust of Othon Trucsess, Cardinal of Albani ; with a bor- der, and an emblem of Charity ; Jae. Bossius Belgia incidebat. Bust of St. Thomas d' Aquinas ; Jacob Bossius Selffia incidit. The Crucifixion; Jacobus Bossius ineid. Four, of the Fouct Evangelists ; marked B. B. F. — Cock, exe. Jacob's Ladder ; after RafiaeUe ; marked Joe. b b. St.Peter and St. John curing the lame Man ; Jac. Bos.f. The Statue of Pyrrhus, King of Molossus ; after the an- tique ; signed Jacobus Bossius Belgia indd. 1562. BOSSU, Le, a French engraver, who flourished about the year 1700. He imitated the style of F. de Poilly, bnt without much success. His gi-aver is heavy and coarse, and his drawing is incorrect. He is said to have resided some time at Rome, where he engraved some plates after the Italian painters, among which is the Resurrection of Laza- rus ; after Oiacinto Brandi. [BOTELLI, Felice, a native of Piacenza, born in 1652, studied under Nuvolone, and painted ani- mals, birds, and fish, with great spirit and beauty. He died in 1732.] BOTET, F. This artist was a native of France, and floiuished about the year 1750. Among other prints he engraved someplates representing gallant subjects and bambochades, aftxr Charles Anthony Coypel. BOTH, John and Andrew. These celebrated painters were brothers, and are noticed in one article, as their histories, as well as their works, are so closely connected, that it would be difficult to do justice to either in a separate account. They were natives of Utrecht, John, the elder, being bom about the year 1610. Their father was a painter on glass, from whom they leamed the first mdi- ments of design ; but they were afterwards placed under Abraham Bloemaert, with whom they studied, until they found themselves sufficiently advanced ^ 101 both] A DICTIONARY OF [bott in the art to undertake the journey to Italy on the produce of their talents. These brothers seem to have been attached to each other from their infancy by ties of the most cordial affection, and that bond was never broken till they were separated by death. On their arrival at Rome, John Both, inspired by the beauty of the scenes around him, and emulated by the applause bestowed on the works of Claude Lorraine, was not long before he produced some landscapes that received the unqualified admiration of the artists themselves: and Andrew, who had studied the works of Bamboccio, had decorated them with figures, painted in such perfect unison with the landscapes, that it could hardly be believed that they were not by the same hand. The figures in no way intruded on the enchanting effect of the landscape, and the landscape occasionally withheld its attraction, to give value to the charm of the figures. The sympathy of their affections had blend- ed itself with the exertion of their talents ; and in their works every thing was warm, tender, and har- monious. The landscapes of Both exhibit the most beautiful scenery; his colour is glowing, yet deU- cate, and there is a sparkling effect of sunshine in his pictures that has scarcely been equalled. Some- times we admire the freshness of nature, enlivened by the first beams of the rising sun ; at others, the brilliant glow of its meridian splendour ; and we sometimes contemplate the rich tintings of evening in an Itahan sky. The figures and cattle by An- drew, with which they are enriched, are grouped and designed with great taste and elegance.' Inde- pendent of the reputation Andrew Both acquired by the charming figures he introduced into the land- scapes of his brother, he painted many pictures of his own composition, in the manner of Bamboccio, but more agreeably coloured ; they generally repre- sented merry-makings, fairs, and quack-doctors, sur- rounded by figures, designed with great humour, and full of character: they are highly esteemed. The works of these excellent artists had reached a distinction, even in Italy, that seemed to them both fortune and fame, when a melancholy accident cut asunder the tender tie by which they were united, and deprived the world of the combination of their powers. While they resided at Venice, returning home from an entertainment, Andrew unfortunately fell into one of the canals and was drowned, in 1645. John Both did not long remain in Italy after the death of his brother, but returned to Utrecht, where he endeavoured to supply his loss, by having the figures in his landscapes painted by Cornelius Po- lemburg. He did not survive Andrew Both more than five years, and died at Utrecht in 1650, aged about 40. The admirers of etchings are indebted to these able painters for a few plates, which are ex- ecuted in so picturesque and masterly a style that we regret they had not more frequently amused themselves with the point. By John Both we have: A set of four upright Landscapes ; signed J. Both, fee. A set of six Landscapes; lengthways; J. B.f. A Landscape, with loaded Mules ; Both, fee. A Landscape, with a Traveller seated, with a Basket ; J. Both,im>.fec. By Andrew Both we have : ry St. Anthony praying, with a SkuU ; marked •vRc reversed. St. Francis, with a Crucifix before him ; the same. Bust of a Man, in Profile, with a Cap and Feather ; marked _ni, 102 loth. Two Beggars. Two of Dutch Merry-maMngs : A. Both, inv. etfec. Six Landscapes, numbered; of which the first is marked A. Both. The Five Senses, represented by grotesque figures. BOTSCHILD, Samuel. This painter and en- graver was born at Sangerhausen, in Saxony, in 1640. He painted history with some reputation, and was made painter to the court, and keeper of the electoral gallery at Dresden. He established an academy there for the instruction of the young artists of his country. He etched some plates from his owa designs. We have the following prints by him : The exterminating Angel destroying the Army of Sena- cherib ; S. Botsehila, acquafortt. Four of aUegorioal figures. Fonrof the Times of the Day. Two emblematical suWects, one of Hope and Patience, the other Faith and Charity ; oval. Ulysses and Epeus giving the Dimensions of the Trojan Horse. Hercules, with Cupid spinning. BOTT ALA, Giovanni Maria. This painter was born at Savona in the Genoese, in 1613. According to Soprani, he went to Rome when he was young, and studied some time under Pietrb da Cortona. He was taken into the protection of Cardinal Sac- chetti, for whom he painted several pictures, of which the most considerable was the Meeting of Jacob and Esau, which were afterwards placed in the Capitol by Benedict XIV. He acquired the name of RaffaelUno, from his great veneration for the works of that master, but he never divested himself of the style of P. da Cortona. His other works are in the churches of Naples and Genoa. He died at Milan in 1644. BOTTANI, Giuseppe, was born at Cremona in 1717, but studied at Rome, under Agostino Masucci. He estabhshed himself at Mantua, where he gained considerable reputation for painting landscapes, in the style of Gaspar Poussin, into which he intro- duced figures, in the pleasing manner of C. Maratti. He was made director of the Academy at Mantua. His ,only work, as a painter of history, worthy of notice, is mentioned by Lanzi, in the church of S. S. Cosmo and Damiano, representing S. Paola taking leave of her Attendants. Its highest claim to merit is, that it is not quite ecUpsed by a neighbour- ing picture, by Pompeo Battoni. He died in 1784. BOTTICELLI, Sanded, or Alessandko, an old Florentine painter and engraver, born at Flo- rence in 1437. He passed the early part of his life under a goldsmith, but his love for the art led him to study painting, and he became a disciple of Fihp- po Lippi. He visited Rome during the pontificate of Sixtus IV., by whom he was greatly patronized, ^ ajid for whom he executed some considerable works, in the chapel of that pontiff. His principal works at Florence were a Venus Anadyomene, and Venus attired by the Graces ; an Assumption, in S. Pietro Maggiore, of which Vasari speaks in the highest terms of commendation. [The picture of the As- sumption of the Virgin was painted for Matteo Palmieri, and is now in England. It contains a multitude of figures in the heavens, the Apostles round the tomb from which the Virgin has ascend- ed, and also the figures of Palmieri and his wife kneeling. The landscape exhibits views of Florence and Pistoia. It is worthy of the commendation bestowed on it.] In the Life of Baccio Baldini, it is mentioned, that he engi'aved nineteen plates of vignettes, from the designs of Sandro Botticelli, for bova] PAINTERS AND ENGRAVERS. [boui the Inferno of Dante, and Vasari mentions some plates engraved by Botticelli. He also executed a set of twelve plates of Sibyls, and seven of the Planets ; a St. Jerome kneeling before a Crucifix, and a St. Sebastian, with the Virgin, inscribed O mater Dei, memento mei, S^c. He died in 1515. BOVADILLA, Geronimo de, a Spanish painter, born at Antequera, a small town in the vicinity of Seville, in 1620. According to Palomino, he was a scholar of Francisco Zurbaran, whose manner he followed. He excelled in painting historical sub- jects, of a medium size, and perspective views. He died in 1680. BOUCHARD, Joseph, a French engraver, who flourished about the year 1760. He engraved several plates representing buildings and antiquities, which are executed in a neat, finished style. BOUCHE, Martin. This engraver is beUeved to have been a native of Antwerp, from the inscrip- tion on some of his prints. He worked chiefly for the booksellers, and was principally employed on portraits. His plates are executed almost wholly with the graver, m a neat but stifi" style, and they are not without merit. Among his portraits are : John Fenwick, a Jtsuit, wlio was executed at Tyburn, 1679. Thomas Harcott, another Jesuit ; signed Martin Bovche, sc. Antwerpue. He engraved several others of the same order, who suffered in England, and represented them with a knife in their breast, indicative of their sufferings. BOUCHER, Francis, a French painter and en- f-aver, born at Paris in 1704. He was a scholar of rancis Le Moine, and was the most admired artist ,of his time among the Parisians. He was appointed flrst painter to the king, arid was favoured with the patronage of the gi-eat. Few artists have acquired more reputation during their fife-time and met with more flattering encouragement than Boucher. Yet, perhaps, it would be difficult to select one who en- joyed those advantages with less "real pretension to admiration, or less legitimate claim to distinction. His merit seems to have been very justly appreciated by an elegant and enfightened critic of his own na- tion, who appears to have been the first of his coim- trymen who discovered and exposed the coiTuptness of his taste, and that of his misguided admirers. " Never," says M. Watelet, " was there an artist that so much misused a brilliant disposition, an extreme facility; never was there a painter who so openly set at nought the truly beautiful, such as it appears in selected nature, such as it was felt and expressed by the sculptors of Greece, and by Raffaelle ; never did any one excite a more general depravity." It wiU not be denied that he was a perfect master of the mechanism of the art; and if we could be satis- fied with mere artificial prettiness, Boucher cannot justly be refused his share of merit. His most suc- cessfiil efforts were his pastoral subjects, but even in them he has been greatly surpassed by his ingenious countryman Watteau. He died at Paris in 1768. We have several slight etchings by Boucher, of which the following are some of the principal : A small OTal^plate of the Virgin. Four of Children playing. Cupids sporting. The amiable ViHagra;. Andromeda. Twelve of Chinese figures. Set of twelve figures ; after A. Bloemaert. The Portrait of Watteau. The Italian troop. The Player on the Guitar. La Guinguette. La Coquette gi'otesque. BOUCHER, John. This artist was bom at Bourges about the year 1700. He was the elder brother of Francis Boucher, and was also a painter, though of no gi-eat celebrity. He etched five plates, among which is the portrait of Anthony Watteau,. the painter. [BOUCHET, Louis-Andre-Gabriel, a French historical painter, scholar of David, painted subjects from sacred and profane history, poetry, and por- ^ traits. He obtained the first grand prize in 1797, and continued to exhibit until 1819. Gabet does not mention the date of his birth or death.] BOUCQUET, Victor, a Flemish painter, born at Furnes in 1619. He was the son of Mark Bouc- quet, a painter little known. M. Descamps sup- poses he must have visited Italy, as his works exhibit a manner that partakes httle of the taste of his country. He painted history, and was also esteemed as a portrait painter. His works are dis- tributed in the different chm-ches of the towns in Flanders. They are well composed, and, like most of the artists of his country, are well coloured. In the great church of Newport are two altar-pieces by this master, one of which is particularly admired, representing the Death of St. Francis; and in the town-house there is a large picture by him, consi- dered as his principal work, representing the Judg- ment of Cambyses. The principal altar-piece in the church at Ostend is by Boucquet : it represents the taking down fi-om the Cross. [He died at Fm-nes in 1677.] BOUD, R., a Dutch engraver, who flourished about the year 1590. He was principally employed in engraving portraits for the booksellers : among others is a portrait of Henry Goltzius, the painter and engraver, crowned with laurel by Fame. It is executed with the graver, in a stiff, formal style. [BOUHOT, Etienne, an eminent French painter of architectural views, both exterior and interior. His works are numerous, and much esteemed. He obtained many medals from the different places where his works were exhibited. He was bom at Bardles-Epoisses (Cote d'Or) in 1780. He was living in 1831.] BOUJAS, Don Juan Antonio, a Spanish paint- er, born at Santiago about the year 1672. He was a scholar of Luca Giordano, at Madrid, and proved a very promising artist. The troubles occasioned by the war of the succession obUged him to withdraw himself from Madrid, and he returned to his native city. His principal works are in the churches at Santiago. In the cathedral is a picture of St. Paul and St. Andrew, and in the convent of the Domini- cans are two altar-pieces by him. [His name was Soums; he died in 1730. He painted easel pictures which bear a resemblance to those of his master.] [BOUILLARD, Jacques, a French engraver, bom in 1744, was editor of the Collection of the Palais Royal. He engraved classical subjects after Poussin, Caracci, and Guido ; also after Le Sueur, Mignard, and Vanlop. He was a member of the Academy of Painting and Sculpture, and died in 1806.] BOUILLARD, John, a modern French engraver, who visited England about the year 1795. He did not remain long here, but he published four plates, engraved by himself, after iV. Poussin, Le Sueur, and other French painters; among which is Moses treading on the Crown of Pharaoh,'after Poussin. 103 BOVl] A DICTIONARY OF [boul [BOVINET, (Etienne ?) a good French engraver, who flourished at the commencement of the nine- teenth century. His works are after' the most emi- nent Italian, Dutch, and French painters: some are in the " Galerie du Musee Napoleon." ] BOVINI, Francesco. In the description of the pictures at Ferrara, by C. Barotti, there are men- tioned two altar-pieces by this master, in the church of the Oratorio della Penitenza, in that city, one re- presenting the immaculate Conception, the other the Adoration of the Magi. BOUIS. SeeBoBYS. BOULANGER, John. This painter, though a native of France, is better known in Italy than in his own country. He was born at Troyes in 1606, but went to Bologna when he was young, and enter- ed the schoolof Guido Reni. Under that able in- structor he acquired a correct and graceful mode of designing, and a tender and harmonious colouring. His merit recommended him to the protection of the Duke of Modena, who appointed him painter to the court; and he ornamented the ducal palace with several historical pictures, composed and painted in the elegant style of his master. He established a reputable academy at Modena, and had many pupils. He died in 1660. BOULANGER, Matthew. This artist was a native of France, and flourished about the year 1680. He is supposed to have been a son of John Boulanger, the engraver. He was chiefly employed in engraving portraits for the booksellers, and, among others, is that of Raymundus Vievssens, Med. Doct. It is executed in a stiff, heavy style. BOULANGER, John, a French engraver, cousin to the preceding artist, bom at Troyes in 1613. He seems to have attached himself at first to an imita^ tion of the style of Francis Poilly, but he after- wards took up a mode of engraving which had before been practised by his contemporary, John Morin, but which he greatly improved, of finishing the flesh and naked parts of his figures with dots, in- stead of strokes, or with a mixture of both, which gave a very soft and mellow effect ; but as he finish- ed the draperies and backgrounds with rather a harsh use of the graver, there was a want of union in the effect of his plates. Notwithstanding this defect, his prints have considerable merit, and are justly held in estimation. The following are his principal plates : PORTRAITS. Maria Theresa of Austria, Queen of France ; after Frere Lite. Pope Urban VIII. ; /. Boulanger, inv. etfec. Charles II., King of England. Giistavus Adolphus, King of Sweden. Leopold, King of the Romans- Henry of Castile, Abbot of St. Martin. , J. Regnault de Segrais, of the French Academy. J. James OUer, Curate of S. Sepulcre. Paul Beurier, Canon of St. Genevieve. Daniel de Comae, Bishop of Valence. V. Louis de Seckendorf ; after C. Scheffer. Michael Nostradamus, Physician. Vincent de Paul. Mademoiselle le Gras, Foundress of the Filles de la Charite. Francis Isidor de Hayrien. Francis de Clermont, Bishop of Noyon. SUBJECTS FROM HIS OWN DESIGNS. Two Busts of our Saviour and the Virgin Mary. Bust of the Virgin, surrounded by a border of Laurel ; OTal. The Virgin Mary and infant Jesus ; half length. The Virgin Maiy and Infant, with St. John presenting a Cross. 104 SUBJECTS AFTER DIFFERENT MASTERS. The, Virgin and infant Christ holding some Pinks ; call- ed the Virgin of the Pinks ; after RaffaeUe. A Bust of the Virgin; inscribed Mater amabilis; after the same. The Holy Family, with St. Joseph giving the Infant some Cherries ; c^ter Caraeci. The Virgin of Passau ; after Solaria. The Virgin Mary, with the Infant sleeping in her Anns ; after Guido. The Virgin and infant Jesus, with St. John kissing his Foot ; after the same. The Holy Family ; after Noel Coypel. The Holy Family ; half-length figures ; a,fter Nic. Loir. The infant Christ ; inscribed Salvator Mimdi, Sjo. ; after the same. 1651. Christ bearing his Cross ; after Nic. Mignard. The Vivpu and Infant, with St. John kissing his Foot ; after P. Mignard. The taking down from the Cross; after S. Bourdon. The Entombing of Christ ; after ttie same. The Crucifixion; after Ch.le Brim. St. Francis de Paolo ; after S. Vouet. The Dead Christ supported by Joseph of Arimathea. The pompous Cavalcade on the occasion of Louis XIV. coming of age. BOULLONGNE, Louis, the elder, a French painter, bom at Paris in 1609. He painted history, and was professor of the Academy, and painter to the king. His principal works are in the church of Our Lady at Paris, where he has painted the Mira^ cle of St. Paul at Ephesus, the Martyrdom of St. Paul, and the Presentation in the Temple. He died at Paris in 1674. He etcihed three plates, two from his own designs, and the other from Guido, viz. The Miracle of St. Paul at Ephesua. The Martyrdom of St. Paul. The Rape of Helen ; after Guido. BOULLONGNE, Bon, was the elder son of Louis BouUongne, bom at Paris in 1640. [Zani and other writers say in 1649.] He was instructed by his father, and having painted a picture of St. John, which gained him the prize at the Academy, he was sent to Rome for improvement, under the pension of the king, where he remained five years. He afterwards visited Lombardy, and passed some time studying the works of Coreggio and the Ca^ ra'cci. On his return to Paris, he was a candidate for a seat in the Academy, which he obtained in 1677, and painted for his picture of reception, Her- cules combating the Lapithas. Louis XIV. took him into favour, and employed him to paint the staircase at Versailles, under the direction of Charles le Brun. In 1702, he painted in fresco the cupola of the chapel of St. Jerome, in the church of the Invalids. One of his best works is the Resurrec- tion of Lazarus, in the church of the Carthusians. At Versailles he painted Venus and Cupid, and Bacchus and Silenus ; and in the palace of Tri- anon, Juno and Flora, and the Toilet of Venus. He possessed a particular talent of painting, what the Italians call Pastici, or imitations of me style of other masters, without the servility of copies. He died at Paris in 1717. We have a few etchings by this painter. The Holy Family. St. John preachmg in the Wilderness. St. Bruno. Frontispiece for an Almanack ; dated 1694,_ A satirical print against the Author of the Mereu/re Galant ; inscribed. Ah ha, galant, voits raiaonez en ignorant. BOULLONGNE, Louis, the younger, was the younger son of Louis BouUongne, and received his instruction from his father. He was one of the most assiduous students of the Academy, and gain- boul] PAINTERS AND ENGRAVERS. [bour ed the prize for painting when he was eighteen, and was consequently sent to Rotne, under the pen- sion of the king, in 1675. He returned to Paris in 1680, and the following year he was received into the Academy; his reception picture was Augustus ordering the Temple of Janus to be shut. Having been appointed painter to Louis XIV., he was em- ployed at Fontainbleau, and in the phateau of Meu- don. In the church of Our Lady, at Paris, there are two fine pictures by him, the Purification, and the Fhght into Egypt. The works of this painter show, that he had profited more by his residence at Rome, than has been usual with the artists of his nation. There is a fine character in his heads, his drawing is correct, and his colour is more vigorous than is generally found in the artists of the French school. He died at Paris in 1734, [in 1733, Zani.] We have the following etchings by him : The Holy Family, the infant Jesus holding a Bird with^ a String. The Holy Family, with St. John. The Dead Christ, with the Marys and Disciples. The Martyrdom of St. Peter. The Martyrdom of St. Paul. The Flagellation of St. Andrew; after P. Veronese. St. Bruno. The Roman Charity. BOULONOIS, EsME de, an engraver, from his name apparently a Frenchman. He was a print- seller, and lived about the middle of the sixteenth century. The prints we have by him are princi- pally portraits, and are entirely worked with the graver, in a neat stiff style. Among others, we have the following portraits : Christophorus Plantinus Turonensis. Georgins Buchananus ; Esme de B. Durer. 1618. BRUYN, Cornelius de, a Dutch portrait painter and designer, born at the Hague in 1652. His pas- sion for travelling led him to Italy when he was young, where he passed some time at Rome, with Robert Duval, and afterwards went to Venice, where he studied under Carlo Lotti for some years. He painted portraits with success ; but is more distin- guished by his pubhcation of his Travels through Persia and India, and other countries, with plates from his own designs. [He died at Utrecht, in 1728.] [BRUYN, T. de, a native of France or Switzer- land, who came to England in 1760. He painted landscapes and cattle, and was skilful in imitating has reliefs ; an example of which may be seen in the chapel of Greenwich Hospital. He died in 1 804.] BRY^ or BRIE, Theodore de, an eminent German engraver, born at Liege in 1528. He re- sided chiefly at Frankfort, where he carried on the business of a print and bookseller. It is not known by whom he was instructed in the art of engraving, but from his style he appears to have paid particular attention to the works of Sebald Beham. This laborious artist worked almost wholly with the graver, in a neat free style, well adapted to the sub- jects he made choice of, such as pubhc processions and parades, where a great number of figures are in- bry] A DICTIONARY OP [buff troduced, which he drew correctly, and gave great spirit and expression to his heads. He usually marked his plates T. B., or with the cipher [Q^. He engraved the plates for the first fom- volumes of Boissard's Roman Antiquities ; the two last volumes were completed by his sons, John Theodore and John Israel. ' We have also the following prints by him: St. John in the "Wilderness ; an etching ; very scarce. A Dance of Cavaliers and Ladies; Hicpudor, ^c, de Bry, fee. A- Dance of Men and Women Peasants ; Qiumtum aula ; same mark. A Design for a Saucer, a Head representing Pride and Folly, surrounded with grotesque subjects ; a circular plate, marked T. d. B. f. ; scarce. Another Design for a Saucer, a Head of the Duke of Alva, with the Mask of FoUy, with grotesque subjects ; circular ; scarce. Another Design for a Saucer, with the Head of WiUiam of Nassau, with grotesque figures, indicative of Pru- dence ; circular ; scarce. A Medallion of Scanderbegus, with Latin Inscriptions, and a border of birds, flowers, and insects. The Companion ; Donice Scanderbegi Uxor. The Nine Muses. The Procession for the Funeral of Sir Philip Sidney ; in- vented 6y Thomas Lant, gent., and graven in co^erby Derick or Theodore de Brie, in the city of London. 1578 ; in thirty-four plates. The Procession of the Knights of the Garter in 1756, in twelve plates ; dated 1678. A set of Portraits ; entitled Icones quinquaginta virorum illitstrium Fran. 1569. The Plates for the Work published at Franckfort in 1596; entitled The brief, true Report of the new-found land of Virginia, published by Thomas Hariot, Ser- jeant to Sir Walter Raleigh, and employed by him in the discovery. Picart copied these plates for his Reli- gious Ceremonies of all Nations. The plates for the Latin narrative of the Cruelties of the Spaniards in America ; entitled Narratio Regionum Indiarum par Hispanos quondam devastatum veris- sima Franoof. 1598. . One hundred and twenty-three The plates for his great work ; entitled Descriptio gene- ralis totius India Orienfalis et Occidentalis, in nine- teen parts, contained in five volumes, folio. 1598, He died at Franckfort in 1598. BRY, or BRIE, John Theodore de, was the elder son of the preceding drtist, born at Liege in 1561. He greatly assisted his father in the con- siderable works in which he was engaged ; and with the assistance of his brother John Israel, completed the two volumes of Boissard's Roman Antiquities, which were left unfinished at his father's death. He also added considerably to the collection of Portraits of Illustrious Persons, begun by Tlieodore de Bry. We have also the following detached prints by him : Portrait of Gerard Mercator, geographer. Portrait of Daniel Specklin. Four, of the Elements ; J. T. de Bry, inv. etfee. The Marriage of Rebecca ; after Balthasar Peruzzi. A march of Soldiers ; a frieze ; after Titian ; J. Theo- dore, fee. Another March of Soldiers, conducting Prisoners, with Death riding on a Horse ; a frieze ; after the same ; called the Triumph of Death. The little Village Fair ; after S. Beham. The Fountain of Youth ; after the same. The Triumph of Bacchus ; after Guilio Romano. The Venitian Ball; after Tneodore Bernard; a circular plate. The Golden Age ; after the print engraved by N. de Bruyn; after A. Bloemaert. BRYER, Henry. This artist was a pupil of Ryland, and became his partner as a printseller. He engraved a few plates, chiefly fi'om the designs of Angelica Kauffman. Among other prints by him, 120 we have a middle-sized upright plate, representing Bacchus and. Ariadne ; and a large plate, length- ways, of Mars and Venus discovered by Vulcan. For the last he obtained a premium from the Society for the Encouragement of Arts and Sciences. BUBE, L. Mr. Strutt mentions this artist as an engraver on wood, by whom we have a large upright print of the Holy Family, in chiaro-scuro. It is ex- ecuted in a slight style, but it is very, spirited, and manifests the hand of the master. It is from a de- sign of AbraJmm Bhemaert. BUCK, Samuel, and Nathaniel. These brothers are sufliciently known by the great number of plates they engraved of views of the antiquities, rmns of churches, castles, &c., in England and Wales. The number of their plates is near five hundred. Samuel Buck died in 1779. BUCKSHORN, Joseph. According to Lord Orford, this artist was a native of Holland. He visited England in the reign of Charles II., and was a scholar of Sir Peter Lely, whose works he copied in great perfection, and some of the portraits by Vandyck, particularly that of the Earl of Strafford, which was in the possession of Watson, Earl of Rockingham. Vertue mentions the portraits of Mr. Davenant, son of Sir William, and his wife, by Buckshom. He died at the age of 35. [BUDD, George, an English artist of whom little is known. He painted portraits, landscapes, and still life. There is a portrait engraved after him by M°. Ardell, of Timothy Bennett, the patriotic shoemaker of Hampton Wick, who successfully op- posed the old Princess Amelia in obtaining a pas- sage through Bushy Park.] [BUFFAGNOTTI, Carlo Antonio, a painter of perspective and theatrical decorations at Bologna and Genoa, about 1690. He engraved a series of architectural subjects, and decorations for the theatre, after F. Bibiena, and others of the same kind after M. A. Chiarini."} BUFFALMACCO, Buonamico. According to Vasari, this old Florentine painter was born in 1262, and was a disciple of Andrea Taffi. Some of his works were preserved in the time of that author in the cathedral at Arezzo. He painted in the dry Gothic style of the immediate followers of Cimabue. He died in 1340, aged 78. [Baldinucci says he was living in 1351. Lord Lindsay, in his Sketches of the History of Christian Art, thus justly and elo- quently sums up the history and character of Buifal- macco. " In every way Time's tooth has been busy with his fame, and a mere skeleton, a very ghost of a reputation, is all that remains to Buffalmacco. It is, in truth, in the thin airy atmosphere of the Italian novelists, that his name will survive after every vestige of his works has vanished. From boy- hood to hoary age, his pranks and practical jokes were the laugh of Florence, as his conversational flow of fun and humour were the life of Maso del Saggio's shop, the Wit's Cofiee-house of the time. But wit and wisdom are seldom mates, and the ashes left by the crackling thorns press heavily on the head on which retribution lays them. It so fared with Buflfalmacco. A merry wag, a careless spend- thrift, living 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 bottom, dying, at the age of 78, a beggar in the Misericordia, vnthout a paul in his pocket to buy a cofiin for his corpse or a mass for his soul, — the type and mirror of a whole class of artists, whose follies and vagaries throw dis- BUGF.] PAINTERS AND ENGRAVERS. [buon credit on genius, while a certain kindliness of heart renders it impossible not to pity while we blame them." BUGEY, , a French engraver, who was principally employed in engraving portraits for the booksellers; among others, we nave that of the Marshal de Broglio on horseback, after ,Nicliolas Loir. BU6IARDINI, GiULiANo, a Florentine painter, born in 1481. He received his first instruction in the art from Bertoldo, a sculptor, but had afterwards the advantage of studying under Michael Angelo Buonarotti. He painted historical subjects and portraits ; in the latter he is said to have excelled. There is a picture by this master in the church of S. Francesco, at Bologna, representing the Marriage of St. Catherine. He died at Florence in 1556, aged 75. [Lanzi asserts that he was one of the best imitators of Leonardo da Vinci, on a par with Luini, and points out several examples existing at Bologna and elsewhere. Vasari describes him as the fellow student of M. Angelo, the assistant of Albertinelli, and the colourist of some works of Pra Bartolommeo. In Florence he painted many Madonnas and Holy Families, of which he was -not a little vain ; it would seem with good reason.] BUISEN, or BUYSEN, A. van. This artist was a native of Holland, and flourished from 1700 till about 1725. He was chiefly employed in en- graving for the booksellers, and appears to have resided some time in England, as he engraved a plate representing David playing on the harp, for the octavo edition of Cowley's Poems, piiblished in 1700. He also engraved some of the plcttes for the work entitled Figures de la Bible, from the designs of Picart and others, pubUshed at Amsterdam in 1720. BULLINGEE, John Balthasar, a Swiss land- scape painter, bom at Langnau, in the canton of Zurich, in 1713. He was first a scholar of John Simler, but afterwards went to Venice, where he studied two years, under John Baptist Tiepolo. He first attempted historical painting, but his natural genius led him to landscapes, and he became very eminent in that branch of the art. He afterwards passed some time at Amsterdam, where he appears to have studied with attention the works of the best ,- artists of the Dutch school, particularly Both and Berghem, whose manner he imitated. He etched several plates in a free painter-like style, of which the following are the principal : The portrait of J. B. Bullinger, se ipse fee. A Frontispiece, with a numher of Genii. ■ Two mountainous Landscapes, with figures. A set of fifty Landscapes ; some &om his own designs, and the others i^er F. ErmeU and F. Meyer. A Head ; after Le Brun; engraved for Lavater's Work. [He died at Zurich in 1793.] BUMEL, or BIMEL, Michael, a German en- graver of Uttle celebrity. He engraved several plates, representing saints, and other devotional subjects, which are executed with the graver, with suflicient neatness, but in a stiff, tasteless style. [BUNBUBY, Henry William, a designer of humorous subjects and caricatures. He was the son of Sir William Bunbury of Mildenhall, Sufiblk, and was educated at Westminster school, and at Catherine Hall, Cambridge. His Directions to bad Horsemen obtained for him great popularity, and the praise of Sir J. Reynolds. He died in 1811.] BUNEL, Jacques, a French painter, bom at Blois in 1558. He studied at Rome, under Federigo Zucchero, and was one of the most eminent histori- cal painters of his country at the time in which he lived. In the church of the Augustines at Paris, is a fine picture by Bunel of the Descent of the Holy Ghost ; and in the church of the Feuillans is his celebrated picture of the Assumption of the Virgin. BTJNNICK, John van, a Dutch landscape paint- er, bom at Utrecht in 1654. He was a scholar of Herman Sachtleven, under whom he studied three years, and afterwards visited Italy. He passed some time at Genoa, where he formed an ac(juaint- ance with Tempesta, by whom he was assisted in his studies. On his arrival at Rome he ; found several of the ai:tists of his country, who received him vrith kindness, particularly Abraham Genoels, and Ferdinand Voet, and in their society greatly improved himself, by designing the fine scenery in the environs of Rome. On leaving Rome he went to Modena, where his works were so admired, that the duke appointed him his- principal painter, and he passed eight years in his service. On his return to Holland, he was employed by King William III., then Prince of Orange, to ornament his palace at Loo. He died in 1727. . BUNNICK, Jacob van. This painter was the brother of the preceding artist, and painted battle- pieces with some reputation, but was greatly infer rior to John van Bunnick. He died in 1725. BUONACORSI. See Vaga, Pierino del. BUONAMICL SeeTAssi. BUONAROTTI. See Angelo, M. BUONCONSIGLI, Giovanni. According to Ridolfi, this painter was a native of Vicenza, and flourished about the year 1497. In the church of S. Cosimo deUa Giudecca, there is a picture by this master representing the Virem Mary and infant Jesus, with S. Cosimo and S. Damiano, it is signed with his name, and the above date. BUONI, BuoNO DE. This painter was bom at Naples, and, according to Dominici, flourished about the year 1430. He was a disciple of an old Neapoli- tan painter, called Colantonio del Fiore, whom he assisted in several of his works, and after his death became one of the most reputable artists of his time. There are many of his works in the churches at Naples ; one of the most esteemed is a picture in the church of the Restituta, representing St. Francis receiving the Stigmata. He died about the year 1465. BUONI, SiLVESTRO DE, was the son and the scholar of the preceding artist, and was bom at Naples about the year 1420. After studying some time under his father, he had the advantage of being instructed by Antonio Solario, called il Zingaro. Under that master he became an eminent painter of history, and was employed in some Considerable works for the churches andpubhc edifices at Naples. Among his most admired productions is a picture in the church of S. Pietro Martire, representing the Assumption of the Virgin, and the principal altar- piece in the Restituta, the Virgin and infant Jesus, with several Saints. He died in 1480. BUONI, or BONIS, Floriano. This_artist was a native of Bologna, and flourished about the year 1670. Among other prints, he engi'aved a plate representing a dead Cftirist,.with the Virgin Mary and St. John, after Oitercino. It is executed with the graver in a dark, heavy style. His name is also aflSxed to a portrait of Guido Reni. BUONTALENTI, Bernardo, called dalle Gi- RANDO-LE, was a painter, sculptor, and architect; and according to Baldinucci was born in 1536. When he was eleven years of age, his parents were ruined by a sudden inundation of the Amo, and he 121 dura] A DICTIONARY OF [buri was taken under the protection of Cosmo I., Grand Duke of Tuscany, who caused him to be educated in the best manner. He is said to havS been in- structed in painting by Salviati and Bronzino, in sculpture by M. Angelo Buonaroti, in architecture by Giorgio Vasari, and to have learned miniature painting under Giulio Clovio. With such advan- tages it is not surprising that he became eminent. He was more celebrated as an architect than a painter, and was much employed in fortification. He was also a great mechanic, and an excellent mathematician. He died in 1606. BURANl, Francesco, an Italian designer and engraver, born at Reggio, by whom we have an etching of Bacchus sitting near a Tun, with three Satyrs, executed in the style of Spagnoletto. [BURATTI, GiROLAMO, apainter of Ascoli, lived about 1580. He painted the beautiful picture of the Presipio at the Carita, in Ascoli, and some sub- jects in fresco, which have been highly commended.] [BURCH, Albert Vanden, a scholar of Ver- kolje, and of Adrian Vander Werf, painted por- traits. He was born at Delft in 1672.] BURFORD, Thomas, an English mezzotinto engraver, who flourished about the year 1750. He scraped some plates of landscapes and huntings,' but was best known as an engraver of portraits. We have by him : Doctor 'Warburton ; after Philips. The Reverend Roger Pickering, F. R. S. 1747, Mr. Charles Churchill ; J. H. Scliaack, pin. 1765. Vice- Admiral John Norris. [BURG, Adrian Vander, born at Dort in 1693, was 3, scholar of Arnold Houbraken, and a good painter of portraits. He also produced some cabinet ' pictures in the style of his master, and attempted to imitate the manner of Mieris and Metsu. He died ■ in 1733.] [BURG, Thierry Vanden, was bom at Utrecht in 1723. He painted landscapes with cattle, views of villages and country mansions, which are in general well represented. He died in 1773.] BURGH, H., an English engraver, who resided in London about the year 1750. He worked prin- cipally for the booksellers, and was chiefly employed in engraving portraits, among which is that of Thomas Bradbury, minister of the gospel, from his own design : it is inscribed, H. Burg. del. et sculp. BURGHERS, Michael, a Dutch engraver, who settled in England on the taking of Utrecht by Louis XIV. He resided chiefly at Oxford ; and on several of his plates he added to his name Acade- mics Oxon. calcographus. From the great number of his prints, it is probable he was employed by the booksellers, as well as for the university. He worked almost whoUy with the graver, in a stiiF, tasteless style. He has the merit however of having pre- served to us many remains of antiquity, which would otherwise have been lost. He engraved the plates for the Almanacks of the College, the first of which, by him, was in the year 1676. His most esteemed prints are his antiquities, ruins of abbeys, and other curiosities. He engraved also several portraits and plates for the classics. The following are his principal prints. He sometimes marked his plates ]\B • William Sommer, the amticniary ; after Vandyck. Franciscus Junius ; after the same. John Barefoot, letter doctor to the University. 1681. Head of James II. ; for an Almanack. 1686._ Anthony Wood ; in a niche ; his only mezzotinto. 122 King Alfred; from a manuscript in the Bodleian lA- Sir Thomas Bodley ; in the Comers of the plate are the Heads of the other Benefactors to. the Library ; 'Wil- liam, Earl of Pembroke, Archbishop Laud, SirKenelm Digby, and John Selden. Timothy Hatton, provost of Queen's College. Doctor Wallis. 1699. Sir Thomas Wyat. John Baliol. Devorguilla, his spouse. Doctor Ratcliff. The Visage of Christ ; engraved in the manner of Mel- Ian, with one stroke. [BURGT, N. Vander, a fruit and flower paint- er, about the middle of the 18th century. It is said that he copied some of Luca Giordano's pic- tures.] BURGKMAIR, Hans, or John, a German painter and engraver, born at Augsbourg, in 1474. He was the disciple and friend of Albert Durer. In his native city are preserved several of his pictures, which are much in the style of his master, and pos- sess considerable merit. His prints are principally, if not entirely, wooden cuts, and are executed with a spirit and fire that approaches his master. His cut in chiaro-scuro of the Emperor Maximilan I. on horseback, is dated in 1508; and it has been very probably supposed by Professor Christ, that the fine wooden cuts marked I. B., dated 1510, in the old edition of the works of Geyler de Keyser- berg, are by this engraver. His prints are very numerous. He sometimes marked them with the initials H. B., and sometimes with the ciphers I^J' "'' TSti. '^^^ following is a general list of his prints : The Emperor Maximilian on horseback ; with his name. The same print in chiaro-scuro ; dated 1508 ; scarce. Joseph and Potiphar's Wife ; H. B. St. George on horseback ; in chiaro-scuro, with the name of Neg/cer. §t. Sebastian, standing in an arch ; with his name. 1S12. St. Thomas and St. Bartholomew. 1514. A young Female lamenting the loss of a Hero that Death ■ is trampling upon ; in cmaro-scuro ; H. Burgkmair S; I. de Negker ; scarce. Hektor von Troy, Gros Alexander, Julius Ca!sar ; with his name, Lucretia, Virginia, and Veturia ; with his name. 1519. S. Elena, S. Brigita, and S. Elsbeta. An Emperor on his Throne giving Audience to a Man, A set of two hundred and thirty-seven plates for a book, published at Vienna, entitled Der Weyss Koneg, or the wise King, giving the principal actions of the Emperor Maximilian I. A set of thirty-eight plates of the Triumphal Entry of Maximilian I. [It is now generally admitted that Burgkmair was not a scholar of Albert Durer. There was so little difference in their ages that it is not probable he should be. Besides his manner is essentially differ- ent from that master's : he was rather the founder of a school of his own. Recent researches would show that Hans Burgkmair was born in 1472, and that he died so late as 1559.— See Naglefs Kumtler Lexicon for a copious list of his works.] BURINI, Antonio. This painter was bom at Bologna in 1660, and was a scholar of Domenico Canuti. He proved a very reputable painter of history. Many of his works are in the churches and palaces at Bologna, among which are the fol- lowing. In the church of S. Tommaso dal Mercato, the Cmcifixion. In the sacristy of S. Salvatore, David with the Head of Gohah. In S. Caterina de Saragozza, the Martyrdom of St. Catherine. He burk] PAINTERS AND ENGRAVERS. [buso also painted a saloon for the Palazzo Legnani, which is very highly spoken of. [BURKE, Thomas, an English engraver, bom in 1746. He adopted the style of Bartolozzi, in the chalk manner, and occasionally that of Earlom. He engraved chiefly after the works of contempo- rary artists, particularly Cipriani and Angelica Kaufman. His principal plates are " The Battle of Agincourt," and "King John signing MagnaCharta," after Mortimer ; the " Night Mare," after Puseli ; a portrait of Mrs. Siddons, and one of Lord North, after Dance. His prints are generally printed in red or brown colours, and ai-e dated from 1772 to 1791.] [BURNET, James, was born at Musselburg in 1788. At an early age he showed a predilection for painting, and frequented the evening academy of Graham to obtain a knowledge of the elements. He came to London in 1810, and renewed his studies. He found in Cuyp and P. Potter much after his own heart, but in nature more. He was not of the Royal Academy ; " The fields were his study, nature was his book." In his sketch-book he noted down beautiful bits of landscape, cattle, and rustic figures pursuing their avocations. These he afterwards embodied in composition, and produced " Cattle going out in the Morning," " Cattle returning home in a Shower," " Crossing the Brook," " Breaking the Ice," " MiEdng-time," and other beautiful pictures, full of high promise. Unfortunately for the art, his life was but short; he died in the twenty-eighth year of his age, to the regret of all who could appre- ciate his excellence, and who hoped in him that England would see a painter of her own rivalling the best masters of the Dutch school in the depart- ment he had chosen. He was buried in the church- yard of Lee, in Kent, a spot in which he delighted during his Ufe.] BURNFORD, ■ , an obscure English engraver, who was employed in engraving portraits, frontispieces, and other book plates, for the publish- ers. Among his portraits is that of William Salmon, M. D., prefixed to his Synopsis Medicinee. [BUBRINI, GiANANTONio, a Bolognese painter of the schools of Canuti and PasineUi, bom in 1 655, died in 1727. He showed a strong predilection for the style of Paul Veronese, and devoted much time to the study of his works, fie painted a picture in that manner for the noble Ratta family, which yields to very few in their collection. He continued to paint for some time with care and attention, and produced many good pictures ; but afterwards gave way to a greater facility of handling, which, unfor- tunately for the arts, obtained more disciples than his first mariner.] BUS, or BOS, or vanden Bosch, Cornelius, a Dutch engraver, bom at Bois le Due, about the year 1510. He went to Italy when young, as ap- pears from some of his prints engraved at Rome. His style of engraving resembles that of Marco da Ravenna, but is inferior to that artist. His plates are executed with the graver, in a dry formal style. He usually marked them with one of these ciphers, CJ!^. GB.^P or Cv.B. The following are his best works : The Last tTudgment; with his cipher. 1530. Lot and his Daughters. 1550. David and Uriah. 1546. Jesus preaching to the Jews ; inscribed Beati qui, S;o. Venus in her Car. 1546. Venus and Cupid coming to Vulcan. 1546. Combat of the Centaui-s and the Lapithaj ; in two sheets. 1650. Death seizing a Honk. The Equestrian Statue of Marcus AureUus. A set of sixteen of Trophies, Arms, and Grotesques: Rome. 1550 to 1553. Moses breaking the Tables of the Law ; after Baffdelle. 1650. ■" Moses presenting the Law to the People ; after the same. 1551. ■' The Triumph of Bacchus; after GiuUo Romano ; in two sheets. 1543. The Entombing of Christ ; after Framcis Moris. 1654. The Battle of tiie Giants. The Descent irom the Cross. 1545. BUSC,- -, an amateur engraver, who Basan reports to have etched several plates, among which were twenty-eight, after Rembrandt ; and twenty of heads, &c. BUSCA, Antonio. This painter was bom at Milan in 1625, and was a scholar of ErCole Procac- cini.' In the church of S. Marco, he painted, in competition with his master, a picture of the Cru- cifixion, with the Virgin, Mary Magdalene, and St. John, which does not shrink from a comparison with the works of Procaccini. This performance, however, he never after equalled. Being much af- flicted with the gout, he appears to have been un- able to undertake any thing with vigour : he sunk into a mannerist, and contented himself with fre- quently repeating the same subjects. He died in 1686. [BUSCATI, or BUSSCAT, Luca Antonio, a Bolognese painter of the 15th century. A Descent from the Cross by him is in the Ercolani Gallery at Bologna, of which Bosini has given an outline. Zani considers him among the eminent of the period, and the print justifies the opinion.] BUSINCK, Louis, an engraver on wood, who was probably of Germany, as he flourished, according to M. Heineken, at Minden, about the year 1630. We have by him some wooden cutg in chiaro-scuro, executed in a very spirited and masterly manner, many of them after G. L. AUemand, He also en- graved some blocks from his own designs, of which are the following : Fidelity, an allegorical piece ; from his own designs, 1630. A half-length figure playing on the Flute; the sam^. 1630. A Cavalier ; full-length ; the same. 1630. Two of Peasants. SUBJECTS IN CHIARO-SCURO ; AFTER G. L. ALLEMAND. St. Peter holding the Keys ; half-length. St. John and St. Matthew. Judith, with the Head of Holofemes. Moses, with the Tables of the. Law. A Family of Beggars. A young Man playing on the Flute. Mneas saving Anchises from the Fire of Troy. A Holy Fajiuly, on three blocks of wood ; one for the outline, llie other for the deep shadows, and another for the demi-tints. BUSO, AuRELio. This painter was a native of Crema, and flourished about the year 1520. He studied under PoUdoro da Caravaggio, and il Matu- rino, and assisted them in several of their works at Rome. He ornamented the palace of the noble fa- mily of Benzoni, at Venice, with some friezes and other works, in the style of Pohdoro. [He was a scholar of Polidoro, and assisted him in his works, and produced many histories in his native city, in the manner of his master. He died about 1520.] 123 buss]. A DICTIONARY OF [btss BUSSE, John, a German engraver, who flourish- ed about the year 1528. He may be ranked in the class of the Httle masters, and was probably a disci- ple of Henry Aldegrever, as he copied some of the prints of that master. He en^aved a set of small plates of the Seven Planets, which are marked with the initials of his name, J. B., with the date 1528. Mr. Strutt also attributed to him a small plate, length- ways, representing a man and a woman dancing, with two men playing on musical instruments, on which the name is signed at length, John Sufse. BUTI, LoDOvico, a Florentine painter, who flourished about the year 1600. He was a scholar- of Santo di Titi, under whom he showed early marks of ability. On leaving that master, he ap- pKed himself to imitate works of Andrea del Sarto, whose manner he adopted with success. Baldinucci mentions several of the productions of this master in the churches and palaces at Florence ; and parti- cularly commends his picture of the Ascension in the Ognissanti. But perhaps his most creditable per- forniance is his picture of the Miracle of the Loaves, in the gallery at Florence. ' BUTTERI, Giovanni Maria. According to Baldinucci, this painter was a native of Florence, and a scholar of Agnolo Bronzini. Although he painted history with some reputation, his drawing is much less correct than that of his master, and his colouring rather harsh and crude. There are seve- ral of his works in the churches and convents at Florence, where he died in 1606. BUYTBNWEG, William de, a Dutch painter and engraver, born at Rotterdam about the year 1600. He painted conversations and landscapes with considerable reputation. Some of his pictures have been engraved by G-. H. Scheyndel and E. Vandevelde. His principal work, as a painter, was the Triumph' of William, Prince of Orange, en- graved by C. Kittenstein. He etched some plates from his own designs, in a pleasing style ; among which are the following. His usual mark was \^S • Two of Women going to Market, one with Vegetables, and the other with Fowls. Seven of different Dresses of Noblemen ; W. B. fee. Six of Dresses of Ladies. Ten of Landscapes, with Kuins and Figures ; Ferseheide Landscha^'es, [Houbraken designates him Qeestiae Willem, (William the Gay,) and under this appellation he is to be found in the Collection of Catalogues of Pic- tures by Hoet and Terwesten, as a painter of con- versations and familiar scenes. He died in 1640.] BYE, or BIE, James de, a Flemish engi-aver, bom at Antwerp about the year 1581, where he followed the profession of a print and bookseller. From the style of his plates, it is not improbable that he learned the art of engraving in the school of the CoUaerts. He worked wholly with the graver; his execution is neat and firm, and his drawing tolerably correct. He holds a respectable rank among the early engravers of his country. In con- junction with the CoUaerts, he engraved some of the plates in the set of fifty, of the Life, Passion, and Resurrection of Christ, after the designs of Martin de Vos. And several of the plates m the Life of the Virgin, from the designs of the same painter, were executed by this artist, together with Philip and Theodore Galle. The following are his principal prints : 124 The Medals of the Roman Emperors ; in the collection of the Duke d'Arschot. 1617. The Portraits of the Kings of France, for the History by Mezeray; fifty-eight plates. The Descendants of the House of de Croy ; about sixty plates. The Portrait of Francis I. ; after M. de Vos. Christ healing Peter's Wife's Mother; fine; for Collaert's set. The Resurrection of Lazarus ; fine ; for the same set. BYE, or BIE, Mark de, a Dutch painter and engraver, born at the Hague about the year 1612. He was instructed in painting by J. Vander Does, and produced some landscapes, with animals, in the style of that master, which are not without merit; but he is chiefly deserving of notice for the excellent etchings he has left us of animals, after the designs of Pam Potter and Mark Gerard. We have by him : Three sets, of eight each, of Cows and Oxen ; after Potter. A set of sixteen of Sheep; after the same. A set of sixteen of Goats ; cffier the same. A set of sixteen of Lions, Leopards, Wolves, Bears, &. ; after the same. A set of sixteen of the Natural History of the Bear ; after Mark Gerard. 1664; scarce. BYLERT, or BYLART, John. According to Descamps, this painter was born at Utrecht in 1603. His father was a glass painter, who taught him the rudiments of design, and without the help of supe- rior instruction, he became a reputable painter of history. His pictures are usually smaller than life ; they are ingeniously composed, and are coloured with great vigour and efiect. His talents have been celebrated by the poet, Cornelius de Bie, in his Gulden Cabinet. BYRNE, William, an English engraver, born in London in 1743. After studying some time under his uncle, an artist little known, he went to Paris^ where he became a pupil of Aliamet, and afterwards of J. G. Wille. Mr. Byrne may be justly ranked among our eminent engravers of landscape. His works are considerable, of which the following are the most deserving of notice : The Antiquities of Britain ; from the charming .drawings of Mr. Hearne. The Views of the Lakes of Cumberland and Westmore- land ; after Mr. Farrington. The Scenery of Italy ; after the fine designs of Mr. Smith. Apollo watching the Flocks of King Admetus ; after F. Lauri; the companion to Mr. W(3lett'a print oi Diana and Acteon. The Flight into Egypt ; in a fine landscape ; after Dome- nichino. Evening ; a fine landscape ; after Claude Lorrain, Abraham and Lot quitting Egypt; after ZuccarelU ; the figures by Bartotoxzi, A Sea-piece ; after Vernet. Evening; after Both; the landscape by Bryne; the figures by Bartohzzi. Two Views of Leuben, in Saxony ; after Dietricy. The Death of Captain Cook ; the figures by Bartolozzi. The Water-fall of Niagara ; after R. Wilson. Mr. Byrne died in 1805, aged 62. BYSS, John Rodolph, a Swiss painter, bom at Soleure in 1660. He painted easel pictures of historical subjects in landscapes, in which he at- tempted to imitate the style of Gerard de Lairesse, and affected the finish of Adrian Vanderwerf. He is also stated, by his countryman and bio- grapher, Fuessli, to' have painted flower-pieces, in which he equalled John van Huysum. The col- lectors of those subjects will not have much difficul- ty in deciding on their respective merits. He chiefly resided at Mentz and Vienna, where he met with great encouragement. He died in 1738. cabe] PAINTERS AND ENGRAVERS. [CACC c CABEL, or KABEL, Adhian vandee, a Dutch painter, born at Ryswick, near the Hague, in 1631. He was a scholar of Van Goyen, under whom he studied, until he found himself in a condition to travel from the resources of his talent. His inten- tion was to visit Italy; but in passing through Prance, he made some stay at Lyons, where his works were so much admired, and so liberally paid, that he was induced to abandon his project, and to settle in that city. He painted landscapes with figures and cattle, and sea-ports, in which we dis- cover little of the taste of his country. His figures are correctly drawn, and his animals are touched with great spirit. He appears to have sometimes imitated the style of Benedetto Castiglione and Salvator Rosa, at others that of the Caracci and P. P. Mola. The pictures of this master are very un- equal, as he was not more remarkable for his ability than for the iiTegular and dissolute habits of his Ufe. We have by Vander Cabel several etchings, executed in a free and spirited style. They are as follow : A set of six Landscapes, with figures and buildings. Thirty of Landscapes and Marines. A set of four mountainous Landscapes, with figures ; in- scribed A. vander Cabel, fecit. N. Robert, exe. Two Landscapes, large plates, with figures. A large upright Landscape, with St. Bruno, the figure is engraved with single strokes, in the manner of Mellan ; rare. Another, its companion, with St. Jerome ; rare. Vander Cabel died at Lyons in 1695. [The name of this artist was originally Vander Toow, which he changed to Kahel. The associated painters at Rome called him Corydon and Geestigkeit ; which is a proof that he studied there, notwithstanding the as- sertion of Descamps to the contrary. Bartsch enumerates 55 prints by him.] [CABEL, Jan Vander, mentioned by Balkema as a painter of horses, cattle, landscapes, with animals and figures; but he does not give any dates.] CABEZALERO, Juan Martin de, a Spanish painter, born, according to Palomino, at Almaden, near Cordova, in 1633. He was a disciple of Don Juan Carreno, and painted history with great re- putation. His principal works are at Madrid, of which two of the most esteemed are in the church of San Nicola, representing the Assumption of the Virgin, and a picture of St Ildefonso. He also painted in the church of the Franciscans an Ecce Homo, and the Crucifixion. He died in 1673. CACCIA, GuGLiELMO, called il Moncalvo. This painter was a Piedmontese, born at Montabone, in Monserrato, in 1568. He was named il Moncalvo, from his long residence at that place. Although he reached an eminent rank among the painters of his country, it is not ascertained under whom he studied. He first settled at Milan, where he painted some pictures for the churches. He afterwards resided some time at Pavia, and was made a citizen. Ac- cording to Lanzi, he was not less known at Novara, VerceUi, at Alessandria, and Turin. His style has something of the energy of the Caracci ; but it has been observed, by the above-mentioned author, that if he had been educated in the school of the Caracci, it is probable he would have left some of his works at Bologna, and that in his landscapes he would have shown more of the taste of Annibale than of Paul Brill. His manner partakes, altogether, more of the Roman than the Bolognese school. As a fresco painter, his abilities are considerable. In the church of S. Antonio Abate, at Milan, he painted in fresco the titular Saint, with St. Paul, the first hermit, a work which sustains itself, in the perilous comparison, with some of the best productions of the Carloni. Another distinguished performance in fresco, by Caccia, is the cupola of S. Paolo, at Novara. Of his oil paintings the most effective are, his S. Pietro in the chiesa della Croce; his S. Teresa, in the church of that name ; and the taking down from the Cross, in the church of St. Gauden- zio, at Novara, which is by many considered as his chef d'oeuvre. At Moncalvo, the church of the Conventuali may be considered as a gallery of his works. At Chieri are two fine pictures by this master, of the Raising of Lazarus, and the Miracle of the Loaves, admirably, composed, and of the finest expression. He died in 1625. [Caccia in- structed, and was assisted by, his two daughters, Orsola Maddelena, and Franeesca, who may be called the Gentilesche, or the Fontane of Monfer-' rato, where they painted not only cabinet pictures, but more altar-pieces than, perhaps, any other females. • The contours of their figures are exactly copied from their father, but they are not so ani- mated. It is said that their manner was so similar, that, in order to distinguish them, the younger, Franeesca, adopted the symbol of a small bird ; and Ursula, who founded the convent of the Ursulines in Moncalvo, that of a flower. Of the latter her church and Casale also have some altar-pieces, and not a few cabinet pictures with landscapes touched in the style of Paul Brill, and ornamented with flowers. A Holy Family by her in this style, i,s in the rich collection of the 'Palazzo Natta. Ursula died in 1678, and her sister at the age of 57, but it is not said in what year. According to Zani they were both Ursulines.] CACCIANEMICI, Francesco, a Bolognese painter, educated in the school of Primaticcioj and was considered by that master of so promising a talent, that he made choice of him as one of the young artists that accompanied him to France, when he was invited to that court by Francis I. He assisted Primaticcio in his great work at Pon- tainbleau, and was also employed, in conjunction with il Rosso, in several important works. [He died in 1609.] CACCIANEMICI, Vincenzio. This painter was a Bolognese gentleman, who was instructed in the art by Parmegiano. Vasari mentions a picture by this amateur artist, in the chapel of the family of Elefantuzzi, in S. Petronio, at Bologna, representing the Decollation of St. John; and another picture of the same subject, differently treated, in the capella MacchiavelU, in S. Stefano. He flourished about the year 1530. There are a few etchings, marked V. C., which are attributed to this gentleman, among which are: Diana returning from the Chase. A Landscape, with a Nymph and Dogs. They are executed with the graver, in a neat style, resembUng that of .ffineas Vico. [Zani places his death in 1542.] CACCIANIGA, Francesco. This pamter was bom at Milan in 1700, and studied at Bologna, in the school of Marc Antonio Pranceschini. He after- wards visited Rome, where he established himself, under the patronage of the Prince Borghese, for whom he executed some considerable works in the 125 CACC] A DICTIONARY OF LCAGN Palazzo and the Villa Borghese. His principal works are at Ancona, where he painted several a,ltar-pieces and pictures for the churches and pub- lic edifices, of which the most esteemed are the Marriage of the Virgin, and the Last Supper. CACCIUOLI, Giovanni Batista. This painter was bbrn in the castle of Budrio, near Bologna, in 1635. He was a scholar of Domenico Maria Canuti, and proved an eminent painter of history. He painted several pictures for the churches in Bo- logna, and was greatly patronized by the Dukes of Parma and Modena : according to the Padre Orlandi, he died in 1675. [Zani places his birth in 1623.] CA6LIARI, Paolo, called Paolo Veronese. This distinguished painter of the Venetian school was bom at Verona, according to Ridolfi, (whose accuracy respecting the artists of his country is most deserving of credit,) in 1532. He was the son of a sculptor named Gabriele Cagliari, but his disposition leading him decidedly to painting, he was placed under the tuition of Antonio Badile, his maternal uncle, at that time one of the most re- putable painters at Verona. The genius of Paolo discovered itself at so early an age, that Ridolfi observes of him, that in the spring of life he pro- duced most excellent fruit. The Cardinal Gon- zaga engaged him, in concurrence with Domenico Brusascorci, Paolo Parinato, and Batista del Moro, to paint in fresco the dome of the cathedral at Man- tua, where he distinguished himself above all his competitors. Verona or Mantua was too confined a theatre for the exhibition of his powers, and he visited Venice, where the senate had engaged some of the principal painters of the time to ornament the palace of the Conservators, promising a gold medal and chain to the artist whose work should be prefen-ed. Paolo Veronese became a candidate, and obtained the prize. Titian was one of the judges, and his rivals themselves seem to have rati- fied his superiority. The procurator Grimani being appointed ambassador to the Pope, he invited Paolo to attend him to Rome, where he had the opportu- nity of studying the works of M. Angelo and Raf- faelle. It does not appear, however, mat he either felt, or sufliciently appreciated, the beautiful sim- Ehcity of Raffaelle and the antique; and perhaps e would have been less successful in his idea of excellence by adopting it, than in following the im- pulse of his own feelings. The beauties he neglect- ed were undoubtedly of a superior order to those for which he is distinguished : but he might probably have attempted them in vain ; and he has acquired a more than usually brilliant reputation, by attach- ing himself to his own fascinating delineation of sumptuous and magnificent parade. Formed by nature to be the most successful painter of splendid ornament, he was satisfied with so flattering a par- tition of celebrity, which raised him to a distin- guished rank in the tawdry taste of his countrymen. His colour is pure, chaste, and undisturbed; and the reflections of his demi-tints are managed vrith an intelligence entirely his own. He is said, by M. de Piles, to have succeeded in chiaro-scuro merely by chance, and not by principle ; if it be so, he must have been unusually fortunate in his chances, as these successful accidents have happened to him so generally, that they may reasonably be attributed to his perfect knowledge of breadth, and his judici- ous management of his masses of light and shadow. It must, however, be allowed, that the partiality of his country for ostentatious finery, rather, perhaps, than his own taste, seduced him into an open con- 126 tempt for the propriety of costume ; his draperies, instead of being appropriated to the personages he represented, are the fantastic habits of the Venetian nobles ; and in his celebrated pictures of the Feasts of Simon and Levi, he has represented the repast of those individuals with all the sumptuous magnifi- cence of the kings of Persia. The movement ap- parent in his abundant compositions, exhibits a show of fire and feeling ; but it is not the fire that animated Raflaelle, that inspired the exertions of M. Angelo, nor the vigorous ardour that glowed in Rubens. The principal works of this surprisingly executive painter, are the four copious and prodigi- ous machines painted for four of the churches at Venice. The &-st represents the Marriage at Cana; it is upwards of twenty-five feet wide, and consists of an immense assemblage of figures, many of them portraits. It was painted for the refectory of St. Giorgio Mag'giore, and is now in the gallery of the Louvre. For this prodigious work, he is said to have received only ninety ducats; but it is well known that it was his practice to receive no remu- neration from the convents, beyond the expenses of his colours and canvass. The second, painted in 1570, for the church of S. Sebastiano, represents the Feast of Simon, with Magdalene washing the Feet of Christ. The third, executed for the church of SS. Giovanni e Paolo, is the Saviour at Table, with his Disciples : and the fourth is the same sub- ject as the second, but quite difierently treated; it was painted for the refectory of the Padri Servi, but was presented by the republic to Louis XlV. in 1665. The last mentioned is perhaps the finest of his works. This eminent painter has left a few etch- ings, which, though slight, are very masterly, viz. The Adoration of the Magi ; Paolo Veronese, fee. Two Saints sleeping ; no mark. There are some other etchings attributed to him; marked P. C, and PA-CAL. Paolo Veronese died in 1588. [Zani, and other writers of credit, place his birth in 1528.] CAGLIARI, Carletto, was the elder son of Paolo Veronese, and was also his scholar, bom at Venice in 1570. He inherited the inventive genius of his father, and with the advantage of his instruc- tion, he painted some pictures before he was eighteen, that gave the most fiattering promise of future ex- cellence. On the death of his father, he finished several works left imperfect by Paolo, and had dis- tinguished himself by his own compositions, when he died, at the age of 26, in 1596. CAGLIARI, Gabriele, was the younger son of Paolo Veronese. He was instmcted by his father, and painted some few pictures and portraits; but not meeting with much success, he quitted the art, and followed commercial pursuits. CAGNACCI, Guiro, a Bolognese painter, bom, according to Malvasia, at Castel Durante in 1600. He was a scholar of Guido Reni, and painted his- torical subjects in the style of that master, which, though inferior to him in graceful character and expression, possess a more vigorous colour, and are not incorrectly drawn. He passed great part of his life at Vienna, where he was much patronized by the Emperor Leopold I. His works are better known in Germany than in his own country, though some of his pictures are preserved in the Zambec- cari Palace at Bologna. He died in 1680. CAGNONI, D„ an Italian engraver of little ce- lebrity, who appears to have been principally em- ployed by the booksellers. His name is affixed to a portrait of Victor Armidius III., King of Sardinia. cair]. PAINTERS AND ENGRAVERS. [CALE CAIRO, Cavaliere Francesco. This painter was bom in the territory of Varese, in the Mflanese, in 1598. He was a disciple of Pier Francesco Morazzone, and if he did not equal his instructor in force and vigour, he surpassed him in the elegance of his design, and the amenity of his colouring. In the first part of his life he confined himself to the great principles of design, which he had ac- quired in the Roman school; but the blandish- ments of Venetian colouring induced him to study the works of Titian and Paolo Veronese, and he adopted an admirable style, which appears to have been built on a mixture of both. He was invited to the court of Victor Amadeus, Duke of Savoy, where he painted some historical works, and many por- traits, which, according to Lanzi, were entirely Titianesque. There are severail of his works at Milan and Turin ; one of his best pictures is his St. Theresa, in S- Carlo at Venice. " He died in 1674. [In a MS. quoted by Zani, it is said that he died in 1665.] CAIRO, Ferdinando, was born at Casalmon- ferrato in 1666, and received the first rudiments of design from his father, an unknown artist. He was afterwards placed under the tuition of Marc Antonio Franceschini at Bologna. He painted history, and in conjunction with Giacinto Garofa- hno, was employed to paint the ceiling of the church of St. Antonia at Brescia, which is favourably spoken of by Averoldi. This promising artist died at Genoa, much lamented, at the age of 26, in 1682. [Lanzi and Zani both say that this artist lived to the age of 77 ; thotlgh one places his death in 1743, and the other in 1748. He had an elder brother, Giuseppe, or Guglielmo, who was born in 1656, and died in 1682, which would make him of the age of 26.] CAISSER, Henry de, a French engraver, who, according to Florent Le Comte, engraved several plates representing fimeral processions,, monu- ments, &c. CALABRESE. See Preti. CALABRESE, Marco. See Cakdisco. [CALABRIA, Pedro de, a Spanish painter, who was a scholar of Luca Giordano, and an imita- tor of that master. He painted battle-pieces with spirit. He was in the full exercise of his talent from 1612 to 1625. It is not said when or where he was born or died.] CALANDRA, Giovanni Batista. This artist was one of the earliest of the mosaicists, who wrought in the Vatican. In the pontificate of Urban VIII., it was found that the dampness of St. Peter's had materially affected the paintings, and it was deter- mined to remove the principal pictures, and to re- place them with copies in mosaic, of which the first was executed by Cakndra, after the St. Michael of Cesare d^Arpino. The mosaic art was afterwards carried to a much higher degree of perfection by the Oristofori, who will be noticed in their place. [He was bom in 1586, and died in 1644, according to Zani ; but Passeri says he died irl 1648, at the age of 72.] CALANDRUCCI, Giacinto. This painter was born at Palermo in 1646. He went early in his life to Rome, where he became a scholar of Carlo Ma- ratti. After giving the most promising essay of his abilities in that city, in his two pictures of St. John Baptist in S. Antonio de Portoghesi, and St. Ann in S. Paolino della Regola, he returned to Palermo, where he painted his most considerable Work for the church of St. Salvatore, representing the Virgin with S. Basilio and other Saints, which, according to Lanzi, was not surpassed by many productions of the time. He died in 1707. CALCAR, or KALCKER, John van, was bom at Kalcker, in the Duchy of Cleves, in 1499. It is not said by whom he was instmcted in his own country, nor at what period he left it, but in 1536 he resided in Venice, and had studied in the school of Titian. According to Vasari, he was one of the most successful imitators of that master, particu- larly in portraits, in which he approached so near as to mislead the best judges, and even deceived Goltzius. His powers, however, seemed to have been confined"1to imitation, as he is reported by Sandrart to have copied the works of Raffaelle with almost equal success. He was employed by Vasari to make the drawings of the portraits of the painters, sculptors, and architects for his work. They prove him to have been an able designer, and they cer- tainly exhibit nothing of the taste of his comitry. He died at Naples in 1546. CALCIA, Giuseppe. This painter was a Pied- montese, and according to Lanzi was called Geno- vesino, which has occasioned him to be confounded with Marco Genovesini, a Milanese, who is noticed in his place. G. Calcia painted some altar-pieces for the churches at Turin and Alessandria. In the church of the P. P. Predicatori, in the former city, is a picture of St. Dominick, and another of St. Thomas ; but he distinguished himself more by his cabinet historical pictures, which were gracefully designed and well coloured, one of which is particu- larly noticed by Lanzi in the collection of the Mar- chesi Ambrpgio Ghilini, of Christ praying in the Garden. He flourished about the year 1675. CALDARO. See Polidoro da Caravaggio. CALDERARI, Giovanni Maria, was born at Pordenone about the year 1500, and was a cele- brated scholar of Gio. Antonio Licinio, called Por- .denone. He painted so entirely in the manner of his instructor, that he is said to have produced some works that deceived the most sagacious. At Monte- reale, and at Pordenone, he painted several con- siderable works in fresco. He died in 1564. [Zani says he was living in 1570. His works are but little known ; probably they are attributed to his master Pordenone.] CALDWALL, James, a modem English en- graver, by whom we have several portraits, and other subjects, among which are the following : portraits. Sir Heniy Oxenden de Barham, Bart. Catherine, Countess of Suffolk. Sir John Glynne, Chief Justice of the King's Bench. Sir Koger Curtis. Admiral Keppel. Jonn Gillies, LL. D., historian, David Hume, historian. Mrs. Siddons and her Son, in the character of IsaheUa. VARIOUS SUBJECTS. The Immortality of Garrick; a^er Carter, the figures engraved hy Caldwall, and the landscape by S. Smith. The Fete Champgtre given Tjy the Earl of Derby at the Oaks; after R. Aaams, engraved by CaWmaU and Grignion,. The Camp at Coxheath ; after W. HamiUem. CALENSE, Cesare. According to Dominici, this painter was a native of the province of Lecce, in the kingdom of Naples. It is not said by whom he was instmcted, but he attained a reputable rank in the art, by a graceful manner, founded on a cor- rect design, and an intelligence of the chiaro-scuro. In the church of St. John Baptist at Naples is a 127 cale] A DICTIONARY OF [call fine picture by this master, of the taking down from the Cross, with the Marys, St. John, and other figures, full of expression and feeling. He flourished about the year 1590. CALETTI, Giuseppe, called Cremonense. This painter was born at Ferrara about the year 1600. He first apphed himself to study the works of Dosso Dossi, but he afterwards became an imitator of Titian, particularly in his bacchanalian subjects, with figures smaller than life. In these he ap- proached so near to the glowing tones of that mas- ter, that BarufFaldi reports that he had seen many of his pictures in the galleiies of the nobility at Bo- ' logna, which were believed to be the works of Titian, and he is said to have been able to counterfeit a certain patina, which time gives to painting, and which improves its harmony. His deceptions were, however, frequently discovered by his inattention to costume, and the introduction of the most absurd improbabilities. In his bacchanals, it was not un- usual to introduce a modem gambol, or hunting, and, as it is sarcastically observed by Lanzi, " he placed wild boars in the sea, and dolphins in the forests." A genius of that cast was not likely to be much employed on more serious subjects. He has, however, proved himself to have been capable of more exalted exertions, by his picture of the Four Doctors of the Church, and his still more admired production of his St. Mark, both in the church of S. Benedetto at Fenara, which last is described as designed with correctness and grandeur, and full of fine expression. , He died in 1660. CALIAVABI. See Carlevahiis. CALICI, AcHiLLE, a Bolognese painter, born about the year 1565.. ' He was a scholar of Prospero Fontana, but preferring the great style of Lodovico Caracci, he became his disciple, and, according to Malvasia, painted the two laterals of the gi-eat altar in the church of S. Michele Arcangelo, at Bologna, representing St. Michele, and the Angel Eafiaelle and Tobias. CALIGARINO. See Cappellini. CALIMBERG, Giuseppe. This painter was a native of Gei-many, bom about the year 1505, but passed the greater part of his life at Venice. Of his works in that city there remains, according to Lanzi, at the Servi, the Battle of Constantine. His style is not without merit, though rather heavy in execution, and sometimes mannered and dark. He died at Venice in 1570. CALL, John van. According to Descamps, this artist was bom at Nimeguen in 1655. He was the ■ son of a surveyor, and is said to have made a con- siderable proficiency in the art, without the help of an instructor. His first attempts were made in copying the landscapes of John Breughel, Paul Brill, and William van Nieulant, and he studied attentively the principles of perspective and archi- tecture. He afterwards travelled through Switzer- land to Italy, and, during a residence of some years at Rome, formed an ample collection of designs from the most picturesque views in the environs of that capital. He returned through Germany to his native country, and established himself at the Hague, where he died in 1703. His dravrings are more esteemed than his pictiures ; they are pur- chased at considerable prices in Holland, where they are found in the choicest collections. [In the Baron Verstolk de Soelen's collection of dravrings, which was sold by auction at Amsterdam in 1847, were three by Van Call, in conjunction with Back- huysen, representing an excursion of Peter the 128 Great on the Y, and views of Amsterdam from the river. The writers of the Catalogue name him Jacques Van Kail ; — erroneously it is beheved.] [CALLCOTT, Augustus Wall, an English landscape and marine painter, was born at Kensing- ton in 1779, and died at the same place in the close of the year 1844. He was brother of the distin- guished music composer, Dr. Callcott, and in early life ofliciated for several years in the choir of West- minster Abbey. He, however, preferred painting to music, and for some time pursued both studies together, until the success of a portrait which he pamted under the tuition of Hoppner, in 1799, and which he exhibited, led him to the final choice of Eainting as his profession. Very Uttle experience, owever, showed him that portrait was not suited to his taste, and in 1803 he devoted himself ex- clusively to landscape painting. He was for many years a large contributer to the exhibitions of the Royal Academy, of which he was a member. His landscapes are generally of small dimensions, and very similar in style, being extensive views, ex- tremely placid, with nothing in them to attract vulgar attention, but fascinating to the refined lover of nature. No comparison, however, can be in- stituted between his landscapes and those of Claude ; they are quite dissimilar in composition and execu- tion ; both looked at nature, and each succeeded in his own way. His marine pictures please by their tranquillity; all are beautiful in the selection of objects i but they are sometimes cold and monoton- ous in colour. His most successful production in figure painting was his picture of Raphael and the Fornarina, exhibited in 1837; it was worthy of the prince of painters, whose amour it represented. Many of his pictures have been engraved, and pro- bably mapy more will be made famihar to the pub- lic by the same means, so that a detailed account of them is not necessary here. He was made a knight in 1837, and appointed keeper of the royal collection of pictures.] [CALLEJA, Andres de, a Spanish painter, bom at Rioja in 1705, was one of those artists who know how to obtain court favour and academic honours ; he arrived at both, and, it seems, gained, what ought to be considered more valuable than either, the es- teem and affection of his pupils for the care he be- stowed on their instruction. But we are told that the principal occupation of his last years was that of restoring the ancient pictures belonging to the king! It would be unjust to visit on him all the iniquities that have been perpetrated on pictures in Spain by the process of restoring ; for to such an extent has it been carried, that very few of them, really worth preserving, have escaj)ed. He died in 1782. His best works are in the churches of Sainte Croix, of St. Phillipe le royal, the chapel of the Treasury, and the convent of St. Francis.] • [CALLET, Antoine Francois, a French his- torical painter, born in 1741, and died in 1823. He painted classical subjects, sfnd also circumstances in the life of Napoleon ; the portraits of Louis XVI., Louis XVIII., and the Count d'Artois. Part of the ceiling of the gallery of Apollo in the Louvre, and that of the Luxembourg, are by him. His pictures are confined to his own country.] CALLOT, James. This ingenious designer and admirable engraver was born at Nancy, in Lorraine, in 1593. He was the son of John C allot, a gentle- man of a noble family, and herald at arms for Lor- raine. His parents destined him to a very different profession, but his love for the art induced him to call] PAINTERS AND ENGRAVERS. [call quit his paternal home, when he was only twelve years of age, and being without money or resources, he attached himself to a company of wandering Bohemians, and found his way to Florence. He was taken notice of by some officer attached to the court, who placed him under Cantagallina to learn drawing. After passing some time at Florence, he visited Rome, -where being recognised by some persons of Nancy, who were friends of his family, he was prevailed on to return with them to his parents. Meeting with a continued opposition to his desire of following his favourite pursuit, he again eloped, but was followed by his brother to Turin, and brought back to Nancy. His parents, at length, finding it in vain to control so confirmed an attachment, permitted him to visit Rome, for the purpose of study, in the suite of the envoy from the Duke of Lorraine to the Pope. Callot, on his ar- rival at Rome, gave full scope to the bent of his genius, and he studied drawing with the greatest assiduity, under the tuition of Giulio Parigii. Hav- ing become a ready and able designer, he was de- sirous of acquiring the free use of the graver, for which purpose he placed himself under PhiUp Thomasin. He was not, however, very successful in the execution of the graver, of which he appears himself to haTC been sensible, as he soon abandoned it for the point. He went again to Florence, in the time of the Grand Duke Cosmo II., and etched some small plates from his own designs, which had the gi'eatest success, procured him the patronage of the Duke, and brought him into the highest estimation with the pubhc. On the death of Cosmo, he re- turned to Nancy, where he found a new and liberal protector, in Henry, Duke of Lorraine. In 1628, he went to Paris, where his works were already much admire^, and he was employed by Louis XIII. to engrave some of the principal sieges and battles of the French, particularly those of Rochelle and the Isle de Re. Whilst he was in the highest favour at the court of France, he gave a praise- worthy proof of his loyalty and patriotism. On be- ing required by the Cardinal de Richlieu to make a drawing, and engrave a plate, of the Siege of Nancy, which was at that time taken by the French in 1631, as he had done of those of Rochelle and Re, he de- sired to be permitted to decUne what he considered as celebrating- the humiUation of his country. On the minister's observing, in an insolent and threaten- ing tone, that there were means of making him comply ; Callot spiritedly replied, " I will sooner cut off my right hand, than employ it in any thing de- rogatory to the honour of my prince, or disgraceful to my country." Every one the least conversant in the art of engraving, is acquainted with some of the works of this ingenious artist. They evince the most extraordinary fertiUty of invention, and exhibit the most surprising variety of style. His greatest merit is in the prints where he has confined himself to very small figures ; when he attempted them on a larger scale, his style becomes rather heavy, and loses a portion of that taste and spirit that dis- tinguish his figures of a small proportion. The drawings of Callot are extremely adinired, and they possess even more spirit than his prints. He fre- quently made several designs for the same plate, before he could arrange his subject to his satisfac- tion ; and M. de Watelet asserts that he had seen four difierent drawings by him, for his . celebrated plate of the Temptation of St. Anthony. The num- ber of his prints is prodigious, and amounts to upwards of fifteen hundred. The most complete list of them is given in M. Heitieken's Dktionaire des Artistes. The following are his principal plates : PORTRAITS. Cosiims III., 6rand Duke of TuscEiny ; oval. Francis, Grand Duke of Tuscany ; oval ; scarce. Charles III., Duke of Lorraine ; scarce. The Marquis de Marignan, General of Charles V. ; scarce. Donatus Antellensis, called the Senator; scarce. Claude Dervet, painter, and his Son. 1632. SACRED SUBJECTS. The Murder of thelnnocents, engrared at Florence ; scarce. The same subject, engi-aved at Nancy, with variations. The Annunciation, with the words Ecce ancilla Domini coming from the mouth of the Virgin ; after Matteo Rosselli; very scarce. Christ bearing his Cross ; small oval; engraved on silver. The Crucifixion, with the Virgin, St. John, and Magda- lene ; scarce. The Entombing of Christ ; after Ventura Salimbeni. The Virgin and Infant, vrith St. Elizabeth and St. John ; after A. del Sarto. The Holy Family, with St. Joseph giving drink to the infant Jesus. The little Assumption, called the Assumption with Che- rubim. Another Assumption ; oval. The Triumph of the Virgin ; dedicated to the Duke of Lorraine. St. John in the Isle of Patmos. The Temptation of St. Anthony; dated 1635. Another Temptation of St. Anthony, vrith a River in the middle, and on the right some Devils drinking; very scai'ce. The Martyrdom of St. Sebastian ; a grand composition. St. Mansuetus restoring to life the Son of King Leucorus. VARIOUS OTHER SUBJECTS. Jupiter fulminating the Giants ; scarce. Pandora, with the Assembly of the Gods. The Card-players. The Punishments. The best impressions of this fine print have a small square tower above Hie houses on the left, and a little image of the Virgin in an angle of the wall in the middle of the print. A Woman seated with a Child in her Anns, and another eating Fruit under a Tree ; very scarce. A View of the Louvre, with the Steeple of Nesle. A View of the Pont Neuf at Paris ; the companion. The Parterre of Nancy, with figures walking. The Garden of Nancy ; Jac. Callot, inv. et ftc. ; very scarce. The great Fair of Florence, engraved at Florence, 1620 ; fine impressions of this print are very scarce ; in two The same subject, engraved at Nancy, called the Fair of Nancy ; inscribed Fe Fiorentice et exc. Nancei. The Utile Fair, called the Players at Bowls, with figures dancing ; the best impressions are before the name of Callot; scarce. The Siege of the Isle de E/6 ; in sixteen sheets. The Siege of Rochelle ; similar. The Siege of Breda; in eight sheets. The Tilting, or the New Street at Nancy. VARIOUS SETS BY CALLOT. The Life of the Virgin ; in fourteen plates, with the title. The Life of the Virgin; in twenty-seven plates. Nine plates of devout subjects ; Gloriosissimi Virginis, Eleven of the New Testament, with a title by Ab. Bosse, twelve plates. Seven, the great Passion of Jesus Christ. Twelve, the little Passion; the first impressions are very scarce. The Acts of the Apostles; in twenty-nine plates, executed with the graver in his early time. Six of the Penitents, including the title by .46. Bosse. Sixteen of Christ, the Virgin, the Apostles, &o. 1631. Sixteen of the Martyrdom of the Apostles, &c. Four, called the Little Banquets. Forty-one of the Miracles ; entitled Scelta d'alcuni mira- cole, Sgc. Seven of the Seven Mortal Sins. Eighteen of the Miseries of "War; dated 1633. 129 CALO] A DICTIONARY OF [CALZ Seven of the little Miseries of War ; the title by Ah. Fourteen of the military Exercises. Fourteen of Fantasies; dated 1635. The Caprices, engraved at Florence. The same Caprices, engraved at Nancy, inferior in exe- N cution. Varie figure di Jacobo Callot ; in seventeen plates. BaUi di Stefania, orCurrucum; in twenty-four plates, Varie figure Gohbi di Jacobo Callot fatte in Firenze ; twenty-two plates. There is another set with some va- riations. Twenty-five of Beggars ; entitled Capitano de Baroni) fine. Twelve of Ladies and Gentlemen in the Dresses of the Mode. , Sixteen of the Tragedy of Soliman, with the portrait and title. Threfe of Festivals during the Carnival at Florence; scarce. Seven of Tournaments. Four of Jousts and Tournaments. Forty-eight plates, for a Journey to the Holy Land. The Twelve Months of the Year ; after Momper. The Four Seasons ; after Sadeler' sprints from Bassano, Four Landscapes, lengthways. Callot died at Nancy in 1635. [CALOMATO, Baetolomeo, a Venetian paint- er, who flom-ished from 1650 to 1660; was remark- able for his small pictures, representing civic and rural views, enlivened with figures, well composed, and graceful and lively in expression.] CALVART, Denis. This eminent painter, who may be rather considered as a Bolognese than a Fleming, was born at Antwerp in 1555. He had made some proficiency in the art in his own coun- trj', when he visited Italy, and came to Bologna with some talents as a landscape painter. To per- fect himself in the study of the figure, he first fre- quented the school of Prospero Fontana, and after- wards became a disciple of Lorenzo Sabbatini, to whom he was of no inconsiderable utility in his works in the "Vatican. On leaving Sabbatini, he occupied some time in studying the works of Raf- faelle, and the other great objects of art at Rome, and returned to Bologna, where he established that celebrated school where Albano, Domenichino, and Guide received their first instruction in the art. An excellent colourist, like the other artists of his country; intelligent in perspective, which he had learned under Fontana ; and a correct and graceful designer, from the tuition of Sabbatini ; he was I'e- garded at Bologna as the restorer of their school, which had at that period fallen into some degree of decadence, particularly in colouring. There is some- thing mannered in his style, and a certain air in the movement of his figures that is strained and in- decorous. The first defect may be attributed to the taste of the preceding age, the other to the effect of his natural disposition, which tradition describes as remarkably fiery and turbulent. He was, notwith- standing, an excellent instructor of the youth of his time, and attended the studies of his pupils with the greatest diligence and assiduity. Of his works as a painter, the most esteemed are, the Holy Family, with St. Roch and St. Sebastian, in the church of S. Giuseppe at Bologna ; our Saviour appearing to Magdalene, in S. Giorgio; St. Gregory converting the Heretics, in S. Gregorio; and St. Michael, in S. Petronio. The last is considered his best work. D. Calvart died at Bologna in 1619. [Others place his birth in 1553. His name is differently written by authors, but on his picture of the Martyrdom of St. Lawrence, he has inscribed 1583, DioNisio Cal- VAERT, De Antveesa.] CALVI, Lazzaro and Pantaleo. These art- 130 ists were the sons of Agostino Calvi, a respectable Genoese painter, who was one of the first reformers of the old style of his country. Lazzaro was born in 1501, and with his brother Pantaleo was educated under Perino del Vaga. He was twenty-five years of age when he quitted the school of Perino. Al- though Pantaleo was the elder brother, he contented himself with unobtrusively contribliting to the ce- lebrity of Lazzaro, by an exercise of his powers in the ornamental accessories, which formed no incon- siderable part of the attraction of the works which they executed at Genoa, and the different towns of the repubhc; at Monaco, and at Naples. Lanzi considers, as their principal work, the fa9ade of the Palazzo Doria, (now that of Spinola,) where are represented prisoners, and other figures, in various attitudes, designed in so grand a style, and executed in so fine a taste, that it is in itself a school for the study of drawing. This work of the Calvi is men- tioned by Lomazzo in terms of the highest praise, in his Trattato della Pittura. Their picture of the Continence of Scipio, in the Palazzo Pallavicini, at Zerbino, exhibits an acquaintance with the nude,' which Mengs considered worthy of their master del Vaga. It is suspected by Lanzi that they may have been assisted in some of their best works by Perino, as he is known to have very Uberally ^commodated them with his drawings and cartoons. The jealousy or ambition of Lazzaro, irritated by the success of some of his contemporaries, prompted him to the commission of the most horrid' crimes. He occa- sioned the death of Giacomo Bargone, a most pro- mising artist, by poison; and he hired assassins to vihfy the works of the ablest painters of the time, and to extol his own. It was in the midst of these cabals and atrocities that he was engaged, in con- junction with Andrea Semini and Luca.Cambiaso, to paint, in the chapel de Nobih Centurioni, the Birth and Life of St. John the Baptist ; and al- though, in this competition, he exerted his utmost powers, and produced one of his finest works, the preference was given to the performance of Cam- biaso, whom the prince, in consequence, fixed on to execute the fresco paintings in the church of S. Matteo. This mortifying discomfiture so disgusted and enraged him, that he determined to abandon the art, and he actually became a mariner, and with- drew himself from painting for twenty years. He returned, however, to his profession, which he con- tinued till he was in his eighty-fifth year. His last works were for the church of S. Caterina, and it is not surprising that, at so advanced a period of Ufe, they were weak, languid, and senile,. He lived to the extraordinary age of 105, and died in 1606. CALVI, GiuLio, called il Coeonato. This painter was born at Cremona about the year 1570. He was a scholar of Gio. Batista Trotti, and accord- ing to Zaist, in his Notizie istoriehe de Pittori Cre- monesi, painted so much in the maimer of his mas- ter, that his pictures might have been confounded with the inferior works of Trotti, had he not signed them with his name. He died young in 1596. CALZA, Antonio, a painter of battles, born at Verona in 1653. He studied at Bologna under Carlo Cignani, but his genius leading him to paint animals and horses, and having met with some of the works of Bourgognone, he resolved to visit Rome, for the pui-pose of studying under that master, by whose in- struction he was greatly assisted. He returned to Bologna, where he painted battle-pieces and land- scapes with great success, and had a number of cam] PAINTERS AND ENGRAVERS. [camp scholars and imitators, his pictures being much in vogue. [Zani places his birth in 1653, and his death in 1725; Guarienti says he died in 1714; Oretti, that he was born in 1636 and died in 1738.] CAM, F. Vandeh, a Dutch engraver, who flour- ished about the year 1750. He executed some plates in mezzotinto, representing scriptural subjects. CAMASSEI, Andrea. This painter was bom at Bevagna in 1601. He first" studied under Domeni- chino at Rome, but afterwards attached himself to the school of Andrea Sacchi. His powers, as an historical painter, are evident in many of the public edifices at Rome. His conceptions are noble and elevated, his colouring is tender and harmonious, and his pencil is free and flowing. In the Palazzo Rondinini, is his Battle of Constantine with Max- entius, and in the battisterio of the Lateran, the Triumph of Constantine ; but he is still more to be admired in his Assumption of the Virgin in the Rotonda, and his Plata, at the Cappucini. He died ml648. CAMBIASO, or CANGIAGIO, Giovanni, a Genoese painter, bom in the vaUey of PolceverEi, near Genoa, in 1495 ; he was a disciple of Antonio Semini, and a contemporary of Pierino del Vaga and Pordenone, and like them was one of the first reformers of the antique dry style that preceded them. CAMBIASO, or CANGIAGIO, Luca. This emi- nent painter was the son of the foregoing artist, bom at Genoa iji 1527, and received his instruction in the rudiments of art from his father. Born with the genius of a painter, he soon outstripped his in- structor ; and when he was fifteen, produced works that had the appearance of maturity, and sufficient- ly indicated that he would prove one of the most distinguished painters of his country. Prompt and bold in his design, yet selected by Boschini as an example of correctness, his drawings are the ad- miration of the judicious, and notwithstanding their multiphcity, hold a high rank in the portfolios of the curious. He possessed a fecundity of invention that gave a novelty to every thing he produced, arid he shows his powers in foreshortening in the most daring variety. Far from shunning, he appears to have courted, and conquered, the most arduous dif- ficulties of the art. He visited Florence and Rome, where he increased his natural conception of gran- deur, by contemplating the works of Michael Angelo and Raffiielle. In his first performances he appears to have been led away by the ardour and vivacity of his genius, and his early works have something of the extravagant and gigantesque. It was usual for him to paint, both in ou and m fresco, without hav- ing prepared either drawing or cartoon. In his bet- ter time, he checked this impetuosity, and it was in the middle of his life that he produced his most esteemed works. His picture of the Martyrdom of St. George, in the church dedicated to that Saint, is considered by some as his best performance, from the admirable expression in the head of the martyr, the ample and ingenious composition, and the judi- cious conduct of the chiaro-scuro ; but others prefer his S. Benedetto, and his S. Giovanni Batista, at Rocchettini; and above all, his Rape of the Sa- bines, at the Palazzo Imperiah, at Terralba, near Genoa. Every thing pleases in this work; the sumptuous architecture, the beauty and spirit of the horses, the modest reluctance of the women, the im- passioned ardour of the men, and the appropriate minor accessories with which he has accompanied and accomplished his subject, fonn an assemblage K 2 of perfection that has rarely been surpassed. It is said that Mengs, on seeing this picture, declared he had seen nothing out of Rome that approached so near to the beauty of the loggie of the Vatican. Phihp II., apprized of his talents, invited him to Madrid in 1583, and employed him in the Escurial, where he painted the ceiling of the choir, represent- ing the Assemblage of the Blessed, an immense composition, which is highly applauded by Lomazzo, but not equally estimated by Mengs, which will not be thought extraordinary by those who are acquaint- ed with the candid liberality/ of the critic, and are aware of his ambition of being considered the Haf- faelle of Spain. Cambiaso died at the Escupal in 1585. [He is also called Luchetto da Oenova.'] CAMBIASO, or CANGIAGIO, ORAZio,was the son and scholar of the preceding painter, and when Luca was invited to Spain, he accompanied his father. After the death of Luca, Philip II. con- tinued to employ him, and settled on him a Uberal pension. CAMERATA, Giuseppe, a Venetian painter in miniature, and an engraver, born at Venice about the year 1724. He was the son of G. Camerata, a painter of some reputation, who had studied under Gregorio Lazzarini. He learnt the use of the graver from Giovanni Cattini, and in 1751 was invited to Dresden, to assist in engraving the plates for^the gallery, where he was made principal engfaver to the court. We have by him several plates, not only from the pictures in the Dresden gallery, but from his own designs, among which are the following : PORTRAITS. Marco Foscarini, Doge of Venice. Simone Contarini, Procurator of St. Mark. Sebastiauo Bombelli, Bictor celeberrimtts. SUBJECTS FROM THE DRESDEN GALLERY. The Parable of the Talent ; after Domenico Feti. The Parable of the Prodigal Son ; after the same. David, with the Head of Goliah ; after the same. The Holy Family ; aftier Giulio Cesare Procaccini. St. Koch adifainistering the Pestiferous ; after Camillo Procaccini. St. Koch ; after Caracci. The Assumption of the Virgin ; after the same. The Adulteress before Christ ; after B. Biscaino. The Chastity of Joseph ; after a. Cantarini. The Old and New Testament ; after A. Vaccari. The Magdalene ; after Pompeo Battoni. A half-length figure, with a beard ; after Dietricy. Another half-length, the companion ; after the same. The Magdalene ; after Vanderwerf. [Nagler says he was born in 1718, and died in 1803.] CAMILO, Francisco. According to Palomino, this painter was the son of Domenico CamUo, a Florentine who had settled in Spain. ' He was a native of Madrid, and a scholar of Pedro de las Cue- vas. He proved a reputable painter of history, par- ticularly in his colouring, which is sweet and ten- der. One of his most esteemed works is in the church of the Capuchins at Alcala de las Henares, representing St. Maiy of Egypt before the Virgin, with a number of Saints and other figures, which Palomino says would alone establish his fame. Of nearly equal merit is his San Carlos Borromeo, in the Padres Minores at Salamanca, and his Descent from the Cross, in San Justo. But his most cele- brated performance is his Nuestra Sennora de Be- len, in the chuvch of San Juan de Dios, at Madrid, which Palomino emphatically says, is mthout limit in perfection. He died in 1671, in the prime of life. CAMP AGN OLA, Giulio, a painter and engraver, bom at Padua, and flourished about the year 1500. 131 camp] A DICTIONARY OF [camp He excelled in miniature, and also painted a few pictures in oil, that approached some steps towards the modem style. We have the following plates engraved by this artist: Ganymede taken up to HeaTen, by the Eagle of Jupiter. This plate is engraved in the manner of Marc Antonio, and though he has not been unsuccessful in point of execution, he is very inferior in the drawing : inscribed Julius Campagnola Antenoreus, fee. St. John the Baptist holding a Cup ; also with his name. It is deserving of remark, that this print is en- graved in a peculiar manner for the time. The background is expressed by dots, apparently exe- cuted with the dry point, and the outline of the fi- gure is put in with a deeply engraved stroke, finished within with dots. The execution of this plate af- fords a reasonable presumption, that this style of engraving, which has been generally considered of modern date, is of some antiquity. [There has been much discussion, and some acrimonious con- troversy, respecting this artist. See Zani, Enci- clopedia, part I. vol. v., and Ottley's Inquiry into the Origin and early History of Engraving. Bartsch describes eight prints by Giulio Campagnola ; Ottley, nine.] CAMPAGNOLA, Domenico, was the son of the preceding artist, and flourished about the year 1543. Bred in me school of Titian, Domenico soon attain- ed a proficiency that even roused the jealousy of his master. His fresco paintings in the Scuola del Santo lose little of their merit by a comparison with the works of his admirable instructor, and in his oil pictures in that of the S. M. del Parto, he wrestles with him more equally. . In the compart- ments of the ceiling, in which he has represented the Evangelists and other Saints, he appears (says Lanzi) to have aspired to a grandeur above Titian, and to have marked the naked with a more daring and unrestrained outhne. Ridolfi speaks highly of his merit as a painter of landscapes, which he says are in the fine style of Titian, and little inferior to those of that master. Domenico Campagnola holds an eminent rank as an engraver, and his etchings, and wooden cuts, are executed in a style that shows the hand of a great master ; the major part of them are after his own designs. He sometimes marked his plates D. C, and sometimes „ * ^ ' CAP. THE FOLLOWING ARE HIS ETCHINGS. The Adoration of the Magi. Render imto Cmsar, Sgc, half-length figures. The rich Man and Lazarus ; in three sheets. Christ curing the Sick, The Descent of the Holy Ghost. 1515. The Holy Family ; marked with his name, but after Titian. The Martyrdom of a Female Saint before an Emperor. The Arts and Sciences taking Flight at the Approach of War. A Landscape, with a Waggon and two Oxen. Another Landscape, with Jupiter and Calisto ; after Titian. A Bacchanalian subject. Venus; marked D. O.CAMP. 1617. WOODEN CUTS. The Virgin suckling the infant Jesus, with other Saints. Three Children near a Pedestal, with a Dog gnawing a Bone. A Landscape, with St. Jerome. Another Landscape, with a Soldier, his Wife, and Chil- dren. The Murder of the Innocents ; after Titian. 132 Pharaoh and his Host overwhelmed in the Bed Sea ; in twelve blocks; after Titian. He has marked this print Domenico dalle Grecche, 1549. [The following is a list of the prints by Domenico Campagnola, as given by Ottley; which will be found to differ very materially from that given above : 1. Christ healing the sick Man at the Pool of Bethesda. 2. The B^esurrection of Christ. 3. The Descent of the Holy Spirit on the day of Pente- cost. 4. The Assumption of the Virgin. 5. The Madonna seated with the Infant in her arms under a Tree, with St. Catharine kneeling on the right, and on the left a graceful Female holding a Banner. 6. The Decollation of a Female Saint. 7. Venus naked, seated upon a Bank in a Landscape, and turned towards the rigl;it. 8. A Youth in a standing -posture, with a Keed Pipe, leaning against a Tree, and on the left an old Man, in the habit of a Waarior, with a Dog at his feet. 9. A group of Three young Men and a Female, seated with Musical Instruments, under a clump of Trees on the left of the print, with, on the right, a Landscape and Buildings. 10. A Combat of naked Men on foot and on horseback, in a Wood. 11. St. Jerome seated naked at the entrance of a Hovel, with the Lion at his feet. 12. A Dance of twelve Cupids, two of them with Tam- bourines. Ottley observes, " there exist also with the name of Domenico Campagnola, a small number of wood prints ; but there appears reason to beUeve that they were engraved by others after his designs."] CAMPALASTRO, Lodovico, a painter of Fer- rara, in which city there are several of his works. In the church of S. Crispino, the Nativity, the Re- pose in Egypt, and the Adoration of the Magi ; and in S. Lorenzo, St. Francis of Assisi. CAMPANA, PiETEO, a modem Italian engraver, born at Soria in 1727. He learned the use of the gi-aver from Rocco Pozzi, and Iive(J the greater part of his hfe at Rome and Venice. We have the fol- lowing prints by him : St. Francis of Paola ; after Seb. Conca. St. Peter delivered from Prison ; after Mat. Preti. Portrait of P. da Cortona ; from the picture in the Flon. entine Gallery. Portrait of Bernardino Barbatelli, called Poccetti. [He died in 1765.] CAMPANA, ToMMASo. This painter was a na- tive of Bologna, and, according to Masina, a scholar of Giiido. That he did not disgrace his instructor is evident, from his two pictures in the cloister of St. Michel in Bosco, at Bologna, representing sub- jects from the life of St. Ceciha. CAMPANELLA, Agostino. This artist was a native of Florence, and flourished about the year 1770. He engraved several plates representing his- torical and biblical subjects. They are executed with the graver in a neat style, but the drawing is not very correct. CAMPANELLA, Angelo, a modern Italian engraver, born at Rome about the year 1748. He engraved the statues of the twelve Apostles which are in the church of St. John of Lateran ; and some of the plates for Gavin Hamilton's ScMa Italica, one of which was the Presentation in the Temple ; after Fra. Bartolomeo. [He died in 1815.] CAMPANNA, Pedro. This painter was bom at Brussels in 1503, but went to Italy when he was very young. He has been generally accounted among the disciples of Baffaelle ; but that could hardly have been the ease, as Rafiaelle died in 1520, camp] PAINTERS AND ENGRAVERS, [camp ■when Campanna was only seventeen years of age. He, however, certainly attached himself to the Ro- man school; and if he had not the advantage of being instructed by Raffaelle, he at least formed his style from an attentive study of his works. In the year 1530, he resided at Bologna, and on the oc- casion of Charles V. visiting that city, he was of sufficient celebrity to be selected to paint the tri- umphal arch under which the emperor passed. He was invited by that monarch to visit Spain, where he resided many years, and distinguished himself by several important performances. His principal works are at Seville, in the cathedral of which city is his celebrated picture of the Purification, and another of the Nativity. In the church of San Lorenzo is his Descent from the Cross. Campanna acquired in Spain both riches and fame, and died at Brussels in 1570. CAMPBELL, J. This artist was probably a native of Scotland. He flourished about the year 1754, and engraved a few plates after Memhrandt, in which he imitated the style of that master with considerable success. [CAMPER, Pkteb, a celebrated professor of anatomy and surgery, was also an amatem- painter. He succeeded in copying the works of Carlo Lotti and other Italian masters, as also those of Honthorst. He took lessons from Karel de Moor, and produced some cabinet pictures in the manner of that master ; but most of his productions have the marks of imitation rather than originality. He pubhshed a work very useful to young students in painting. He was bom at Leyden in 1722, and died at the Hague in 1789.] CfAMPHUYSEN, Theodore Raphael, a Dutch painter, born at Gorcum in 1586. He was a scho- lar of Dietric Govertze. He painted small land- scapes, with ruins, and views of the Rhine, with boats and small figures, neatly drawn, and spiritedly touched. He frequently represented these subjects by moonhght, with a pleasing and natural effect. [This is the account generally given of Theodore Raphael Kamphuisen, or Camphuysen. Some have supposed him to have been a pupil, or at least an imitator, of Paul Totter, and so close is the resem- blance in their manner of painting, that a picture by Camphuysen was exhibited in the Louvre, in 1814, under the name of Potter, and was claimed and re- stored to the gallery at Hesse Cassel, in 1815, where it still remains under the same name, though it is in fact the work of the former. Balkema states that Kamphuyzen quitted the profession of a painter at the age of eighteen, for the study of Theology, and became a minister of the Reformed church. Others say that he practised his profession only till he was eighteen, when he became tutor to the sons of Lord Nieuport, which nobleman afterwards made him his secretary. Balkema says he died in 1626. This at once disposes of the supposition that he imitated Paul Potter, who was born in 1625. Again, it is said that he lived to an advanced age: this would tend to support the opinion that he made Potter his model, when his early love of the art re- tm-ned upon him on seeing the works of that mas- ter, so congenial to his own feeling ; but where are the proofs of these being facts ? Fiissli and Zani both say that he had a son named Hermann, who flour- ished fi'om 1650 to 1670; and a landscape painter, J. C. Kamphuysen, is also named, but no particu- •lars are given of him. There are several pictures in England known as the works of Kamphuysen, or Camphuysen, but which cannot be by Theodore Raphael Camphuysen, as they are evidently of a later date than 1626, and have no analogy to those of P. Potter. They represent well-wooded landscapes, generally with a stream through which peasants are ptissing with a cart and horse caiT3dng their produce to market. They are admired for the sparkling fights which the artist introduced, play- ing on the nppled water, or by the splashing caused by the horse and vehicle, and for the depth and richness of their tone. In these many have imagin- ed that they discovered some resemblance to Paul Potter, probably relying on the erroneous tradition ; but in what respect, it would be difficult to satisfy an unprejudiced connoisseur. It is desirable that the author should be ascertained, as no writer on the subject of pictures has before noticed him.] CAMPI, Galeazzo. This painter was born at Cremona in 1475, and is stated by Vasari to have been a disciple of Boccacio Boccacino. This is however very reasonably doubted by Lanzi, on the ground that his pictures, which remain in the churches at' Cremona, are in a very different style, and even more dry and Gothic than those of Boc- cacino, as is evident in his picture in S. Sebastiano, of the Virgin and Infant, with S, Rocco, which beai-s the date of 151^, when he must have reached his best time, where he appears to have been a feeble follower of the style of Perugino, possessing a tolerably good colour, but weak in chiaro-scuro, meager in design, and insipid in expression. His best work seems to have been his own portrait, which is in the gallery at Florence. [On the por- trait is inscribed his age, 53, and the date 1528.] CAMPI, GiULio. This reputable painter was the son of Galeazzo Campi, born at Cremona in 1500. Giulio, like Lodovico Caracci, may be regarded as the founder of the most celelDrated school of his country. His father, not considering himself com- petent to cultivate, by his own instruction, the marked genius that he discovered in his son, sent him to Mantua, to be educated under Giufio Ro- mano. In that school he studied with great appli- cation, and his advancement was commensurate with his assiduity. A great style of architectvu-e, grandeur of conception, energy of character, and a commanding facility, were the acquirements with which Campi left the school of Giulicf Romano, to study at Rome the works of Raffaelle, and the beauties of antiquity. Nor was he inattentive to the blandishments of coloming, which he studied in the works of Pordenone and Titian. Milan, Cre- mona, and Mantua possess his most considerable works. The church of S. Margherita, at Cremona, is almost entirely ornamented with his pictures. The dome of S. Girolamo, at Mantua, the Descent from the Cross, in S. Grismondo at Cremona, give ample testimony of the vigorous powers of this distinguished painter. He died in 1572. CAMPI, Antonio Cavaliere, was the younger brother of Giulio, a native of Cremona, and flour- ished about the year 1586. He was instructed by his brother, and distinguished himself both as a painter and an architect, but excelled particularly in the latter. He executed several works, both in oil and in fresco, at Cremona and Milan. His best pictures are St. Paul resuscitating Eutychus, which is engraved by Agostino Caracei, and the Nativity, in the church of S. Paolo, at Milan. He was less successful in his fresco paintings, in which he vainly attempted to foUow the great style of Coreg- gio. He was undoubtedly a man of genius, spirited and resolute, but he wanted judgment and discretion. 133 camp] A DICTIONARY OF [CANA CAMPI, VmcENzio, was the third son of Gale- azzo Campi, and was brought up in the school of his brother Giulio. His chief merit was in paint- ing portraits and still-hfe, although he attempted some historical subjects, in which he was very in- ferior to his brothers. He died in 1591. CAMPI, Bernardino. This painter was of the same family as the three preceding artists, born at Cremona in 1522. He was intended for the pro- fession of a goldsmith, but on seeing the copies of two of the tapestries, designed by Raffaelle, which had been copied by Giulio, he determined to change his pursuit, and to study painting under his rela- tive. He remained with Giulio some time, but afterwards went to Mantua, where he frequented the school of Ippolito Costa. When he was nine- teen years of age, he commenced professor, and it was not long before he displayed the superiority of his genius. During his studies under Costa, at Man- tua, he was not inattentive to the works of Giulio Romano, in that city, in which he discovered all that could inspire the mind of a student with the sublimity of conception, and dispose it to receive the gi'andest impressions. The beauty and simpli- city of Raffaelle had made him embrace every op- portunity of studying from the drawings and prints after that master. One of his protectors conducted him to Parma and Modena, that he might become acquainted with the style of Coreggio ; and on his return to Cremona, he proved how much he had profited by it, in his great work in the cupola of S. ^ CHANGE. See Duchange. CHAN'TRY, John, an EngUsh engraver, who worked chiefly for the booksellers. His plates are executed with the graver in a formal, stiff style. 160 Vertue mentions the following portraits by him: James I. Charles II. ; three prints. James Fitzroy, Duke of Monmouth. John Selden. Edward Leigh, M. A., of Magdalene College, Oxford. 1660. Thomas AVhitaker, physician to Charles II. The Portrait of Selden. Gething, a writing-master. CHAPERON, Nicholas, a French engraver, born at Chateaudun about the year 1596. He studied painting under Simon Vouet, and went to Rome for improvement, but he never made any proficiency in painting, his talents led him to engraving. He re- mained at Rome several years, and in 1636 pub- lished his set of fifty-two plates from the works of Rafiaelle in the loggie of- the Vatican, called Raffaelle's Bible. Several artists have engraved those admirable productions ; in all of them we look in vain for the noble character and purity of design of their great author ; perhaps Chaperon's produc- tion is the least faulty of those that have appeared. We have, besides that work, the following plates by him, which he sometimes marked N. C. P. ; some are from his own designs : The Portrait of N. Chaperon, with the Bust of Eaffaelle. The title to the Bible of Raffaelle. The Portrait of Henry IV. ; below, in basso relievo, the King wounded by Du Chatel ; after Freminet ; scarce. Another Portrait of Henry IV., with a Battle below. The Virgin suckling the Infant, falsely called after Titian, The Holy Family ; Guerinau, exe. Bacchus and Venus, 1639 ; dartres, exc. A Man giving Drink to Bacchus, Bacchus, with a Man carrying a Child. Satyrs, with Women and Children. A Bacchanal, with a Child pouring out Wine to a Bac- chante. Another Bacchanal, with Silenus riding on a Goat. Young Bacchanalians, one riding on a Goat Another Bacchanal. 1639. [Zani places his birth in 1599, and his death in 1647.] [CHARDIN, Jean Baptiste Simeon, a French painter of conversation pieces, and a variety of other subjects, which he represented with truth, sim- plicity, and neatness of finish. He has been styled " The painter of the passions of the soul;" and his countrymen, formerly, compared him to Metsu, in what particular it would be difficult to say. He was born in 1669, or 1701, and died in 1779.] CHARPENTIER, Pierre FRAN901S, a French engraver in aquatinta, born at Blois in 1730. By this artist we have several prints after the French painters, &c., as follow : The Education of the Virgin ; after Boucher, Cupids playing with the Graces ; the same. The Death of Archimedes ; after Ciro Ferri. The Shepherdess ; after Berghem. The Shepherd reposmg ; after the same. The Descent from the Cross ; after C, Vanloo, Astyanax torn from the arms 01 Andromache by order of Ulysses. [He is also called Pierre-Etienne, and Frangois Philipe. Zani places his birth in 1739.] CHASTILLON, Louis de, a French painter in enamel and miniature, and an engraver. He was born at St. Menehould in Champagne, in 1639. In the execution of his plates he appears to have been an imitator, though not a very successful one, of the fine style of G. Audran. His prints are not without merit, though greatly inferior to his model. We have by him the following plates : The Adulteress before Christ ; after S, Bourdon. chat] PAINTERS AND ENGRAVERS. [CHAV The Conversion of St. Paul. The Seven Sacraments ; after the pictures by Pomsin, painted for the Cavaliere del Pozzo, a little varied from those in the Orleans collection. St. John in the Isle of Fatmos ; after Poussin. The Fates spinning the Destiny of Mary de Medicis ; after Rubens. Three Books of Prints ; two of the Fountains at Ver- sailles, and one of the Pavilions at Marly. [He died in 1734.] CHATEAU, or CHASTEAU, Nicholas, a French engraver, born at Paris about the year 1680. We have the following plates by him : A Young Lady, with a Mask in her Hand ; half-length ; after Banterre, A young Lady in a Spanish Dress ; half-length ; after the same. Summer, represented by a female figure ; half-length ; after P. vanden Bgrge. Venus and Adonis ; after L. Silvestre. Daphne and Apollo ; after the same. Kinaldo and Armida ; after the same ; finished by J. Audran. CHATEAU,orCHAS,TEAU,WiLLiAM,aPrench engraver, born at Orleans in 1633. After learning the elements of design at Paris, he went to Rome, and became a pupil of John Frederick Greuter. His first productions were some plates for the por- traits of the Popes. He afterwards engraved several prints after N. Poussin and some of the Italian painters, a part of which are entirely executed with the graver, in the style of Poilly and Bloemaert ; the others he advanced considerably with the point, which he handled with spirit and taste. It is to be regretted that he did not always follow that man- ner, as more picturesque and free. His prints of that description have great merit. The plates he engraved at Rome he generally marked Guitielmus Castellus Gallus. After passing several years at Rome he returned to Paris, where he was employed and patronized by M. de Colbert, until his death, in 1683. The following are his principal works : A set of Portraits of the Popes. PortraitofM. de Colbert; oval. Portrait of the Bishop of Ruette. 1670. The Repose in Egypt ; from Coreggio. The Virgin, with the infent Jesus, embracing a Cross. The Life of St. Theresa. The miraoulous Draught of Fishes ; afier Raffaelle. The Baptism of Christ by St. John ; after Aibano. Paul restored to sight by Ananias ; after P. da Cortona. The Stoning of Stephen; after An. Caracci. The Assumption of the Virgin ; a^ier the same. Christ appearing to St. Peter ; after the same. The Repose in Egypt ; after Coreggio. The Holy Family, with St. John ; after C. Maratti. The Miracle of the Manna in the Desert ; after N. Pous- sin. Christ curing the Blind ; after the same. St. Paul taken up to Heaven ; o/ier tAe same. The Preservation of the Young Pyirhus ; after the same. The Death of Germanicus. 1663 ; after the same ; fine. The Virgin and infant Jesus ; after Noel Coypel. The Holy Family ; after the- sarrie. CHATEL, Francis du. This painter was born at Brussels in 1625, and was a favourite scholar of David Teniers, the younger, whose style he followed in some of his pictures, representing village festi- vals; but he is more known for his small family portraits, and conversations in the manner of Gon- zales Coques ; and his pictures are not unfrequently taken for those of that master. His drawing is cor- rect, with an excellent colour, and a neat and spirit- ed touch. His most considerable work is a large picture in the Town-house at Ghent, representing Philip IV. of Spain receiving the oath of fidelity from the States of Brabant and Flanders ; a com- position of an infinite number of figures, ingeniously ffi-ouped, and touched with such neatness and truth, that it has often been thought a work of Gonzales. [The picture at Ghent represents the Marquis d^ Castel Rodrigo, governor of the Low Countries, re- ceiving the oaths and homage of the States to Charles II. of Spain, then only five years old ; it is dated 1666. A second picture by this master was, a few years back, presented by the king of Holland to the academy at Antwerp ; and such is its near ap- proach to Teniers, that it is (even there) ascribed to him. Du Chatel died in 1679.] CHATELAIN, J. B. [John Baptist,] an in- genious English designer and engraver, born about Qie year 1710. This artist was endowed with an extraordinary capacity ; and if his application had been equal to his genius, few would have equalled him in the branch of art to which his natural dispo- sition directed him. He had a peculiar talent for designing landscapes, either from nature or his own fancy, which he did with a readiness that was alto- gether surprising. Unfortunately, from his idle and dissolute course of life, he seldom exercised his abilities until compelled by necessity. The draw- ings and plates he has left us make us deeply regi'et the irregularity of his conduct, which has hmited our gi-atification to a much smaller number of his admirable productions, than his uncommon facility, under more regulated habits, would have secured to us. He has engraved some landscapes from his own designs ; but the greater part of his works are from the pictures of Gaspar Poussin and other masters, for the collection of landscapes, published by Mr. Boydell in 1744. The following fist comprises most of his works : The Four Times of the Day; etched by Chatelain; afterwards finished in mezzotinto by Houston. Nine, eight landscapes after Gaspar Poussin, and one landscape after Rembrandt. Eight Views of the Lakes in Cumberland and Westmore- land; after Belters. Eleven dinerent Views ; after Marco Ricci. Three grand landscapes; after Cortona, N. Poussin, and P. Bolognese. [It is supposed that he died in 1771.] CHAVEAU, Francis, a French painter and en- graver, born at Paris in 1618, [more correctly 1613.] He studied under Lawrence de la Hyre. He painted small pictures in the style of that master, but not meeting with much success, he devoted himself en- tirely to engraving. His first attempts were wth the graver, but he soon quitted it for the point, with which he could express, with convenient celerity, the efSisions of a fively and fertile genius. This expedition was requisite in the great number of plates he engraved for the booksellers, in which, if we do not find a polished execution, we discover force, fire, and ingenuity. His smaller plates are much in the manner of Sebastian le Clerc, which are his best performances. He is supposed'to have produced nearly three thousand plates, most of which were for the difierent pubhcations of books in which he was employed. He died at Paris in 1676. The following are his principal works : ' SETS OF PRINTS. Les Delices de I'Esprit; fifty plates, designed and en- graved by Chaveau. Nineteen plates for the History of Greece. Many plates for Ovid's Metamorphoses; by Benserade. The Bible History ; many plates. Several plates for Tasso's Jerusalem. The same for the Fables of La Fontaine. Twenty-one plates for the poem of Clovis. cued] A DICTIONARY OF [ciiEn Twelve plates for the PuceUe d'Orleans. Two hundred and forty-three medals ; the collection of F. Orsini. DETACHED PRINTS AFTER HIS DESIGNS. The Annunciation. The Repose in Bsypt. The Virgin and Ipfant, with St. John. The Crucifixion. The Mystery of the Sacrament. 1676 ; in two sheets. Meleager and Atalanta ; circular. Venus and Adonis ; the same. SUBJECTS AFTER VARIOUS MASTERS. Christ with the Disciples at Emmaus ; after Titian ; the same subject that is so finely engraved by Maason, called the Table-cloth. A Concert; after DomenicMno ; also engraved by Picari. Twenty-two plates of the Life of St. Bruno ; after the pictures by Le Stievr, in the Carthusians at Paris. The Nativity ; after L. de la Hire. The Holy Family ; after the same. Meleager presenting the Head of the Boar to Atalanta ; after the same. The Triumphal Arch for the Place Dauphine; after Le Brun, [M. L'Advocat says he engraved more than 4000 plates with his own hand, and that about 1400 pieces have been engraved by others after his de- signs. There are strange discrepancies in the date of this artist's birth among the writers on the sub- ject; but 1613 seems to-be the most authentic. Basan, who ought to have been the best informed, is furthest from the mark.] CHEDEL, QuiNTiN Pierre, a French designer and engraver, bom at Chalons in 1705. He was much employed in engraving for the booksellers at Paris, and the number of his plates is very consider- able. They are etched with great spirit, and some- times finished with the graver in a style of unusual ability. Among his numerous works the following are the most deserving of notice : SUBJECTS FROM HIS OWN DESIGNS. A set of six Landscapes ; dedicated to Madame de Pom- padour. Six plates of Battles ; dedicated to Count Turpin de Ceiss6. The Village "Wedding, and the Village Feast. Two Lan^capes with Ruins, called " Ruines de Cames." SUBJECTS AFTER VARIOUS MASTERS. Four, Attacks of Cavalry ; after Vandermeulen. Four, Landscapes with Ruins ; after Boticher. Two, Sea-pieces with Fishermen ; after A. Willaerts, Day-break, a Landscape ; after Teniers. A Landscape, figures and horses ; after Wovermans. A Sea-port ; after the same. CHENDA. . See Rivarola. C HENU, Peter, a French engraver, bom at Paris in 1730. He was a pupil of P. le Bas, and engraved several plates of portraits and other subjects, in a slight, agreeable style. We have by him the fol- lowing : portraits. Francis I. of France,with ornaments ; afterNic. del Abate. Antoine Ferrenot, Cardinal of Granville. Pierre Carlet de Champlaiu, de Marivaux, of the French Academy. Bust of Diderot. SUBJECTS AFTER VARIOUS MASTERS. The Adoration of the Shepherds ; wfter Bassano. Christ driving the Money-changers from the Temple ; the same. The ancient Temple at Ephesus ; after Breemberg. Ruins at Ephesus ; after the same. A Landscape, with cattle ; after A. Vandevelde. The Sailor's Amusement ; after D. Teniers. The Dutch Baker ; after A. Ostade. View of the Castle of St. Angelo ; after Vemet. 162 CHEREAU, Francois, a French engraver, born at Blois in 1680. He was a pupil of Gerard Audran, and has distinguished himself by the beauty of his graver, and the con-ectness of his design, particu- larly in his portraits, some of which are admirable. His portrait of Louis Pecourt has not been sur- passed by many, even in that branch of the art in which his countrymen excelled. The number of his plates is considerable, of which the following are the most esteemed : PORTRAITS. Louis de Boullogne ; after a picture painted by himself, engraved by F. Chereau, for his reception into the Academy in 1718. Nicholas de LargiUiere, painter ; after himself. Andr^ Hercule, Cardinal de Fleury ; after Rigaud; fine. Melchior, Cardinal de Polignac ; very fine. Louis P6court, Maitre de Ballet; after Tourniercs; very fine. Elizabeth Sophie Cheron, paintress ; from a picture by herself. Louisa Maria, Princess of England ; after A. S. Belle, SUBJECTS AFTER VARIOUS MASTERS. St. John in the "Wilderness ; after the picture by Raf- faelle, in the Orleans Collection. The Crucifixion ; after Guido. St. Catherine of Siena ; after J. And/ri. St. Cecilia ; after Mignard. St. Theresa in Contemplation. St. Ignatius, founder of the Jesuits. F. Chereau died at Paris in 1729. CHEREAU, Jacques, was the brother and pupil of the preceding artist, born at Blois in 1694. He engraved portraits and history, and was little infe- rior to his brother. He did not engrave many plates, having quitted the graver to follow the busi- ness of a printseller. His prints are deservedly esteemed. He was in ^England, but not meeting with much encouragement, ne returned to France, apd died at Paris in 1759. The following are his best works : PORTRAITS. George I. King of England ; Jac. Chereau, fee. ; en- graved in London. Philip of Orleans, Regent of France. Michel de Montague. 1715 ; oval. J. Soanen, Bishop of Senez ; after Raovx ; very fine. Charles Joachim Colbert, Bishop of Montpelier ; after the same. Portrait of a young Lady holding a Dove ; after Vanho, Jane of Arragon, Queen of Sicily^ after Rq^aelle. subjects after VARIOUS MASTERS. The Holy Family ; after Raffaelle ; in the Crozat col- lection. The Virgin, with the infant Jesus and St. John, called la Belle Jardiniere ; in the same collection. David with the Head of Goliah ; after Dom. Feti; very fine. David and Bathsheba ; after Raowe. Christ washing the Feet of the Apostles ; after N, Berlin. Vertumnus and Pomona ; after F. Marot. The Descent from the Cross ; after Charpentier. The Transfiguration ; after Raffaelle. [Others say he was born in 1687, and died in 1776.] CHERON, Elizabeth Sophia. This lady was the daughter of an enamel painter, bom at Paris in 1648. She learned the elementary principles of de- sign from her father. In a short time she dis- tinguished herself by some portraits, whose merit was not confined to a perfect resemblance. A fine tone of colour, a tasteful design, and a commanding facUity of pencil, distinguished the works of this estimable paintress. Her talents were not hmited to portraits ; she painted several historical pictures, which were placed in the first collections at Paris. Le Brun proposed her as a candidate for the honours cheh] PAINTERS AND ENGRAVERS. [CHOD of the Academy in 1676, and she was received with distinction. This ingenious artist engraved both with the point and tfie graver, and executed some plates after a set of designs she made from some se- lect antique gems, and other subjects. The collec- tion of gems consisted of twenty-four plates, three of which she engraved, the others were executed by C. Simonneau, B. Picart, J. Audran, and others. She died at Paris in 1711. Besides her three plates of the gems we have by her, The Descent from the Cross ; after the Abbe Zu?nbo. St. Cecilia, Magdalene, St. Austin, St. John, and St. Paul ; ajfter Raffaelle. A drawing-book of thirty-six prints. CHERON, Louis. This painter was the brother of the preceding artist, born at Paris in 1660. ' He went to Italy when he was very young, and passed some years at Rome, studying particularly the works of Raffaelle. On his return to Paris, he was employed to pEunt two pictures for the church of Notre Dame, representing the prophet Agabus be- fore St. Paul, and Herodias with the Head of St. John. His design is correct, but his colouring is cold and feeble, and his composition tame and in- animate. The religious troubles that existed at that time in Prance obhged him, being a Calvinist, to leave the kingdom, and he came to England, where he was employed by some of the nobihty, particularly the Duke of Montague, for whom he painted some ornamental works. He died in Lon- don in l7l3. This artist engraved somes plates from his own designs. They are etched vnth spirit and taste, and weU drawn. We have by him, St. Peter curing the Lame at the Gate of the Temple. The Death of Ananias and Sapphira. The Baptism of the Eunuch by St. Philip. Hercules reposing after his Labour ; fine. Twenty-three subjects for the Psalms of David ; trans- lated by his sister. [Zani and Nagler both say he died in 1723, which is no doubt the correct date ; as he engraved some of the ornamental pieces to the edition of Milton's Paradise Lost, pubhshed in 1720.] CHERPIGNON, , a French engraver, by whom, among other prints, we have a plate re- presenting the Holy ^Family, in which the Virgin Mary is seated, with the infant Jesus asleep in her lap, and St. Joseph is leaning on alarge stone behind her ; after a picture by Laurent de la Hire. It is etched in a free, spirited style, and retouched with the graver in a masterly manner. CHEVILLET, Justus, a German engraver, born at Frankfort on the Oder in 1729. He was first a pupil of G. F. Schmidt, but afterwards went to Paris, where he was instructed by J. G. Wille. He engraved several plates of subjects, principally from the French artists, in a neat style. We have by him, among others, the following prints : The Portrait of Simeon Chardin ; &om u, picture by himself. Portrait of M. le Noir ; after Greuze. La Sante portee, and la Sante rendue ; after Terbarg. A Girl sewing, and another spinning ; after Heibnan. A young Girl caressing a Bird; after a drawing by Wille. The young Coquet ; after J. Raowx. The dangerous Beauty ; after Santerre. The Death of General Montcalm ; after Watteau. CHIAPPE, Batista. This painter was bom at Novi in 1723. After studying some time at Rome, he settled at Milan, where, according to the Cava/- liere Ratti, he painted some pictures which gave M 2 promise of great ability. His best work was in the church of S. Ignazio di Alessandria, representing that saint, with a glory of angels, grandly conceived and composed, the figure of me saint commanding and majestic, and of a fine expression. This artist died in the midst of a flattering career in 11^65 ; and with him, says Lanzi, perished the last remains of Genoese art. CHIARI, Fabrizio. This painter and engraver was born at Rome, according to Orlahdi, in 1621. He was employed in some fresco, paintings in the palaces at Rome. We have some etchings by this artist, after N. Poussin, executed in a scratchy but masterly style, among which are, Mars and Venus, in a landscape ; Fabritus Clams. 1635. Venus and Adonis ; signed Nicolaus Pussimis, in. f. This etching has been attributed to N. Poussin, but it is by Chiari. Venus and Merciuy, with Children. [If the print above mentioned be by him, he must have commenced engraving very early. He died in 1695.] CHIARI, GrusEPPE, was bom at Rome, in 1654. He was a scholar of Carlo Maratti : after the death of that master, he finished some of his works left imperfect. His cabinet and eaSel pictures are pre- ferable to his large works, although he painted several frescos in the palaces of Colonna and Bar- berini ; the ceiling in S. Maria di Montesanto, and an altar-piece in S. Maria del Sufliragio, represent- ing the Adoration of the Magi. In the Spada Palace are four pictures by. him of subjects from Ovid. He died in 1727. CHIARINA, Marc Antonio, was born at Bo- logna in 1652, and was first a scholar of Francesco Quaino, under whom he remained four years; he afterwards studied under Domenico Santi. He ex- celled in painting architectural views, in which the figures were sometimes introduced by Sigismondo Caula. He was much emjiloyed by the nobility at Bologna, Modena, and Milan ; and his pictures were in great estimation. [He died in 1730.] CHIAVEGENO. See Mainardi. CHIAVISTELLI, Jacopo, a Florentine painter of perspective and architectural views, born in I62I. He first studied under Fabrizio Boschi ; but he re- ceived his best instruction fi-om M. Angelo Colonna. He painted chiefly in fresco, and was employed in several works at Bologna and Florence, particularly in the palace of the Grand Duke. He died in 1698. [Zani places his birth three years earUer.] CHIMENTL SeeEMPOLi. CHIRINOS, Juan de, a Spanish painter, born at Madrid in 1564. He was a- scholar of Louis Tristan, and, according to Palomino, painted, in conjunction with Bartolome de Cardenas, the greater part of the pictures in the Convent de Nuestra Sen- nora de Atocha, at Madrid. He died in 1620. [Bermudez says he was a scholar of // G-reco, and not of Louis Tristan.] CHISBOUT, , a French engraver, who flourished about the year 1680. He etched a plate, representing Dutch Boors playing at cards, which was published by Peter Drevet, the elder. It was probably from his own design, as he has signed it, Cliisbout, fecit. [CHODOWIECKI, Daniel Nicolas, a very prolific and celebrated German engraver and de- signer, was bom at Dantzic in 1726. His father was a drug merchant, and intended his son for the same trade ; but, as he had some knowledge in niinia- ture painting, he taught his son aU he knew in that 163 chof] A DICTIONARY OF [CIAM art, intending it only as a relaxation after the hours of business. The young Chodowiecki, however, made it his principal study ; and as his father died prematurely, leaving him and his mother in strait- ened circumstances, he hoped to find a resource by adopting miniature painting as a profession. Being too young, and not sufficiently advanced in the art, it was deemed necessary to apprentice him to a gro- cer, with whose business he was fully employed, and had no time to devote to his favourite pm-suit but such as he stole from the hours of rest in the night. His master failing in business, he was sent to an uncle at Berlin, to serve the remainder of his apprenticeship. He was then in his seventeenth year. He attended his uncle to the fairs, as book- keeper, and at his leisure employed himself in painting the lids of snuff-boxes, in order to assist nis mother. He sold these to the shopkeepers of Berlin ; and his uncle soon perceived that his talent could be made a source of emolument if he learnt, in addition, the art of enamelling. He renounced painting siiuff-boxes, and devoted himself entirely to his new studies. Some of his productions at- tracted the attention of the Academy of Painting at Berlin, and he was emploved by that society to make designs, and engrave the figures for their Al- manac. This he accomplished with so much spirit that it brought him into general notice. From this time his path to fame and emolument was clear. He produced a series of twelve pieces of the " Passion of Jesus Christ ; " these were of a small size, but so delicately finished, and at the same . "time executed with such spirit, that artists and ama- teurs were all desirous of being acquainted with the author. In 1767 he published a print entitled " Les adieux de Calas," in which he represented, in a most pathetic manner, the misery of that unfortu- nate family when the father was about to be led to execution, a victim to ignorance, bigotry, and in- tolerance. Of this print, which caused a great sens- ation, only one hundred proofs were taken ; it is of rare occurrence, and is prized by collectors. He was n'ow so fully occupied vnth making designs and engraving, that he was compelled to discon- tinue painting. Numerous works followed; and every publication in Germany, susceptible of em- bellishment, put his talents in requisition. He de- signed and engraved the plates for Lavater's work on Physiognomy, Klopstock's Messiah, for Don Quixote, for editions of Shakspeare, Voltaire, La Bruyere, La Fontaine, Gessner, Lessing, and many more. As he was well read in history, he gave in his illustrations true representations of the costumes and manners of the times to which they related. His works are too nu^lerous to particularise in this Dictionary, but a complete catalogue may be found in Heineken, or in Nagler's Kunstler's Lexicon. He died at Berlin in 1801, being director of the Academy of Arts and Scieiices of mat city.] CHOFFARD, Peter Philip. According to Basan, this artist flourished at Paris about the year 1767- He engraved several vignettes, and other book plates, for the editions, published at that time, of La Fontaine's Tales, and the Metamorphoses of Ovid. We have also by him the following : A "View of the Bridge of Orleans ; after Desfriches. The Cascade of Brunoy ; after Gravelot. Two sets of Flower-pieces ; after Bachelier. CHOPy, , a French engraver ; his name is affixed to a small plate, representing the Baptism of Christ by St. John. It is executed with the graver, in a laboured, indiiferent style. 164 CHRIEG, or CHRIEGER, Christopher. Pa- pillon attributes to'this artist, who was a native of Germany, and flourished about the year 1572, a large print, representing the Sea-fight at Lepanto, of which he gives the following description. " It is a magnificent engraving on wood, containing ^ ^ more than three hundred vessels and galleys. The combatants, which are exceedingly numerous, are distributed with great judgment. The dreadful con- fusion of the vessels on fire, or sinking to the bot- tom, cannot be represented in a supenor style. It is cut on two blocks of -wood, in the form of an oval, about two feet long, by sixteen inches in height. In the upper part of the oval are represented the arrangement of the Christian force and that of the Turks, and below three Christian chiefs dividing the spoil, and the destruction of the Turkish fleet. It is inscribed Christoph'- Chrieg'- All'- inci., and was published at Venice in 1572, by Cesare "VecelH, a relation of the celebrated Titian, who is supposed to have made the design." ,; .< [CHRISTOPHSEN, Peter, an artist who flour- f ] ished from an early part to the middle of the fifteenth century, as appears by a picture of the Virgin with the infant Jesus, Saints Jerome and Francis, formerly in the collection of Mr. Aders at London, on which was inscribed " Petrus XPM. me fecit, 1417." He is called Pietro Crista, by Vasari. In the gallery of the Berlin Museum, inscribed with his name, is a portrait of a young girl, favourably distinguished by its simple and beautiful execution, as well as by the peculiar form of the countenance. Another picture, of the year 1449, is in the posses- sion of Herr Oppenheim, at Cologne, — St. Eligius; who, as a goldsmith, sells a wedding-ring to a bridal pair. As no particulars are recorded of this artist, it can only be conjectured that he belongs to the school of the Van Eycks : the researches now going on in Germany will probably discover more of his works and something of his history.] CIAFFERI, PiETRO. This painter was born at Pisa, and flourished, according to Lanzi, about the year 1654. His talent was painting marines and sea-ports ; subjects which his residence at Leghorn enabled him to study from nature. His pictures are highly finished, and ornamented with small figures, neatly touched and correctly drawn. He also painted architecture and perspective views. His works are principally at Pisa, and Leghorn, where they are esteemed. CIALDIERI, Girolamo, was born at Urbino in 1593, and was a scholar of Claudio Ridolfl. He painted several pictures at Rome for the churches. His best work is the Martyrdom of St. John, in S. Bartholomeo. Lanzi describes him as possess- ing great facility of hand and amenity of colour, and commends his style of painting landscape, and his knowledge of architecture, which he was fond of introducing in the back-grounds of his pictures. [He flourished about 1640.] CIAMBERLANO, Ldca. This artist was born at Urbino about the year 1580. In the early part of his life he applied himself to the study of civil law, in which he had taken a doctor's degree, when he abandoned the study of jurisprudence to devote himself to painting and engi-aving, particularly the latter. He resided chiefly at Rome, where he ex- ecuted a great number of plates from his own designs, as well as after the works of the most cele- brated Italian painters. His plates are entirely ex- ecuted with the gi-aver, which he handled with neatness and intelligence, and his design of the cum] PAINTERS AND ENGRAVERS. [CIGN figure is tolerably correct. He sometimes signed his plates with his name, and sometimes marked them with the cipher ^« Among others, are the following : , Thirteen plates of Christ and the twelve Apostles ; afier RaffaeUe. St. Jerome dead, lying upon a stone ; after the same. Christ on the Mount of OliTes ; after A. Casolani. Christ appearing to Mary Magdalene; after Federigo Baroeeio, inscribed, Lucas Ciamberlanus, Urbinas I. V. Doctr. del. et sculp. 1609. Christ appearing to St. Theresa ; after Caracci. 1615. [He flourished from 1603 to 1640. Bartsch has given a list of 1 14 pieces by him.] CIAMPELLI, Agostino. This painter was bom at Florence in 1578. He was educated under Santo di Titi, and acquired an ability that dis- tingiiished him among the painters of his time at Rome. Inferior to his instructor in invention, less masterly in composition ; his ideas were graceful, and he was a correct designer, with a brilliancy of colour unusual in the Florentine school,, though sometimes vitiated by too powerfiil a predominancy of the red. In the Chiesa del Gesu, are two of his finest works in fresco, the Martyrdom of St. Andrew, and in the ceiling a Glory of Saints and Angels. In S. Prassede he painted in oil, for his patron the Cardinal de Medici, the Crucifixion ; and in S. Stefano di Pescia, is his celebrated picture of the Visitation of the Virgin to St. Elisabeth, with two laterals. He was also an eminent architect, and had the superintendence of some of the improve- ments at St. Peter's. He died in 1640. CIARPI, Baccio, was born at Florence in 1578, and was a scholar of Santo di Titi. He proved a reputable painter of history, of which he gave proof in his works in the Chiesa della Concezione of the Capuchins of Rome. This painter was the in- structor of Pietro da Cortona. He died in 1642. CICERI, Beenarmno. This painter was born at Pavia in 1650, and was one of the ablest scholars of Carlo Sacchi. He afterwards passed some time at Rome ; and on his return to his native city, met with encouragement in painting historical pictures of a small size ; and also was employed for the churches. CIEZAR, Miguel Gehonimo, a Spanish painter born at Granada. He was a scholar of Alonso Cano, and painted history with reputation. Ac- cording to Palomino, his best works are in the con- vent del Angel, and in the hospital del Corpus Domini, at Granada. He died in 1677. [This and the following should be Cieza, not Ciezar.] CIEZAR, Joseph de, was the son and scholar of the preceding artist, born at Granada in 1656. He painted history, landscapes, and flower-pieces. Of the first, his principal productions are in the church of S. Francisco de Paula at Madrid. He died in 1696. [Bermudez says 1692. There was also a Vincent Cieza, son of Miguel, whose works are confounded with those of his father ; he died about 1701.] CIGNANI, Carlo, a distinguished painter of the Lombard school, born at Bologna in 1628. He was of an honourable family, and his first essays in the art were some drawings he attempted after the pic- tures in his father's collection. He was first placed under the tuition of Batista Cairo, but he afterwards entered the academy of Francesco Albano, and be- came the most celebrated of his disciples. After leaving the school of Alhano, he visited Rome, Flo- rence, and Parma, studying the works of Raifaelle and Coreggio. Whilst at Rome, he painted two pictm-es for the church of S. Andrea della Valle, subjects from the hfe of that saint; and a picture in the basihca of St. Peter's, which has perished from damp. On his return to Bologna, he was em- ployed by the Cardinal Farnese, to ornament the great saloon of the palace at Bologna, where he painted his celebrated work of the Entry of Pope Paul III. into Bologna, and. the Passage of Francis I. through that city. Cignani acquired a distin- guished reputation, and consequently did not escape the shafts of envy. His rivals, unable to pre- judice his fame by the exertion of their talents, had recom-se to the meanness of slander, and even had the malevolence to injure and destroy several of his works. He was the founder of the Clementine Academy at Bologna, of which Clement XL ap- pointed him the head, and conferred on it his name. Hitherto, Cignani had iiot executed any grand ma- chine, which might place him in a situation to com- pete with the great artists that had preceded him, when he was called upon to undertalie the Cupola in la Madonna del Fuoco at Forli, a prodigious work, which occupied him near twenty years ; and such was the attachment of his academy, that they followed him to ForM, where his school was con- tinued till his death. The powers of Cignani were more' profound than prompt; he conceived his sub- ject with facility, but he was diflEicult in finishing it to his satisfaction. His picture of the Flight into Egypt, painted for the Conti Bighini, occupied him six months. Though his works always seem finished, they have nothing of the appearance of labour. In his design, he emulated Coreggio,, without arriving at the grandeur and vagueness of contour that are peculiar to his unrivalled model. In his colouring, he resembles rather the suavity of Guido, than the tender blending of Coreggio. Like the Caracci, he possessed a faculty, by means of extraordinary re- lief, of making his figm-es appear larger than they really are. He excelled in painting women and children, in which, to something of the gi-ace of Al- bano, he added a more elevated character. The principal works of Cignani, at Bologna, are, the Nativity, painted in fresco, in S. Giorgio ; the Virgin and infant Jesus enthroned, and below, St. John Baptist, St. Charles, and St. Theresa, in the cappella Davia, in S. Lucia; in S. Michele in Bosco, four subjects of sacred history, in ovals, sup- ported by angels of extraordinary beauty, esteemed among the most admirable productions at Bologna. But the great monument of his fame is the Cupola at ForU, which Lanzi considers as the grandest pic- turesque effort of the eighteenth century. The sub- ject, like Coreggio's Dome at Parma, represents the Assumption of the Virgin ; an immense composition, of that superior merit and attraction, that the more it is contemplated, the more it delights. This emi- nent artist died at Forli in 1719. [A favourite pic- ture of Adam and Eve, which Cignani painted for his own use, but parted with to Cardinal San Ce- sareo, was, a short time ago, in England, and could not meet with a purchaser ; the R.ing of Holland, with more discernment, has added it to his collection. The pictures of " Charity," and " Joseph solicited by the wife of Potiphar," are among the best known, in foreign countries, of his Works : the last he repeated, and other artists have increased the number.] CIGNANI, Felice, was the son and scholar of Carlo Cignani, born at Bologna in 1660. Under the able instruction of his father, and endowed with . 165 cign] A DICTIONARY OF [CINC a natural disposition for the art, he became a paint- er of considerable ability. Enriched by an ample fortune, left him by his father, he' appears to have exercised the art rather as his inclination prompted him, than as a regular professor. In the church of the Carita at Bologna is a picture by him of the Virgin and infant Jesus, with St. Joseph, and St. Anthony of Padua ; and at the Cappuccini, a much- admired picture of St. Francis receiving the Stig- mata. He died in 1724. CIGNANI, Paolo, was the nephew and scholar of Carlo Cignani, born at Bologna in 1709. Lanzi n;ientions in favourable terms a picture by this painter at Savignano, of St. Francis appearing to St. Joseph of Copertino. The subject is represented by candle-light, of a fine efiect, and the figures well designed, in the style of the antique. He died in 1764. CIGNAROLI, Giovanni Bettino. This painter was born at Verona in 1709 [in 1706]. He first studied under Santo Prunati at Venice, but was afterwards a scholar of Antonio Balestra. He may be ranked among the best painters of the modern Venetian school. Although he was invited to seve- ral of the courts in Italy, he preferred a residence at Venice to the temptations that were held out to him. He received commissions for many of the churches and principal galleries. At Pontremoli is an ad- mirable picture by him of St. Francis receiving the Stigmata. Lanzi extols as one of his finest pic- tures, the Flight into Egypt, in S. Antonio Abate, at Parma. The grave and dignified beauty of the Virgin, and the angelic character of the cherubs, that are their guides, partake of the charming ex- pression of Carlo Maratti, although unequal to that master in union of effect and the harmony of colour- ing. His back-grounds are ingeniously composed of well-chosen architecture and pleasing landscape, and his subjects, usually devout, are enlivened by groups of cherubs and angels, which he introduced with the happiest effect. He died in 1770. CIGNAROLI, Martino. This painter was a native of Milan, but studied at Verona, in the school of Carpioni, under whom he became an able artist in landscapes of an easel size. He flourished about the year 1718. [He was born, according to Zani, in 1649, and died in 1726.] CIGNAROLI, SciPioNE, was the son of the pre- ceding artist. After receiving his first instruction from nis father, he went to Rome, where he became a scholar of Tempesta, and was a successful imitator of the style of that master, and of the works of G. Poussin and Salvator. His pictures are chiefly at Milan and Turin. CIGOLI. See Cardi. CIMA. See Conegliano. CIMABUB, Giovanni. The arts, which had continued to degenerate among the Romans from the reign of Nero, appear to have perished with the Colossus of the Roman empire, and to have been totally lost in the succeeding dominion of barbarism. If they preserved a degraded existence in a miser- able asylum in Greece, they owed it to the piety of the people, rather than the protection of the government. The artist was employed, not honour- ed. The exercise of his talent procured him a wretched subsistence, by colouring what were called images, rudely stained, for the purposes of public worship, which were chiefly admired for the gold and precious stones with which they were orna- mented. It was, however, to Greece, where the art had languished in that state of decrepitude, that 166 Italy was indebted for the origin of what is called the modern school. Although its renovation has been generally attributed to Cimabue, it is suflicient- ly proved by the Italian writers on art, that painting was practised at Pisa, Florence, and other parts of Italy, nearly two centuries before him. It is, how- ever, universally admitted, that he was the first that rescued the art from the gross and barbarous state in which it was previously practised. Giovanni Cimabue was of a noble lineage, born at Florence in 1240. He is stated by Vasari to have learned the art from some Greek painters, who were employed in the church of S. Maria Novella. This is, however, very reasonably doubted by other writers; and Lanzi observes, that at the time of Cimabue, the Greeks knew less of painting than the Italians. He is supposed by others to have been a disciple of Giunta Pisano, who is stated by Mor- rona, in his Pisa Illustrata, to have painted some pictures for the churches of Assisi, about the year 1230, and who P. Angelo asserts to have been in- structed by some Greeks about the year 1210. Juncta Pisanus ruditer a Orcecis instruetus primus ex Italis arteni apprehendit circa an. sal. 1210. Who- ever was his instructor, he has the credit of being the first painter who threw a light on the art. It was, indeed, but a feeble gleam, but it appeared lu- minous, as succeeding to total obscurity ; and his pro- ductions, however impotent they appear in a more advanced state of the art, were considered as pro- digies at the time. That such was the reputation he acquired, is evident from the fact that, on finish- ing a picture of the Virgin for S. Maria Novella, his fellow citizens earned it in triumphal procession, with the sound of trumpets, to the church for which it was destined. It is by the stimulating impulse of popular honours that genius is fostered in its in- fancy, nourished in its growth, and strengthened to maturity. Public indifference is the suftbcation of talent. If the rude essays of Cimabue had not met vidth admirers, Florence would probably never have produced a Michael Angelo. Few of the works of Cimabue have outlived the ravages of time. In the church of Santa Croce, at Florence, is still pre- served a picture of St. Francis, painted when he was young; and in S. Stefano, a very superior per- formance, representing S. CeciUa. He died in 1300. [The date of his death is not certain : Zani says he was living in 1302. Much might be added to the article, but to very little purpose, as but little of his work remains. Rosini, who has given a print of the Virgin and Child by him, (plate IV.) may be consulted ; and other modern wnters, who are en- deavouring to dissipate the mists that envelope the earlier histories of painting. A dictionary is not the place for such discussions; they belong rather to the history, of the art.] [CIMAROLI, Giambatista, da Salo, a Vene- tian landscape painter, who flourished from' 1718 to 1733. His pictures are not uncommon in England, though his name is but little known. It is conjec- tured that Zuccarelli may have taken lessons from him, as his early pictm-es have some resemblance to those of Cimaroh, with less warmth. The cattle and figures introduced are of the same character. In England, his name and works are confounded with those of the Cignaroli.] CINCINNATO, RoMULo. This painter was bom at Florence about the year 1525, and was a scholar of Francesco Salviati. In 1567, he was in- vited to Spain by Philip II., where he passed the greater part of his life. He was employed in the CINC] PAINTERS AND ENGRAVERS. [CIVA Escurial, where he painted in fresco a part of the great cloister, and in the church two pictures repre- senting St. Jerome reading, and the same saint preacmng to his disciples ; as well as two subjects from the life of San Lorenzo. In the church of the Jesuits, at Cuenga, is one of the most esteemed works of this master, representing the Circumcision. He painted some mythological subjects in fresco, in the palace of the Duke del Infantado, at Guada- laxara. He died in 1600. CINCINNATO, Diego and Francesco, were the sons of the preceding artist, and were instructed by their father. Diego was sent to Rome by PhiUp IV., where he painted for that monarch the portrait of Urban VIII., by whom he was knighted, and presented with a sold medal and chain. He was principally engaged, as was his brother Francesco, in painting portraits. [Diego died in 1626, and Fran- cesco in 1635.] CIPRIANI, Giovanni Batista. This elegant painter and designer was bom at Florence about the year 1728. He is said by Lanzi to have formed his style by studying the works of Antonio Do- menico Gabbiani, a Florentine painter, who flour- ished a few years before him. His first public works were two pictures painted for the Abbey of S. Michele at Pelago, one representing S. Tesauro, the other St. Gregory VII. He went to Rome in 1750, where he passed two or three years. From Rome he came to Etigland, whither his reputation had preceded him. It was at a period when the talents of Mr. Bartolozzi, as an engraver, were in their prime, and the union of their abilities soon be- came distinguished through every part of Europe. Perhaps few instances have occurred in which the exquisite exertions of the designer have been so happily supported by the taste of the engraver. Mr. Cipriani executed few large works in paint- ing ; the most considerable of them are at Houghton ; but he has left an infinite number of admirable drawings, which may be ranked among the happiest efforts of that art. The character and works of Mr. Cipriani have been so faithfully and so amiably de- scribed by Mr. Fuseli, that the author has taken the liberty of inserting it. " The fertility of his inven- tion, (says that gentleman,) the graces of his com- position, and the seductive elegance of his forms, were only surpassed by the probity of his character, the simplicity of his manners, and the benevolence of his heart." He was one of the members of the Royal Academy at its foundation in 1769. Mr. Cipriani has engraved a few plates, some of which are after his own designs. Among others we have the following : PORTRAITS. Algernon Sidney. Edmund Ludlow, parliamentary general. John Locke. Johrf Milton. Thomas Hollis, prefixed to his memoirs. Andrew Marvel. [These were done for Mr. Thomas Hollis, to be in- serted in his Memoirs. On them is inscribed, " Drawn and etched by J. B.Cipriani, a Tuscan," &c. At the foundation of the Roya,! Academy, Cipriani was em- ployed to make the design for the diploma which is given to the academicians and associates on their admission, and which was finely engraved by Bar- tolozzi. For this work the academicians presented him with a silver cup, at the same time acknowledg- ing the assistance they had received from his gi-eat abilities in his profession. The original drawing was afterwards sold by auction for thirty-one guineas, and bought by Mr. Baker, a private collector.] VARIOUS SUBJECTS. * The Mother and Child ; from his own design. The Death of Cleopatra ; a/ier B. Cellini. The Descent of the Holy Ghost; after Gabhiani; oval. He died in London in 1785. CIRCIGNANI, NiccoLO, called dalle Poma- RANCE, [or iL PoMAEANCio.] This painter was bom atPomarance, in Tuscany, in 1516. Baglioni, without saying by whom he was instructed, states, that he visited Rome when he was young, in the pontificate of Gregory XIII., by whom he was em- ployed in the great saloon of the Belvedere. He lived the greater part of his hfe at Rome, where there are many of his works in the churches. In S. Stefano Rotondo, is the Martyrdom of that Saint. In il Tempio del Gesu, there are two chapels entirely decorated by Niccolo ; in one, he has painted several subjects from the lives of St. Peter and St. Paul, in the other, the Nativity. In S. Antonio, the Cruci- fixion. The Cupola of S. Pudenziana is also by this master. He died in 1588. [This is not correct, as he was painting in 1591.] CIRCIGNANI, Antonio, was bom at Poma- rance in 1560, the son and scholar of the preceding artist, whom he assisted in many of his works. After the death of his father, he resided some years at Citta CasteUo, where he painted some of his best pictures, of which the most admired was the Con- ception, in the Conventuali, which Lanzi describes as partaking of the styles of Baroccio and Roncalli. He returned to Rome, according to Baglioni, in the pontificate of Urban VIIL, and was employed for several of the churches. In la Madonna della Con- solazione, he painted some subjects of , the life of the Virgin; in S. Maria Transpontina, the church of the CarmeUtes, several pictures of the life of S. Al- berto. He died in 1620. CITTADINI, Pier Francesco, called II Mi- lanese. This painter was bom at Milan in 1616, [or 1613,] and was brought up in the school of Guido. He possessed powers for the higher walk of aft, as is evident fi-om the proofs he has given in the churches at Bologna. His Stoning of Stephen, Christ praying in the Garden, the Flagellation, and the Ecce Homo, in the church of S. Stefano, and his S. Agata, in the church of that saint, are pro- ductions not unworthy a disciple of Guido. Yet, whether he was allured by the encouragement given to the painters of ornamental cabinet pictures, or from his own caprice, this able artist descended to the humble imitation of stiU-life. Many of his pic- tures of dead game, fruit, and flbwers, are in the col- lections at Bologna, where he died in 1681. CITTADINI, Giovanni Batista and CarCo, were the sons of the foregoing artist, and painted animals, birds, fruit, and flowers, in the style of their father. They resided chiefly at Bologna. CITTADINI, Gaetano. This painter was the son of Carlo Cittadini, and was instructed by his father. He excelled in painting landscapes of a cabinet size, with small figures, correctly drawn and spiritedly touched. His works were held in estima- tion both at Rome and Bologna. He lived about the year 1725. CIVALLI, Francesco, was born at Pei-ugia in 1660, and was a scholar of Gio. Andrea Carloni. On leaving that master he went to Rome, where he studied some time under Batisti Gauli, called Bac- cici. He Wcis a respectable painter of history ; but 167 cive] A DICTIONARY OF [CLEE his chief merit was in portrait painting, in which he excelled. He died in 1703. CIVERCHIO, ViNCENzio. This painter was a native of Cregia, in the Venetian state. He dis- tinguished himself as a painter, an engi'aver, and an architect. In the cathedral at Crema is a picture by him of the Annunciation. Formerly there was a celebrated work of this master in the council- chamber at Crema, representing Justice and Tem- perance, which at the time that Crema was taken by the French, Ridolfi says, was so highly esteemed, that the victors sent it to the king of France. He painted in the public palace the portraits of the most illustrious persons of the city, which are par- ticularly described by Ridolfi. He flourished from about 1500 till 1535, in which year, according to Lanzi, he was living. CIVOLI. SeeCARDi. [CLAESSENS, Antony, of Bruges, a follower of the Van Eyck school, and said to have been a scholar of Quintin Metsys, flourished at the latter part of the 15th century. Two of his pictures are preserved in the Academy of Bruges, and were for- merly in the Town House ; they represent the Judg- ment of Cambyses ; in the one he causes an unjust judge to be seized, and in the other, orders him to be flayed. Both are compositions with numerous figures correctly drawn and well coloured. There is also in the Town House of Bruges a capital pic- ture by him, the Feast of Ahasuerus.] [CLAESSENS, Lambert Antoine, born at Antwerp in 1764, commenced his artistical career as a pamter of landscapes ; but he abandoned the palette and exercised his talent as an engraver, in which he excelled. He. practised in London, Paris, and Amsterdam, and died in 1834. He studied under Bartolozzi, and engraved after Giorgione, Ru- bens, G. Dou, Rembrandt, De Koningk, Ostade, and other eminent painters.] CLAESSOON, Arnold, a Dutch painter, born at Leyden in 1498. He was a scholar of Cornelius Engelbrechtsen, whose manner he at first imitated ; but on seeing the works of John Schoorel, he changed his mode of designing, which was neither correct nor agreeable, and adopted the style of that master. He painted history, and composed his sub- jects with surprising facility. Van Mander speaks in very favourable terms of two pictures by this master at Leyden, one representing ^e Crucifixion, with the Virgin Mary, Magdalene, and the Dis- ciples ; the other, Christ bearing his Cross. He died in 1564. [By Dutch and Flemish writers he is called Aart Klaaszoon, or Aartgen Van Leiden. He received but small remuneration for his works ; and when Franz Floris endeavoured to draw him to Antwerp, he refused to leave his native place.] CLARET, William, an English portrait painter, who flourished about the year 1680. He was a scholar of Sir Peter Lely, and copied many of the pictures of that master. Of his own productions, one of the most successful was a portrait of John Egerton, Earl of Bridgewater, of w-hich we have a mezzotinto print by R. Thomson. He died in 1706. CLARKE, John, an engraver, who flourished at Edinburgh about 1690. We have by him the fol- lowing portraits : A Medallion of William and Mary, Prince and Princess of Orange. Sir Matthew Hale. George, Baron de Goertz. Andrew Marvell. Doctor Humphrey Prideaux. Seven small Heads on one plate; Charles XI., and his 168 Queen, Prince Rupert, Prince of Orange, Duke of York, Duke of Monmouth, and General Moncke. CLARKE, John, another engraver of the same name, mentioned in the Anecdotes, who resided in Gray's Inn. He engraved a portrait of Rubens, and a print of Hercules and Dejanira. CLARKE, William, an English engraver, men- tioned by Vertue. He engraved the portraits of GeOrge, Duke of Albemarle, from a picture by Bar- low ; Elizabeth Percy, Duchess of Somerset ; and John Shower, from a picture of his own. The latter is a small mezzotinto. CLASENS, D., a Dutch engraver, who flourished about the year 1660. His name is affixed to a coarse etching, representing the Virgin and infant Christ, with St. John and an Angel ; after Procacdni. CLASERI, Marco. This artist was a native of Venice, and flourished about the year 1580. He en- f-aved several wooden cuts, among which are the our Seasons, and the Four Ages of the World. They are middling-sized prints, lengthways. CLASSICUS, ViCTORins. According to Florent Le Comte, this artist was a sculptor and an archi- tect. He is said to have engraved some plates from the paintings of Tintoretto. There is a small por- trait of II Tintoretto, engraved in a style resembling that of Cornelius Cort, inscribed j4iessa!«6?ro Victoria Classico, sculp., which is probably by the same artist. CLAUDE. See Lorraine. CLEEF, or CLEEVE, Joas [or Joost]van, called SoTTo Cleep, was born at Antwerp about the year 1500, and was instructed in the art by his father, William van Cleef, a painter, of whom little more is known than that he was received into the Academy at Antwerp in 1517. He was an excellent colourist; and though it does not appear that he ever was in Italy, his pictures are composed and de- signed more in the style of the Italian than the Flemish school. He painted some altar-pieces for the churches in Flanders, which were much ap- plauded ; and he became so intoxicated with conceit of his merit, that his vanity nearly deprived him of his senses: Cleef came to England with the confi- dent hope of the most brilliant success, and was in- troduced tp King Philip by his countryman. Sir Antonio More. But, unfortunately for his expecta^ tions, some of the fine pictures of Titian had arrived before him, and Philip was too much charmed with the beauties of the Venetian, even to do justice to the undoubted merit of the Fleming. Finding his prospects thus blasted, he became furious, and vent- ed his rage on Sir Anthony, as the cause of his dis- grace. Many ridiculous and eccentric circumstances are related of this whimsical personage. But with all his absurdity, he must be allowed the merit of an ex- cellent artist. In the cathedral at Antwerpis a picture by Cleef of St. Cosmus and St. Damien. By the cata- logue of the pictures of James II., it appears there were two by Van Cleef, the Nativity, and the Judg- ment of Paris. He died in 1536, in the prime of life. CLEEF, Henry van, was bom at Antwerp in 1510. It is not known under whom he studied; but he went to Italy when young, and returned to his native country a very reputable painter of land- scapes. His pictures are distinguished by an un- common lightness of touch, and an excellent tone of colour. The back-grounds of the historical works of Francis Floris are frequently painted by this artist, and are harmonized with the figures with great intelligence. He was received into the Academy at Antwerp in 1535. Henry van Cleef distinguished himself as an engraver. We have several plates by clee] PAINTERS AND ENGRAVERS. [CLER him of landscapes and views near Rome, which he sometimes signed Henricus Clivensis, fecit, and some- times marked with the cipher j^[^. They are as follow : A Bull-flght at Rome, before the Farnese palace. A Landscape, with Figures in a Cave, cooking. Another Landscape, with Figures at Table in a Cave. A set of six Landscapes, with Latin titles. A set of four Views in the vicinity of Rome. There is a publication of the different views by this artist, consisting of thirty-eight plates, entitled Henri a Cleve Ruinarum, ruriumqv.e aliquot delineationes execvtte, per Galleum. [He died about 1589.] CLEEF, Martin van. This painter was the brother of the preceding artist, and was a disciple of Francis Floris. -He painted history, and was employed for some of the churches, but was more esteemed for historical pictures of an easel size, in which the landscapes and back-grounds were paint- ed by his brother Henry. [He is called the master of the Ape, because he sometimes introduced the figure of an ape (in allusion to his name) as his mark. He died about 1570.] CLEEF, John van. This eminent painter of the Flemish school was born at Venloo in Guelder- land in 1646. After receiving some instruction irom Primo Gentile, he entered the school of Gas- par de Grayer, at Brussels. Under that estimable artist, the young Cleef made a surprising advance- ment, and ill a few years was able to assist his mas- ter in the immense number of works in which he was engaged for the churches in the Low Countries. On the death of de Crayer, van Cleef was intrusted to complete the unfinished works left by his master, and was considered one of the ablest artists of his country, and immediately received many commis- sions for the churches and convents, where he has given satisfactory proof of the respectability of his talents. Without being an imitator of de Crayer, he followed the same simple purity of colour, and was equally correct in his design, in which he dis- covers something of the Italian gusto. His great practice gave him an uncommon facility ; and his compositions are distinguished by judgment and taste. His works are very numerous in Flanders and Brabant ; the most esteemed of which are at Ghent. In the church of St. Nicolas is a fine pic- tm-e of Magdalene at the feet of Christ. In St. Michael, the immaculate Conception, with Adam and Eve in the lower compartment of the picture ; an ingenious composition. In St. James's church is a fine picture of the Assumption. But his most admired work is in the chapel of the Convent of the Black Nuns, representing Sisters of that order ad- ministering succour to a group of Figures afflicted with the Plague. It is an admirable picture, in drawing and colour approaching the excellence of Vandyck. He died at Ghent in 1716. [CLEIN, JoHANN, an engraver on copper and wood, was a native of Nuremberg, and flourished from 1478 to 1520. In an octavo volume, entitled Sortulus Animes, printed in 1511, there are 67 small wood engravings attributed to him. The letters J. C, with a small shield between them, are said to be his marks ; but the same are applied to Johann, or Jan, Culmbach, and to Jan de Cologne. Another mark, which is at the end of the book above mentioned, is also supposed to be his ; but it appears rather to belong to a printer. It is a dark tablet with a double cross and two pellets ; at the lower part of the cross is a circle in which are the letters I. C. (See the table of Monograms.) The same uncertainty seems to prevail among vmters respecting this artist as with regard to Cfulmbach and others of the period. See Bartsch, BruUiot, and Nagler.] CLEMENTONE. See Bocciardini. [CLENNELL, Luke, an Enghsh painter, and engraver on wood, of extraordinary genius and talent, the son of a farmer near Morpeth, in Northumber- land, was born in 1781. His early disposition for drawing, and neglect of other studies or pm'suits, induced his friends to place him with the celebrated Bewick, in whose art he soon showed great skill. But he did not confine himself to mere engraving ; he exercised the pencil, and produced several works that attracted public attention, and gave promise of future excellence as a painter. Among these was the Arrival of the Mackerel Boat, and the Day after the Fair, in which he gave a happy delineation of rustic character, and showed great knowledge of colour. His picture of the decisive charge by the Life- guards at the battle of Waterloo, established his reputation as a painter of genius : but its excellence was auxiliary to the melancholy termination of his existence, in consequence of the sensation pro- duced by that energetic exhibition of heroism, he was selected to paint the entertainment given by the city of London to the allied sovereigns, nobles, and generals who had shared in that memorable battle. The honour was fatal to his health and life. The vexations he had to encounter from vanity, caprice, and supercilious arrogance, affected his mind, and he ended his days, without complet- ing the work, in a lunatic asylum, in the 59th year of his age. He was skilful in composition, and in seizing the true points of character; had great power of execution, was free and spirited in his pencilling, and was well acquainted with all the essentials in the practical |)arts of the art.] CLERC, John le. This painter was born at Nancy in 1587. He studied in Italy, and imitated the style of his instructor Carlo Saracino, called Veneziano, with such success, that his pictures have been frequently taken for those of his master. Le Clerc etched some plates from the designs of Veneziano, particularly the Death of the Virgin, which has been incorrectly attributed to Guido. It is dated 1619, and is executed in a masterly style. He died in 1633. [Zani places his birth seven years later.] CLERC, Sebastian le. This admirable de- signer and engraver was born at Mentz, in Lorraine, in 1637. He was the son of a goldsmith, who taught him the principles of design, and sent him to Paris, with the intention of obtaining him a situation in the corps of engineers, but by the advice of Le Brun, to whom he had been introduced, he devoted himself entirely to the art of engraving. In a short time he so far distinguished himself, mat his merit became known to M. de Colbert, who engaged him in the service of the king, vsdth apartments in the Gobelins, and a pension of one thousand eight hun- dred livres. The style of Le Clerc is excellent ; he generally advanced his plates with the point to a state which left for the graver only what was neces- sary to render them more agreeable and more pre- cious. In his best prints, the forms of his figures are elegant and correct, the expression of his heads noble and characteristic, and his draperies are sim- ple and suited to his forms. The landscapes, build- ings, and other accessories, are executed with ex- quisite taste. He appears to have formed his style 169 CLiia] A DICTIONARY OF [CLEa from Le Bmn, which he dignified by a study of the works of Raffaelle. If the execution of Le Clerc is inferior to that of de la Bella in tlje playful charm of the point, it possesses a judicious firmness, suited to the nobler subjects he has engraved. His work is one of the most extensive in the art, and amounts to nearly three thousand plates, [Zani says four thousand, almost all of his own invention,] a great part of which, of course, consists of vignettes, titles, frontispieces, and other ornaments. The following is an ample list of his prints, comprising all his most esteemed works : PORTRAITS AND HEADS. Sebastian le Clerc, standing near a Bureau, with other figures ; called The Cabinet of le Clerc, unfinished. Head of a Turk. 1656. Abraham Fabert, Seigneur de Moulin. 1657. Le Marechal de la Fert6 ; scarce. Egon de Furstenberg, Bishop of Strasbourg. Louis Fremin ; scarce. A Knight of Malta. 1659. Vera Effiries E. P. Di Philippi Francisci, Ahbatis L. Agerici virdunensis. 1660. Torquato Tagso. M. Potier, in a medallion. 1683. Three Heads, two old Men, and a "Woman. SUBJECTS OF SACRED HISTORY. The Vocation, of Abraham. The Prophet- Elijah sleeping. Ehjah taken up in a Chariot of Fire. The Penitence of the Ninevites. The young Tobit with the Angel. The Annunciation. Another Annunciation ; inscribed, Virgini ab Angelo, §c. The Adoration of the Magi ; vei*y scarce. The Holy Family. The infant Jesus seated, St, John kissing his Hand. The little Shepherd, or the Landscape of Isaiah ; scarce. St. John in the Wilderness. The Miracle of the Loaves. In the first impressions, which are very scarce, a town appears in the back- ground ; in the ordinary impressions there is a moun- tain ; very fine. Christ seated in the midst of the Apostles. The Ecce Homo, with several Soldiers. The Crucifixion. The Stoning of Stephen. The Virgin standing ; surrounded with a border. The Virgin in the Clouds, with Angels. The Virgin and infant Jesus, in a Landscape, with Ane;els. The "Virgin of Mount Carmel. The miraculous Image of the Vir^n of Consolation. St. John Evangelist m the Isle of Patmos. The Bai-k of St. Peter. SUBJECTS OF PROFANE HISTORY. The Entry of Alexander into Babylon. In, the first im- pressions the face of the Hero is seen in profile ; in the subsequent ones is a three-quarters face, on which ac- count it is called, The print with the head turned. The Apotheosis of Isis. The first impressions are with the Dancers at the side of the Altar, the second with Sacrifices. Diana and Mars ; two plates ; rare. The May of the Gobelins. The first impressions are be- fore the "Woman was introduced, who covers the wheel of the coach. The Academy of the Sciences. The first impressions are before the Skeleton of the Stag and the Tortoise were added ; this print is very scarce. The triumphal Arch for Louis XIV. at the Gate of St. Antoine ; fine. The Elevation of the large Stones in building the Front of the Louvre. The first impressions are before the date, which is 1677. The Chapel of St. Catherine at Stockholm, where is the sepulchre of the Kings of Sweden ; improperly called the tomb of the King of Portugal. 1654 The Monument of the'King of Sweden. The Monument of the Chancellor Seguier; his reception plate at the Academy ; much esteemed. The Ceiling of a Saloon in the Hotel of Baron de Tessin. 170 Another Ceiling in the same Hotel ; its companion ; both fine. The Procession of the Knights of the Order of the Holy Ghost. An Allegory in honour of Louis XIV., representing Hercules and Alexander, with the inscription! Plwres 1684. Venus rising from the Sea, 1693 ; called The first p'enua. The same piece ; re-engraved by le Clerc in 1711, re- versed, called The second Femes. After the death of le Clerc, M. Eisen added to the plate a Triton pushing the conque, and a Cupid flying before. VARIOUS SETS OF PRINTS. Thirty-six small prints of the Passion of our Saviour. The first impressions arc before the borders. Eleven, with the title of the Institution of the Order of the Mathurins for the redemption of captives. 1654. Another set of eleven prints for the Order of Mathurins. 1656 ; scarce. Twenty-three prints of the Triumph of Charles IV., Duke of Lorraine ; of which two plates were engraved by Dervet of Nancy. 1664. Thirty-seven, of the Histoi-y of Charles V., Duke of Lor- raine. Twenty-eight, for the History of the present state of the Ottoman Empire ; by Briot, Paris, 1670. Thirty-two, for the second edition of Du Fresnoy's Art of Painting. Paris, 1673. Thirty-nine, for Ovid's Metamorphoses; by Senserade Paris, 1676. Thirty-nine, with the Title for Le Labyrinthe de Ver- sailles. Paris, 1677. The first edition, very scarce. Twenty-three ovals, for JEsop's Fables. Twenty-one, of Figures a-lor-mode. A set of Sixty Prints of figures, horses, and landscapes j dedicated to the Duke of Burgundy. Twenty Prints for a drawing-book of the Passions ; after le Brtm. The Principles of Design, in fifty-two Prints ; by S. & Clerc. Forty-eight Prints of the King's Tapestry ; after le Brm. Six Prints, with the title, of the Battles of Alexander ; after the same. Four of the Amours of Cupid and Psyche. The Four Conquests : the taking of Toumay and Douay, the Defeat of Count Marsin, and the Alliance with the Swiss. Thirteen Prints of the great Conquests of the King. Eight, called the little Conquests. LANDSCAPES AND VIEWS. A View of the Town of Metz ; Le Clerc's first print. 16.50. The Euins of the Aqueduct of lone, near Metz. 1656. A small Landscape, with three Children holding a Scroll. Twelve small Views of the Environs of Paris. Twelve small prints of Gardens, Perspectives, &c. Thirty-seven, of Landscape Views, and Figures", de- signed for the instruction of the Marquis de Courten- vaux. 1690. Le Clerc also engraved twenty-four medals, struck on various occasions. This laborious and ingenious artist died in 1714. CLERC, or KLERCK, Henry de, a Flemish painter, born at Brussels in 1570. From the re- semblance of his style to that of Henry van Balen, it is very probable he was a disciple of that master. He painted history, and there are several of his works in the churches in the Low Countries ; but his small pictures of historical subjects are more es- teemed, in which he may be compared to Rotten- liamer and Van Balen. At Brussels, in the church of St. James, is a picture by de Clerc, of the Cruci- fixion. In the church of Notre Dame, is a verv charming picture of the Holy Family ; and the Re'- surrection. [CLERISSEAU, Charles Louis, an architect and designer in water colours, was born at Paris, and accompanied Robert Adams to England, where he remained some time, and made the drawings for the " Ruins of Spalatro, &c.," which was pubBshed in 1764. On his return to France, he published CLEV] PAINTERS AND ENGRAVERS. [clou " Antiquities de France," " Monumens de Nimes," and other works ; and was appointed, in 1783, archi- tect to the empress of Russia. He is, however, best known to the world by his fine drawings of the re- mains of ancient architecture, in water colours, which are held in high estimation. He died at Paris in 1820, in his 99th year.] [CLEVELY, John, an English marine painter, was bom at London about 1743. He was brought up in the dock-yard at Deptford, but afterwards be- came a lieutenant in the navy, and accompanied Lord Mulgrave in his voyage of discovery to the North Pole. He also went with Sir Joseph Banks to Iceland. He sometimes painted in oil,butgener- aUy in water colours. Many of his dravidngs have been engraved. He died at London in 1786.] CLEYN, or KLEYN, Francis'de. This paint- er was born at Rostock, and was in the employment of Christian IV., king of Denmark, for some time. He afterwards went to Rome for improvement, where he passed four years, and acquired a talent for designing grotesques, by which he afterwards distinguished himself. He came to England in the reign of James I., and was taken into- the service of the King, who first employed him in designing his- torical and grotesque subjects for the manufacture of tapestry, established at Mortlake under the patronage of that monarch. He was pensioned by the King, which he continued to receive under Charles f. until the civil war. He was also employ- ed in ornamenting the mansions of several of the nobility. Some of the best preserved works of Cleyn are in Holland House ; where he painted a chamber, with a ceiling, and small compartments on the chimneys, which bear some resemblance to the style of Parmegiano. Francis de Cleyn etched some plates resembling those of Hollar, which he sometimes signed with his name, and sometimes with the initials P. C, or F. K. We have by him, A set of five Plates of the Senses, with grotesque orna- ments. The Seven Liberal ArtB ; F. Cleyn, fecit. 1645. A book of ten Plates of grotesque ornaments. He died in 1658. CLOCHE, G., a French engraver, who flourished about the year 1616. According to Abbe MaroUes, he engraved some plates representing views ; among which is that of the city of Rennes. CLOCK, Nicholas, or Claas, a Dutch en- graver, bom at Leyden about the year 1570. Ac- cording to M. de Heineken, he was a disciple of Francis Floris. His style resembles that of Cornelius de Cort, without being nearly equal to that master. We have by him the following prints : The Four Elements ; represented in half-length figures. 1597. The Judgment of Midas ; after Karel van Mander. 1589. CLOSTERMANS, John. This artist was bom at Osnaburg in 1656. He was the son of a painter, who taught him the rudiments of design. In 1679 he went to Paris, where he was employed by de Troyes to paint his draperies. He came to England in 1681, and was for some time occupied in the" same manner by Riley. After the death of that artist, Clostermans got into employment, and paint- ed the portraits of several of the nobility, though he was a painter of very limited merit ; but at that pe- riod the art was in a very low state in England. He died in London in 1710. CLOUET, or CLOWET, Peter, a Flemish en- graver, bom at Antwerp in 1606. After having learnt the rudiments of the art in Flanders, he went to Italy, and at Rome became a pupil of Spierre, and "Bloemaert. On his return to Antwerp, he engraved several portraits and subjects after Rubens. They are executed with the graver in a firm, clear manner, resembling the style of Pontius, but not equal to that master. His plates, particularly those after Rubens, are considerably esteemed. We have the following by him : PORTRAITS. Peter Aretino. Thomas a Kempis. Ferdinand Cortez. "William Cavendish, Duke of Newcastle ; after Diepen- heck. Christopher Vander Laenen ; after Vandyck. Theodore Kogiers, Goldsmith ; after the same. Charles Scribanius, celebrated Jesuit ; after the same. Anne Wake, Countess of Sussex, holding a. Fan of Feathers ; after the same. Henry Rich, Earl of Holland ; after the same. SUBJECTS FROM VARIOUS MASTERS. The Descent from the Cross ; Rubens, pinx. ; C. J. Meys- sens, exc. The Epitaph of Bnbens, with Accessories. The Death of St. Anthony ; fine and scarce ; Rvhens, pii":- St, Michael discomfiting the Evil Spirit ; Id. pinx. Several gaUant Figures in a Garden ; called The Garden of Love. The first impressions are with Flemish verses ; fine and scarce. Those with the address of C. Van Merlin are retouched, and very inferior. A large Landscape, representing Winter, with the Snow falling, and a Stable with Cows ; belonging to a set of six landscapes, of which five are engraved by Bols- wert. The Virgin suckling the infant Jesus ; after Vandyck. Vandyck has etched the same subject. A Company of Cavaliers and Ladies at Table, said to be the &mily of the Duke of Newcastle ; after Diyienbeck [He died in 1668.] . CLOUET, or CLOWET, Albert, a Flemish engraver, who was the nephew of the preceding artist, born at Antwerp in 1624. Following the example of his uncle, he visited Italy in the early part of his life, and became a pupil of Cornelius Bloemaert. Among his first productions were some plates of portraits of painters, for the Vite de Pittori, SfC, by Bellori, published at Rome in 1672. He also engraved several portraits for the work entitled, Effigies Cardinal, nunc viventium, published at Rome by Rossi. At Florence he engraved after some of the pictures in the Palazzo Pitti. His plates of historical subjects are executed in the neat and finished style of Cornelius Bloemaert. In his portraits he sometimes imitated the manner of Mel- fan, and at others that of F. de Poilly. The follow- ing are his principal prints : PORTRAITS. Niccolo Ponssin, in Bellori. Anthony Vandyck ; thp same. Cardinal Thomas Philip Howard. The Cardinal Azzolini ; after Vouet. Cardinal Rospigliosi ; after Morandi. Cardinal Rosetti ; Halibertus Clouet, sc. Cardinal Francis William de Wurtemberg. Maximilian, Count of Wolfegg. A Medallion of Pope Alexander VII. SUBJECTS FROM VARIOUS MASTERS. The Image of the Blessed Umiliana ; after Baldinuoci. Sepulchral Monument of Paul III. ; after Dom. Barriere. The Mia'aoulous Conception; after P. da Cortona; in two sheets, fine and scarce. An Attack of Cavalry ; after Bourguignone ; fine. The Battle of Joshua with the Amalekites; in two sheets ; after the same, [He died in 1687.] 171 CLOV] A DICTIONARY OF [COCH CLOVIO, GiuLio Giorgio. This extraordinary- artist was a native of Croatia, in 1498. After learn- ing the rudiments of design in his own country, he went to Rome, and entered the school of Giulio Romano. His first eiforts in the art, were attempts to follow the strides of his great master on the grand scale of his historical productions ; but his instructor, perceiving in him an extraordinary abil- ity in designing small figures, with a taste, an ac- curacy, and a firmness that gave gi'andeur to minia- ture, advised him to devote himself to a branch of painting which he has ennobled by his inimitable talent, and has acquired a reputation that ranks him with the great, at a period which immediately suc- ceeded the most distinguished epocha of Roman excellence. In his design of the figure, extraordi- nary as it may appear, he evinces something of the greatness of the Roman school, and of M. Angelo ; and the natm-alist will find every insect delineated with astonishing correctness, although on so dimi- nutive a scale that they require the use of an optic. His works were confined to the sovereigns and princes of his time, in whose libraries were found books embellished with his miniatures, painted with extraordinary force and beauty of colouring, ■ with the most correct design. The most extraor- dinary work of Clovio, is the procession of Corpus Domini, at Rome, painted in twenty-six pictures ; which occupied the artist nine years. • At Milan, the Cistercians possess a picture by Clovio . of the Descent from the Cross, of his own composition, that breathes all the gusto of the golden age of Roman art. He died 'in 1578. [He was also called Macedo, or Macedone, because his ancestors, it is supposed, were of Macedonia. A description of his works would fill a large volume, and would be incredible without ocular proof.] COBLENT,[orCOBLENTZ,]HERMAN,aFlem- ish engraver, who flourished about the year 1576. It is probable he was a pupil of the CoUaerts, from his style ; which resembles the neat, finished man- ner of those artists. He marked his plates with a cipher composed of H. C. F. JcF' ^^ )\s.^e by him, Four, of the Foiir Evangelists. Lucretia under an Arch. A set of the Heathen Deities, single figures under Arches. A Man seated at a Table, and a Woman behind him. COCCETTI, PiETRO Paolo. This artist was a native of Italy, and flourished about the year 1725. He engraved some plates of architectural subjects, which are executed in a slight, indifferent style. COCHET, or C06ET, [Joseph] Anthony, an engraver, probably a Fleming, who lived about the year 1650. By him we have, Time crowning Industry and punishing Idleness ; after Rubens. The Portrait of David Beck, the painter ; with others. COCHIN, Nicholas, a French designer and en- graver, bom at Troyes in Champagne, about the year 1619. He settled at Paris, where he engraved a great number of plates, many of which are in the style of Callot, of whom he is supposed to have been a pupil. Like that artist, he succeeded better in small figures than in larger ones. His work is considerable, of which the following are the most deserving of notice : Melchizedeck and Abraham. Abraham sending away Agar. The Children of Israel passing the Red Sea. 172 Pharaoh and bis Host swallowed up in tlie Red Sea. Moses breaking the Tables of the Law. The Adoration of the Magi. The Repose in Egypt. St. John preaching in the Wilderness. The Conversion of St. Paul. The Temptation of St. Anthony. Part of the plates for a folio volume of Plans and Vietos of Camps, Towns, Battles, SjC, under Lpuis XIV. , published by Beaulieu, 1645. Part of the plates for the Entry of Louis XIV. and his Queen into Paris. The whole consisted of twenty-two plates. A Procession, with the Flags, &c., taken at the Battle of Fourcroy. Ten plates of the History of Judith. Eleven plates of subjects from the New Testament. Sixteen plates of the Martyrdom of the Apostles, &c. Six plates of Battles, in the style of Callot, [Zani says his name was Natalia, not Nicholas, and that he died in 1695. See the next article.] COCHIN, Noel, or Natalis, a French en- graver, supposed to have been a relation of the pre- ceding artist. He etched some plates in a coarse, heavy manner, amongst which is a Holy Family, after Titian ; and a Miracle wrought by St. An- thony. He also engraved the plates for a volume of prints from select pictures, vidth a description of them, published by Caroline Catherine Patin, en- titled Tahellce selectee ac explicates a Carola Catherina Patina, Parisina Academiea. Batavii, 1691. [As this artist is also called Natalis, aiid the dates cor- respond with the preceding, it has caused some con- fusion in the accounts of each. Nagler says this artist died in 1695.] COCHIN, Charles Nicholas, the elder, a French designer and engraver, born at Paris in 1688. He studied painting until he was nineteen years of age, wheii he devoted himself entirely to engi'aving. We have several plates by this artist, engraved with taste and spirit, and correctly drawn, particularly when his figures are of a medium size. The follow- ing are his principal plates : The Portrait of J. Sarazin, sculptor ; engraved for his reception at the Academy in 1781. The Portrait of Eustace le Sueur, painter ; also for his reception. Alexander and Roxana; after a drawing by Raffaelle; in the Crozat collection. The Inflexibility of St. Basil ; after Le Moine. The Meeting of Jacob and Esau ; after Le Moine. Jf'cob and Laban; after Restout. The Destruction of the Palace of Armida ; after the same. Jacob pursued by Laban ; after N. Bertin. Rebecca with the Servant of Abraham ; after the same. The Trinity and the Assumption ; after Noel Coypel. Seven plates of the History of St. Augustine ; after L. de Boulogne. The Lame Man cured ; after P. Cazes. A set of Fifty-two plates of the History of Lauguedoc ; after the same. Several plates ; after Watteau and Lancret, ^c. [He died in 1754.] COCHIN, Charles Nicholas, the YonNOER, was the son of the preceding a^st, born at Paris in 1715. He received his instriMon in the art from his father, and became a very eminent designer and engraver. In 1749 he accompanied the Marquis de Marigny in a tour through Italy, and in 1758 pub- lished his reflections on the works of painting and sculpture, in the different cities he had visited, which was very favourably received. He engraved an immense number of plates, and his work extends to upwards of one thousand five hundred prints ; many of which are frontispieces, vignettes, and other ornamental works, executed with such taste coch] PAINTERS AND ENGRAVERS. [COCL and judgment, that, if he had engraved nothing more important, would have established his reputa- tion. The following are his principal prints : PORTRAITS. Charles Sackville, Earl of Dorset. David GaiTick. Francis Chereau, engraver, Louis de Boissy, of the French Academy, Edme Bouchai'don, sculptor. 1754. The Count de Caylus, amateur artist. The Marquis de Marigny. 1752. John Restout, painter. A. L. Seguier, Advocate General. The Duke de la Valliere of the Academy of Sciences. The Prince De Turenne. SUBJECTS FROM HIS 0W[* DESIGNS. The, infant Jesus holding a Cross. The Virgin. The Crucifixion. Lucius Quintus Cincinnatus ; after an antique statue. The Consecration of Louis XV. at Reims. Louis XV. presenting the Dauphin to Minerva. Ceremony of the Marriage of the Dauphin with Maria Theresa of Spain, 1745 ; engraved 1746. Decoration of the Theatre at Versailles on the above marriage. Funeral Pomp of the Dauphiness, at St. Denis. 1746. The Funeral Pomp of the Dauphiness, in Notre Dame at Paris. The Funeral Pomp of the !King of Spain, in Notre Dame. 1746. The Funeral Pomp of the Queen of Poland, in Notre Dame ; etched by Cochin^ and finished with the gi'avcr by J. Ouvrier. [Fourteen large etchings of the Sea-ports of Vemet.] [A detailed catalogue of his works was published by Jombert in 1770, and copied by Heineken into his Dictionary, with the addition of some executed after 1770. Cochin was the author of several literary works, chiefly relating to the arts. He died in 1788; or, according to some, in 1790.] [COCHRAN, William, born at Strathern in Clydesdale, in 1738, received his first instruction at the Academy of Painting at Glasgow, founded by the two celebrated printers, Robert and Andrew FouUs ; he afterwards went to Italy and studied under Gavin Hamilton. On his return to Glasgow he practised portrait painting both in oil and minia- ture, in which, it is said, his drawing and likenesses were accurate. Some pieces from fable, executed by him, when at Rome, are to be found in Glasgow. He was a modest artist, and never exhibited his works, or put his name to them. He died at Glas- gow in 1785, and was buried in the cathedral, where a monument was erected to his memory.] COCK, OT KOCK, Jerome, a Flemish painter and engraver, bom at Antwerp about the year 1498. In the early part of his life he abandoned painting, and applied himself to engraving and the business of a printseller. We have several plates by him after his brother Matthew, Peter Breughel, and others ; executed in a shght manner, and without much effect. He sometimes marked his plates H. Cock, fecit; and sometimes with the cipher J^. The following are his principal works : portraits and subjects from his own designs. Francis II., King of France and Scotland. Mary, Queen of Scotland and France. Gustavus, King of Sweden. Mary, Queen of Sweden. Soliman, Emperor of the Turks. Camelia, Daughter of the Emperor. Six Portraits on one sheet ; of Guido Cavalcantes, Dante, Boccace, Petrarch, Politian, and Ficinus. A set of twenty-four Portraits of Flemish painters, with Latin verses by Lampsonius. They are mostly marked /. H. W.,ftir Wierix, the publisher s entitled, Pieto- rum aliquot eelebrium Germanim inferioris effigies, &c. The Funeral Pomp of Charles V., large frieze ; Hieroni- mus Cock, invent. 1559. Twelve Plates; entitled Divi Caroli V., ex rmiUis prtB- cipue Victoriarum imagines Hieronymus Coccius Pic- tor Antw. 1556. Moses with the Table of the Law ; H. Cock, inv. et exc. St. Christopher with the infant Jesus on his shoulders. subjects after various FLEMISH MASTERS. A set of fifteen Landscapes ; after Matthew Cock. A large Landscape, with the Feast of St. George ; after the same. Samson and Dalila ; after Martin Hemskirh. Daniel in the Lions' lien ; after the same. A set of eight Female Figures, six from the Old Testa- ment, Jael, Ruth, Abigail, Judith, Esther, and Su- sanna; and the Virgin Mary, and Mary Magdalene-; after the same. Aii Allegory, Fraud and Avarice ; after the same. Infant BacchanaUans dancing ; after the same. The Resurrection ; after Peter Breughel the old. The Temptation of St. Anthony ; after the same. The Temptation of St. James ; after the same. 1565. The Last Judgment ; after the same. The Elaboratory of an Alchymist ; after the same. The Dispute between the Gras and the Maigre ; after the same. A set of twelve Landscapes with subjects from the Bible ; after the same. A grotesque subject of the great Fish devouriug the little ones ; a whimsical composition ; after Jerome Bos. The Temptation of St. Anthony ; after the same. St. Martin in a Boat, surrounded by Devils ; after the saTYie. An Incantation ; after the sam£. 1561. Shrove Tuesday ; a Woman making Pancakes. 1567. [Zani and Nagler say that Jerome Cock was born in 1510, and died in 1570.] COCK, or KOCK, Matthew. This painter was the brother of the preceding artist, born at Antwerp about the year 1500. He was one. of the early Flemish painters of landscapes, and one of the first of his countrymen who reformed the art from the stiff and Gothic style that existed before. Several of his landscapes were engraved by his brother _ Jerome, and possess considerable merit for the time. He died at Antwerp in 1554. [Fiissli, Zani, and Nagler say he died in 1565.] COCK, John Claus de, a Flemish engraver, who flourished about the year 1660. His name is affixed-to an etching representing the Martyrdom of a Saint. It is executed in a bold, niasterly style, and appears to have been the production of a paint- er. It is inscribed, Joan. Clam de Cock, fecit. COCKSON, Thomas, an English engraver, who flourished about the year 1620. He engraved several portraits in a neat, stiff style. His plates are some- times marked with the cipher '^^. We have by him the following portraits, &c. : King James I. sitting in Parliament. King_^Charles I. in like manner. The Princess Elizabeth, daughter to James I. Louis XIII., King of France. Mary of Medicis. Mathias I., Emperor. Demetrius, Emperor of Russia. Heniy Bourbon, Prince de Cond^. Concini, Marquis d'Ancre. Charles, Earl of Nottingham. Francis White, Dean ofCarlisle, Bishop of Norwich. Samufl Daniel. 1609. T. Coryat. The Revels of Christendom. [COOLERS, Louis Bernard, was born at Maes- tricht in 1740. He was instructed by his father, Jean Baptiste Coders. He passed- three years in Italy, and then returned to his father at Liege, " 173 coda] A DICTIONARY OF [COEL where he painted a number of portraits, and also at Maestricht, Nimeguen, and Dort: he ultimately established himself at Leyden. In the last city he devoted his time to painting cabinet pictures in the manner of Gerard Dou, Mieris, Metsu, Schalcken, and other great masters of the Dutch school. In 1787, he left Holland and went to Paris, where he remained several years : he again returned and re- sided at Amsterdam, where he painted portraits and cabinet pictures, which he exhibited from the year 1808 to 1813. One of his pictures is in the Miiseum of that city. He died at Liege in 1817. It is also said that he was an engraver; and Rigal, in his Catalogue, mentions twenty-five pieces by him. CODA, [or CODI,] Benedetto. This painter was a native of Ferrara, about the year 1460, and was a disciple of Giovanni Belhni. According to Lanzi he resided chiefly at Rimini, where he paint- ed some pictures for the churches, which prove him to have been an able artist. His principal works are, the Marriage of the Virgin Mary with St. Joseph, in the dome at Rimini ; and his picture of the Rosary, in the church of the Dominicans. He died about the year 1520. [There is a picture by him with the date 1520.] CODA, [or CODI,] Bartolomeo, was the son of the preceding painter, and flourished about the year 1528. He was instructed in the art by his father, whom he surpassed. In the church of S. Rocco at Pesaro, is a fine picture by this master, bearing the above date ; which Lanzi says in every respect bears the character of the golden age of the art. It re- presents the Virgin and Infant enthroned, vnth a Choir of beautiful Cherubs, with St. Roch and St. Sebastian. [Bartolomeo flourished in 1543 ; he was called (la Simini, as was also his elder brother Francesco, who painted in 1533.] COD AGORA, ViviANo. This painter was brought up in the Academy at Rome, and flourished about the year 1650. He excelled in painting the archi- tectural Ruins near Rome, and perspective views of his own composition. He has been frequently con- founded with Ottavio Viviarii of Brescia, who paint- ed similar subjects, but in a style very inferior to the works of this artist, both in the correctness of the perspective, and the general effect of his pictures. Codagora cast a tone over his buildings that exactly represented that which time has thrown over them, and his pictures are decorated with figures by some of the best artists of his time, particularly Domenico Gargiuoli of Naples ; who, according to Lanzi, most frequently painted the figures in his pictures, in which there was a graceful and harmonious accord- ance, that appeared the produce of the same hand. The collections at Naples possess many of their joint works. [CODDB, Charles and Peter. These artists were probably brothers, and are placed together in consequence of the discrepancies in writers concern- ing them. Balkema says Charles was born at the Hague in 1640, and painted landscapes in the man- ner of John and Andrew Both, and Nicolas Ber- chem, and that he died in 1698. This account Nagler applies to Peter. FiissU and the Immerzeels do not mention Charles. Balkema says Peter paint- ed assemblies of soldiers, and other conversation pieces, and that one of his most beautiful subjects was in the Lormier collection : no other particulars are mentioned by the above-named writers.] COECK, or KOECK. See Koeck. COELLO, Alonso Sanchez. This painter was a native of Portugal, born in I5I5. He resided 174 chiefly in Spain, and was employed in the Escurial by Philip II. ; Palomino has erroneously stated him to have been a scholar of Raffaelle, as he was only five years of age when that great painter died. He received some instruction from Antonio Moro, and when that artist left Spain, Coello succeeded him in the favour of the king, whose portrait he painted several times, and those of the principal personages of the court, so much to the satisfaction of the king that he called him the Titiano Portugues. His works in the Escurial represent diflerent saints at their respective altars, and do great credit to his talents. Many of his pictures perished in the palace of the Pardo, when it was burnt. His chief per- formance is in the church of San Geronimo at Ma- diid, it represents the Martyrdom of St. Sebastian; on the right of the Saint is the flgm-e of our Saviour, and on the left the Virgin Mary. The design is grand and bold, it is extremely well coloui-ed, and- of a powerful and masterly expression. He died in 1590, lamented by Philip, and regretted by his con- temporary artists. Lopez da Vega wrote his epitaph. COELLO, Claudio. This painter was of Portu- guese parents, but was born at Madrid ; in what year is not ascertained. He was instructed in the art by Francisco Rizi, but his greatest improvement was in studying the works of Titian, Rubens, and the other great painters in the royal collection. He was made painter to Philip IV., by whom he was employed in the Escurial. Coello never travelled out of Spain, and his extraordinary talents are only known in that country, where he is considered as one of their most distinguished painters. Many ex- cellent specimens of his ability are to be seen in the churches and convents at Madrid, Saragossa, and Salamanca. But his principal work is the famous altar-piece in the sacristy of San Lorenzo, in the Escurial ; its subject is the Colocazion de las, San- tas Formas. It is an immense composition, and oc- cupied the painter seven years. In the crowd of per- sonages that form the procession, are the portraits of the King, and the principal persons of the court; painted with the utmost precision, yet executed in a bold and masterly style, and there is a majestic so- lemnity in the arrangement of the whole, suited to the grandeur of the subject. It is a very extraordi- nary performance, and holds its rank even by the side of the works of Titian and Rubens. He died in the year 1693. [The picture of the CoUoSation of the Host, represents the ceremony which took place in 1684, in the presence of Charles II. and his officers of state : it contains upwards of fifty por- traits, and was completed by Coello in about three years.^ Bermudez says that he knew how to com- bine in his compositions the design of Cano, tlie colour of Murillo, and the brilliant effects of Velas- quez. He pronounces him the last of the Spanish painters, as from the time that Luca Giordano was called into Spain, the art declined to its ruin.] COELMANS, James, [or Jacob,] a Flemish en- graver, born at Antwerp about the year 1670. He was a pupil of Cornelius Vermeulen ; after en- graving some plates in his native city, he was en- gaged by M. de Boyer d'Aguilles, to undertake the plates from the pictures of his collection. They consisted of one hundred and eighteen plints, and form the principal works of this artist, of which the following are the most esteemed : portraits. Donna Olympia Maldachini, niece of Innocent X. ; after Gu. Cesari. i Paul Veronese, a Bust ; after a picture by himself. coel] PAINTERS AND ENGRAVERS. Vincent Boyer, seigneur d'Aguillas ; after le Grand. John Baptist Boyer; after Byacinthe Rigaud. SUBJECTS AFTER VARIOUS MASTERS. The Holy Family, with St. John emhradng the infant Jesus ; after Parmegiano. The Meeting of Jacob and Rachel; after M. Angela Ca/ravaggw. Lahan giving Rachel to Jacob ; after the same. Jacob's Departure from Laban ; aftxr B. Castighane. A Company of Musicians, Dancers, &c. ; after B. Caa- tiglume. Diana and Acteon ; after Oftovenius. A Satyr drinking, with a Nymph and a Cupid ; after N. Pousain. The Martyrdom of St. Bartholomew ; <^er S. Bourdon. Mount Parnassus, with Minerva and Mercury ; after & Sueur. The Flight into Egypt ; after Pujet. The Murder of the Innocents ; after Claude Spierre. The Head of the Virgin ; after Seb"- Barras. [COELN, "WiLHELM VoN, or Williain of Co- logne, a celebrated old Crerman painter of the latter part of the fourteenth century, called also Meister Wilhshn. The exact date of his birth is not known, but the place appears to have been Herle, a village near Cologne. He was settled in Cologne, with his wife Jutta, as early as 1370; and there is a passage in the Annals of the Dominican monks at Frank- fort, which testifies his great reputation : it says, — " In that time, 1380, there was at Cologne a most excellent painter, to whom there was not the hke in his art ; his name was Withelm, and he made pic- tures of men which almost appeared to be alive." Of the works attributed to Meister Wilhelm, the fol- lowing are the principal :— the picture over the tomb of Cerno von Fallenstein, in the St. Castors- Kirche at Coblenz, painted in 1388 ; the large altar- piece of the church of St. Clara at Cologne, which is now in one of the chapels of the cathedral ; it is in twenty-six compartments, illustrating the life and passion of Christ : the Sancta Veronica, formerly in the Boisser6e collection, now belonging to the king of Bavaria, and in the Pinakothek at Munich, and of which there is a beautiful lithograph by Strixner ; and a Crucifixion, and a half-length Madonna and infant Christ, in the Wallraf Museum at Cologne. Other pictures are conjectured to be by him, but it is very uncertain, as they are also attributed to his scholar, the no less celebrated Meister Stephan: among these is the Dom-bild, or Cathedral picture, which was formerly the altar-piece of the chapel of the Rath-haus of Cologne, but is now in the cathe- dral. It was painted in the year 1410, and is con- sidered to be the most valuable picture of the old school of Cologne. Albert Durer, in a note of his journal, ascribes it to Meister Stephan, oi whom, un- fortunately, there are no records that may be impli- citly relied on. The best accovmts of both masters, and the pictures attributed to them, will be found in Dr. Franz Kugler's History of Painting, part ii. ; a work deserving recommendation for its fidelity, and very superior to those of tourists in general; and in the philosophical book of Alfred Michiels, " Etudes sur L'Allemagne," in which the splendid poetical descriptions of the remaining pictures of the older masters of Germany, almost compensates the loss of their other works, for he has exhausted the language of panegyric] COENRADT, Lawers. This artist, who flour- ished about the year 1690, engraved part of the por- traits for the collection of Cardinals, published by Rossi. They are very indifierent performances. [COGELS, Joseph CSarles, a landscape and marine painter, born at Brussels in 1786. He [cole studied at the Academy of Dusseldorf ; and, after spending some time in Prance, returned to Belgium m 1806, and was admitted a member of the Royal Society of the Fine Arts at Ghent. In 1810 he went to Munich, where he was employed by the king and queen in painting cabinet pictures for their private collections, and for the gallery at Schleisheim. In 1817 he was made a member of the Academy at Antwerp. He, however, estabhshed himself at Mu- nich, and was an honorary member of the Academy there. He died m 1831. He is sometimes called Cogels Mabilde.] COIGN ARD, S., an engraver of little note, only known by some indifierent portraits, among which are the following : John Dryden. Sir Christopher Wren. George Parker, astrologer. COIGNET, Giles. This painter was born at Antwerp in 1530. He was some time, under a paint- er, called Antonio Palermo, then resident at Ant- werp, and afterwards went to Italy. After visiting Rome and Naples, he returned to the Low Coun- tries, where he was much encouraged. He was ad- mitted into the Academy at Antwerp in 1561. The troubles that existed at that time under the Prince of Parma, obliged Coignet to leave his native countiy, and take refuge in Holland, where he remained several years. He painted historical subjects of an easel size, but was more successful in landscapes, in candle-light subjects, and moonlights. He finally settled at Hamburg, where he died in 1600. COLA, Genarro di, an old NeapoUtan painter, born in 1320. He was the disciple of Maestro Si- mone, a friend and companion of Giotto, and paint- ed in his style. The principal works remaining of this ancient artist are, the altar-piece in the chm-ch of S. Maria della Pieta, representing the Mater Dolorosa with the dead Christ, and Angels holding the Instruments of the Passion ; and in a chapel of the same church, Magdalene penitent. In the tri- bune of S. Giovanni a Carbonara, the Annunciation, and the Nativity. Many other works by this paint- er are mentioned by Dominici. His style, like that of the painters of his time, is laboured and dry, but not without expression. He died, in 1370. COLBENSCHLAG, or COLBENIUS, Ste- phen, a German engraver, who fiourished about the year 1610. He resided principally at Rome, where he engraved several plates ffom the works of the Italian painters ; among others are the following : The Adoration of the Shepherds ; after Domenichino. The taMng down from the Cross ; after An. Caracci. [BruUiot says he was bom at Salzbourg in 1591 j and Nagler, that he died at the age of 92.] COLE, Humphrey, an oldBnglish engraver, who flourished about the year 1572. He engraved a map and a frontispiece for Parker's Bible, published in 1572, in which he has represented the portrait of Queen Elizabeth, with the Earl of Leicester as Go- hah and the Lord Burleigh as David. COLE, J., an English engraver, who flourished about the year 1720. He was much employed by the booksellers, for whom he engraved some por- traits, and other book plates; among which is a' head of James Puckle, prefixed to-his dialogue, call- ed the Club. He also engraved several plates of monuments, and a copy from the print by Martin Rota, representing the Last Judgment, after M. Angela Buonaroti. [COLEYEB, or COLIER, Evert, a native of 175 COLl] A DICTIONARY OF [coll Leyden, flourished about 1691, as appears by a pic- ture of still-life, with his name and that date. He also painted conversations, some of which are men- tioned in the catalogues of Hoet and Terwesten.] COLIGNON, Francis, a French designer and engraver, borri at Nancy about the year 1621. He was a pupil of Callot, and studied the works of della Bella and Silvestre. He engraved some of the plates of the conquered towns in the reign of Louis XIV., published by Beaulieu. We have also several plates from different masters, and from his own de- signs. His best works are views of buildings, with small figures, in the style of Callot, which he exe- cuted with gi-eat spirit and freedom. We have by him, among others, the following prints : SUBJECTS FROM HIS OWN DESIGNS. A set of twelve Landscapes. The Buildings at Rome under Sistus V. A View of Malta with its ancient Fortifications. SUBJECTS AFTER OTHER MASTERS. The Flight of Attila; after RaffcuiUe. The five canonized Saints ; S. Gaetano, St. Francis Borgia, St. Philip Beuizio, St. Bertrand, and St. Kosa; after J. B. Gaetano. View of Florence ; aft&r S. delta Bella, Plan of the Castle of Moyen ; after Callot. COLLAERT, Adrian, a Flemish designer and engraver, born at Antwerp about the year 1520. After having learnt the principles of the art in his own country, he visited Italy for improvement, where he passed some years. On his return to Flanders, he engraved a great number of plates, executed in a neatly finished style, but with a certain degree of dryness. His drawing is correct, and his heads expressive. He sometimes marked his plates with the cipher _^^. The following are his prin- cipal plates : SUBJECTS FROM HIS OWN DESIGNS. A Man and his Wife, conducted hy. Death. 1562. A Man in Armour, to whom a Woman brings a Child, a Dog, and a Cock. The Four Elements ; in four plates. The Life of Jesus Christ ; in thii-ty-six plates ; entitled Vita Jesu Salvatoris variis iconious^ S^c. Thirty plates of Birds j entitled Avium vivcB icoTies, S^c. One hundred and twenty-five of Fishes ; Piscium vivce ic&nes. Twenty-four plates ; entitled Florilegium db HadriaTW Collaert ccetatum, §c. The Temptation of St. Anthony. St. ApoUonia. SUBJECTS AFTER VARIOUS MASTERS. The Twelve Months of the Year ; after Josse Momper ; the same that Callot has engraved. The Last Judgment ; after J. Stradan. Twelve plates of Horses ; after the same. A Hunting and Fishing Party ; after t/ie same. The Israelite Women singing the Song of Praise for the Destruction of the Egyptian Host in the Red Sea; after the same. A Woman saving her Child from the Fangs of a Lion ; after the same. Twelve Landscapes ; after Henry de Cleef. A set of Hermitesses ; after M. de Vos ; engraved con- jointly with his son John Collaert. The calling of St. Andrew to the Apostleship ; after Ba- roccio. The Repose in Egypt ; after H. Goltzius. 1585. A set of six plates, called the Annunciations; considered among the best of his works. COLLAERT, Hans, or John, was the son of the preceding engraver, born at Antwerp about the year 1540. After being instructed by his father for some time, he followed his example m visiting Italy, where he passed some time. He assisted his father 176 in many of his works, and en^-aved a great number of plates, which are executed in the style of Adrian, but with more taste and less stifihess. He must have lived to a great age, as we have plates by him dated from 1553 till 1622. He sometimes signed his plates with his name Hans Collaert, fecit, some- times with the initials H. C. P., and sometimes with the cipher jj^i^. The following are his prints most worthy of notice : SUBJECTS AFTER HIS OWN DESIGNS. The Life of St. Francis ; in sixteen plates, with grotesque borders. The dead Clirist in the Lap of the Vii-gin ; John Col- laert, sc. The Last Judgment, surrounded with small subjects of the Life of Christ. Marcus Curtius throwing himself into the Gulf. Peace and Charity. Ten plates ; entitled Monilium Bullarum in auriumgw, ^0. 1581. SUBJECTS AFTER VARIOUS MASTERS. St. John preaching in the Wilderness ; G. A. Z, inv. II. Collaert, sc. Roynce. Moses striking the Rock ; after Lambert Lombard; very fine. A Satyr pursued by Women ; after J. Stradan, Time and Truth ; after the same ; veiy fine. Mars and Venus ; after tjie same. The Loves of Mars and Venus ; four plates ; after P. Galle. The Title to the Biblia Sacra ; after Rubens ; fine. The Title to the Kerkelyke Historie ; after the same ; fine. The Title to the Vaders Boeck ; after the sam^; fine. Twelve plates for the Missal of Moretus ; after the de- signs of Rubens. The subjects from the Life of Christ and the Virgin. COLLANTES, Francisco, a Spanish pa,inter, born at Madrid in 1599. He painted history and landscapes, and excelled particularly in the latter, which are painted in a bold and masterly manner, in the style of Rubens, richly coloured, and of very .romantic scenery. Of his historical works, the principal are San Geronimo, and a picture of the Resurrection, in the Bueno Retire. He died in 1656. COLLEONI, GiROLAMO. This painter was a native of Bergamo, born, according to Tassi, about the end of the fifteenth century. Most of the works of this able artist, in his own country, were formerly in the church of S. Antonio dell' Ospitale at BergSr mo, but were destroyed at the time the church was rebuilt. In the church dedicated to S. Erasmo, at S. Borgo Canale near Bergamo, is preserved one of his most esteemed works, painted in 1538. This picture is described by Tassi as one of the most ad- mirable productions of Bergamese art. It repre- sents'the Virgin and Infant, with Mary Magdalene, St. John, and S. Erasmo. Lanzi mentions a pic- ture by CoUeoni, of the Marriage of St. Catheiine, in the Carrara Gallery, which was thought by the best judges to be a work of Titian, until the inscrip- tion of liieronymus Colleo, 1555, was found on it. Not meeting with the distinction he merited in his own country, and disgusted at the encouragement given to inferior talents of foreign growth, he deter- mined to leave it ; but, previous to his departure, Tassi asserts, that he painted in one night on the fa9ade of a house, a very beautiful horse, and in- scribed under it, Nemo propheta acceptus in patria sua. He went to Spain, where he met with due en- couragement, and was employed in the Escurial. COLLET, Louis. This artist was a native of Paris, and flourished about the year 1610. He en- graved a set of plates of ornaments for goldsmiths and jewellers, from the designs of Giles Legare, coll] PAINTERS AND ENGRAVERS. [COl/L which are executed with the graver in a very neat style. [COLLET, John, an English artist, born in London in 1725, was a scholar of Lambert, the landscape painter. He painted subjects of humour, somewhat in the manner of Hogarth, approaching him only in vulgarity and caricature. In pieces wherein he did not attempt to imitate that genius, and confined himself to simple objects, he showed considerable merit in the representatiqn of the characters and costume of his time. Several of his pictures have been engraved, and there are some etchings by himself. He died in 1780.] COLLIN, Richard, a German designer and en- graver, born at Luxembourg in 1626. He went to Rome when young, and became a scholar of his countryman, Sandrart He engraved some of the plates for the Academia of that author. On his re- turn from Italy he resided at Antwerp and Brussels, where he engraved several portraits and other sub- jects, in a neat, laboured style. The following are his principal plates : PORTRAITS. Jane Bickerton, Bucliess of Norfolk. Sir Godfrey Kneller ; for Sandrart's Academia. John Zachary Kneller ; for the same. Artos Quellinus, sculptor ; after E. Quellinus. John Philip van Xhielen, flower painter ; after the same. Joachim Sandrart. 1679- Bartheleme S. Murillo, painter ; se ipse,pinx. Christian Albert, Prince Bishop of Lubeck. 1654. Anna Adelhildis, Wife of the Prince of la Tour and Tassis. 1682. A set of forty portraits of the Saints of Mount Canuel. SUBJECTS AFTER VARIOUS MASTERS. Esther before Ahasuerus ; after Rubens. Christ bearing his Cross ; after A. Diepenbeck. St. Arnold ; after the same. COLLINS, James. By this artist, who flourish- ed about the year 1715, we have some prints, repre- senting views of buildings, among which is a large plate of a prospect of the Metropolitan Church of Canterbury. COLLINS, John, an English engraver, who flourished about the year 1682. He engraved some very indifferent copies from the grotesque figures pubhshed by the Bonnarts, at Paris, called Scara- mouch and his Company of Comedians. We have also some portraits by him ; and the Funeral Pro- cession of George, Duie of Albemarle. COLLINS, WILLIAM, was the son of a picture dealer and cleaner, a native of Ireland, and a man of ready wit, but best remembered by his 'Life of Morland,' the painter. His distinguished son (the subject of the present notice) was bom in London in the year 1788 ; and was twenty-one in the year 1809, when he sent his first works, ' Boys at Break- fcist,' and ' Boys with a Bird's Nest,' to the Royal Academy Exhibition. He became thenceforward a constant exhibiter at the Royal Academy : send- ing, in 1810, ' Cottager Children Blowing Bubbles,' and 'Boys Bathing — a Morning Scene;' in 1811,' ' A Country Kitchen,' (now in Mr. Sheepshanks's collection,) and ' The Weary Trumpeter, or Juvenile Mischief;' in 1812, ' Children Playing with Pup- pies ;' in 1813, ' The Disposal of a Favourite Lamb ;' in 1814, 'The Blackberry Gatherer,' and 'Bird- Catchers — Morning,' one of the best of his early works, now at Bowood, the seat of the Marquis of Lansdownfe. In 1815 he was elected an Associate of the Royal Academy ; and exhibited in the same year ' The Reluctant Departure,' ' A Harvest Home,' and ' Half-Holiday Muster.' He now enlarged his range of subjects, commencing a series of pictures connected with the habits and haunts of fishermen on the coast ; of which the first, ' Shrimp Boys at Cromer,' was exhibited at the Academy in 1816. The following year, he sent ' The Kitten Deceived,' and 'Fishermen coming Ashore before Sunrise;' in 1818, ' Scene on the Coast of Norfolk;' in 1819, ' Morning — Fishermen on the Look-out' (Sir Robert Peel's picture, now at Drayton Manor). In 1820, he was elected a Royal Academician: presenting, when he received his diploma, a picture called ' Young Anglers ;' and exhibiting, the same year, ' Capstern at Work drawing up Fishing Nets,' and ' River Scene — Cottage Girl buying Fish.' For the next sixteen years he was a constant exhibiter at the Royal Academy, sending occa- sionally five, and never less than three pictures to the Ejoiibition. A mere catalogue of titles will re- call many of the pictures to the recollection of our readers. In 1821 he exhibited, ' Scene in Borrow- dale, Cumberland,' 'Dartmouth, Devon,' and ' Morn- ing — on the Coast of Kent.' In 1822, ' Scene near Chichester,' 'CloveUy, North Devon,' 'Woodcut- ters — Buckland on the Moor, Devon,' 'Scene at Bay ham Abbey.' In 1823, 'Fish Auction on the South Coast of Devonshire,' ' Scene in Borrowdale,' and ' Walmer Castle,' the seat of the Earl of Liver- pool, an early patron of the painter. In 1824, ' Stirling Castle,' ' The Cherry Seller,' (Sir R. Peel's picture, now at Drayton Manor,) ' Children of H. Rice, Esq.,' and ' Buckland on the River Dart' In 1825, ' Buying Fish on the Beach, Hazy Morning,' ' Fishermen getting out their Nets,' (now at Drayton Manor,) and ' Kitley, Devon.' In 1826, ' The Young Shrimp Catchers,' 'Children Picking Hops,' and ' Fishermen leaving Home for the Night.' In 1827, ' A Frost Scene,' (now at Drayton Manor,) ' Buying Fish,' and ' Children examining the.Contents of a Net' In 1828, ' Doubtful Weather,' 'Taking out a Thorn,' ' Scene in Freshwater Bay, Isle of Wight,' and ' Scene at Folkstone.' In 1829, ' Scene m a Kentish Hop Garden,' 'Fisher Children,' 'The Morning after a Storm,' ' Summer — Moonhght,' and ' Prawn Fishing.' In 1830, ' Les Causeuses,' ' Muscle Gatherers^Coast of France,' and ' Waiting the Ar- rival of Fishing Boats— Coast of France.' In 1831, 'The Venturesome Robin,' 'The Morning Bath,' and ' Shrimpers— Evening.' In 1832, 'Rustic Ci- vihty,' (children opening a gate, a charming pic- ture,) 'Skittle Players,' and 'Fisher Boys.' In 1833, ' Returning from the Haunts of the Sea Fowl,' 'Scene on the Coast of France,' and 'The Stray Kitten.' In 1834, ' Cottage Hospitality,' and ' The Morning Lesson.' In 1835, ' Children Launching a Boat,' ' The Mariner's Widow,' ' Welsh Peasants crossing the Sands to Market,' and a favourite scene again — ' Cromer, on the Coast of Norfolk.' In 1836, ' Sunday,' (engraved by Reynolds, and sold at Dr. Knott's sale for 200 guineas,) ' Leaving Home,' and ' Happy as a King,' a boy on the top of a gate, sold at Mr. Knott's sale for 230 guineas. The years 1837 and 1838 were passed hy Mr. CoUins on the continent ; Wilkie advising him to change his style and try the efiect of novelty on the pubhc. Some of his letters written at this period are before us at the present moment. In one to Wilkie, he says, "What a wretched thing it is to find that the more fit one may become for the so- ciety of the old masters, the more one suffers in the company of the new:" and in another to the same great artist, written from Rome, 14th January, 1837, he says, " Strange to say, which I suppose proves 177 COLO] A DICTIONARY OF [COMO that I am not a great man, the Raffaelles in the Vatican, and the Frescos of M. Angelo, so far from disappointing me, surpassed not only all I have ever seen, but all I had ever, conceived of these truly in- spired men." The Royal Academy Exhibition of 1839 con- tained the first produce of ColUns's continental tour, ' Poor Travellers at the door of a Capuchin Convent, near Vice, Bay of Naples,' ' A Scene near Subiaco — Roman States,' and ' Naples — YoungLaz- zaroni playing the Game of Arravoglio.' These in some measure prepared the public for stiU loftier attempts; though the surprise was pretty general when it was found that an old favourite had de- serted his sea-shore scenes and shrimp-catchers for subjects of a sacred character. In 1840, ColUns exhibited three works—' Our Saviour with the Doctors in the Temple,' (now at Bowood,) ' Ave Maria — scene near "rivoU,' and ' The Passing Wel- come — Naples.' These were followed, m 1841, by ' The Two Disciples at Emmaus,' (sold at Mr. Knott's sale for 145 guineas,) ' The Peace-Maker,' (sold at the same sale for 260 guineas,) ' Lazzaroni — Naples,' ' Scene taken from the Cave of Ulysses at Sorrento,' and ' Ischia — Bay of Naples.' In 1842, by ' Welsh Guides— Llanberris, N. Wales,' ' Prayer,' 'WiUde's last Residence at Kensington,' (now in Mrs. Hunter's possession,) ' Sorrento — Bay of Nar pies,' ' Villa d'Este, Tivoli,' ' Scene at Aberystwith,' and ' Dominican Monks returning to the Convent — Bay of Naples.' In 1843, by ' "The World or the Cloister,' ' A Windy Day— Sussex,' ' A Sultry Day —Naples,' 'The Virgin and ChUd,' and ' A Girl of Sorrento — Spinning.' In 1844, by ' Morning — Bou- logne,' ' Seaford, Sussex,' ' The Catechist,' and ' A Patriarch.' In 1845, by ' Underclifi; Isle of Wight,' ' Cromer Sands, coast of Norfolk,' ' Fetching the Doctor,' (recently engraved,) ' Prawn Fishing — Coast of Sussex,' and 'Antonio.' In 1846, (the last year in which he lived to exhibit,) by ' HaU Sands — Devon,' ' Shrimpers Hastening Home,' 'Early Morning,' and 'Meadfoot Bay, Torquay.' The picture of Meadfoot Bay, one of the last of his works, was commenced at Torquay in the autumn of 1845. To the writer of this imperfect sketch, (who enjoyed the pleasure of Mr. Colfins's acquaint- ance, and who saw him for the last time at Mead- foot Bay,) the painter expressed the renewed delight which he felt in the scenery of his native country, and how much more congenial to his sympathies he felt Meadfoot Bay and Cromer Sands to be than all the fine landscapes which he had seen abroad. [This truly English artist died in February, 1847.] — From the Athenaum. [COLOMBANO, Antonio Maria, a painter of Correggio, who flourished from 1596 to 1616. Fif- teen pictures by him, some of large dimensions, are mentioned by Pungilione in his Life of Antonio Al- legri. . The subjects are incidents in the Ufe of the Virgin and the infancy of Christ.] COLOMBEL, Nicholas, a French painter, bom at SotteviUe, near Rouen, in 1646. He was a scholar of Eustache le Sueur, and afterwards visit- ed Italy. Although this artist studied several years at Rome, he does not appear to have at all divested himself of the taste of his country. His style is i completely French. He was received into the Academy at Paris in 1694. One of his best works is Orpheus playing on the Lyre, in the King's Me- nagerie. He &d at Paris in 1717. COLOMBINI, CosiMO, an Italian engraver, who flourished about the year 1754. He engraved, 178 among other things, several of the plates for the Museo Fiorentino. [He engraved a great part of the portraits of painters in that work : he marked some thus jE-. ] COLONI, [or COLONIA,] Adam, a Dutch painter, born at Rotterdam in 1634. He painted landscapes with figures and cattle, in which he imi- tated with success the style of N. Berghem ; he also excelled in village feasts, and some of his pictures of fire-pieces are of a good effect, This artist resided a great part of his life in England, and died in Lon- don in 1685. COLONI, [or COLONIA,] Henry Adrian, was the son of the preceding artist, and the brother-in-law of Vandiest, by whom he was instruct- ed. He sometimes painted the figures in Vandiest's landscapes, and also painted landscapes in imitation of the style of Salvator Rosa. He died in London in 1701. COLONNA. See Angelo. COLTELLINI, Michele. This painter was a native of Ferrara, and flourished about 1517, the date found on some of his pictures. From the si- militude in their styles, Lanzi conjectures that he Wcis brought up in the school of Lorenzo Costa, though he is superior to that master in the airs of his heads. His principal works are at Ferrara. In the sacristy of the Augustines, is a picture of St. Monica with four saints of the order ; in S. Andrea, the Virgin and Infant, surrounded by Saints ; and in the church of S. Maria della Rosa, St. Francis receiving the Stigmata. COLYN, Michael. According to Florent Le Comte, this artist is said to have been a native of Antwerp. He engraved some plates of architeotiu'al subjects, among which is a view of the Exchange at Amsterdam. COLYNS, David. This painter was bom at Amsterdam about the year 1650. He painted his- torical subjects of a small size, into which he intro- duced an infinite number of figures, which he group- ed with great ingenuity. His pictures are touched with spirit and fineness. Houbraken extols, in high terms, two pictures by this master at Amster- dam, one representing Moses striking the Rock, the other the Israelites fed by the Miracle of the Manna. COMBES, Peter, an English engraver in mez- zotinto, who flourished about the year 1700. He was chiefly employed in engraving portraits, among which is a smaU whole length of Master Charles More, son of the Bishop of Ely j after Kerseboom. COMIN, JovAN, [or Jan.] This artist, who flourished about the year 1630, engraved some of the plates for the collection of antique statues, which are in the Giustiniani Gallery. 'They are executed with the graver in a stiff, tasteless style. COMODI, Andrea, a Florentine painter, born in 1560. He was the scholar and friend of Lodo- vico Cardi, called Cigoli. HE is rather to be con- sidered as a Roman than a Florentine, as he went to Rome when he was young, in the pontificate of Urban VIII., and resided there the greatest part of his hfe. His principal works are, Christ bearing his Cross, in the Tribune of S. Vitale ; in S. Carlo a Catinari, the principal altair-piece, the Titular Saint kneeling ; in S. Giovanni in Fonte, the Bap- tism of Christ by St. John. He painted a number of Madonnas, which Lanzi says are distinguished by the smaUness of the neck, and a certain air of virgin modesty, which is peculiar to him. One of the most admired of these is in the Corsini Palace. COMP] PAINTERS AND ENGRAVERS. [cone In the early part of his life he was a successful copier of the works of RaffaeUe. He died at Flo- rence in 1638. [Comodi was an enthusiastic ad- mirer of the works of Correggio, and studied them thoroughly. He copied and re-copied, in a skilful manner, all that he could procure ; among which were many of the Virgin Mary, to whom he was most devoted. These were mistaken at the time, even hy the learned in art, for the originals. Such being the case two centuries ago, how diffident should we be in pronouncing judgment on the originality of his works in the present day.] [COMPE, Jan Ten, born at Amsterdam in 1713, was a scholar of Dirk Dalens. He painted land- scapes, river scenes, views of cities and villages, and subjects of similar character. He represented dif- ferent views of the Hague, which he ornamented with figures and animus. His best pictures ap- proach those of Berkheyde and Vander Heyden. His view of the New Market at Amsterdam sold for 2000 Dutch florins at pubhc sale. He died in 1761.] CONCA, Sebastiano Cavaliere. This painter was born at Gaeta in 1676, and was educated in the school of Francesco Solimene. Under that master he acquired a competent ability in design, and a great facility. In the early part of his life he was much occupied in portrait painting. Desirous of seeing Rome, and ambitious of distinguishing him- self in a more elevated branch of the art, he visited the metropolis of Italy, with his brother Giovanni, when he was between thirty and forty years of age, and for five years changed the pencil for the poBte- crayon, and was occupied in drawing after the an- tique, and the works of the great masters. The Erogress he had made under Solimene, improved by is studies at Rome, enabled him to produce some pictures which atti'acted the notice of Clement XL, who employed him in decorating his church of S. Clemente with several works in fresco, which gave so much satisfaction to his patron, that he conferred on him the order of knighthood, and procured him every great public undertaking, at that time, at Rome. For this flattering success, he was, how- ever, more indebted to the state of decadence into which the art had then sunk at Rome, than any par- ticular or original merit of his own. He possessed a fertile invention, great velocity of pencil, and a colour that enchants more by its brilliancy than its truth. In his attempts to be pleasing he simk into the pretty, and although he evidently aimed at gran- deur, he never could divest himself of the littleness to which natm-e had confined him. Perhaps he has been too harshly treated by the surly criticism of Mengs, who observes, " that by introducing at Rome the mannered style of Solimene, and a system less excellent than expeditious, he put the finishing stroke to the ruin of painting." The principal works of Conca at Rome are, the Assumption of the Virgin in S. S. Martino e Lucca, and the Giona at S. Giovanni Laterano. In the hospital at Siena, his picture of la Probatica ; at Loretto, S. Niccolo ; at Ancona, S. Saverio; andatFohgno, S. Agostino. S. Conca died at Naples in 1764. [Zani places his birth in 1680, and his death in 1770 : FiissU says he died in 1764, aged 85, which would place his birth in 1679. It was not fair in Mengs to say that Conca put the finishing stroke to the ruin of painting: Conca was born and died before him.] CONEGLIANO, Giovanni Batista Cima, call- ed It. The family name of this painter is Cima, but he is generally known by that of il Conegliano, N 2 a town near Trevigi, in the Venetian states, where he was born. He flomished about the year 1495, and, according to Ridolfi, was one of the most suc- cessful followers of the style of Giovanni Bellini. Equal to that painter in colour and expression, he perhaps yields something to him in softness and mellowness. One of his best works was formerly in the dome at Parma, representing the Virgin and in- fant Jesus receiving the Homage of St. John Bap- tist, and other Saints. A performance of sufficient merit to attract the rapacity of French spoliation, and is now in the museum of the Louvre. In the church of S. Giovanni at Venice, is a fine picture by Cima, of the Baptism of Christ. He had a son, Carlo Cima, who painted in his style. [According to Zani, Cima Conegliano painted from 1489 to 1541. He considers him in some respects superior to Bellini. He mentions a most superb picture by Conegliano, which was in the church of San Nico- 16 in Carpi, representing Christ taken down from the Cross, and surrounded by the Marys, St. John, Joseph of Arimathea, Nicodemus, and other holy persons : it originally belonged to Alberto Pio, prince of Carpi, who esteemed it as one of his most precious gems, equal to the works of Raphael or Michael Angelo. Rosini has given a print (plate 86) of a picture by Conegliano in the gallery of Parma, the subject of which diflFers slightly from that in the Louvre : it is very beautiful. He also painted portraits, smaller than hfe, some of which are in England.] [CONEY, John, a very eminent architectural designer and engraver, was born at Ratchffe High- way, London, about the year 1786 ; he was appren- ticed to an architect, but never followed the profes- sion. He commenced making pencil drawings of the interior of Westminster Abbey, and other buildings called Gothic, as early as at the age of fifteen ; these he sold to dealers, and other casual customers, at very small prices. In 1815, he published his first work, a series of eight views of the exterior and in- terior of Warwick Castle, drawn and etched by himself. Shortly afterwards he was employed by Mr. Harding to draw and engrave the fitie series of exterior and interior views of the Cathedrals and Abbey Churches of England, to illustrate the new edition of Dugdale's Monasticon, edited by Sir Henry EUis. These plates occupied a great portion of his time for fourteen years, and are executed with consummate skiU. In 1829, he commenced the en- gravings of "Ancient Cathedrals, Hotels de ViUe, and other public buildings in France, Holland, Germany, and Italy;" all of which were designed from the several objects by himself. This work was intended to be comprised in twelve parts, but only eight were published, not meeting with the public encouragement to which it was entitled. Mr. Charles Heathcote Tatham wrote the necessary de- scriptions. In 1831, Mr. Coney cotnmenced a simi- lar series of the " Architectural Beauties of Conti- nental Europe," for which Mr. H. E. Lloyd wrote the descriptions. This handsome work consists of 28 large plates of remarkable edifices in France, the Low Countries, Germany, and Italy, and 56 vig- nettes, all drawn and etched by himself. In addi- tion to these laborious undertakings, he executed numerous pencil drawings, and also in colours, by Erivate commissions; and necessity often compelled im to part with many to picture-dealers and print- sellers. A View of the Interior of Milan Cathedral was published after his death for the benefit of his widow ; and he was employed by Mr. Cockerill the 179 cong] A DICTIONARY OF [CONS architect, to engrave a very large View of Rome, and another plate as a companion to it, neither of which has been published. As an accurate archi- tectm-al designer he has never been surpassed ; his drawings, of what is called the Gothic, exhibit all the minutest details without the appearance of lar hour, yet with a neatness that is truly surprising. The works of this industrious, but too Uttle reward- ed artist, are now beginning 'to be appreciated as they deserve ; and he, who in his life-time felt the mortifications of neglect, or of supercilious patron- a,^e, will be rewarded with posthumous fame. He died near Camberwell in 1833.] CONGIO, Cammillo, an Italian designer and engraver, born at Rome about the year 1604. In 1630, he engraved some plates for the Galleria Jus- tiniana. He also executed some of the engravings for Tasso's Jerusalem, after the designs of Bernardo Castelli. We have by him some prints after differ- ent Italian masters, which he generally marked CC. P. His works most worthy of notice are : The Annunciation. The Adoration of the Magi. Hercules combating the Hydra. A Frontispiece entitled, Diversi ornamenti capriciosi. The Creation of Angels ; after Camassei. Frontispiece to the JEdesBarbarinae; after Chddo XXbaldo Abbatini. An Assembly of Saints ; after Gasparo Celio. CONINCK, KONINCK, [or KONING,] Cor- nelius, a Dutch designer and engraver, born at Haerlem about the year 1624. He has engraved several portraits of celebrated personages of the six- teenth century, executed with the graver in a firm and clear style. Among others by him we have the following : Lawrence de Coster, the celebrated printer ; after J. V. Canvpen. Martin Luther ; C Konmg,fee. et exe. Dierk Philius ; C. Koning, scul. exe. Adrianus Tetrodius of Haerlem ; P. Grebber, inv. [The date of his death is not known.] CONINCK, or KONINCK, Solomon, a Dutch painter, bom at Amsterdam in 1609. He was first placed under the care of David Colyns, he next be- came a scholar of Nicholas Moyaert; but he ap- pears to have formed his style more from stud3ring the small pictures of Rembrandt, than either of those masters. He painted historical subjects of a small size, which are well composed, and admirably coloured, partaking of the richness and glow of Rem- brandt, in a clearer tone. His pictures are placed in the choicest collections in Holland, and some few of them have found their way to this country, whfere they sustain themselves among the most es- teemed masters of the Dutch school. We have some charming etchings by S. de Koninck, which, like his paintings, are in the fine style of Rem- brandt. The foflowing are his principal plates : The Bust of an old Man with a Beard ; S. Koninck, 1628. Bust of an old Man in an Oriental Costume, nearly a profile ; S. Koninck. Small Bust of an old Man with a Fur Cap ; Sal. Koning, invent. An old Man sitting in a Chair, seemingly praying, with- out his name ; very fine. Bust of a venerable old Man, three quai-tcrs, with a Beard, without his name ; very fine. A Landscape, with some Cottages, and a Tower in Ruins ; 5'. Koninck, 1663. [The time of his death is not accurately ascertained; Balkema says 1668, but there is reason to suppose that it occurred some years later. His name was 180 Salomon Koninck, not Coninek, nor Koningh. The inattention of authors to the right spelling of the names of painters is a source of much confusion. But it must be added that the old painters were themselves very capricious in matters of ortho- [CONINGH, or KONING, Jacob, born at Haerlem in 1650, was a scholar of Adrien Van de Velde, and painted landscapes with figures and ani- mals in the manner of his master, and sometimes not much inferior to him. One of his pictures is in the Museum at Brussels.] CONINGSLOO See Cooninxloo. [CONJOLA, Charles, a landscape painter in water colours, born at Manheim in 1/73, and died at Munich in 1831. His views are principally of the mountainous parts of Bavaria and the Tyrol.] CONRAD, or CONRADUS, Abraham, a Dutch designer and engraver, who flourished about the year 1650. His plates consist chiefly of portraits, part of which are from his own designs. They pos- sess great merit, and some of them are successful imitations of the style of Lucas Vostermans. The follovidng are his principal prints : PORTRAITS. Christopher Love. Jacob Triglande, professor of Theology at Leyden. Thomas Maurois of Canterbury, ecclesiastic at Amster- dam ; D. Boudringhen,pinx. ; A. Conradus,fec. Godefroid Hotton, Pastor of the French Church at Amsterdam ; after H. Hermans ; veiy fine. The Flagellation ; (vfter A. Diepenbeck. The Cnioifi.\ion ; after the same. [CONSTABLE, John, an Enghsh landscape painter, was the son of a miller, and born in 1776. He was a pupil of Farington, and a student of the Royal Academy. • His mode of painting was pecu- liar; he neither imitated the ancient masters, nor the modem ; whether he really copied nature time will discover. The singularity in his pictures jnakes them striking. His skies are clouded, and his clouds turbulent ; they are charged with thunder, lightning, and rain ; and when the shower falls, instead of ver- dant fi-eshness, his trees and meadows are covered with fleeces of snow. These appearances his ad- mirers consider the proofs of strict attention to na- ture; — that they truly exhibit her gloomy gran- deur ; — and that the scattered lights are sparkling touches of genius distributed with a masterly hand. All this may be so ; it is useless to dispute on a matter of taste: it will be for connoisseurs fifty years hence to decide on the merits of Constable's pictures. His favourite subjects were views of water- mills, landscapes after a shower, boats threading locks, lake scenery, moon-lights, views of Hamp- stead Heath, with impending thunder-clouds, or downright torrents of rain. Two of his best pieces, a View in Suffolk, and another in Essex, have been engraved in mezzotinto by D. Lucas, as decorative prints, and have a strilring effect; and many others, on a small scale, to illustrate an account of his life and works by Leslie. Mr. Constable was a Royal Academician ; and in private life was much esteem- ed for the good qualities of his head and heart. He died suddenly, and without pain, on the 30th of March, 1837. Some students,- to do honour to his memory, purchased one of his landscapes after his death, and presented it to the National Gallery, where it may be seen.]- CONSTANTINI, or CONSTANTINO, Gio- vanni Batista. This artist was a native of Italy, and flourished about the year 1619. We have an etching by him, representing a Bacchanalian sub- cont] PAINTERS AND ENGRAVERS. [coop ject, surrounded with a grape vine, in the form of a horder. It is executed in a slight, free style, some- what resembling that of Guido, though less master- ly, and appears to have been the work of a painter. CONTARINI, Cavaliere Giovanni. This painter was bom at Venice in 1549. He was aeon- temporary of Palma, and an exact follower of the principles of Titian. Contarini was a perfect mas- ter of the soUo in su, as is seen in his picture of the Resurrection in S. Francesco di Paola. He appears to have been much engaged in painting easel pic- tures of mythological subjects, which he had learn- ing enough to treat with propriety. He passed some years at the court of the Emperor Rodolphus II., by whom he was knighted. In the church della Croce at Venice, is a fine picture by Contarini of the Crucifixion; but his principal work was formerly in the Ducal palace at Venice, now among the plunder of the French, in the gallery of the Louvre, representing the Virgin and the infant Jesus seated on a Throne, with St. Mark and St. Sebastian, and the Doge Marino Grimani kneeling. Contarini was a very eminent painter of portraits, in which he followed the chaste and simple style of Titian. He died in 1605. CONTE, Jacopino, [or Jacopo,] del, a Floren- tine painter, born in 1510. He was brought up in the school of Andrea del Sarto. Few of his works are to be met with in Florence, as he went to Rome when he was young, and resided there until his death. He was a respectable painter of history; but is still more distinguished for his excellence in portrait painting, of which he executed more, and of more distinguished personages, than any artist of his time. According to Baglioni, he visited Rome during the time of Paul III., and he painted his porti'ait, and that of every pontiff that succeed- ed him until Clement VIII., in whose pontificate he died. His principal historical works at Rome are, St. John preaching, and the taking down from the Cross, in S. Giovanni DecoUato, the church of the Florentines. In the Madonna del Popolo, the dead Christ, with several figures. At the Cappucini a monte Cavallo, a Pietd, and St. Francis receiving the Stigmata. He died at Rome in 1598. CQNTI, Cesare and Vincenzio. These bro- thers were natives of Ancona, but went to Rome during the pontificate of Gregory XIII., by whom they were employed, as well as by his successors, Sixtus v., Clement VIII., and Paul V. Cesare was esteemed for his grotesque ornaments, and Vin- cenzio painted the figures. Some of their works are in S. Maria Trastevere. In S. Spirito in Sassia, is the history of S. Giacomo del Zucchi ; in S. CeciUa de Trastevere, St. Agnes, and the Martyrdom of Santo Urbano. COOGHEN. SeeKooGHEN. [COOKE, Henry, a portrait painter and copyist, who flourished in 1640, as appears by several por- traits painted by him in that year for the worship- ful Company of Ironmongers, and now in their Hall. They are probably copies of older pictures, as the personages they represent were dead long before the time these were executed ; with the ex- ception of Sir James Campbell, who sat to the artist. The following extracts from the Records of the Ironmongers' Company will show the period of Henry Cooke's practice :— "Api-il 29, 1640. Henry Cooke, painter, having made two pictures, the one of Mr. "Thomas Michell, and the other of Mr. Thomas Lewin, who were good benefactors to the Company, demanded for the same £5 a piece, but the Courte doe not hold them to be so much worth, yet they will further enquire what other Companies payes for the hke worke." "July 9, 1640. The Wardens are appointed to pay unto Henry Cooke, for five pictures more of benefactors, at 3/. 5s. a piece, is 161. 5s., and the Court agreed with him to make two pictures more of the King and Queenes Majesties of the same size as the others are, for which they will also pay him 31. 5s. a piece." The portraits of the king and queen's Majesties (Charles I. and Henrietta Maria, which the wor- shipful Court rated at the same price as those of their benefactors) no longer grace their Hall. As they were no doubt copied from pictures by Van Dyck, and Cooke was a clever hand at that work, they are probably rejoicing under the more famous name, and gracing more aristocratic walls. In a very pretty Catalogue of the above-mentioned pic- tures, compiled by an ingenious gentleman of the Company, Henry Cooke is said to nave been a pupil of Sahator Mosa : this is a mistake ; the Henry Cooke who was a pupil of Salvator Rosa, was born in 1642, and may have been a son of the portrait painter.] COOKE, Henry, an English painter, born in 1642. He went to Italy and studied under Salvator Rosa. He returned to England, and was employed in the reign of King William to copy the Cartoons of Raffaelle, which Graham says he did " in turpen- tine, a manner of his own." He painted the choir in New College, Oxford. He died in 1700. [It is said that he committed a murder and fled from England ; that after a time he returned and was employed by King William to repair the Cartoons, and that he likewise finished the portrait of Charles II., at Chelsea College; and that lie tried portrait, hut gave it up.'] COOL, Peter, a Flemish engraver, who flour- ished about the year 1690. His name is aflSxed to a middling-sized upright plate, representing Christ bearing his Cross, with St. Veronica, and other figures, after Martin de Vos. It is executed entirely vnth the graver, in a coarse, stiff style. COONINXLOO, Giles, a Flemish painter of landscapes, born at Antwerp in 1544. He was first instructed by Leonard Kroes, but afterwards became a scholar of Giles Mostaert. He travelled through France to Italy, and on his return to Flanders, was much employed in painting landscapes, in which the figures were frequently added by Martin Van Cleef. Cooninxloo was esteemed one of the ablest artists, in the branch that he followed, of the time in which he lived. His touch is spirited and light, and his colour clear and agreeable. [He died at Antwerp in 1609.] COOPER, Samuel. This eminent miniature painter was bom in London in 1609, and, with his brother Alexander Cooper, was instructed in the art by his uncle Hoskins, whom he soon surpassed. He was the first artist of his country that gave a strength and freedom to miniature, which ap- proached to the vigour of oil painting. The purity of his tints, the beauty of his carnations, and his loose and flowing manner of painting the hair, ren- der the heads of his portraits models worthy of imitation ; but to the head his merit is almost en- tirely confined. When he ventured to express more of the figure, his drawing is defective, and his execution undetermined. According to Lord Orford, Cooper visited the court of France, where he painted several pictures, for which his widow received a 181 coop] A DICTIONARY OF [C0(JU pension during her life. The works of Cooper were deservedly admired during his life, and they are still placed with distinction in the cabinets of the curious. He died in London in 1672. [Cooper painted some of the most illustrious men of nis time ; particularly Oliver Cromwell and John Mil- ton. The portrait of the latter was recently dis- covered, and is now in possession of the Duke of Buccleuch. His Grace owes it to the country to have it en^^aved ; the more especially as that for- merly in Sir Joshua Reynolds' possession, and en- ^aved by Caroline Watson with his sanction, is not Qie portrait of the divine poet, but one of his great contemporaries. It was for the court of England Cooper painted the pictures for which his widow was promised a pension, which was not paid. This widow was sister to the mother of Alexander Pope. Cooper was buried in Old St. Pancras church.] COOPER, Alexander, was the brother of Samuel Cooper, and was a scholar of his uncle Hos- kins. Although greatly inferior to his brother, he painted portraits, both in oil and in miniature, with some reputation. He also succeeded in painting landscapes in water colours. Not meeting with the encouragement he expected, he went to Flanders, where he passed some time, and afterwards visited Sweden, where he was made painter to the Queen Christina. COOPER, Richard, an English engraver, who flourished about the year 1762. His plates are chief- ly portraits, of which the following are the principal : The Children of Charles I., with a Dog ; after Vandyek, Henrietta Maria, his Queen. "William III. Maiy, his Queen. Frederick, Prince of Wales, and his sisters. Francis Bacon, Lord Keeper and Chancellor. Thomas Wentworth, Earl of Strafford. George Jefieries, Justice of King's Bench and Chancellor. Sir John Napier, inventor of Logarithms. Allan Ramsay, Scotch poet. Andrew Allen, painter. [He also engraved Annibale Caracci's picture of the dead Christ and Marys. It is conjectured that he was a native of Edinburgh, and born about 1730.] [COOPSE, Peter, a Dutch painter of marine subjects,, in the manner of Backhuizen and Van de Velde. His pictures are generally of a small size, well composed, full of subject, and vigorously paint- ed. There is a picture by him in the Gallery at Munich, which is attributed to Backhuizen in the Catalogue, though the name may be discovered on it : in England the dealers are more cautious ; they remove it. It is but recently that his own country- men have discovered his merit as a painter in oil, or they would have given some account of him. Ploos Van Amstel has given fac similes of some of his drawings in his collection.] COORNHAERT. See Cuenhaert. [COOSEMANS, Alexis, a painter of fruit and inanimate subjects, flourished in the Netherlands about 1630.] [COPLEY, John Singleton, born at Boston in America, in 1737, was first known in England as a painter, by exhibiting a Boy and Squirrel at the Academy, in the year 1760 ; and also by several por- traits, which spread his reputation both in England and America. He, however, determined on visiting the glories of Rome, and after some stay there, he came to England, and by the influence of West was introduced to the Royal Academy. He painted several very interesting pictures relating to events in English History ; among which are the Assassin- 182 ation of the Duke of Buckingham; Charles signing Straflford's Death Warrant; the Five Impeached Members brought back in Triumph to Westminster ; the Speaker thanking the Sheriffs for protecting the Impeached Members ; the House of Commons visit- ing the Army at Hounslow ; the Siege of Gibraltai', and many others. But his best, perhaps, are the Death of Major Pierson, and the Death of Chatham ; the latter in the National Gallery. He was a great painter among the English artists of his day, and is not to be judged by the present standard ; being, in a manner, self-taught, he achieved much more Sian many who had received academical instruction. He lived, from the time he settled in England, at a house in George Street, Hanover Square, where he died in 1815. It may add lustre to nis name to re- cord that he was the father of that profound lawyer, and eminent statesman. Lord Lyndhurst.] COPPA, Cavaliere Antonio. See Giarola. COPPA, Stefano. This artist was a native of Italy, and flourished at Rome about the year 1776. In conjunction with Giuseppe Perini, he executed the plates from the antique statues in the Clemen- tine Gallery. He also engraved a print of the Ascen- sion, after Gio. Lanfranco. COPPENS, Augustine, a Dutch engraver, who flourished about the year 1690. He engraved some plates representing views of ruins, and architecture, which are executed in a neat, finished style. COQUES, Gonzales. This eminent painter was born at Antwerp in 1618. He received his ele- mentary instruction from David Ryckaert the elder, but he owed the distinguished name he afterwards acquired, to the excellent disposition with which nature had favoured him. His first subjects were conversations and gallant assemblies ; but the extra- ordinary reputation Vandyek had acquired bj^ his admirable portraits, inspired him with the ambition of distinguishing himself in a similar walk in the art, though on a different scale. He attempted to paint portraits of a small size, and to ^ve them the correctness and simple character of nature, which we admire in the portraits of Vandyek. His suc- cess was equal to his merit. His single heads, and his groups of family portraits, were esteemed supe- rior to eveiy artist of his time,. Vandyek alone ex- cepted, and his engagements became so numerous, that few individuals could procure his pictures. He was employed by the principal potentates of his day. Charles I., the Archduke Leopold, and the Prince of Orange, were desirous of possessing his works. To those who have not seen the pictures of this extraordinary artist, it will be diflicult to give an idea of the beauty of his style. Although his heads rarely exceed the size of an inch and a half, they have all the breadth, freedom of touch, and animated character of the portraits of Vandyek. The heads and hands are designed vriih the utmost correctness ; his colouring has the freshness, and his draperies the ease,- that we admire in the works of that master. In regarding them, we lose sight of the scale on which they are drawn, and they assume the size of life. He was peculiarly happy in the composition and arrangement of his family por- traits, and the accessories vidth which he accom- panied them, in which he displayed great taste and elegance. This excellent artist died in 1684. [The compositions of this master are few in number, and are extremely valuable : there are but 46 described in Smith's Catalogue raisonne, vol. 4. and Suppl., though, no doubt, there are many more, which time will bring to light. It is supposed that as he was 90 rb] PAINTERS AND ENGRAVERS. [CORl wealthy, he painted more for pleasm-e than profit; but of this there is no proof. He painted landscapes skilfully, and dogs and other animals beautifully?] CORBUTT, Charles, an Enghsh mezzotinto engraver, who flourished about the year 1760. We have several portraits, and a few other subjects, scraped by him, of which the following are the most worthy of notice : PORTRAITS. Major General James Wolfe. F]Fancis Arouet de Voltaire. John James Kousseau. William Komaine ; after F. Cotes, Lady Charlotte Johnstone ; after Reynolds. ■■ Garrick, between Tragedy and Comedy ; after the same. Anne Bastard, of Kitely, in Devonshire. A Flemish Conversation ; after Brower. The old Rabbi ; after Rembrandt, CORDIER, V. This artist was a native of Abbe- ville, and flourished about the year 1760. His name is aflixed to a plate representing a fountain, from a design of O. M. JDumont. CORDUBA, Francesco, an Italian engraver, by whom we have a set of plates of the principal foun- tains which are in the gardens at Rome, into which he has introduced several smaU figures, in the style of CaUot They are etched with considerable spirit. He had received some mark of distinction, as he signs his plates, Eques, Franc. Cordvia del. et soul, C0RE6GI0. See Allegri. C0RE6GI0, Francesco. This painter was a native of Bologna, and flourished about the year 1652. He was a scholar of Francesco Gessi, and painted history with some reputation. His works are chiefly confined to the churches at Bologna. In S. Procolo is a Magdalene in the Desert; in the Nunziata, the Madonna de Loretto; and in S. Maria de Servi, the Virgin and Infant, with St. Luke and other saints. CORENZIO, Belisario, was a native of Greece, born, according to Dominici, in the province called Accaja, in 1558. He was instructed in the rudi- ments of the art by an unknown painter, who was so loud in his praise of the Venetian artists, that Belisario burned with impatience to visit Venice, that he might be advantaged by the contemplation of those extraordinary productions, of which the description had so much excited his curiosity. He accordingly went to Venice in 1580, when he was twenty-two years of age, and became a disciple of Tintoretto. He could not, perhaps, have made a more judicious selection in the choice of his master, as they appear to have been perfectly congenial in their technical conception of the excellence of the art, and to have endeavoured to arrive at it by similar exertions. Endowed with extraordinary powers of invention, and gifted by nature with an almost un- exampled faciUty, he is said by Lanzi to have been equal to the exertions of four painters in point of de- spatch. This incredible readiness he has displayed in the immense picture of the Miracle of the Loaves and Fishes, in the refectory of the Benedictines, which he finished in forty days. He was occasionally led away by the fire of an unusually ardent imagina- tion, but when he could govern and moderate this enthusiasm, he is not very inferior to the greatest masters of the Venetian School. After passing five years at Venice, he visited Naples, where he painted many admirable works for the churches and pubUc edifices, of which a particular account is given by Dominici. He painted a few pictures in oil, but his powers seem to have been better adapted to the great machinal subjects that require to be executed in fresco, in which he is bold, varied, and occasion- ally beautiful and correct. His principal works at Naples are the ceiling of the capella de Catalani, in S. Giacomo, where he has represented, in nine com- partments, the life of the Virgin, full of grace and beauty ; in the angles he has painted four Sibyls. In the church della Trinita degU Spagnuoli, the Virgin crowned by the Trinity, with two laterals, of the visitation, and the Presentation in the Temple. He died in 1643. CORIOLANO, Cristofano, a German engrav- er, born at Nuremberg about the year 1540. M. Heineken states, that the family name of this artist was Lederer, which he exchanged in Italy for that of Coriolano. He engraved on wood, and was a very able artist. In the Life of Marc Antonio, Va- sari assures us that Maestro Cristofano Coriolano, after executing at Venice an infinite number of fine things, engraved in wood the portraits of the paint- ers, sculptors, and architects, after his, Vasari's, de- signs, for his Lives of the Painters, first published in 1568. They are very masterly performances. He also engraved the greater part of the figures in the Natural History of Ulysses Adrovandus, as well as the firontispiece and cuts, after the designs of Titian, for the Coursd^ Anatomie, of Andrea Vesalio. He died at Bologna in the commencement of the seventeenth century. [Titian means Cesare Vecel- lio ; and Zani doubts whether Cristoforo Coriolano does not also mean. Cristoforo Chrieghir, who was the intimate fiiend of Vecellio : it is merely a dispute about names.] CORIOLANO, Bartolomeo, was the son of the foregoing artist, bom at Bologna about the year 1585. He was first instructed by his father, but afterwards entered the academy of the Caracci, where he be- came an able designer and engraver on wood. He usually confined himself to two blocks for his cuts ; on one he cut the outline and the dark shadows, hke the hatchings of a pen ; and on the other block the demi-tint ; these he managed with great judgment, and his prints have a fine efiect. His drawing is masterly and spirited, and his heads of a fine ex- Eression, characteristic of the great school in which e was educated. He dedicated a set of his prints after Caracci, Guido, &c., to Urban VIIL, who re- compensed him with the order of knighthood of Loretto, and a pension. There are a few of his cuts executed in chiaro-scuro, in which he used three blocks. Among others we have by him the following prints : St. Jerome in meditation before a Crucifix ; after Guido, Herodias, with the Head of St. John ; after the same. The Virgin, with the Infant sleeping ; after the same. The same subject in chiaro-scuro ; very mie. The Virgin and Infant sleeping ; after F. Vanni. Peace and Abundance ; G. R, ; R, C, so. Romce, A Sibyl. Jupiter fiilminating the Giants ; Victoriam Jovis j after Guido ; a capital print, in four sheets. 1647. The Seven Ages, transported to Bologna, a Thesis. He had a daughter,' Theresa Maria Coriolano, who etched a smfll plate of the Virgin, half-length, with the infant Jesus. [Zani places his birth in 1599, and his death in 1676 : he says he was the second son of Cristoforo.] CORIOLANO, Giovanni Batista, was the yoimger brother of the preceding artist, bom at Bologna about the year 1590. He studied painting under Gio. Lodovico Valesio, but did not distinguish himself much as a painter, although he was em- ployed for some of the churches at Bologna. In S. Anna, are two pictures of S. Niccolo, and S. Bruno; 183 corn] A DICTIONARY OF [corn and in the Nunziata, an Altar-piece of St. John, St. James, and St. Bernard. As an engraver, he is entitled to more consideration. He worked both on wood and copper ; but his wooden cuts are greatly preferable to his engravings. Among his best works are the following : PORTRAITS. Vincenzio Gualdi. Fortuuatus Licetiis. The same Portrait in wood. Joannes Cottunius. SUBJECTS AFTER VARIOUS MASTERS. The Image of the Virgin; J. B. Cariolarms, so. The miraculous Image of the Virgin; painted by S. Luke, held hy three angels ; after Guido. Christ crowned with Thorns ; etched in imitation of a wooden cut; after L. Caracei s fine., Cupid sleeping ; in chiaro-scuro ; after Guido. Triumphal Arch in honour of Louis XIII. ; H Corio- lanOffec. Twenty-seven plates of emblematical Subjects ; after Paoli Macci; the whole set, Paoli Maeii Emblemata, consists of eighty-three plates ; the rest are by O. Gatfi and A. Parasini. , He also engraved a number of theses and frontis- pieces. [According to Zani he was the eldest son of Cristoforo, born in 1589, and died in 1649.] CORNAEA, Carlo. This painter was born at Milan in 1605, and was a scholar of Camillo Pro- caccini. He did not produce many works, but they were designed with an excellent taste, particularly his easel pictures, which were highly esteemed. One of the best of his public works is his picture of S. Benedetto at the Certosa at Pavia. He died in 1673. CORNEILLE, Michel, the elder, a French painter, born at Orleans in 1603. He was a scholar of Simon Vouet, in whose style he painted several works for the churches, and was one of the twelve original members of the Royal Academy at Paris. Corneille, the elder, etched several subjects after Raffaelk, the Caracci, and others ; among which are the following : The Holy Family, with St. Elizabeth ; after Raffaelle. The Murder of the Innocents ; after the same. Christ appearing to Magdalene ; after the same. The Virgin suckling the infant Jesus ; after L. Caracci. [He died, it is supposed, at Paris, in 1664.] CORNEILLE, Michel, the younger, was the son of the foregoing painter, born at Paris in 1642, and was instructed by his father. Having obtained the prize when a student at the Academy, he was consequently sent to Italy for improvement under the pension of the king. His studies at Rome were prosecuted with great assiduity, where he adopted the works of Annibale Caracci, as the model of his imitation. Soon after his return from Italy he was received into the Academy, when he painted for his reception the model of the picture he afterwards ex- ecuted for the church of Notre Dame, of the Voca- tion of St. Peter and St. Paul to the apostleship. He was employed by Louis XIV. at Versailles, Trianon, and Fontainbleau ; and painted in one of the chapels of the InvaUds, the Life of St. Gregory, in six pictures. This artist etched a great number of plates, which are deservedly the admiration of the collectors. They are executed in a daring and masterly style ; his compositions are grand and in- genious, and his drawing extremely correct, in the great manner of the Caracci. The following are his principal works : SUBJECTS FROM HIS OWN DESIGNS. The Deity appearing to Abraham. Abraham journeying with Lot. ' 184 Abraham discomfiting the Army of the confederate Kings. Abraham setting out with his son Isaac for the Sacrifice. These four plates having come into the possession of a printseller at Rome, named Rossi, he put the name of Raffaelle on £hem ; they are now scarce. Samson and Dahla. The Conception of the Virgin. The Annunciation ; in two plates. The Nativity. The infant Jesus in the Manger. The Flight into Egypt. The Vocation of St. Peter and St. Paul to the Apostleship. St. Francis kneeling before the Cross ; fine. Christ and the Virgin appearing to St. Francis. SUBJECTS AFTER VARIOUS MASTERS. The Marriage of St. Cathaiine ; after L. Caracci. The Virgin and infant Jesus in a Landscape; after Agostino Caracci. Jacob wrestling with the Angel, in a Landscape ; after An. Caracci. St. John preaching in the Desert ; after the same. St. Jerome in a Landscape ; after the same. St. Francis receiving the Stigmata ; after the same. Silenus, a Satyr, and a Faun, in a Landscape ; after the same. Abraham sending away Agar ; after the same. [He died in 1708.] CORNEILLE, John Baptist, was the younger brother of the preceding artist, born at Paris in 1646. He Wcis also instructed by his father, who sent him to Italy. After passing some years at Rome he returned to Paris, and was received into the Academy in 1676. Inferior to his brother in the correctness of his design, he was still a reputable painter, and gave proof of his talent in several pub- lic works at Paris. In the church of Notre Dame, he painted St. Peter delivered from prison. At the Carmelites, Christ appearing to St. Theresa. He also engraved several plates from his own designs, and some after the Caracci. They are etched with great spirit, and some of them finished with' the graver. The following are his best plates : subjects from his own designs. The Bust of Michael Angelo. Susanna and the Elders. St. Augustine in the midst of his Disciples. St. Bernard. Christ appearing to St. Theresa and St. John. The Bust of Monsieur, crowned by Victory. Apollo and Cupid ; a medallion. ApoUo and Daphne ; the same. Mercury in the Air. Diana and Calisto. subjects AFTER CARACCI. St. John in the Wilderness ; after An. Caracci. Christ with the Samaritan Woman ; after the same. Two Landscapes, with St. Francis. [He died in 1695. Nagler, by a misprint, says he was born in 1664.] CORNBLISZ, or CORNELUS, Lucas, called THE Cook, an old Dutch painter, born at Leyden in 1493. He was the son of Cornelius Engelbrechtsen, and, according to Van Mander, was instructed by his father. The little encouragement the art expe- rienced at that time in his native country, obliged him, for the support of a numerous family, to exer- cise the occupation of a cook, and eventually in- duced him to visit England in the reign of Henry VIII., by whom he was employed, and was made painter to the king. Van Mander mentions some of the works of this master at Leyden; among others, the Adulteress before Christ. Of Ms works in England, his sixteen pictures of the Constables of Queenborough Castle, at Penshurst, are the most considerable; and though few of them could be corn] PAINTERS AND ENGRAVERS. [CORT original paintings, they possessed great merit. [It is said that he died in 1552. There has been much useless discussion respecting him.] CORNELISZ, James. This painter was born at the small town of Oost-SanenJ m Holland, about the year 1470. Some of his historical pictures are ' described by Van Mander, who speais of them in very favom'able terms, particularly a picture of the Circumcision, in the gi'eat church at Haerlem, paint- ed in 1517, and a Descent from the Cross, at Alk- maer, the back-ground of which was painted by John Schoorel, who was his scholar. He died at Amsterdam, at an advanced age. CORNELISZ, Lambert, a Dutch engraver, who was chiefly employed for the booksellers in en- graving portraits. Among others, we have by him me portrait of Tycho Brahe, the Astronomer. [See the note to Van Assen.] CORNISH, . This name is affixed- to a slight etching, representing the portrait of Dr. Charles Rose, a Scotch clergyman. It was proba- bly the production of an amateur engraver, who was a member of the University of Oxford, as it is inscribed Cornish, Oxorij CORONA, Leonardo, was the son of aminiature painter, bom at Murano in 1561, and, according to Ridolfi, was first instructed by Rocco da S. Silves- tro, a painter of httle note, who occupied him in copying; but he afterwards improved himself by studying the works of Titian and Tintoretto. His acquaintance with Alessandro Vittoria, an eminent sculptor, was also of the greatest use to him, who, Lanzi says, gave him chalk models for the better management of the chiaro-scuro, and assisted him in his esteemed picture of the Annunciation in S. S. Giovanni e Paolo j and his more admired work of the Assumption in S. Stefano, painted with a great- ness of style that approaches to Titian. In S. Fantino, is his picture so much applauded by Ri- dolfi, of the Crucifixion, in which he treads so closely on the heels of Tintoretto, as to be httle short of the excellence of that master. He died in 1605. [It is said that he copied the works of Titian so exactly, that connoisseurs mistook them for the originals.] CORONELLI, P. This artist was a native of Venice, and flourished about the year 1716. He engraved the plates for a work entitled Boma Antica Modema del P. Coronelli cosmografo pubhlico, ad uso de sttoi Argonauti in Venezia, 1716. They consist of views of buildings, &c., and are etched in a sUght, indifferent style. CORRADI. See Ghirlandaio. CORREA, Diego, a Spanish painter, of no great repute, who flourished, according to the date on some of his pictures, in 1550. In the convent of the Bemardines at Val-de-Iglesias, are some of the works of this master, representing the Passion ; and at Placenzia, in the convent of S. Vicencio, are two pictures of subjects from the life of the Virgin, CORSO, NiccoLO. This painter was a native of Genoa, and flourished about the year 1503, the date inscribed on some of his works. His pictures are chiefly in the cloister and refectory of the monastery of the P. P. Olivetani, at Quarto, near Genoa, of which the most esteemed is a subject from the hfe of S. Benedetto. Soprani extols this painter for the fecundity of his ideas, the fine expression in his heads, and above all, for the vivacity and firmness of his colouring, which if it could be divested of a little hardness, this artist would rank among the ablest of the Genoese painters of his time. CORSO, Giovanni ViNCENZOjWas born at Naples about the year 1490, and was first under the tuition of Giovanni Antonio Amato, but afterwards studied at Rome, under Pierino del Vaga. Most of the works of this artist in the churches at Naples have been damaged and retouched. The best preserved are his admired picture of Christ bearinghig Cross, with many figures, in the church of S. Domenico Mag- giore, and the Adoration of the Magi in S. Lorenzo. [He was ten years older than Pierino del Vaga ; he may have worked with him, but not as his scholar. There are some errors in the dates respecting this artist] CORT, Cornelius. This excellent engraver was born at Hoorn in Holland, in 1536. It is probable that he was first instructed by Jerome Cock, for whom, in the early part of his hfe, he executed several plates, which were published with the name of his mEister. After having engraved a consider- able number of subjects from the Dutch and Flemish painters, he went to Italy, and first settled at Venice, where he resided in the house of Titian, and en- graved some of the finest works of that great painter. He afterwards visited Rome, where he established a school, and executed many of those estimable works which are the delight of the judicious collector. The art of engraving had hitherto been nearly con- fined to small plates ; and it was Cornelius de Cort that opened the way to a more important walk of the art. It was under this able artist that Agostino Carae^i acquired his admirable use ol? the graver. The plates of C. Cort are entirely executed with that instrument, in a bold, open^ and masterly style. His drawing is correct and tasteful ; and his back- grounds, particularly his landscapes, are managed with great skill and finesse. M. Heineken has given a complete catalogue of the works of this esteemed artist, of which the merit will ji:^tify our giving the following ample hst of the most interesting. PORTRAITS. Cornelius Cort ; engraved by himself. Henricus II. Gallomm Rex ; oval. Catharina de Medicis ; Regina Franc. Don Juan of Austria ; oval, with ornaments. 1573. Marcus Antonius Moretns ; oval. Andrea Alciati ; oval, with ornaments. Roger of Brussels, painter. Theo^dore van Harlem ; painter. Joachim Dionatensis ; painter. SUBJECTS AFTER HIS OWN DESIGNS. The Birth of the Virgin. 1568. The Conception of the Virgin. 1567. The Presentation in the Temple. The Repose in Egypt. 1568. The Holy Family, St. Joseph presenting a Pear to the Infant. The Last Supper. 1568. He engraved this subject twice. A Crucifix over a Globe, held hy two Angels. The Resurrection. 1569. St. Theodore, patron of Venice, overcoming a Dragon. St. Catherine crowned by Angels. 1575. St. Veredina kneeling before an Altar. Two Landscapes, with Shipwrecks. SUBJECTS AFTER FLEMISH MASTERS BEFORE HE WENT TO ITALY. Adam and Eve, with the Sei-pent ; after Michael Coxeie. The Resurrection ; after the same. 1568. The Descent of the fioly Ghost ; after thg same Chi-ist triumphant, with St. Peter and St. Paul ; aper the sam£. , .^ Four plates of the History of the Rich Man and Lazaras ; after Hemskerk. The Parable of the Vineyard ; after the same. Four plates of the Parable of the Talents ; after the sarm. Six plates of the History of Noah and the Deluge ; aper F. Floris. 18o cort] A DICTIONARY OP [COST Six plates of the History of Abraham : after the same. Six plates of the History of Jacob and Kachel ; after the Ten plates of the Labours of Hercules ; after the same. Four plates of the History of Pluto and Proserpine; after Bacchus and Venus. 1566 ; after the same. The Irrunortality of Virtue ; emblematical ; after the same. 1S64. The Descent from the Cross ; after Roger vander Weyde. St. noch; after J. Spec/eart. 1567. St. Lawrence ; after the same. St. Dominick reading ; after Bart. Spranger. The Holy Family, with Angels ; after the same. The Crowning of the Virgin ; after Giles Moestaert. 1565. The Academy of Painting ; after Stradan ; fine. SUBJECTS ENGRAVED IN ITALY AFTER VARIOUS MASTERS. After Titian,. The Annunciation. Another Annunciation. The Martyrdom of St. Lawrence. 1571. The Trinity ; generally called All Saints. St. Jerome in the Wilderness, reading. St. Jerome in the Wilderness, kneeling before a Crucifix at the entrance of a Cavern j In Venetia. Corn, Cort. f. ; scarce. Not mentioned by Heineken. The Magdalene : half-length. The Magdalene in the Desert, before a Crucifix. Tarquin and Lucretia, 1571. Diana and Calista. Prometheus. Kogero liberating Angelica from the DragoQ. After Girolamo Mutia/no. St. Peter walking on the Water. 1568. Christ crowned by 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 Marys. St. Jerome in Meditation. A set of seven Landscapes, with figures, called the Seven Penitents ; St. John Baptist, Magdalene, St. Jerome, St. Onophrius, St. Hubert, St. Francis with the Stig- mata, and St. Francis in devotion. After Clovio. The Aimunciation. The Adoration of the Magi, in the form of an Altar. The Virgin and Infant, half-length. Christ preaching in the Temple. The Baptism of Christ. The Crucifixion, between the two Thieves. Another Crucifixion ; a grand composition. 1568. The dead Christ, with the Marys. The Entombing of Christ. Christ appearing to Magdalene. The Conversion of St. Paul. St. George and the Dragon. After Taddeo Zuechero The Creation of Adam and Eve. The Presentation in the Temple. The Nativity ; a rich composition. The Holy Family, with St. John and his Lamb. The Miracle of the Loaves. The Entombing of Christ. The Descent of the^oly Ghost. The Martyrdom of St. Agatha. After Federigo Zncchero. Moses and Aaron before Pharaoh. The Birth of the Virgin. 1578. The Conception of the Virgin. The Annunciation. 1571. The Nativity. 1668. The Adoration of the Magi. The Holy Family, with the Infant. The Flight into Egypt. The Adulteress before Christ. Christ tempted in the Wilderness. Christ driving the Buyers and Sellers from the Temple. The Resurrection of Lazarus. The Woman of Samaria. Christ on the Mount of Olives. 186 Christ taken in the Garden. The Death of the Virgin. The Crowning of the Virgin. After RaffaeUe. The Transfiguration. The Battle of the Romans, called the Battle of the Ele- phants. He has engraved a reverse of this plate. The Battle of Constantine with Maxentius. SUBJECTS AFTER VARIOUS ITALIAN MASTERS. Parnassus ; after Polidoro da Caira/oaggio. The Adoration of the Shepherds ; after the same. The Repose in Egypt ; after B. Bassaro. The Visitation of the Virgin to St. Elisabeth; after Marco da Siena. The Nativity ; after the same. The Adoration of the Shepherds; after Paris Romano. The Holy Family ; after F. Baroccio. The Baptism of Christ ; after F. Salviati. The Marriage at Cana ; after Lorenzo Sabbatini, The Last Supper; after Livio Agresti. The Stoning of Stephen ; after Marcello Venmti. St. Jerome penitent ; after Rieeio da Siena. St. Jerome in the Desert, with two Angels ; after J, Parmensis. The Cord of St. Francis ; after Caracci. The Marriage of St. Catherine ; after Coreggio. The celebrated St. Jerome ; after the same. St. Margaret of Cortona ; after Tempesta. A Dance of Dryads ; after il Rosso. . The Three Fates ; after Giulio Romano, The two Tombs of the Medici ; after M. Angela, Cornelius Cort died at Rome in 1578. [CORT, Henri de, bom at Antwerp in 1742, studied landscape under Antonissen, and figures under G. Herreyns : in his landscapes, however, pre- vious to his settling in England, the figures and animals were painted by Ommeganck and P. Van Regemorter. His landscapes are much in the Ital- ian taste, with views of cities and ancient ruins, pleasingly coloured and neatly finished. He resided many years at London, where he died in 1810.] CORTE, Valeric. This painter was born at Venice in 1530. Under the guidance of Titian he became an eminent painter of portraits, and with that ability he settled at Genoa, where he met with great encouragement, but mined himself by the folly of alchymy. He died in 1580. CORTE, Cesare, was the son of the preceding artist, born at Genoa in 1554, and was instmcted by his father. According to Baldinucci, he was one of the most reputed portrait painters of his time, and also painted history with considerable success. He visited France, where he was much employed, and is said, by Baldinucci, to have been in England in the reign of Queen Elizabeth, although he is not mentioned in Lord Orford's Anecdotes, where he painted the Queen, and several of the nobility. His best historical works are at Genoa. In the church of S. Pietro, the titular Saint at the feet of the Virgin, coloured with great chasteness and delicacy. In S. Francesco, the Altar-piece of the Chapel of the Prince Massa, representing Mary Magdalene ; and in the church of S. Maria del Car- mina, are two pictures by him of St. Simeon and St. Francis. [The best authorities place his birth in 1550, and his death in 1613.] CORTE, Juan de la. According to Palomino, this painter was born at Madrid in 1587. He ex- celled in landscapes, battle-pieces, and perspective views. He also painted small pictures of subjects from sacred history. He was painter to Philip III., and was continued in that situation by his successor Philip IV. There are several of his pictures in the Bueno Retiro and el Saloncete. He died in 1660. [Bermudez says he was born in 1597, and that he cort] PAINTERS AND ENGRAVERS. [cort finished his studies in the school of Velasquez. His pictures were much coveted in Spain.] [CORTE, Gabriel de la, the son of Juan de la C orte, was born in 1 648. Without the aid of a mas- ter he practised flower-painting by copying the works of Mario and Arellano. He arrived at such a degree of excellence that Antonio de Castrejore and Mathias de Torres employed him to paint gar- lands of flowers to surround their mythological subjects. He died at Madrid in 1694.] CORTESE, Jacopo, called II Borgognone. This celebrated artist was born- at St. Hippolyte, in Franche Conte, in 1621. He was the son of an obscure painter, who taught him the rudiments of design. At the age of fifteen he went to Milan, where he formed an mtimacy with a French ofiicer, who prevailed on him to enter the army, which he followed for some time ; designing on every occasion the marches, the attacks, and skirmishes of which he was a witness. After three years' service he quitted the military profession and returned to painting. At Bologna he became acquainted with Guido and Albano, and his intimacy with those dis- tinguished artists was of ^'eat advantage to his progress. He at length visited Rome, where his first attempts were some historical works, amongst which were Magdalene at the feet of Christ, in the church of S. Marta; and in il Gesu, the Murder of the Innocents and the Adoration of the Magi. The natural bent of his genius discovered itself on his seeing the admirable Battle of Constantine by Giuho Romano, in the Vatican; and from that time he devoted himself to a branch of the art which he has carried to a perfection unknown before or after him. Michael Angelo deUa BattagUa, having seen some of his works, with a hberaUty not always found in a rival, was one of the most zealous pubhshers of his fame. Whilst he was in full possession of popu- lar esteem, a circumstance occurred which occa- ' sioned his retirement fi:om the world. His wife, with whom he had not lived on the best terms, died suddenly ; and malevolence suspected and accused him of having poisoned her. This cruel accusation determined him to abandon society, and he took re- fuge with the Jesuits, of which body he soon after- wards became a member. But neither the gloom of a monastery, nor the afiliction of his mind, could subdue his ardour or impoverish his talent. The battle-pieces of Borgognone are composed with a fire and painted with a vigour peculiar to himself. His touch is admirable and of extraordinary facihty, his figures and horses are drawn with all the spirit requisite in the attacks of the fiercest combatants fighting for honour and for Ufe ; and (as Lanzi ex- presses it) " in beholding his pictures we seem to hear the shouts of war, the neighing of the horses, and the cries of the wounded." It is to be lamented that many of his works have blackened since they were painted. Four of the finest of his pictures are in the Palazzo Pitti, at Florence. We have some etchings of battles by Cortese, executed with uncommon spu-it, and with a masterly effect of light and shadow ; among which are the following : A set of Eight Battles ; Giac. Cortese, fee. A set of Four Battles ; J. C. He died at Rome in 1676. CORTESE, GuGLiELMO, also called I:l Borgog- none, was the brother of the preceding artist, born at St. Hyppolyte in 1628. He went to Rome whilst he was young, and became a scholar of Pie- tro da Cortona. He did not however follow the style of that master, but appears to have preferred the more regulated sobriety of C. Maratfi, in his compositions and the expression of his heads. He sometimes seems to have wished to resemble Guer- cino in the strength of his reUef, and his azure back-grounds. His works most deserving of notice, are a Madonna, and several Saints, in the Trinita di Pellegrini; the Battle of Joshua, in the palace of the Quirinal, in which he was assisted by his brother ; and the Crucifixion of St. Andrew, in S. Andrea a monte Cavallo. He died at Rome in 1697. [According to the foregoing dates he would have been 69 years old when he died ; but he died in 1679, and so was only 51.] CORTONA, PiETHO Berretini, da. This dis- tinguished painter was a Florentine, born at-Cortona in 1596, on which account he is generally called Pietro da Cortona. He is usually considered of the Roman school, as he went to that capital at the age of fourteen, (as Lanzi says,) " with little more than a well-disposed inchnation for the art." He was instructed at Rome by Baccio Ciarpi, but was more advantaged by his studies of the works of Rafiaelle, and PoUdoro da Caravaggio. The first productions of Cortona that excited attention, were two pic- tures, painted, whilst he was yet very young, for the Cardinal Sacchetti, representing the Rape of the Sabines, and one of the Battles of Alexander. These extraordinary performances for so young an artist attracted the notice of Pope Urban VIIL, who commissioned him to paint a chapel in the church of S. Bibiena, where Ciampelli, an artist of reputation, was at that time employed, and who re- garded with contempt the audacity of so young a man venturing on so important a public undertak- ing; but he had no sooner commenced the work than Ciampelli was convinced of his ability. The success of that performance procured him his cele- brated work of the ceiling of the grand saloon, in the Palazzo Barberini ; which is considered one of the greatest productions that have been executed by the most distinguished machinists. The richness of the composition, the perfect intelligence of the chiaro-scuro, the harmony of the icolour, and the splendour of the style, render it one of the most perfect specimens of the ornamental. Of this great work it has been observed, that the drawing is not the most correct, and that his draperies have not the appearance of nature; but the acknowledged beauties of the work are so agreeable and seductive, that it IS impossible to contemplate it without ad- miration. P. da Cortona travelled through Lora- bardy, visited Venice, and returning by way of Florence to Rome, he was engaged by the Grand Duke Ferdinand II. to paint the saloon and four apartments in the Palazzo Pitti; where he repre- sented the Clemency of Alexander to the Family of Darius ; the Continence of Cyrus ; the Firmness of Porsenna; the History of Massinissa; and other subjects. He did not entirely finish the works he had projected for the Grand Duke. Disgusted by the intrigues of some artists, jealous of his reputa- tion, he left Florence abruptly, and could never be prevailed on to return. They were finished by Ciro Ferri. On his arrival at Rome he continued to be loaded with commissions, and employed by Alexander VII., who conferred on him the order of the Golden Spur. The works of Berretini exhibit a most fertile invention and an uncommon facility of operation. His figures are not designed with scru- pulous correctness, nor are the heads of his females strictly beautiful ; but they have always a gi-ace and 187 CORV] A DICTIONARY OF [cost loveliness that charm in spite of those deficiencies. If his colouring is not always chaste, it is constantly agreeable, and possesses much of what the Itahans call Vaghezm. His powers were particularly adapted to the great works that require to be ex- ecuted in fresco, to which he gave a brilliancy and force nearly approaching to o& painting. It may be said, that, ,like other great machinists, he some- times crowded his compositions with figures unes- sential to his subject; and that he was more intent on seducing the eye by splendid confusion, than satisfying the jud^ent by costumal and charac- teristic propriety. 1 1 is however generally admitted, that his style is broad and facile, that his composi- tions are copious and ingenious, and that if he does not always address himself to the mind, he fasci- nates the eye by a grand and imposing spectacle. The principal works of Cortona at Rome are, the saloon in the Barberini palace, and a gallery in the Pamphili ; the cupola and the vault in the tribune in the Chiesa Nuova; the Conversion of St. Paul, at the Cappuccini, one of his distinguished works. In the church of the Conception, a fine picture of St. Paul healed by Ananias. At Florence are his celebrated fresco works in the Palazzo Pitti. He died at Rome in 1669. CORVINUS, John Augdstds, a German en- graver, who flourished about the year 1724. He worked chiefly for the booksellers, and principally engraved views and buildings, in a neat but stiff style. By him there is a set of ornaments for ceil- ings, after designs by Carlo Maria Pozzi ; most of the plates for a work entitled Representatio Belli oh successionem in Regno Hispanico, published at Augs- bourg, are by this artist ; and several of churches, &c., at Vienna, for another book published at Augs- bourg, by John Andrew Peefel, 1724. [Zani says he was born in 1682, and died in 1738.] COSCI. See Balducci. COSIERS, John, a Flemish painter, born at Antwerp in 1603. He was a scholar of Cornelius de Vos, and proved a very reputable painter of his- tory. There are many of his works in the churches in Flanders ; they are judiciously composed, and his attitudes are well chosen and natural. His drawing is tolerably correct, and his colouring vigorous, though a little too brown. In the back-gi-ounds of his pictures he frequently introduced architecture, which he treated in a masterly manner. The fol- lowing are among his best works. At Brussels, in the church formerly of the Jesuits, the Nativity; and at the Beguinage, the Martyrdom of St. Ursula. At Mecklin, a grand composition of the Crucifixion ; and the Presentation in the Temple. He was di- rector of the Academy at Antwerp in 1639, [and died in 1652. His proper name is Jean Cossiers.'] COSIMO, PiETRO. See Rosselli. COSSALE, or rather COZZALE, Grazio. This painter was a native of Brescia, and flourished about the year 1605. He is said by Cozzando, in his Ristrefto della Storia Rresciana, to have possessed an uncommon readiness of invention, and in his larger works appeared to have imitated the prompt style of Palma, without having sunk into his man- ner. His principal works are, the Adoration of the Magi, in the church dell? Grazie, at Brescia; and the Presentation in the Temple, in Le Miracoh. This artist was unfortunately killed by his son. [COSSIAU, JoHANN JosT D., a landscape paint- er, born at Breda, but in what year is uncertain, as three writers of credit give three diflferent dates, 1654, 1664, and 1666. Fussh says he died in 1732, 188 in his 78th year; and Nagler, that he died in 1734. His manner of treating his landscapes is Italian, and he endeavoured to imitate the style of Gaspar Poussin. His pictures are well composed, and are enriched with buildings and cattle. Some of them are in the Gallery at Dusseldorf, and in various col- lections in Germany. Zani calls him Dottor Oiuda.'] COSSIN, Louis, a French engraver, bom at Troyes about the year 1633. We have by him some portraits, and a few subjects after various masters, executed with the graver in a style that has not much to recommend it. The following are by him : PORTRAITS. Louis XV., King of France, as large as life. Valentine Courat, of the French Academy. Francis Chaveau, engraver. Charles John, Count of Koenigsmark ; after Dahl. SUBJECTS AFTER VARIOUS MASTERS. The Virgin Mary ; after Le Brun. St. John Evangelist suspended over a Cauldron of boil- ing Oil ; after the same. The Stoning of St. Paul at Lystra ; after Champagne. The School of Athens ; after RaffaeUe ; large plate. COSTA, Lorenzo, the elder. This painter was a native of Ferrara, and was a disciple of Fran- cisco Francia, as appears from his inscription on the picture of the family of Gio. Bentivoglio, Lau- rentius Costa Francice discipulus, and from the great similitude in their style, which is evident in their numerous works in the churches at Bologna. He flourished from the year 1488 to 1530. Without entirely equalling his instructor, he may be ranked among the most eminent painters of his time. His most esteemed works at Bologna are, in the church of S. Maria Mascarella, the Resurrection, a com- position of many flgures ; in S. Giacomo Maggiore, in the capella Bentivoglio, that Family kneeling be- fore the Virgin and Infant seated on a Throne. In S. Petronio, S. Girolamo and other Saints ; and the Madonna and Bambino, with S. Sebastiano, S. Girolamo, and S. Giorgio ; considered as two of his best works. At Ferrara, in the Certosa, a Pieti; and in S. Guglielmo, the Assumption of the Virgin. [He was living in 1535.] COSTA, Ippolito, is said to have been the son of the preceding artist, born at Mantua. He flour- ished about the year 1538, and, according to Or- landi, was a scholar of Girolamo da Carpi. Baldi- nucci reports him to have studied under Giulio Romano, which is supported by a resemblance in their style. He was the instructor of a very able artist, Bernardino Campi, and also initiated into the art his brother Luigi Costa. COSTA, Lorenzo, the younger. This artist appears to have been the grandson of Lorenzo Costa the elder, and the son of Ippolito, or of Luigi Costa. He is mentioned by Vasan, as a coadjutor of Taddeo Zucchero, about the year 1560. . In the Guida di Mantoua, by CadioH, there are many pictures in- dicated under the name of Costa without particular- izing their 'baptismal names, which makes it almost impossible to identify their works. With Lorenzo Costa the younger, the last branch of this family, expired the great principles of Mantuan art. COSTANZI, Placido, was born at Rome in 1688, and painted historical subjects. Of his large works, the most esteemed is his S. Camillo, in S. Maria Madalena ; in which he has aspired to the imitation of Domenichino. He also painted in fresco the tribune in S. Maria in Campo Marzio, and was much employed in painting figures in the cost] PAINTERS AND ENGRAVERS. [CPUR landscapes of other artists, particularly in those of Gio. Francesco van Bloemen, called Orizonti. He died in 1759. COSTER, Adam de. This painter was a native of Antwerp, and is supposed to nave been a disciple of Theodore Rombouts. He painted history and portraits with considerable reputation ; but he par- ticularly excelled in painting gallant assemblies and festivals, which are ingeniously composed, and co- loured with great force and vigour. We have a fine print, engraved by X. Vorsterman, after a pic- ture, representing a concert, painted hyA.de Coster. COSTER, D., a Flemish engraver, who flour- ished about the year 1700. He was chiefly em- ployed by the booksellers ; and, among other plates, engraved a portrait of Francis Hals, the painter, after Vandyck. [COSWAY, Richard, a very eminent English painter in water-colour miniatures, and in oil, was born at Tiverton in Devonshire, in 1740. He came early to London, and soon distinguished himself by his dra;wings from the antique in the Duke of Rich- mond's gallery, which Cipriani and Bartolozzi pro- nounced admirable. In 1/71 he was elected a Royal Academician. He continued to progress in public favour, and for a considerable time maintained the ascendency in his particular branch of art, minia- ture, and bade defiance to all attempts at rivalry. In his oil paintings he aimed at the manner of Co- reggio; and there are in existence some that, for beauty of design and sweetness of expression, would not discredit that thrice-honoured name. His widow retained three till the time of her death. He painted all the beauty and fashion of his day : he was particularly distinguished by the notice of the Prince of Wales, then the leader of the gay world, and Cosway painted hiin as a gentleman, and not as a coxcomb or an actor. Accounts of Cosway have been published abounding with scandalous and humorous anecdote ; they have, however, lost their interest, and do not merit to be recorded here. Cos- way was fond of collecting pictures, drawings, prints, and other objects of art : his house in Strat- ford Place was like a dealer's magazine, being flUed with the miscellaneous articles that are found in such depots. After his death all was disposed of by auction. He died the fourth of July, 1821.] COTES, Francis, an English portrait painter, born about the year 1725. He was a scholar of George Knapton. Lord Orford mentions some of his works in oil and in crayons, the latter of which he compares to the portraits of Rosalba. He died in the prime of hfe, of the stone, in 1770. [He was a veiy eminent painter with crayons, and one of the first members of the Royal Academy. His brother Samuel was also a crayon painter : he died in 1818.] COTIGNOLA, Francesco da, called Zaga- NELLi. This painter resided chiefly at Parma, and flourished about the year 1518. He was the scholar of Niccolo Rondinello. Vasari commends him for his colouring, though inferior to his instructor in design and composition. His celebrated picture of the Resurrection, at Classe, and his esteemed work of the Baptism of Christ, at Faenza, are productions that do honour to his country. He also painted an admirable picture of the Madonna surrounded by Saints, at the Osservanti at Parma. [The last- named picture was painted in conjunction with his brother Bernardino^ who was an artist of consider- able ability. Crespi is in error in making these two artists one, under the name Francesco Ber- nardo.'] COTIGNOLA, Girolamo Marchesi, da. The family name of this painter was Marchesi. He was born at Cotignola in the Bolognese, about the year 1475, and was a scholar of Francesco Francia, and, according to Vasari, was one of the most eminent portrait painters of his day. He also painted his- tory, and there are some of his pictures in the churches at Bologna and the vicinity, that prove him to have been a very reputable artist in his time. His design partakes of the dry, stiflf manner of his day, but his colouring is good, and the expres- sion of his heads superior to most of his contempor- aries. In the church of S. Giuseppe at Bologna is one of his best works, representing the Marriage of the Virgin. [Two pictures, formerly in the Solly collection, show that Girolamo Cottignola was a really great painter : the one is dated 1512, and re- presents the Ascension of the Virgin; the other, dated 1528, St. Peter and Pope Gregory in converse, attended by two angels ; the Virgin and Child, sur- rounded with angels, above. There is a remg,rkable alteration of manner in the second picture, indicat- ing the extraordinary influence of the works of Raphael on the painters of the period. Girolamo Cottignola is supposed to have lived till 1550.] COTTA, Jacopo, an Italian engraver, who flour- ished about the year 1600. His name is affixed to an etching representing the Meeting of Isaac and Rebecca, after Storer. It is executed in a poor, tasteless style, and incorrectly drawn. COTTART, Peter. According to Florent Le Comte, this artist was an architect, and flourished in the seventeenth century. He etched some plates of vases and ornaments, which are executed in a bold, coarse style. His prints are usually marked with the monogram ^ . [COUCHET, FRAN901S-L0UIS, a French de- signer and engi'aver, born in 1782, has produced numerous works relative to the battles and trophies of the French armies in Italy and Spain, partly from his own designs, and partly from those of others. He engraved many of the plates for the Orleans Gallery, and for Denon's grand work on Egypt ; and sixty, from his own designs, for Nor- win's History of Napoleon. He was appointed in 1824 engraver of the battles and huntings of the Duke of Angouleme, since when there is no further account of him.] COULET, Anne Philibert. This ingenious French lady has engraved several plates of very pleasing landscapes and marines, which are charm- ingly etched and flnished with the graver, in a delicate and agreeable style. We have by her the following : The " Kendez-Tous a la Colonne;" after Berghem. The Departure of the Boat ; after Vemet. The Fortunate Passage ; after the same. The Fine Afternoon ; after the same. The Fishermen throwing their Nets ; after the same. The Neapolitan Fishermen ; after the same. Kural Pleasures ; after Lowtherbourg. The Companion ; after the same. Going to Market ; after Van Goyen. COURSES, John de, a French engraver, born about the year 1592. He was principally em- ployed for the booksellers. He appears to have been in England, as we have by him the portrait of Sir Philip Sydney, and that of Mary, Countess of Pembroke. COURTOIS. SeeCoRTESE. 189 coujs] A DICTIONARY OP [COYP COURTOIS, Peter Francis, a French en- graver, who resided at Paris about the year 1760. He engraved some plates from the designs of St. Aubin, and others, but died in the prime of life. COUSE, J. This artist, if not a native of Eng- land, resided here about the year 1750. He en- graved a plate of a view of Berkeley Castle, from a drawing by the Countess of Berkeley, and some other prints, which are neatly executed, and pos- sess considerable merit. COUSIN, Jean. This artist may be regarded as the founder of the French school, as previous to his time the painters of his country confined themselves to portrait painting. He was born at Soucy, near Sens, about the year 1530. His first occupation was glass-staining, of which he has been very unac- countably stated to have been the inventor. His principal work, as a painter, is a picture of the Last Judgment, which was formerly in the convent of the Minimes at Vincennes, now in the gallery of the Louvre. It is a grand composition, and the design is more in the taste of Parmegiano than the French style. The windows of the church of the convent were also painted by him. Of his perform- ances as a painter on glass, the windows of the choir of the church of St. Gervais at Paris are con- sidered his best works. They represent the Martyr- dom of St. Lawrence, Christ with the Woman of Samaria, and Christ curing the Paralytic. COUSINET, Elisabeth. See Empereuh. COUSSIN, H. According to Basan, this artist was a native of Prance, and resided at Aix, in Provence, about the year 1760. He etched several platss after Piiget, Rembrandt, and other masters. ^ [COUTANT, Jean-Louis-Denis, a French en- graver, born at Argenteuil in 1776, was a scholar of Mechel of Basle, and was chiefly employed on sub- jects of natural history. Among his principal productions are the plates for the great work on Egypt ; for the travels of the Baron de Humboldt in the Cordilleiras ; the fossil bones by Cuvier ; for the great work on the Anatomy of the Brain by Professor Langenberg of Gottingen, and others of a like kind. He also engi-aved the plates for Captain Freycinet's Voyage round the World. The date of his death is not ascertained.] COUVAY, John, a French engraver, bom at Aries, about the year 1622. He worked almost en- tirely with the graver, in a bold, coarse manner, not unlike the style of Villamena. He sometimes marked his plates ^^. We have by him the fol- lowing : Louis XIV. on 'B.orseha.ck, preceded by Fame ; after J, Bourdon. The Virgin and Infant ; after RaffaeUe ; Dileetus metis, Sse. St. John in the Desert j after the same. St. Benedict, tempted by the Demon, presenting a Cmci- fix; after Guercino. The Virgin ; after Blanchard. Magdalene ; half-length ; after Le Brun. The Ascension ; after J. Stella. The Martyrdom of St. Bartholomew ; after Poussin ; fine. Mary, Queen of Scotland ; the Execution seen through the "Window. % A set of small prints, called Les Tableaux de la Peni- tence ; after J. Chaveau. COVYN, [or COUVEYN,] Renier and Israel. These two brothers were natives of the Nether- lands. The elder, Renier, painted market women, with dead game, vegetables, fruit, &c. Israel, the younger, attempted mstory, but was more successful 190 in portraits. Neither of them went beyond me- diocrity. COXCIE, Michael, a Flemish painter, born at Mechlin in 1497. He was for a short time a dis- ciple of Van Orley, but went to Italy when he was young, and applied himself to studying the works of RaffaeUe, with whom he was contemporary. He passed several years at Rome, where he painted some pictures for the church of S. Maria della Pace. On his return to Flanders he was much employed, and there are many of his works in the churches at Brussels and Antwerp, that establish the respecta- bility of his taleiits. His pictures are finely com- posed, and there is something of the Roman school in the style of his design. His female figures are more graceful and elegant than is usual in the art- ists of his country. He has been accused of taking some of his compositions from the designs of Raf faelle. The excellent use he has made of the ' plagiarism will almost excuse it. At Brussels, in the collegiate church of St. Gudule, is a fine picture by "Coxcie of the Last Supper ; and in Notre Dame, the Death of the Virgin. In the abbey of St. Ger- trude is a picture of the Crucifixion, much in the style of RaffaeUe. At Antwerp, in the cathedral, is the Martyrdom of St. Sebastian. He died at Ant- werp in 1592. COYPEL, Noel, a French painter, bom at Paris in 1628. He was first placed under the tuition of an artist, named Poncet, at Orleans ; but at the age 'of fourteen he became a scholar of Guillerier, under whom he acquired suflScient abiUty to be employed by Charles Errard, who was charged with the su- perintendence of the works at the Louvre. It was not long before he distinguished himself, and he was received into the Academy in 1659. His picture of reception was Cain slaying Abel. It was about the same time that he painted his celebrated picture of thg Martyrdom of St. James, in the church of Notre Dame. He was now regarded as one of the ablest artists of France, and was appointed by the king director of the French Academy at Rome. He visited the metropolis of art in 1672, and pre- sided at the Academy with great reputation for three years. It was during his residence at Rome that he painted his four easel pictures for the king's cabinet, representing Solon taking leave of the Athe- nians, Trajan giving public audience to the Romans, Ptolemy ransoming the Jews, and Alexander Severus distributing Corn to the Roman People. These pictures were publicly exposed at Rome in the Ro- tonda, and gained him great reputation. They are now placed in the gallery of the Louvre. He ap- pears to have imitated in them the style of Poussin and Le Sueur. After three years' residence at Rome, Coypel returned to Paris, and was employed in several fresco paintings in the Tuilleries. He ex- ecuted his last work at the advanced age of 78. It was the Vault of the Sanctuary at the Invalids, and may be considered as one of nis best productions. He died in 1707. Noel Coypel has etched the fol- lowing plates : The Virgin caressing the infant Jesus. The same subject ; larger. The Holy Family. COYPEL, Antoine, was the son of the foregoing artist, bom at Paris in 1661. His father instructed him in the art, and conducted him to Rome when he was appointed idirector of the French Academy there. But neither the chefs d!oiuvres of Rome, nor the example of his father, could inspire him with a feeling for the truly grand and beautiM. He pre- COYP] PAINTERS AND ENGRAVERS. [crab ferred the style and counsel of Bernini to the study of Raffeelle and the Caracci ; and to confinn him in the depravity of his taste, he returned to Paris at the age of eighteen; that is to say, he left Rome pre- cisely at the time that he should have gone there. He was only nineteen when he painted nis picture of the Assumption, in the church of Notre Dame, and at twenty he became a member of the Academy at Paris. He was taken into the employment of the coiu't, and became one of the most popular painters of his country. It is curious to compare the criticism of two of the most esteemed of the Fi'ench biographers, respecting the works of this painter. "No artist," says M. D'Argenville, "possessed the poetry of the art in a higher degree than Antoine Coypel. Formed by nature for the grandest com- positions, the fertiUty of his genius displays itself through all his works. He was sraceful in the airs of his heads, painted children in me greatest perfec- tion, and was, above all, attentive in expressing with propriety the passions of the soul." A less favourable judgment is pronounced by M. Watelet : " Because," says that writer, " he was equal to the production of a great machine in the theatrical style, he was conceived to possess the poetry of the art ; because he gave to his heads a physiognomy purely French, they are thought to be beautiful. His coquetry is called grace, a grace to be learned of the dancing-master. He consulted the comedian Baron for the attitudes of his most exalted charac- ters, and travestied a hero of antiquity into a puppet of the theatre." Antoine Coypel cannot however be denied to pos- sess those qualities which are found in the artists most admired in his country, qualities which per- haps were necessary to the gi'atification of national feeling, and the ac(juisition of popularity. His prin- cipal works at Pans are, Christ among the Doctors, and the Assumption, in the church of Notre Dame ; at the Carthusians, Christ curing the Bhnd at Jericho. He was much employed in decorating the royal palaces, and was made principal painter to the king in 1715. He died at Paris in 1722. We have by A. Coypel several etchings, executed in a finished but masterly style ; among which are the following : Melchisedec presenting the Bread to Abraham. Judith ; half-length ; finished by Simoneau, The Baptism of Christ. Ecce Homo ; finished by Simoneau. The Virgin ajid Infant, in an oval. The Virgin suckling the Infant. St. Cecilia ; Cantabo Domino, S;c. Cupid conquering Pan. Bacchus and Ariadne; finished by G.AvAran; very fine. The Triumph of Galatea ; finished by Simoneau; fine. The Head of Bemocritus. The Portrait of le Voisin, broke on the wheel for poison- ing; two plates, large and small. COYPEL, Noel Nicholas, was the brother of the preceding artist, and the younger son of Noel Coypel, by a second marriage, bom at Paris in 1692. He received his first instruction fi-om his father, whom he had the misfortune to lose when he was fifteen years of age. It does not appear that he had the advantage of seeing Italy ; he studied from the best works of art in his own country, and be- came of suflBcient celebrity to be received into the Academy in 1720, when he was twenty-eight years of age. His picture of reception was Neptune carrying ofi" Amymone. His best works are, the ceiling of the chapel of the Virgin in St. Saviour, and the altar-piece in the same chapel, representing the Assumption. There are several other works of this artist m the churches at Paris. He died in 1735. We have the following four plates etched by this master ; St. Theresa, with several Angels. The Triumph of Amphitrite. Jupiter and Antiope. A young "Woman caressing a Dove ; afterwards finished by N. Edelinck. COYPEL, Charles Antoine, was the son of Antoine Coypel, born at Paris in 1694. He was in- structed by his father, whose style he followed in a very humble imitation. He quitted historical sub- jects to paint bambochades, and found himself even inadequate to that branch. His best works as a painter are his portraits ; that of Adriana le Couv- reur has been admirably engi'aved by Drevet the younger. C. A. Coypel etched some modish sub- jects, which were only interesting at the time. He died at Paris in 1752. COZENS, John. This artist was the son of Alexander Cozens, a Russian by birth, who estab- lished himself in London, as a landscape painter and drawing-master, about the year 1770. He fol- lowed the same profession, but with great abiUty and elegance. He produced some drawings, which possessed extraordinary merit, executed in a style which was afterwards adopted and improved by the ingenious Mr. Girtin. He died in 1799. [His drawings are held in great estimation by all real connoisseurs.] COZZA, Francesco. This painter was a Cala- brian, born at Istilo in 1605. He went early in his life to Rome, and became a scholar of Domenichino, to whom he attached 'himself by the most marked afiection, and, according to the Abate Titi, finished ', some of the works of that master after his death. He was received into the Academy at Rome in 1650. One of his best works is the Vergine del riscatto, in the church of S. Francesca Romana a Capo aUe case at Rome. He died in 1682. COZZA, Giovanni Batista, was born at Milan in 1676. Whilst he was yet young he settled at Ferrara, where he was much employed for the churches. Without great correctness of design, he possessed a copious invention, and an unusual fa- cihty of handling. Of his numerous works at Ferrara, the following are the principal. In the ca- thedral, the Immaculate Conception ; at the Ognis- santi, the Holy Family ; in S. Lucia, the Annunci- ation ; and in S. Gu^elmo, the Assumption of the Virgin. He died at Ferrara in 1742. COZZA, Carlo. This painter was the son of the preceding painter, bom at Ferrara about the year 1700. He was instracted by his father, in whose style he painted several pictures for the churches of his native city. In the Chiesa Nuova, is a picture by him of the Annunciation; in S. Lucia, S. Antonio Abate; and in S. Matteo, S. Francesco da Paola. He died at Ferrara in 1769. CRABETH, Dirk and Woulter. According to Vanmander, these brothers were natives of Gouda. They were the most eminent painters on glass of their time, and flourished about the year 1560. Their principal works were the windows of tHe great church at Gouda, which have been consi- dered as the most extraordinary performances in that branch of art. On the four windows are rejjre- sented the Nativity of Christ, Our Saviour driving the Buyers and Sellers from the Temple, the Death of Holofemes, and the Destruction of the Temple of Heliodorus. They are dated in 1560, 1564, 1566, and 1567. 191 crab] A DICTIONARY OF [CRAN CBABETH, Francis, a Flemish painter, bom at Mechlin in 1500. It is not said under whom he studied, but he painted history in the style of Lucas of Leyden. In the church of the Reccolets at Mech- lin, the picture of the principal altar is by this mas- ter. It represents the Crucifixion, and on the two folding doors he has painted two subjects from the Passion of our Saviour. He died at Mechlin in 1548. CRABETJE. See Asselvn. CRADOCK, Luke, an English painter of birds, dead game, and animals, in which he particularly excelled. He was bom at Ilchester, about the year 1660, and served an apprenticeship to a house- painter in London. Without the help of an in- structor, he became' a faithful delineator of birds and animals, which he painted with a freedom and a fire, that entitled him to more distinction, and a more liberal remuneration, than he received during his life. After his death, as has too frequently been the case with the works of many ingenious artists, his works were sold at three or four times the price he received for them when living. He died in 1717. CRAESBECKE, JosSe. Craesbecke, the pot companion an^ scholar of Adrian Brower, was born at Brussels in 1608. He was bred a baker, and had settled at Antwerp in that capacity, at the time that Brower visited that city. A conformity in their habits of debauchery brought them acquainted, and Brower became his inmate on quittmg the pro- tection of Rubens. Craesbecke forsook his oven, and became the disciple of his friend, and it is sur- prising that a person who had never practised the art until he had reached the age of thirty, should have arrrived at a proficiency, which, though great- ly inferior to his instructor, is suflicient to range him among the ingenious artists of his country, par- ticularly as a colourist. He painted similar sub- jects to those of Brower, very unequal in character and the finesse of touch, and marked with greater vulgarity. Many eccentric vagaries are related by the Flemish writers of Craesbecke and his friend Brower. He died in 1688. CRAMER, Nicholas, a Dutch painter, bom at Leyden in 1670. AccordiiM to Van Gool, he was for some time a scholar of William Mieris, but after- wards studied under Karel de Moor, whose manner he followed. He painted subjects taken from pri- vate life, and portraits in small. His pictures of that description are seen in the best collections in Holland, and are deservedly admired. He died in 1710. CRANACH, or KRANACH, Lucas, a German painter and more celebrated engraver, bom at Cra- nach, in the bishopric of Bamberg, in 1472. He was a contemporary of Albert Durer, and painted history and portraits, in the stiff and formal style that prevailed previous to the commencement of its reformation by Durer. He is worthy of more par- ticular attention as an engraver. We have but a few of his works on copper, and those are designed and executed in the dry and Gothic style of his paintings; but his wooden cuts are deservedly es- teemed by the curious collector. Some of his prints are in chiaro-scuro, and are also sought after. He sometimes marked his prints with the arms of Saxony, or with a dragon with a ring in its mouth, which is the crest, to show he was painter to the , Elector, and sometimes the cipher ^j , or ^*. The following are his principal prints : 192 copper-plates. The Portrait of John Frederick, Elector of Saxony, with an Angel holding a Crown of Laurel ; very scarce. The Portraits of Frederick and John, two Electors of Saxony ; half-length, one holding a Chaplet. 1510. Christianus II., Danorum Hex, &c. Martin Luther, in the Habit of a Monk, Adam and Eve, after theii- Fall, 1509, with the arms. Chiist tempted in the Wilderness, L C. W. ; very scarce. Christ in the Clouds, surrounded by Angels ; below, a half-length of the Elector. WOODEN CUTS. The Bpstof John Frederifk, Elector of Saxony. Half-length of an Elector, with a Book, before a Crucifix ; marked with the dragon, 1552 ; scarce. The Bust of Martin Luther, in the Habit of a Monk. D. Martin Luther ; full-length. PhUip Melancthon ; the same. The Emperor Charles V. ; the Siune. The Emperor Ferdinand ; the same. John Frederick, Elector of Saxony ; the same. John William, Duke of Saxony ; the same. Adam and Eve in Paradise. 1509. The Annunciation. St. John preaching in the Wilderness. 1316. The Passion of our Saviour ; in fourteen prints ; entitled Passio D. N, Jesu Christi, Ifc., 1509 ; very fine. The Twelve Apostles ; very fine. Paris dying on Mount Ida, visited by the three God- desses, 1508 ; fine. M. Curtius plunging into the Gulf. The Great Tournament. 1509. The Little Tournament. 1509. CUTS IN CHIARO-SCURO. St. George and the Dragon. St. Christopher carrying the infant Jesus. 1507.' Venus and Cupid. Lucas Cranius died in 1553. [He was born in 1470, and his family name was Sunder, that of Cranacli he took from the place of his birth. He entered early into the service of the electoral house of Sax- ony, and was court painter to the three electoral princes, Frederick the Wise, John the Persevering, and Frederick the Magnanimous. With the first he made a pilgrimage to the Holy Land in 1493; with the last he shared his five years' imprisonment after the fatal battle of Miihlberg in 1547. He was bur- gomaster of Wittenberg, and Uved on intimate terms with Luther and Melancthon. His works are ex- tensively dispersed, particularly in the Saxon states ; he painted many altar-pieces from sacred history, and in symbolical representations : that at the city church of Wittenberg is one of his best. As a portrait painter he takes a high place, and is dis- tinguished by his simple and faithful adherence to the forms of nature. Some of his best portraits are to be found in his altar-pieces ; others, as independ- ent pictures in various galleries and collections. The most important collection is in the Berlin Museum ; among them the fine portrait of George, Duke of Saxony, is very simple, yet dignified, and its warm colouring very good. Another is singular in conception; it represents the Elector of May- ence, Albert of Brandenburg, as St. Jerome in the brilliant dress of a Cardinal, studying in the solitude of a forest, surrounded by all kinds of fine and noble animals. He was very skilful in the delineation of beasts and birds, of which he has left an excellent example in the drawings to the Prayer Book, in the court hbrary at Munich ; the first part of which was ornamented with borders by Albert Durer, and the latter by Cranach. Though the works of Lucas Cranach had great influence on art, as may be seen in the numerous imitations which they called forth, yet few of his scholars, properly so called, are cran] PAINTERS AND ENGRAVERS. [CUEM known : the best of them was his son, Lucas Cra- nach the younger, who appears to have formed his style on that of his father and of Albert Durer, as is evident from the different peculiarities in his works, which remind us sometimes of the one and some- -times of the other. He has, however, a grace and sweetness peculiarly his own, which are seen in his glowing, but somewhat too rosy colouring. He died in 1586. An enumeration of -his principal works, of sacred subjects and portraits, may be found in Dr. KUgler's book. The elder Cranach was one of the partners in the erection of the first printing press at Wittenberg. For descriptions of many of his pic- tures, the inquirer is referred to Dr. Kiigler's Hand Book, part ii. ; 'and for a full list of the engravings ascribed to him, both on wood and copper, to Bartsch, (Peintre Graveur,) who, however, denies that Cranach ever engraved on wood. Cranach did not use the flying dragon on his pictures to denote that he was painter to the court of Saxony, but as his own crest by patent of nobility, granted to him by the Elector Frederick.] CRANSSE, John, a Flemish painter, born at Antwerp in 1^0. He painted history, and was re- ceived into the Academy at Antweip in 1523. Vanmander speaks highly of a picture by this master in the church of Our Lady, representing Christ washing the Feet of his Disciples. CRAYER, Gaspar de. This eminent painter was born at Antwerp in 1582. He was first in- structed in the art by Raphael Coxcie of Brussels, an artist of little repute, whom he soon surpassed. Taking for his guide the works of the able artists of his country, and indefatigable in his study after nature, he gave early proof of his abilty in some public works which atti'aeted the notice of the court of Brussels, and he was engaged to paint the por- trait of the Cardinal Ferdinand, the Governor-Ge- neral of the Low Countries, to be sent to his brother, the King of Spain. This work gave so much sa- tisfaction, that he was appointed painter to the court, with a considerable pension, and was also employed in painting for the churches and public edifices. If Grayer had only looked for emolument, this flattering patronage, and the applause of the great, would have satisfied his ambition, and secured his fortune by fixing him at the court. But solely intent on exceUing in his art, and desirous of that repose and tranqmlUty so essential to his studies, he renounced his situation at Brussels, and sought the retirement he longed for, by removing to Ghent. This retreat did not diminish the reputation he had acquired, and he continued to receive commissions from every part of the country. It was at this time that he painted his fine picture for the refectory of the abbey of Affleghem, which is considered as one of his most celebrated works. It represents the Centurion dismounting from his Horse to prostrate himself before Christ. It was this admirable picture that procured him the flattering homage of Ru- bens's applause, who, on beholding it, exclaimed aloud, " Grayer, nobody wiU surpass you." The churches of the principal cities in Flanders and Brabant are decorated with a sm-prising number of the works of this master, who occupied a long life in unremitting assiduity. The biographers of the Flemish painters have not hesitated to place this estimable artist on a level with Rubens and Van- dyck. Although this high compliment may be ra- ther strained, he is undoubtedly entitled to the next rank after them, among the ablest artists of that school. ._ His compositions are learned and judicious ; re- jecting every thing of superfluity and ostentation, he attached himself to the higher faculties of cor- rectness and simphcity. Less daring than Rubens, he is always correct ; and although he never soared to the flight of that aspiring genius, his works evince both grandeur and dignity. His colouring is chaste and tender, resembling in his carnations the clear tinting of Vandyck. Among the numer- ous works of this industiious artist, flie following are the principal : at Brussels, in the chm'ch of Notre Dame, Christ appearing to Mary Magdalene ; at Ghent, in the cathedral, the Assumption ; in St. Michael, the Descent of the Holy Ghost; in the church, formerly of the Jesuits, a fine picture of the Resurrection. Gaspar de Crayer died in 1669. CREDI, Lorenzo di, called Sciarpelloni. This painter was born at Florence in 1452. He was a disciple of Andrea Verocchio at the time that Lionardo da Vinci studied under that master. Both the scholars surpassed their instructor, and, al- though Credi was very inferior in genius and inven- tion to Lionardo, he was not without a certain merit in the graceful and expressive manner in which he painted Madonnas and Holy Families, of which many are preserved in the collections at Flo- rence. They were admired for the beauty of the colouring, the expression in the heads, and very pleasinghack-grounds. His most considerable work is the adoration of the Magi, in the church of S. Chiara at Florence. He was a very successful co- pyist of the works of Lionardo, and other great masters. He died in 1530. [Lorenzo di Crediwas an excellent painter. His Birth of Christ, formerly in the monastery of Santa Chiara, but now in the gallery of the Academy at Florence, (see Rosini, plate ciii.,) is one of the best works in that capital collection for expression, colouring, and execution. His capo cPopera, however, in the opinion of Vasari, is the picture of Madonna and Child, with Saints Julian and Nicolas, painted for a chapel of the convent of Castello, but now in the Louvre, and in excellent preservation. There is some uncertainty about the age of this great painter : his birth is stated by different writers in 1452, 1453, and 1454. Vasari says he died in 1530, aged 78 ; but it is known that he was hving in 1536, mough at that time ill and bed-ridden. He should rather be called an imitator than a copier of Lionardo da Vinci.] CREED, Carey, an English engraver, who pub- lished, in 1730, a set of plates of the statues and busts at Wilton, which possess considerable merit. CREMONA, NiccoLO da. This painter was a native of Cremona, and flourished about the year 1518. According to Masina, he was a respectable painter of history. In S. Maria Maddalena Mon- ache, at Bologna, is a picture by this master of the Descent from the Cross ; dated in 1518. CREMONESE. See Caletti. CREMONESE, Giuseppe, was bom at Ferrara in 1610. Without the help of an instructor, he applied himself to study the works of Dosso Dossi and Titian, and formed to himself a style which bears a resemblance to both. There are several of ,his works in the churches at Ferrara, of which the most esteemed are in S. Benedetto, the Four Doc- tors of the Church ; in S. Niccolo, S. Cosmo and S. Damiano; and at the Cappucini, S. Carlo. He died in 1660. We have several etchings by this master from his own designs, among which are the following : Samson and Dalila. 193 crem] A DICTIONARY OF [CRES David, a ■whole length, with the Head of Goliah. David, half-length, with the same. St. Roch kneeling. A Bishop of the Order of St. Bernard kneeling. The Figiure of a naked Female. [Zani says he was bom about the year 1600.] CBEMONIBNSIS, Antonio, an Italian en- graver on wood, who flourished about the year 1560. Among other prints, he executed a cut re- presenting Mutius ScEEVola burning his hand, in the presence of Porsenna. It is executed on a single block, without any cross hatching. CREMONINI, Giovanni Batista. According to Malvasia, this artist was a native of Cento, and flourished about the year 1600. Although he chiefly distinguished himself as a painter of j^erspective, he acquired considerable reputation by his pictures re- presenting wild and ferocious animals. He also painted history with not less success ; and there are several pictures and altar-pieces in the churches at Bologna, which prove him to have been an artist of great ability ; among which, the following are the most worthy of notice : in the church of S. Frances- co, the Annunciation, and the Death of St. Francis ; and in S. Maria della Vita, the Assumption of the Virgin. Gio. Batista Cremonini was one of the first instructors of Guercino. He died in 1610. [CEEPIN, Louis-Philippe, a French marine painter, born in 1772, was a scholar of Regnault and Hubert Robert ; he also had lessons from Jo- seph Vemet, and followed very successfully the manners of those masters. He was fond of reprer senting engagements between French and English vessels of war, particularly where the former fought under great disadvantage. He painted many other subjects of more general interest, which will be esteemed when the battles are forgotten. He painted in water and body colour, and etched in aqua fortis and aqua-tint in the English manner.] [CREPU, Nicolas, bom in Holland in 1680 ; died at Antwerp in 1742. He was an officer in the Spanish service, which he quitted at about the age of 40, and devoted himself to flower painting, in ■which he showed considerable talent. He com- E' osed well, and painted with a light and fi'ee pencil : is works were highly esteemed by his contem- poraries.] CRBPy, or CRESPY, John and Louis, two indifferent French engravers and printseUers. John, the father, bom at Paris about 1650; and Louis, the son, about 1680. They engraved some portraits, and copied some prints after G. Audran, &c. We have also the following by them : Mary Magdalene ; Crepy, inv. et fecit. The Nativity ; after Albano ; their best print. , The Descent from the Cross ; after Carlo Cignani. The Holy Family ; after Le Brun. The Presentation in the Temple ; after the same. CRESCENZI. See Cavarozzi. CRESPI, Giovanni Batista. This painter was born at Cerano, a small town in the Milanese, near Novara, in 1557, and is frequently called il Cerano. He descended from a family distinguished in the art, who educated him for the learned professions ; and he was a student of great promise in the sciences and Belles Lettres. A strong attachment to paint- ing, however, induced him to follow the art in which his family had acquired its celebrity. He ■vdsited Rome and Venice, and established himself at Milan, where he was patronized by the Duke, _ Cardinal Federigo ; was made director of the Aca- demy, and employed as an architect, a'sculptor, and 194 a painter. In his works as a painter are found many beauties, accompanied by unaccountable de- fects. His style is free and spirited, and his colour- ing harmonious ; but his design is occasionally con- ceited and absurd, from an aftectation of the grand and the graceful. Of these deficiencies we have evidence m his pictures in the Chiesa della Pace, where his drawing of the naked is heavy and taste- less, and the movement of his figures distorted by the -idolence of their attitudes. His merits, how- ever, must be allowed to outweigh his infirmities, and some of his works may be compared to the best Eroductions of the Milanese school at his time, uch is his picture of the Baptism of S. Agostino, in S. Marco, which dispute* the palm -with Giulio Cesare Proccacini, and in the judgment of some is superior. Soprani, in the Life of Sinibaldo Scorza, says this artist excelled in painting animals and birds, of a cabinet size. He died in 1633. CRESPI, Daniello, was born at Milan in 1590, and was first a scholar of Gio. Batista Crespi, called Cerano f but afterwards studied under Giulio Cesare Proccacini. Although he did not survive his forti- eth year, he undoubtedly surpass^ his first in- structor ; and, according to Lanzi, in the opinion of many, was equal to the latter. He is one of the able artists of the Milanese school, though little known, except in his own country. To an acute and pene- trating genius, and an uncommon readiness of hand, he added a judgment that enabled him to take ad- vantage of the excellencies of those that had pre- ceded him, and to avoid their defects. Although he never frequented the school of the Caracci, he ap- pears to have approved and adopted their principles and their practice. In the expression of his heads he is varied, yet select; and is particularly admired for the fervid devotion expressed in the character of his saints. His colouring is excellent, both in oil and in fresco, and partakes of the strength, as well as of the amenity, that we admire in Titian. The most esteemed works of this artist are the taking down from the Cross, in the Chiesa della Passione at Milan ; and his celebrated suite of pictures of the Life of S. Bruno, at the Certosa. This able painter was unfortunately carried ofij in the prime of life, with all his family, by the plague, which visited Milan in 1630. CRESPI, Giovanni [or Giuseppe] Maria, call- ed Il Spagnuolo. This painter was born at Boi logna in 1665. " He was called il Spagnuolo by his fellow students, on account of the finery of his dress. He was first a scholar of Canuti; but afterwards passed some time under Carlo Cignani. He appears to have prefeiTed the style of Federigo Baroccio to that of either of .his instructors ; and he copied and studied the works of that master with great assiduity. Desirous of discovering and establishing a novel mode of operation, he adopted a flimsy method of colouring, without solidity, and consisting chiefly of glazing, which has occasioned many of his works to be now almost obliterated. He had a particular talent for caricature ; and some of his compositions of that kind are full of humour and eccentricity. He was for some time in the employment of the Grand Duke Ferdinand, for whom he executed several works in the Pitti palace. There are many of the pictures by this master in the churches and palaces at Bologn^, of which the following are the principal: in the Palazzo Sampieri, is the Last Supper ; in the church of S. Maria Maddalena, the Annunciation; in S. Nicolo, the Temptation of St: Anthony; in S. Salvatore, St. John preaching; and CRES] PAINTERS AND ENGRAVERS. [CBIV in S. Maria Egiziaca, the Crucifixion. Gio. Maria Crespi has etched several plates from his own de- signs, among which are the following : The Murder of the Innocents. Two plates of the Resurrection, in the style of Rem- brandt. The Miraculous Crucifix of Pistoja. St. Anthony ; in the manner of Rembrandt. St. Pascal. Five of the Trades ; in the style of S. Rosa. A Shepherd and Shepherdess. He died at Bologna in 1747. [He was a great copyist of the works of the older Italian masters, particularly of Coreggio, Baroccio, and the Caracci; many of these have, no doubt, been sold as originals. Jn his own compositions he was a careless painter, using any oils or colours indifferently. Mengs terms him the destroyer of the Bolognese school ; his pernicious example having tempted many of the ' painters of his time to imitate the facility of execu- tion, by which he had obtained profit and praise from ignorant patrons. Several of his pictures are in the gallery at Dresden, including the Seven Sacraments Which he painted for Cardinal Otto- boni, and an Ecce Homo, which, with all its faults, is a masterly performance. An account of his Ufe, with an apology for his faults, as an artist, was pub- lished by his son, the Canon Luigi Crespi, in an additional volume to the Felsina Pittrice of Mal- vasia.] CBESPY, or CRESPI, , an Italian en-, graver of little celebrity, who, according to Basan, flourished in the beginning of the eighteenth cen- tury. Among other prints, he engraved a plate, representing the taking down from the Cross ; after Carlo Cigtiani. CRESTI. See Passignano. CRETI, DoNATO. This painter was bom at Cremona in 1671. According to Lanzi, he was educated at Bologna, under Lorenzo PassinelU, whose style he blended with an imitation of the works of Simone Cantarini da Pesaro, and formed a manner which has httle claim to originality. His colouring is distinguished by a nardness and crudity, occasioned by his never properly blending his tints. He resided chiefly in Bologna, where he painted several pictures for the churches. In S. Pietrois an altar-piece of S. Carlo Borromeo asking Charity for the Poor ; in S. Domenico, S. Vincenzo Ferreri resuscitating a Child; in S. Luca, the Crowning of the Virgin, one of his best works ; and in the Mendicanti, an admired picture of the Ador- ation of the Magi. In the Palazzo Pubblico, he painted four pictures of the Life of Achilles and other works. He died at Bologna in 1749. [On the altar-piece in the church of S. Luca, fuori di Bologna, is inscribed, " Do" Creti f. d'anni 71, e vissuto sempre infermo, avendo per 36 anni continui perduto il sonno, e quasi successivamente da un giorno aU'altro, onde ridotto in delirio, non potendo ritrovare riposo n6 notte, nh giorno. Osservator cortese pensate, e compatite." Let this dreadful state of affliction qualify all censure.] [CREUTZFELDER, Johann, bom at Nurem- berg in 1570, was a scholar of N. Juvenel, and painted portraits in a highly finished manner: he died, according to Doppelmayr and other writers, in 1636. Zani calls the artist to whom the above dates apply, John George ; and quotes a John Philip, who flemished about the same period ; he next names John, who was Uving in 1660: all of them being portrait painters. It is a doubt with Nagler whether the three names do not apply to one per- o 2 son ; the initials on the known portraits of Creutz- felder are, however, ^ with a, date, one of which is 1631.] CitlSCUOLO, [or CRISCIUOLO,] Giovanni FiLippo, was born at Gaeta about the year 1495, and was first a scholar of Andrea da Salerno, but he went to Rome when he was seventeen years of age, where he studied under Pietro Perugino, and at- tached himself to the works of Raffaelle. On his return to Naples he was employed for the churches and public edifices, and painted several pictures, which are mentioned in favourable terms by Domi- nici, particularly an altar-piece in the church of S. Maria delle Grazie, representing the Virgin and In- fant in the Clouds, and below St. John Baptist and St. Andrew; and in S. Maria del Rosario, the Adoration of the Magi. He died at Naples in 1584. S There was another painter of the same name, who ived about the year 1670.] CRISCUOLO, [or CRISCIUOLO,] Giovanni Angelo, was the younger brother of the preceding artist ; and although he showed an early inclination for the art, his father would not permit him to make it his profession, but obliged him to follow the business of a notary. On the death of his father, the reputation his brother had acquired induced him to abandon his occupation ; and he placed himself under the tuition of Marco da Siena, by whose in- struction he became a reputable artist. Dominici describes many of his works in the churches at Naples, among which is an altar-piece in the church of S. Stefano, representing the Martyrdom of that Saint; and in Monte Calvario, a picture of the Virgin and Infant, with St. Jerome ; the latter is dated in 1572. [The exact time of his death is not known ; some say about 1580.] CRISPI, ScipiONE, a Piemontese painter, bom at Tortona, who flourished, according to Lanzi, from the year 1592 till 1599. It is uncertain by whom he was instructed ; but he was an artist of considerable merit, as is evident from his picture of the -Visitation of the Virgin to St. Elizabeth, in the church of S. Lorenzo, at Voghera, and an altar- piece at Tortona of S. S. Francesco and Domenico, which is dated 1592. CRISTOFORI, Fabio and Pietro Paolo; These artists, father" and son, are deserving notice for the perfection to which they have carried the Mosaic art. By them were executed in the BasiUca of St. Peter, from the originals, the Communion of St. Jerome, after Domenichino ; the St. Petronilla, after Guercino ; and the Baptism of Christ, after Carlo Maratti, and other works. CRISTONA, GiosEFFO, [or Giuseppe,] was born at Pavia in 1664, and was a scholar of Bernardino Ciceri. He excelled in painting landscapes and views of the vicinity of Rome, from desi^s he had made dining a long residence in that city, which, according to Orlandi, were greatly in vogue in his time. [He signed one of his pictures, G. Crastona, 1705.] CRIVELLARI, Bartolomeo, a Venetian en- graver, bom in 1725. He was a pupil of Joseph Wagner, for whom he executed several plates, after Gherardini, Tiarini, and Tiepolo. We have by him the following : The Portrait of Christian, Electoral Prince of Saxony. The Portrait of the Archduchess Ann of Austria. Three Plates from the Life of S. Pietro Petronio. Four Plates of musical and gallant Assemblies ; after Niccolo del Abate. 195 ' CRIV] A DICTIONARY OP [CROS The Canonization of St. Alexander Saul; after M. Bar- tohni. CRIVELLI, Carlo. According to Ridolfi, this old painter was a native of Venice, and was a dis- ciple of Jacobello [del Piore.] He flourished from about the year 1450 till 1476. By this venerable artist there remain two pictures in the church of S. Sebastiano, at Venice, representing S. Pabbianoj and the Marriage of S. Catherine. [Some pictures by this master have recently been brought to Eng- land, by which he will be better known than by the meagre accounts that have been given of him. In the late Edward SoUy's collection was one repre- senting the Annunciation; it bears the following inscription : Zibertas Ecdesiastica Opus Caroli Cri- vilU Veneti, 1486. Every part of the picture is rich in birds, fniit, flowers, and architectural decorations. It was purchased by Mr. Labouchere : it ought to have been bought for the nation. Crevilli, or Cri- villi, must have been an industrious painter, and of great repute in his day, as his name occurs repeat- edly in the Guides and Catalogues. Lanzi mentions three of his pictures, an altar-piece at San Pran- cesco di Matelica, with the inscription, Carolus Cri- vellus Venetus miles pinxit ; another with his name at the Osservanti, in Macerata ; and a third, with the date 1476, in the possession of Cardinal Zelada. He sums up his artistic character by saying, " He is an artist more remarkable for his force of colouring than for his correctness of design ; and his princi- pal merit consists in those little history-pieces in which he has represented beautiful landscapes, and given- to his figures grace, motion, and expression, with some traces of the cololiring of the school of Perugia. Hence his pictures have occasionally been taken for the productions of Pietro, as in the instance of that in Macerata." A painter of beauti- ful landscapes, who gave to his figures grace, mo- tion, and expression, and whose altar-pieces were attributed to Pietro Perugino, must not be ranked as an ordinary artist.] CRIVELLI, Angelo Maria. This artist was a native of Milan, and, according to Orlandi, painted animals and huntings with surprising truth and spirit, and was considered one of the ablest painters of his country of those subjects. [He was a painter who flourished in the early part of the eighteenth century ; he was called Crivelhne.'] CROCB, Baldassaue, was born at Bologna in 1553. It is not ascertained under whom he studied; but, according to BagUoni, he visited Rome during the pontificate of Gregory XIII., by whom he was employed in the Vatican. He painted with great power and freedom, both in oil and fresco. His principal works at Rome are the cupola of the Caji- pella di S. Prancesco in the church del Gesu. The vault of the choir in St. John of Lateran ; and the history of Susanna, in the church of her name. He died at Rome in 1628. [CROME, John, of Norwich, was bom in 1769. As he showed an early disposition for art, his pa- rents placed him as an apprentice with a coach pamt- er, which enabled him to learn the use of pencils and colours. At the intervals of his 6rdinary busi- ness, he attempted to represent scenes from nature, and selected those in the vicinity of his native city. These, however, chosen by the eye of an artist who fully appreciated their picturesque beauties, failed to make a corresponding impression on his contem- poraries. The termination of his apprenticeship compelled him to the election of being an artist or an artisan : his predilection induced him to choose 196 the former, but, by the advice of a judicious friend, he .added that of a teacher of drawing. This was fortunate, as it enabled him to make money, and at the same time to pursue his darling object of land- scape painting without the fear of want. It also procm-ed him patrons, and his productions began to be appreciated by his countrymen, and by degrees his reputation reached to the metropolis. He may be considered as a true pupil of nature. His land- scapes are not compositions by rule ; they are accu- rate representations of what he saw, but selected with just discrimination of the objects. A quiet piece of forest scenery, a verdant valley with a stream, an old fantastic tree, a winding hedge-row, a ruined cottage, are component parts of most of his, pictures. His trees and herbs are studied with the care of a botanist, and each has the peculiar cha- racter that belongs to it. Norwich is indebted to him for the introduction of a school of painting; and several of his pupils have followed up his stjde since his death, which occurred in 1821.] CROOCK, Hubert de, an ancient German en- graver on wood, who flourished about the year 1490. His name is afiixed to a large cut, representing the Trinity. It is neatly executed, but in a stifij formal style. Albert Durer engraved the same subject, but in so superior a manner, that the print by Croock may be presumed to be a copy coeval with the original. Besides the name, it is marked with the monogram ^. [CROOS, A. Van, called the younger, (to dis- tinguish him from his father, who was also a land- scape painter,) painted landscapes and views of cities much in the manner of Peter Molyn, and also marine subjects and river scenes analpgous to those of Van Goyen. His pictures are dated 1643 to 1667. It is supposed that he resided at the Hague, because many of his drawings represent views of the environs. The Dutch writers give no particulars of his life. His father's pictures are small woody landscapes on panel, carelesslyi de- signed and indifierently coloured: some have the date 1631. There was also another landscape painter of the name of Croos, (N.) of whom there is no further record.] [CROSS, Michael, a painter employed by Charles I. to copy some of the fine pictures in Italy, who, it is said, contrived to abstract a Madonna by Raphael from the church of St. Mark, at Venice, and left his copy instead. The picture was sold with the rest of the royal collection, and, it is said, was purchased by the Spanish ambassador, toge- ther with the twelve Caesars by Titian, for the king of Spain. Charles certainly knew nothing of the theft ; nor can it be supposed that he mistook it for a copy.] CROSS, Thomas, an English engraver, who flourished about the year 1648. He was chiefly em- ployed in engraving portraits and plates for the booksellers, which are mostly from his own designs, and are almost entirely executed with the graver. We have by him, among others, the following : portraits. King Richard III. Francis Bacon, Lord Keeper and Chancellor. Sir Eobert Cotton Bruce, Bart. Joseph Hall, Bishop of Exeter. George Wehbe, Bishop of Limerick. Richard CromweU. Jeremiah Burrouglis. 1646. Preacher at Stepney, &o. Jonas More, Mathematician ; after Stone. 1649. Thomas Doolittle, Minister of the Gospel. crug] PAINTERS AND ENGRAVERS. [CUNN Robert Dingley, Master of Arts. John Gadbury, Astrologer. Christopher Love, Pastor of St. Ann's, Aldersgate. 1651 . Edward Leigh, M. A. Philol. 16.50. John Kichardson, Bishop of Armagh. 1654. Philip Massinger ; Po^t. Francis Roberts. 1676 ; Presbyter, A. M. Thomas Wilson, Minister of St. Geoi^e, Canterbury. Thomas FideU of Fumival's Inn. Richard Srome, Poet. 1654. Samuel Clarke, Pastor of St. Rennet Finck. Vincent Wing, Astronomer. A Frontispiece to White's Rich Cabinet. 1684. CRUG, Louis. See Krug. CRUGER, Theodore and Matthias. See Kruger. -' CRUYL, Levinus, a Flemish designer and en- graver, bom at Ghent about the year 1640. He designed the views of the most interesting objects in and near Rome, enriched with figures and ani- mals, touched with spirit, and in a pleasing style. Several of his drawings have been engraved by Giulio Testa ; and we have by him some very in- teresting etchings from his own designs.' He ge- nerally marked his plates ^^ruyl. The following are by him : A set of Twenty-three Plates of Ancient and Modem Rome ; L. Cruyl del, et scul. 1665. A set of Architectural Views of Roman Ruins, &c. 1667. He also etched some of the Triumphs of the Roman Em- perors ; afier Andrea Mantegna ; in ten plates. CRUYS, Theodore ver, a Dutch engraver, who resided chiefly in Italy. He flourished about the beginning of the last century, and en^aved some plates from the pictures of the Florentine Gallery ; some views of sea-ports, after Salvator Mosa ; and several portraits. His plates are etched and re- touched with the graver, in a very indifferent style. CUERNHERT, Dirk, or Theodore, van, a Dutch engraver, bom at Amsterdam in 1522. He is more mstinguished as a rehgious controvertist than an artist. We have by him a few plates executed with the graver, in a shght, careless style. He has, however, the credit of being the instructor of Henry Goltzius. His works are the following : The Descent &om the Cross ; after L. Lombard. Joseph explaining his Dream ; after M. Hemskerk, Joseph interpretmg the Dreams of the Prisoners of Pha- raoh ; after the same. Job reproached by his Wife ; after the same. Balaam and his Ass ; afier the same. The Elector of Saxony appearing before Charles V. ; af- ter the same. The Landgrave of Hesse Cassel, before Charles V. ; after the same. EHe resided at Haerlem, but died at Gouda in 1590. leineken and Huber have given catalogues of his engravings, but they are far from being complete.] CUEVAS, Pedro de las, a Spanish painter, born at Madrid in 1558. According to Palomino, he painted several pictures for private collections, in which he was more employed than for the pub- lic edifices. He was, however, more estimable for the celebrity of his academy than his works as a painter. Some of the most distinguished painters of the time were educated in his school. Such as Josef Leonardo, Antonio Pereda,_Ardonio Anias, and Don Juan Carreho. He died at Madrid in 1635. - CUEVAS, Eugenio de las, was the son and scholar of the preceding artist, bom at Madrid in 1623. He was chiefly employed in painting por- traits in small, in which he gained gi-eat reputation at the court of Spain ; and was appointed by Philip IV. to instmct his son Don Juan of Austria in drawing. He died at Madrid in 1667. [Bermudez says he was born in 1613. He was not only a painter, but a poet and musician.] CULMBACK, Hans, [or Jan.] According to Florent Le Comte, this artist was a native of Ger- many, and flourished about the year 1517. He is said to have been a disciple of Albert Durer, arid en- graved both on wood and copper. Among other prints by him, we have one representing a Soldier armed, conversing with a Country Woman ; dated 1517, and marked with the initials H. V. C. [The great diversity of opinion respecting Hans Culmhach, or Kulmhach, and his works, among writers who shpiild be the best informed on the subject, renders it difiicult to say any thing of them not hable to controversy. The best authorities to consult are Bartsch, Zani, Heineken, BmUiot, and Nagler.] CUNE60, DoMENico, a modem Italian engrav- er, bom at Verona in 1727, [and died at Rome in 1794.] He engraved several portraits of the Royal Family of Prussia ; and was afterwards employed by Mr. Hamilton to engrave some of the plates for his Schola Italica. Cunego afterwards came to England, and engraved some plates for Mr. Boydell's collection. He worked principally with the graver, in a clear, neat style. Among many others we have the following by tliis artist : part of the subjects for the scholia italica op g. hamilton. Three subjects of the Creation, from the Sistine Chapel ; after M. Angela. Raffaelle's Mistress, called la FomaHna ; after Raffaelle. Galatea ; after the picture in the Barberini palace ; after the sajne. Ganymede ; after Titian. A Head of Magdalene ; after Guide. The Prodigal Son ; after Guerdno. Th^ Birth of St. John Baptist ; after L. Caracci. Galatea, part of the Famese Gallery ; after AgosP- Ca- racci. ApoUo and Silenus ; after An. Caracci. St. Cecilia receiving the Palm of Martyrdom ; after Do- SUBJECTS AFTER DIFFERENT MASTERS. Portrait of Raphael Mengs ; se ipsmnpinx. The Virgin and Infant ; after Mengs. Five sheets of the Paintings by Mengs, in the Library of the Vatican. Five of the History of Achilles and Hector ; after G. Hamilton. The Virgin and Infant ; after Coreggio. The Entombing of Christ ; after Raffaelle. Six, the Annunciation, the Visitation, the Nativity, the Circumcision, the Adoration of the Magi, and the Pre- sentation in the Temple ; after D. etfec. Judith, with the Head of Holofemes ; after J. van Aoh. [He died in 1612.] CUSTOS, David, was the son of the preceding artist, by whom we have a few plates of landscapes coarsely etched, but not without merit. The follow- ing are by him : A set of Views in the Low Countries. A small Landscape, with Boors playing at Nine-pins. CUYLENBURG, a Dutch painter, of little re- putation. [His name was Abraham Van Cuylen- burg ; he was born at Utrecht in 1639. His figures are abortive imitations of Poelemburg, but dealers are so kind to him, as to ascribe them to that mas- ter ; robbing the one without enriching the other.] CUYP, or KUYP, Jacob Gerritze, called Old CuTP. This painter was bom at Dort about the year 1580, and was a scholar of Abraham Bloemaert. His pictures generally represent views in the neigh- bourhood of Dort, with figures and cattle, which, though rather dry and hard in the pencilUng, are not without merit for a natural and simple tone of colouring. The works of this artist would probably have been held in higher estimation, had they not been so much surpassed by the extraordinary pro- ductions of his son". His pictures are little known out of Holland. He was one of the founders of the Academy at Dort in 1642. [He also painted bat> ties and encampments ; and some of his portraits are excellent. Writers difier with respect to the date of his birth ; Balkema places it in 1578, and Immerzeel in 1575.] CUYP] PAINTERS AND ENGRAVERS. [dagi CUYP, or KUYP, Albert. This charming painter was the elder son of the preceding artist, born at Dort in 1606. He had no other instructor than his father ; but he was endowed with a genius that wanted little more assistance than the incipient rudiments of the art. He acquired the chaste and exquisite style, for which he is so particularly ad- mired, by a close and vigilant attention to nature, under all the vicissitudes of atmosphere and season. His pictures frequently represent the borders of the Maes river, with shepherds and herdsmen attending their cattle. These subjects he has treated with an enchanting simplicity, that may be truly said to be pecuhar to him. Whether he wished to exhibit the dewy vapour of morning, ushering in the brightness of a summer day, the glittering heat of noon, or the still radiance of evening ; nature is perfectly repre- sented. It is not, perhaps, giving him more merit than is due to him, to assert that no painter had surpassed him in the purity of his aerial tint. Tuned to the harmony of colour, like the ear of the musician to sound, his eye appears to have been incapable of a discordant tone ; every object is enveloped in the air of the moment he wished to describe. Cuyp was not confined to landscapes and figures; he painted with equal success sea-pieces and views of rivers, with boats sometimes sailing with a fresh breeze, sometimes at anchor in sultry calm ; in which the brilliancy of a sunny sky is reflected in the water with a transparent lucidity of colour that is unde- scribable. Among his most surprising productions are his frost-pieces, with figures amusing themselves on the ice. It is difficult to form an idea of the in- teresting and exquisite manner in which he has treated those subjects, or the surprising effect he has given to that gilded glow which nature not unfre- quently assumes at that season. He excelled also in horse-fairs and skirmishes of cavalry, which he painted with infinite spirit. He was not less happy in his pictures of moonlight; in which the admired works of Vandemeer are eclipsed by a superior and a more delicate degradation of hght. He also painted portraits, the interior of churches, fruit, flowers, and may be called the most universal painter of the fer- tile school to which he belongs. His pencil is un- commonly broad and facile, with an unusual plumpness of touch, and a crispness of sm'face which is peculiar to him, if we except the works of Rem- brandt, to which those of Cuyp bear some analogy in the richness of colour and the intelligence of light and shadow. The pictures of this excellent artist are more frequently to be met with in England than in any other country ; and it may not be un- worthy of remark, that it is within the recollection of the author, that his pictures were held in no great estimation on the continent. It was the discrimin- ation of the English collectors, and their ardour to possess his works, that first brought them into the reputation they now hold even in his own country. Albert Cuyp has left a few small etchings of cows, which, though not executed with much delicacy or care, evince the hand of the master. They are very scarce. [The date of his death is not correctly known : he was Uving in 1672. His pictures are now seUing at enormous prices ; from one to two thousand guineas is coinmon, and even higher sums have been given.] CUYP, or KUYP, Benjamin, was the younger brother of the preceding artist, bom at Dort about'' 1615. He did not follow the manner of his brother, but attached himself to an imitation of the vigorous style of Rembrandt. Repainted small historical pictures, which, in force of colour and in- teUigence of hght and shadow, resemble the works of that great master. His pictiu-es cannot be admired' for the correctness of the design nor the expression of the heads, which is not without vulgarity ; but they are well coloured, with a fine effect of the chiaro-scuro. [Balkema says he was the nephew and scholar of the elder Cuyp, and was bom in 1608. His pictures may be considered as coarse at- tempts at the manner of Rembrandt.] D DA, Abraham, an engraver, who was probably of Germany, as he appears to have imitated the style of Theodore de Brye. There is a plate by him of the Last Supper, executed with the graver in a neat, stiff style; it is inscribed Abraham Da, fecit ; from which it may be presumed it is from his own design. DACH, John. According to Van Mander, this painter was bom at Cologne in 1566. He was the scholar of an obscure painter named Barthelemy. On leaving that master he went to Italy, and re- turning by way of Vienna, he was received into the service of the Emperor Rodolphus II., for whom he painted several pictm-es, and was sent by that mon- arch to Italy, to collect objects of antiquity, and to make drawings from the most celebrated statues. He died at Vienna at an advanced age. [This is probably the same with Jan van Achen, who died at Munich in 1618, according to Balkema ; as he is noticed under both names by Zani, who places his bh'th in 1556, and his death in 1600.] DADDI, Bernardo. This old painter was bom at Arezzo ; and is stated by Baldinucci to have flour- ished about the year 1355, at which date he was re- ceived into the company of painters at Florence. He was a disciple of Spinello Aretino. Some of his pictures are still preserved in the churches at Flor- ence ; one of the least injured by time is at S. Giorgio. He died at Florence in 1380. DADDI, CosiMO. This painter was a native of Florence, and flourished about the year 1614. He was a scholar of Batista Naldini, and painted his- tory with considerable reputation. Several of his works in the churches are noticed in the posthumous pubhcation of Baldinucci, particularly a picture of the Visitation of the Virgin to St, Elizabeth, at the monastery of S. Lino, at Florence ; and spme sub- jects from the Life of the Virgin in the choir. In , the church of St. Michael is an altar-piece, repre- senting that Archangel discomfiting the retsel An- fels. He died of the plague ,in 1630. [Zani says is name was Dati and not Daddi ; he painted in 1588.] [DAEL, Jan FiIanz van, a native of Antwerp in 1764, practised his art chiefly in France, as a fruit and flower painter, in whioh he became eminent. His style is m the manner of Van Huysum, and Van Spaendonck. He was patronized by the empresses Josephine and Marie Louise, and received the cross of honour from Napoleon, and a gold medal from Louis XVIII. He died at Paris in 1840, and was buried in the cemetery of P^re la Chaise near to his friend Van Spaendonck.] [DAELE, Jan van, a Dutch landscape painter, bom in 1530, and died in 1601, excelled in repre- senting mountainous and rocky scenery. Balkema erroneously names him Cornelius.] DAGIU, Francesco, called il Capella. Ac- cording to Tassi. this painter was born at Venice in dahl] A DICTIONARY OF [dalm 1714. He was a scholar of Gio. Batista Piaazetta. In 1744 he was made an associate of the Academy at Venice, and in 1756 an academician. He painted history, and was chiefly employed for the churches at Bergamo, and in the state. One of his best pic- tures is St. George and the Dragon, in the parochial church of S. Bonate. He died in 1784. DAHL, Michael, an eminent portrait painter, bcm at Stockholm in 1656. He received some in- structions from Emstraen Klocke, an esteemed Swedish artist, and painter to the crown. At the age of twenty-two Dahl came to England, but did not at that time remain here longer than a year ; he continued his travels in search of improvement through France to Italy, where he studied some years. Whilst at Rome, he painted the Portrait of the celebrated Christiana, Queen of Sweden. In 1688 Dahl returned to England, where he found Sir Godfrey Kneller rising to the head of his profession ; and he had merit to distinguish himself as no mean competitor. Queen Anne sat to him ; and he was favoured with the patronage of Prince George. He lived to the advanced age of 87, and died in 1743. DAIGREMONT, M., a French engraver, who flourished about the year 1670. He engraved some of the plates for the Book of Ornaments of Painting and Sculpture, in the Louvre and the Thuilleries, published by John Berain. He also engraved several of the views of Versailles. DALEN, Cornelius van, a Flemish engraver, born at Antwerp about the year 1620. He was called the younger, to distinguish him from his father, who was a printseller and publisher. He was instructed in engraving by Cornelius Vischer, whose style he followed for some time. His prints occasionally resemble those of A. Blooteling, and at other times those of Pontius and Bolswert. He worked entirely with the graver, which he handled in a bold and free manner ; and his plates discover considerable taste and intelligence. We have by him several very interesting portraits, and a few historical subjects. He usually marked his prints with his initials C. D. The following are by nam : PORTRAITS. Catherine of Medicis, in the back-ground the City of Am- sterdam. Charles II., King of England; after S. iMttichv/ys. James, Duke of York ; after the same. Henry, Duke of Gloucester ; after the same. WiUiam III. Mary his Queen. Algernon Percy, Earl of Northumberland. John Maurice, Prince of Nassau ; after G. Flink. Pietro Aretino ; with a book; after Titian. Giovanni Boccace ; after the same. Giorgio Barbarelli, called Giorgione ; after the same. Sebastianodel Piombo; after the same. The last four are from the cabinet of Reynst. Anna Maria Schurman, paintress, &o. ; after Van Ceulen. Old Parr, aged 152 years. SUBJECTS AFTER VARIOUS MASTERS. The Adoration of the Shepherds; marked C. U. The Virgin, with the infant Jesus ; the same mark. The Four Fathers of the Church ; after Rvbena ; in the style of Pontius. Nature adorned by the Graces ; after the same ; in the manner of Bolswert. A Shepherd and Shepherdess ; after Casteleyn. The Virgin suckling the Infant ; after G. Flink. Venus and Cupid ; after the sam^. The Four Elements, represented by Children ; after A. Diepenbeck. The Concert ; after the same. The Monument of Admiral Cornelius Tromp ; C. van Dalen, sc. ; scarce. 200 DALENS, Dirk, or Theodore, a Dutch land- scape painter, born at Amsterdam in 1659. He was the son of William Dalens, an artist of little celebrity, who taught him the first lessons in the art. The principal works of Dalens are large land- scapes, pamted with a free and firm touch, and veiy agreeably coloured, which decorate the saloons of some of the principal houses at Amsterdam. He also painted some cabinet- pictures of landscapes, with figures, which are deemed worthy of being placed in the collections in Holland. He died in 1688. [DALENS, Thierry van, called the young, born at Amsterdam in 1688, was a painter of land- scapes with cattle and figures, enriched with ruins, in the manner of Pynacker, which he executed with great ability. He is said to have followed the man- ner of his father, who was a good landscape painter, and also excelled in painting birds and still Ufe. There is, however, some confusion in the accounts of these artists, as to chronology and subjects, there being three, all called Theodore, Thierry, or Derick. See VAN Delen.] DALL, Nicholas Thomas. This artist was a native of Denmark, and settled in London, as a landscape painter, about the year 1760. He was much employed in painting some excellent scenes for Covent Garden theatre, and his engagements in that branch of the art prevented him from painting many easel pictures. In 1768 he obtained the first premium given by the Society for the Encourage- ment of Arts, &c. for the best landscape painting. He was chosen an Associate of the Royal Academy in 1771, and died in 1777. DALLAMANO, Giuseppe. This painter, bom at Modena in 1679, is a remarkable instance of the progress that untutoi-ed genius has sometimes made in the art without the help of a master. Dallama- np is stated by Lanzi to have been hardly removed from an idiot ; ignorant even of the alphabet, and unassisted by professional instruction. The reached an excellence in painting architectural views, which surprised the most intelligent judges. Manjr of his works are in the collections at Turin, of which the best are in the royal palace. He died in 1758. DALLEVIA, A., an Italian engraver, who re- sided at Venice about the year 1686. Among other prints, he engraved a set of plates representing tri- umphal processions, published at Venice in 1686, entitled, Giuochi Festwi e Militari. They are exe- cuted in a coarse, indifierent style, and are inscribed A. DaUevia, sculp. DALMASIO, Lippo Scannabecchi, called Lip- po dalle Madonne. This old painter was a na- tive of Bologna, and flomished from 1376 till 1410. He was a disciple of Vitale da Bologna, and was called Lippo dalle Madonne from the beautiful character he gave to his heads of the Virgin. His works are distinguished from the Gothic style of the time in which he lived, by a softer blending of tint, and a less formal folding of his drapery. He was certainly sireerior to his contemporaries in the ex- pression of his heads, which were so beautiful that Malvasia reports, that Guido declared that no- thing short of inspiration could have enabled him, at that early period, to have given so much majesty ■ and sanctified sweetness to the character of our Lady. Malvasia and Tiarini assert, that some pic- tures by this master in S. Petronio and S. Procolo, at Bologna, were painted in oil. This circumstance, as well as other authorities, bring into further doubt the already questioned authenticity of the dam] PAINTERS AND ENGRAVERS. [danc discovery of oil painting by John van Eyck of Bru- ges, in 1410. [In the Gentleman's Magazine for Atigust, 1841, appeared the following notice, under the head of " Fine Arts :" — " Boloona. In the an- cient palace of the Podesti, which stands in the middle of the ' Piazza Maggiore,' a quantity of pic- tures of, extraordinary antiquity have been discover- ed; marked with the name of Lippo Dahnasio, a painter who flourished before AntoneUa of Messina, and before, as has been generally beheved, the in- vention of oil painting. The analysis of the mate- rial with which these pictures are painted proves that they are in oil. The Academy of Fine Arts has instituted a committee to examine into this disco- very, and to make an exact report on the subject."] [DAM, Anthony van, born at Middleburg, painted marine subjects of large dimensions. He flourished about the middle of the last century.] [DAM, Gautier, born at Dort in 1726, was a scholar of Schouman, whose manner he followed for some time, .but ultimately became an imitator and copyist of Cuyp and Backhuysen. He died at Dort in 1785 or 1786.] DAMBBUN, . This artist was a native of France, and flourished about the year 1760. He engraved several plates after the French painters, representing conversations and musical parties, which are neatly executed with the graver. DAME, Giles la. Plorent Le Comte mentions this artist as the engraver of several plates, repre- senting Holy FamiUes, and other devotional sub- jects, in which he imitated the style of Claude Mel- Ian, but not very successfully. [DAMEBY, Jacob, a painter of fruit, flowers, and vases, was probably a native of Liege. He went to Rome when young, and, it is beheved, re- mained there till his death, which occurred in his fifty-sixth year. There are engravings by him with the date 1657.] [DAMERY, Simon, bom at Liege in 1597, went to Italy and distinguished himself as an historical painter. He died at Milan in 1640.] [DAMERY, Wautier, or Walter, born at Liege in 1614, was a scholar of P. da Cortona. He painted history and landscape. After being some time in Italy he visited Paris, and returned to his own country, where he died in 1678.] DAMIANI, Felice. This painter was a native of Gubbio, and flourished from the year 1584 till 1606. He is by some supposed to have been edu- cated in the Venetian school, and his picture of the Circumcision, in S. Domenico, partakes of that style ; but in general his works evince more of the Roman taste, which he probably acquired under Benedetto Nucci. One of his esteemed works is the Decollation of St. Paul, at Castel Nuovo, in Re- canati ; the expression in the head of the Martyr is admirable, the drawing correct, and the colouring brilKant and harmonious. It is dated 1584. About twelve years afterwards he decorated two chapels in the church of Madonna de Lumi, at S. Severino, with pictures representing the Life of the Virgin and the Infancy of Christ. But his most admired production is the Baptism of S. Agostino, in the church dedicated to that saint at Gubbio ; a grand composition of many figures, finely grouped, with an admirable expression of piety in the heads, and i enriched with noble architecture, painted in 1594, [He was living in 1616.] DAMINI, PiETRo, was bom at Castelfranco in 1592, and, according to Ridolfi, was a scholar of Gio Batista Novelh, who had been educated in the school of Palma. Such was the extraordinary ex- pectation occasioned by the early display of his talents, that some writers have not hesitated to af- firm that he would have equalled Titian if he had not died young, an assertion, which, as Lanzi ob- serves, majr be regarded as an hyperbole. There are many of his works at Castelfranco, Vicenza, Crema, and particularly at Padua, in which city, in the church of Clemente, is his picture of Christ giving the Keys to St. Peter ; and in the church of il Santo, his most celebrated work of the Crucifixion, with the Virgin Mary and St. John, a picture of extraordinary beauty, and of the most harmonious colour. In the cloister of the Padri Serviti, at Vi- cenza, he painted several pictures of the Life of S. Pilippo, the founder of their order. The style of Damini is vague and elegant, but he is by no means uniform. He appears to have frequently changed his manner, in search of greater perfection j and his last works are evidently his best. He had acquired a disting^shed reputation when the states of Venice were afihcted with the plague in 1631, to which contagion he fell a victim. He had a brother, DAMINI, Giorgio, who was an excellent por- trait painter, as well as of historical subjects of a small size, who was carried off by the same dreadful calamity. DANCE, Nathaniel. See Holland. DANCKERT, or DANCKERS, Cornelius, a Dutch engraver, born at Amsterdam in 1561. He estabhshed himself at Antwerp as a printseller, where he engraved several plates of. portraits, and other subjects, which are not without considerable merit. Among others, we have the following by him : portraits. Gustawis Adolphus, King of Sweden. Jacob Wassenaer, Lord of Obsdam. Cornelius de "Wit, with a Battle in the back-ground. John Calvin ; oval. John Casimir, Count of Nassau. SUBJECTS FROM HIS OWN DESIGNS. Four, of Figures on Horseback, called the Monarchies ; representing Ninus, Cyrus, Alexander, and Caesar, with emblematical ornaments. Seven, of the Planets, with Emblems. The Seven Wonders of the "World, with the same. Twelve, of the Sibyls ; fuU-length. Twelve, of Animals and Birds. Sixteen Views in Holland. One hundred Subjects from the Old Tes^ment ; four on each plate, twenty-iive plates. A set of Prints of ths Ruins of Rome. Meleager and Atalanta ; an etching ; after R, Picou, DANCKERT, or DANCKERS, Danckee. This engi-aver was the son of the preceding artist, born at Antwerp about the year 1600. He suc- ceeded his father in his establishment of a print- seller, and surpassed him in his talent as an en- graver. His plates are sometimes only etched, but more frequently finished with the graver. We have by him a considerable number of plates after Berg- hem, Wowermans, and other painters. And he also engraved some portraits, and other subjects, from various masters. We have by him : The Portrait of Charles II., King of England. The Departure of Charles II. for England at the Restor- ation. Venus and Cupid, with a Satyr ; after Titian. VARIOUS PRINTS AFTER BERGHEM. Hawking, called Het Vinkebaantji. A Stag Hunt, called De Hantenjagt. Four, of Landscapes and Figui-es, in one of which is a Man passing a Bridge. These are considered his best prints ; after Bergnem. DANC] A DICTIONARY OF [dant Four smaller plates, of Landscapes and Figures. Six middle-sized plates, in the title print a Shepherd riding on an Ox playing on the Flute, and a Shep- herdess dancing. Four large plates of Landscapes ; on the title print is in- scribed, Danckm-t Danckerts,fec. el exe. A set of fine Etchings ; after Wowermans. [There were several artists of the name of Danckers, who flourished about the middle of the l7th cen- tury ; but the accounts of them are very confused. Balkema mentions a Jan Danckers who painted a picture bearing date 1648. Henry, it is also said, made copies oit Titian and Palma.] DANCKERT, or DANCKERS, Henry. This artist was most probably of the same family, al- though bom at the Hague about the year 1630. He was bred an engraver, but afterwards was recom- mended to study painting, and went to Italy for improvement. On his return to Holland he ac- quired some reputation as a landscape painter, and was invited to England by Charles II., who em- ployed him in designing views of the royal palaces, and of the sea-ports of England and Wales. In the collection of James II. there were twenty-eight landscapes and views by this master. He engraved a few plates, as follow : The Portrait of Charles II. ; after A. Hanneman, in- scribed, Hett. Danc/cers, Hoffte Bataims, sculp. A large View of Amsterdam and the Y, with Shipping ; in three sheets. A set of Views of the Palaces and Sea-ports in England. DANCKERT, or DANCKERS, Justus, an en- graver of the same family, by whom we have the following plates : The Portrait of "William III., Prince of Orange, after- wards King of England. , The Poitrait of Casimir, King of Poland. . Seven plates of the Gates of Amsterdam. DANCKERT, or DANCKERS, John. This artist was a native of Holland, and resided at Am- sterdam about the year 1657. He painted history with some reputation, and etched a few plates, among which is a print representing Venus reclining on a couch ; after Titian. DANDINI, Cesare. This painter was bom at Florence about the year 1595. He was first a scholar of Francesco Curradi, but afterwards stu- died under Domenico Cresti, called Passignano, and Cristofano AUori. Under these masters he acquired a tolerable correctness of design, and an agreeable tone of colouring. One of his best works is a pic- ture of S. Carlo, with other saints, in one of the churches at Ancona. He also painted easel and cabinet pictures, which were admired for their neat- ness and finish. He died in 1658. DANDINI, ViNCENzio, was the brother of the preceding artist, born at Florence in 1607. After receiving some instruction from his brother, he went to Rome, where he studied some time under Pietro da Cortona, whose style he followed. He was an eminent painter of history, and, according to Orlandi, was made principal of the Academy at Rome, on which occasion he painted a large picture which gained him great reputation. He returned to Flo- rence, where he executed several works for the churches. In the Chiesa di Ognissanti is an ad- mired picture of the Conception. He was employed in the palaces of the Grand Duke ; in one of which he painted a ceiling, representing Aurora with the Hours, much in the style of Pietro da Cortona. He died at Florence in 1675. DANDINI, Pietro, was the nephew of the pre- ceding artist, and the son of Cesare Dandini, born 202 in 1646. Having lost his father when he was only four years of age, ne was taken under the protection of his uncle, who instructed him in the principles he had himself adopted of the style of Cortona. He afterwards travelled through great part of Italy, and improved himself by studying the great masters of the Venetian and Lombard schools. On his return to Florence he was patronized by the Grand Duke Cosimo III., for whom he painted many works in oil and in fresco. It is to be lamented, that the avarice of this artist led him into a slight and negli- gent manner of finishing his works; to which he was the more easily tempted by the possession of uncommon facility of execution. Lanzi mentions, as one of his most important works, the Cupola of St. Mary Magdalene, at Florence. In the church of S. Maria Maggiore is a picture of S. Francesco; and in the church of the Servi monks is an altar- piece representing a Saint of their order ofSciating at the altar. He died in 1712. DANDINI, Ottaviano, was the son of the pre- ceding artist, and painted history in the style ofhis father. Some fresco paintings in the cloister of S. Spirito, a picture of several saints in S. Lorenzo, and his works in the church of the Magdalene at Pescia, evince the respectability of his talent. DANEDI, Giovanni Stefano, called Mont- alto. This painter was bom at Treviglio, in the Milanese, in 1608, and was a scholar of Cavahere Morazzone. During a long residence at Milan, he painted a great number of pictures for the churches of that city, and in the state. One of his best works is the Martyrdom of S. Guistina, in S. Maria in Pedone. He died at Milan in 1689. DANEDI, Gioseffo, called Montalto, was the brother of the preceding artist, bom at Treviglio in 1618. When young he went to Bologna, where he entered the school of Guido Reni. On leaving that master he settled at Turin, where he executed some works for the public edifices. Towards the latter part of his life he joined his brother at MUan, where he was much employed. In the church of S. Se- bastiano is a fine picture by this master of the Mur- der of the Innocents. He died in 1688. DANET, John. See Duvet. DANET, Leon. See Daven. [DANIELL, Thomas, a member of the English Royal Academy, commenced his artistic career as a painter of English landscape scenery, with some at- tempts at poetical composition. At the age of 35, he went to India with his nephew, William Daniell; they were absent about ten years, gathering mate- rials for their great work of "Oriental Scenery," which was published in 1808, in 6 volumes, the whole of which, with the exception of the volume of " Excavations," was executed by Wilham. He seldom painted any but Indian subjects. His death occurred in 1840, at the age of 91 years. The works of William Daniell are so blended with those ofhis uncle Thomas, that they may be considered, artist- ically, as one, though some give the preference to the latter. William died in 1837, aged 64.] [DANKS, Francis, sumamed the Tortoise, was bom at Amsterdam in 1650, where he died in 1703. He painted history and portraits, and showed con- siderable talent in modelling and sculpture.] DANNOOT, Peter, a Flemish engraver, who flourished about the year 1690. He engraved a plate representing the Head of Christ crowned with Thorns, after JRiwens, and a Portrait of Pere Mas- trifle. [DANTE, GiROLAMo, an Italian painter, men- dant] PAINTERS AND ENGRAVERS. [DAVE tioned by Zanetti and Lanzi as a scholar of, and assistant to Titian in some of his less important works. It is said that in copying the originals of his master, he attained so high a degree of excel- lence, that such of his pieces as were retouched by Titian bid defiance often to the judgment of those who are considered exact connoisseurs. He also produced works of his own design ; the altar-piece attributed to him at San Giovanni in Olio reflects credit on so great a school.] [DANTI, Padre Ignazio, a Dominican, em- ployed by Pope Gregory XIII. to decorate the walls of the Vatican with geographical dehneations of ancient and modem ItEuy. He was bom in Perugia, of a fanuly devoted to the fine arts, and was a man of superior knowledge and judgment. The pope having determined to complete the continuation of the gaUery of Raphael m conformity with the original plan, and to paint four subjects in every arcade of the gallery, all from the New Testament, Danti was employed by him to superintend the work; it being found, by experience, that the en- tire abandonment of a design to the direction of practical artists is injmious to its execution; for there are few that, in the choice of their inferior assistants, are not governed by influence, avarice, or jealousy. The selection, therefore, was reserved to Danti, who, to an excellent practical knowledge of the art of design, united moral qualities that in- sured success; and under his direction the whole work was regulated and conducted in such a man- ner that the spirit of Raphael seemed to be recusci- tated in the precincts of the Vatican.] DANTI, Teodora. This lady is mentioned in the Vile de Pittori Pentgini, by Lione PascoU, who states her to have been bom at Perugia in 1498. She painted small pictures, in imitation of the style of Pietro Perugino. She died in 1573. [DANUS, Miguel, a Spanish historical painter, bom at Majorca, studied first at Valentia, and afterwards in Italy in the school of Carlo Maratti. After an absence of several years he returned. to his own country, where he painted, in the manner of his master, the pictures m the cloisters of the con- vent of the Secours at Palma ; and others which are to be found in the collections of the inhabitants of Majorca.] DANZEL, Jerome, a modern French engraver, bom at Abbeville in 1755. He was a pupil of Plipart, and has engraved several plates in a firm and neat style. He was received a member of the French Academy. We have by him the following prints : An old Man, half-length ; after Rembrandt. A Flemisli Merry-making ; after Tilborgh. Venus and Adonis ; after J. Bethon. Venus and ^neas ; after Ant. Boisot. Alexander giving Campaspe to Apelles ; after Lagrenei. Socrates pronouncing his Discourse on the Immortality of the Soul; after Sane. The Boman Charity; after N. N. Coypel. Vulcan presenting to Venus the Arms of ^neas ; after Boucher. The Kape of Proserpine ; after Vien. DARET, Peter, a French engraver, born at Paris about the year 1610. After receiving some in- stmction in engraving, he went to Rome in search of improvement, where he passed a considerable time. He engraved a great number of plates; they are chiefly executed with the graver, and are not with- out merit in point of neatness, though very deficient in taste and correctness of drawing. His work ex- tends to upwards of four hundred prints, among which are the following. He frequently marked his plates -IJJ. PORTIfAITS. Bust of Alexander the Great, with an explication from Plutarch. Pope Alexander VII. Charles I. of England. Henry de Bourbon, Prince of Cond^. Charlotte Margaret de Montmorency, Pi-inoess of Cond6. Margai'et Gaston, Duchess of Orleans. VlacQslaus IV., King of Poland. SUBJECTS after VARIOUS MASTERS. St. John sitting in the Desert with his Lamb ; after Guido. The Virgin suckling the Infant ; after Caracci. St. Peter delivered from Prison ; after Domeniehino. The Entombing of Christ ; after iarocdo. A Holy Family, with an Angel presenting Fmit to the Infant Jesus ; after S. Votiet. The Dead Christ, with the Marys ; after the same. St. Jerome, half-length ; after Blanchard. Thetis ordering Vulcan to forge the Arms of Achilles ; after the same. A Charity with Five Children ; after the same. The Visitation of the Virgin to St. Elisabeth; after Cor- neille. The Virgin and Infant ; after Sarazin. He also engraved one hundred small plates for a work entitled. La Doctrine des Moeurs, after the designs of Otho Voenius, 1646 ; and a great number of portraits for a publication entitled. Tableaux his- tonques ou sont graves les illustres Francois, et Etran- gers de lun, et I'autre sexe, par Pierre Daret, et Louis Soissevin, published in 1652 and 1656. DARGENVILLE, Anthony Joseph Dezalier, a French amateur and writer on art, who resided at Paris about the year 1750. He was the author of a work entitled AbregS de la Vie des plus fameux Peintres, pubUshed first at Paris in quarto, in 1755. According to Basan, he etched several plates of subjects and landscapes, from his own designs. DASSONVILLE, Jacques, a French engraver, born near Rouen in 1719. We have by this artist about fifty etchings, in the style of A. Ostade, and although they are by no means equal to the playful point of that master, they are not without consider- able merit. DAUDET, John Baptist, a French engraver, born at Lyons in 1737. He was the son of a print- seller, who sent him to Paris, where he became a pupil of J. G. Wille. We have some landscapes and marines, neatly and spiritedly engraved by him, as foUdw : Two Landscapes, with Figures and Cattle ; after Berg- hem. An Italian Landscape, with Figures and Cattle ; after Both, andBerghem. A Stag-hunt, etched by Dunker, and iinished by Daudet; after Wowermans. Italian Buins ; after C. Poelembttrg. The Corsican Fishermen ; after Vemet. The Washerwomen ; after the same. Two, of Roman Buins ; after Dietricy. Evening ; after the same. DAVEN, Leon, sometimes called Daris, or Danet. The place of nativity of this engraver has not been satisfactorily ascertained. AU that is pre- cisely known of the circumstances of his life is, mat he istinguished himself as an engraver at Rome and Florence about the year 1540, and that he ac- companied Francesco Primaticcio to France, and euOTaved some plates after the works of that master at Fontainbleau ; he had previously executed several plates after the pictures of that great painter before he visited France, and appears to have been par- 203 DAVl] A DICTIONARY OP [davi ticularly attached to him. His works are chiefly etched in a broad, bold, and singular manner ; they possess however considerable merit, and are esteemed by the judicious collector. His plates are frequently marked with the initials L. D. The following are his principal prints : SUBJECTS AFTER FKANCESCO PRIMATICCIO. Christ with a Glory of Angels. The Virgin in the Clouds, surrounded by Angels. The Holy Family, with St. Elisabeth and St. John. Christ Triumphant. St. Mary of Egypt taken np to Heaven by Angels. Alexander taming Bucephalus, Fontainbleau. The Marriage of Alexander and Boxana. Ditto. The Death of Cleopatra. Jupiter and Danae. The Bath of Venus ; a grand composition. Mars and Venus. The Rape of Proserpine. Diana reposing after the Chase. Fontainbleau. Hercules and Omphale. Cadmus combating the Dragon. A Sacrifice to Priapus. Cupid blinded, mounted on an Ass, with two Satyrs, and a Man blowing a Trumpet. The Death of Meleagerl The Rape of Europa. The Continence of Scipio. SUBJECTS AFTER VARIOUS MASTERS. Francis I. surrounded by his Courtiers, a Child kneeling presenting him a Pomegranate ; after II Rosso. Francis I. marching to the Temple of Glory ; after the same. The Death of Adonis ; after the same. Psyche attempting to get water at the Fountain guard- ed by Dragons, is aided by the Eagle of Jupiter; after L. Fermi. Parnassus, with Apollo and the Muses ; after the same. The Body of Patroclus taken from the Field of Battle ; after Giulio Romano. Circe drinking in presence of the Companions of Ulysses; after Parmegiano. DAVID, Charles, a French engraver, born at Paris about 1605. It is not ascertained by whom he was instructed, but he ranks as a very respectable artist among the engravers of his time. His plates are executed with the graver in a clear, firm man- ner, and his drawing is tolerably correct. His prints are held in considerable estimation. He usually marked his plates C. D. F. or C. D. The following are by him : Ecce Homo, or Christ shown to the People by Pilate ; C. David, so. The Virgin and Infant with Angels ; after J. B. Cham- paqne. The Virgin with S. Bernard ; after Ph. Champagne. A Nurse carrying a Child ; with six verses ; C. David. The Roman Charity. Twelve, of the Labours of Hercules ; after Fra' Floris. Sixteen, of the Cries of Rome ; copied after Villemena with such exactness that they may easily be mistaken for the originals. ■Wisdom awaking a Man sleeping ; after Champagne. A set of Landscapes ; after M. and P. Brill. A Print, after Callot, representing a Man with a Snail on his linger, with a Goat wearing a Crown of Snails on its Head ; very scarce. DAVID, Jerome, a French engraver, brother to the preceding artist, bom at Paris about the year 1608. He engraved a considerable number of plates in the same style as his brother, many of which are portraits. The work of the two brothers consists of about two hundred and twenty prints. Jerome marked his plates sometimes with the letters H. D. F. or with the ciphers "f^-F or Jjy . We have by him : Charles I., King of England, on Horseback ; H. David, sc. 204 Henrietta Maria, his Queen, on Horseback ; the same. Anne, Queen of France ; the same. Gaston of France, Duke of Orleans. Cardinal Richelieu ; H. David, sc. Giovanni Batista Montano, celebrated sculptor. 1621. SUBJECTS AFTER VARIOUS MASTERS, AND HIS OWN DESIGNS. The Heads of the Philosophers, thirty-six Plates from his own designs. Adam and Eve driven from Paradise ; H. David. Christ bearing the Cross ; after Ercole Ferrata. 1630. Ecce Homo ; after Guercino. The Virgin of the Rosary ; after Guido. 1633. The Assumption of the Virgin ; after Camillo Pro- caccini. St. Francis of Paola ; after Robert Picou. He etched forty-two plates from the designs of Mon- tana, of churches, tombs, and altars at Borne, pub- lished by Soria. DAVID, Claude. This artist is noticed by Ver- tue as the engraver of a plate from a model of a Fountain, with the Statues of Queen Anne, the Duke of Marlborough on Horseback, with River Gods, intended to have been erected at the Conduit in Cheapside. The print is inscribed Opus Equitis Claudii David, comitatua Burgundice. DAVID, Francis Anne, a modern French en- E'aver, born at Paris in 1741. iHe was a pupil of e Bas, and has engraved several plates of portraits and various subjects in a neat, finished style, among which are the following : PORTRAITS. Monsieur, brother of Louis XVI. ; after Drouais. Denis Diderot ; after L. M. Vanloo. C. G. de Choiseul, Due de Praslin ; after Roslin. Catherine II., Empress of Russia ; tifter Mad. Rameau. Gaspard Netsoher, painter, his Wire and Son ; after a picture by himse^. Charles I. of England with his Family ; after Vandyck. SUBJECTS AFTER VARIOUS MASTERS. The Dutch Sportsman ; after G. Metzu. The Green-market at Amsterdam ; after the same. The Quack Doctor ; after Karel dv, Jardin. The BuU ; after Paul Potter. Two Views of the Gulf of Venice ; after Vernet. Two Views near Dunkirk ; after the same. Adam and Eve in Paradise ; after Santerre. [DAVID, Jacques-Louis. This very eminent French historical painter was bom at Paris in 1748, and was a scholar of Vien, whom he accompanied to Rome, on his appointment to the directorship of the French Academy in that city. He there made numerous studies of the antiques and the works of the old Italian masters. He returned to France in 1780, and distinguished himself by many classic productions. Louis XVI. commissioned him to paint a picture ; and the subject he chose was the return of Brutus to his house after the condemnation of his sons. He took an active part in the revolu- tion, and narrowly escaped the fate that befell many of the leaders. Having regained his liberty, he ap- Elied himself solely to his art, and produced some of is best works. Napoleon held him in high esteem, and he added to the emperor's glory by a flattering representation of him in his celebrated passage of Mount Saint Bernard, and other grand scenes of his reign. When the Bourbons returned, David was banished. Oblivion and Pardon, which preceded them, were found to be words of equivocal or no meaning, as in the mouth of Charles II. of England. David retired to Brussels, where he received all the homage due to his great talents. He continued to paint till his seventy-eighth year, and produced many fine works during his exile. The govern- DAVl] PAINTERS AND ENGRAVERS. [deck ment refused his family the sad favour of bringing his body to France for interment ; but the artists and people of Prance honoured his memory, and still consider him the great restorer of painting in that country.] DAVID, LoDOVico Antonio. This painter was born at Lugano in 1648. After studying some time at Milan, under the Cavaliere Cairo, and Ercole Procaccini, he went to Bologna, where he entered the school of Carlo Cignani. He was a painter of some eminence, and gave proof of his ability in the churches and convents at Milan, and at Venice. In the church of S. Silvestro, in the latter city, is a picture of the Nativity, more resembling the finished style of CamUlo, than the other Procaccini. He also painted portraits of many of the distinguished persons of his time. DAVID, Louis. According to Professor Christ, this engraver flourished at Venice about the year 1667. We have by him an upright plate, of the Taking down from the Cross, engraved in a clear, neat style. It is marked with the cipher J^j, DAVIS, Edward le, an engraver, stated in the Anecdotes to have been a native of Wales. He ap- pears to have flourished about the year 1670. He was articled as a pupil to Loggan, but not being treated to his satisfaction, he fled from his indenture and went to France. On his return he engraved some portraits and other subjects, which have not much to recommend them independent of the inter- est excited by the characters they represent. We have by him : ^ POKTRAITS. Charles II. seated, the Head was afterwards effaced, and that of King William III. substituted in its place. James, Duke of York. Catherine, Queen of England ; whole-length ; after J. B. Ca/rpers. William, Prince of Orange ; after Lely. Mary, Princess of Orange; after the same. 1678. The Duchess of Portsmouth. General Moncke. Charles, Duke of Bichmond ; 1672, when a boy. Stephen Monteage. 1675. Bertram de Ashbumham, engraved for GuiUim's He- raldry. A Merry- Andrew ; after Francis Hals ; inscribed Ed- ward le Davis, Londini, scvi^. SUBJECTS AFTER VARIOUS MASTERS. St. Cecilia with Angels; after Vandyck. An Eece Homo ; after Caracd ; very scarce. A Holy Family ; after a basso-relievo by Algairdi. DAULLE, John, an eminent French engraver, bom at Abbeville in 1703. He received some in- struction from his fellow citizen Robert Hecquet, an artist little known, and afterwards went to Paris, where his merit was not long unnoticed, and he was received into the Academy in 1742. He engraved several plates of portraits, with historical and other subjects, which are chiefly worked with the graver in a clear and firm style, 'and which entitles mm to the rank of one of the ablest artists of his time. The following are his principal plates: PORTRAITS. Catherine, Countess of Feuquieres, Daughter of P. Mig- nard, holding the Portrait of her Father ; P. Mignara, pin. J. DavMe, sc. Hyacinth Bigaud, painter ; engraved for his reception at the Academy in 1742. Margaret of Valois, Countess of Caylus ; after Rigavd. Charles Edward Stuart, son of the Pretender; 1744; John Baptist Bousseau ; after J. Aved. John Mariette, engraver ; after Pesne. SUBJECTS AFTER VARIOUS MASTERS. The Magdalene; after Coreggio; for the Dresden Gal- lery. Diogenes with his Lantern; after Espagnoletto ; the same. The two sons of Bubens ; after thatrpainter ; the same. Neptune appeasing the Tempest ; after the.same. A Charity with Three Children ; after Albano. The Triumph of Venus ; o/rSer Boiuiher. Latona; engraved in 1762; after J. Jauvenet. Four, Marines and other subjects ; after Vemet. The Bath of Venus ; after Raoux. Two subjects; after 6. Metzu. Jupiter and Calisto ; after N. Poussin. [He died at Paris in 1763.] - [DA WE, George, an English portrait painter, and a member of the Royal Academy, spent much of his artistic life in Russia, where he pamted, it is said, about 400 portraits of the chiefs and leaders of the Russian army, who had, with the assistance of the snow, vanquished Napoleon. He had painted, before he left England, some pictm-es of a higher grade, one of which, " a Mother seeking her Child in an Eagle's Eyrie," attracted great attention. He made much money by his expedition to Russia, but did not live to enjoy it ; for he died six weeks after his return to England in 1829. His portraits are reckoned good likenesses of the persc^ns, but not ex- pressive of character.] DAWE, Philip, an eminent English engraver in mezzotinto, who flourished about the year 1771. He engraved several subjects after H. Morland, and among other portraits by him we have those of Mrs. Yeates, in the character of Electra, after Cotes; and Admiral Sir Charles Hardy, after Sudson. DEAN, John, an English engraver in mezzotinto. He was a pupil of Mr. Valentine Green, and has scraped several plates of portraits and other subjects in a very respectable style. The following are among his best plates : PORTRAITS. James, Earl of Aberoom ; after Gainsborcmgh. James Caulfield, Earl of Charlemont ; after Livesy. George Vernon, Lord Vernon ; after Gainsborough. The Son of Sir Watkin Williams Wynne, when a child, as St. John ; after Reynolds. Elizabeth Hamilton, Countess of Derby; after Romney. Lady Elizabeth Windham, when Lady Herbert, with ter Son ; after Reynolds. Lady Gertrude Fitzpatrick ; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Four Evangelists, after Ritbens and Jordaens. St. Anthony of Padua ; after Murillo. DECKER, Cornelius, a German engraver, who, according to ProfessorOhrist, resided chiefly at Nu- remberg, He appears to have been much employed by the booksellers, and executed several plates in a coarse, harsh style. They ai'e principally^ etched from his own designs; among his best prints are those engraved for Athanadi Kercheri Turris Babel. He sometimes marked his plates with the cipher ©■ DECKER, Francis. It is surprising that this painter has not been noticed by any authority, al- though his pictures are to be met with in almost every collection, and possess great merit. He was a native of Holland, and painted landscapes in a very pleasing and natural style, resembling the charming productions of Ruysdael, without the servility of an imitator. From the appearance of his pictures, it is ^^ probable that he lived about the same time. Clementina, Princess of Poland; his consort; scarce. I DECKER, I. DE. Mr. Strutt mentions this artist deck] A DICTIONARY OF [deip as the engraver of a small copy of the print repre- senting the Treaty of Munster, engraved by Suyder- hoef, after Terhuri/, in which he attempted to imitate the style of the original, but with no great success. [DECKER, or DEKKER. There are no less than nine artists of this name enumerated by differ- ent writers, with admirable confusion, in apportion- ing their respective works. The distinguishing names are Adrien, Coenraet, Francois, Jan, Jacques, CorneUus, Charles, Custos, and Paul. Some call the landscape painter Coenraet, others Charles, or Henry, each saying that his pictures resemble those of Ruisdael ; Custos and Francis are said to have painted grotesque subjects ; Adrien is said to have been a scholar of Everdingen ; Jan, a painter of in- teriors, conversations, and landscapes in the manner of Murant; and Paul, an architect and engraver. The Dehker with whose works we are best ac- quainted in England, is the one who, without being an imitator or copyist of Ruisdael, painted similar views on a small scale, and also weavers' workshops. It is probable that he was the scholar of Everdingen ; Adrien Ostade and Adrien Van de Velde have orna- mented some of his landscapes with figures and cattle. The works so ornamented Balkema ascribes to Conraet, and says that engravings by him have been discovered, signed Haerlem, 1685. Brulliot, after Heineken, says Charles was an engraver, and flourished about the commencement of the 18th century, and he calls the painter Cornelius.] [DECLOCHB, N., a painter of Liege, who lived about the middle of the 18th century. He painted battle-pieces in a spirited manner ; and also sacred subjects, two of which are in the church of St. Jacques at Liege.] [DEFRANCE, Leonard, born at Liege in 1735, was a scholar of J. B. Coders ; he painted historical pieces of large and small dimensions, also land- scapes, game, fruit, flowers; and architecture. He was the first professor of design to the Academy at Liege, established by Prince velbruck, and after- wards filled the same situation in the school of the centi-al department of Ourthe. He died in 1805.] , DEHNE, J. C, a German engraver, who flour- ished about the year 1723. He engraved several portraits for the work entitled leones BMiopolarum et Typographorum, published at Nuremberg. We have also by him a great number of plates, repre- senting, in the most ludicrous manner, the gods, goddesses, heroes, &c. of antiquity. DELARAM, Francis, an English engraver, who flourished about the year 1620. He was contempo- rary with Elstracke and the Passes, and engraved several plates in the neat but formal style which was irevalent at that time. His portraits are the best of lis works, and they are now become scarce. The following are his principal prints : PORTRAITS. King Henry VIII. Queen Mary, holding a Paper. Queen Elizabeth. James I. ; as large as life. Henry, Prince of Wales, son of James I. Prances, Duchess of Richmond and Lennox. 1623. Henry Percy, Earl of Northumberland. 1619. James Mountagu, Bishop of Winchester. Henry Percy, Earl of Northumberland. John, Bishop of Lincoln, with Angels playing on Musical Instruments, and six Latin verses ; a curious print. Sir Henry Mountagu, Chief Justice of the King's Bench. Sir Horatio Vere, with an armed Soldier on each side. John Abbot, Bishop of Salisbury. Sir William Segar, principal Herald at Arms. Sir Thomas Gresham, holding a Globe. 206 I George Withers, poet, 1622 ; Nee habeo, nee careo, nee cviro. Frontispiece to Withers's Preparation to the Psalter. 1619. to the Seven Golden Candlesticks. 1624. to Nero Ccesar, or Monarchie depraved. 1627. [DELCOUR, Jan Giles, a painter pf Liege, was a scholar of B. Plemael, but went to Italy to study the works of the great masters. He made copies of some of Raphael's pictm-es, which were considered excellent. These are said to exist at Liege, where there are also some original pictures by him in the churches. He died in 1694] DELEN, Dirk, or Theodore, van. This painter is introduced by M. Descamps, among the artists born about the year 1635. He was a native of Heusden, andwas instructed by Francis Hals, under whom he studied some time, but his prevailing taste for architecture and perspective led him to a par- ticular application to those branches, and he became a very eminent painter of views of churches, tem- ples, and palaces, both interior and exterior. His pictures of that description are frequently decorated with figures by some of the most eminent of his contemporaries, particularly by Van Harp, which is no small addition to their value. The works of this master, with the advantage of similar assist- ance, are found in many distinguished collections. [There is much uncertainty respecting the exact time of this painter's birth and death. His name is written Daetens, Dalens, Delins, by difl'erent biograr phers, and he is confounded with Dalens the land- scape painter.] DELFINO, Carlo, a French painter, with an ' Italianized name, who, according to Lanzi, flour- ished at Turin about the year 1664, and was painter to the court. He was also employed for the churches, but his works are in no great estimation, abounding with the most ridiculous absurdities. In the church of S. Carlo, is an altar-piece by him, de- scribed by the above author as a mogt ludicrous composition. DELFOS, A., a Dutch engraver, who, according to Basan, flourished about the year 1760. We have by him, A Landscape, with Figures and Animals ; after Berglwm. A Sea-port, with Shipping ; after the same. SeveralViewsinFlanders,wim Boors; after D. Teniers. DELFT, or DELPHIUS, William James, a Dutch portrait painter, but more celebrated en- graver. He was bom at Delft in 1580, and received his first instruction in design from his father, Jacob van Delft, a portrait painter of little celebrity. He practised some time in the style of his father, but having attempted to engrave some plates after the portraits of Mirevelt, whose daughter he had mar- ried, his success was such as to induce him to abandon painting, and devote himself entirely to the graver. He handled that instrument with un- common freedom and clearness, and his heads are finely drawn. The plates he executed in the earlier part of his life are more neatly finished than those he afterwards produced, but the latter are engraved in a bold open style, producing a fine effect. His plates are sometimes signed with his name, at others he used a cipher, composed of a G. and a D. thus, (^^. Although Delft has engraved several English portraits, and assumed the title of engraver to the king, it does not appear from Vertue that he was ever in England. "The following are his prin- cipal portraits : delf] PAINTERS AND ENGRAVERS. [denn Charles I. of England ; after D. Mytens. Henrietta Maiia, his Queen ; after the same. George Villars, Duke of Buckingham ; after Mirevelt. Michael Mirevelt, painter ; after Vandyck. PORTRAITS AFTER MIREVELT. Jacob Cato, poet and philosopher. Hugo Grotius, Syndic of Rotterdam ; fine. Three fine Heads of WiUiam, Maurice, and Henry, Princes of Orange. GustaTus Adolphua, King of Sweden. Frederick, King of Bohemia, Elector Palatine. 1632. Elisabeth, Queen of Bohemia. 1630. Wolfgang WiUiam, Duke of Bavaria. Gaspar, Count de CoUgni. 1631. Louisa, Countess de Cfligni. 1627. Florentio, Count of Culenborch. 1627. Catherine, Countess of Culenborch. 1636. Philip WiUiam, Prince of Orange. 1628. Marc. Antonio de Dominis, Archbishop of Spalatro. Sir Dudley Carleton, Ambassador at the Hague. John Olden Barnevelt. 1617. Abraham vander Meer. Hans de Hies. Jacobus Triglandus, Professor in the University of Ley- den. 1636. Felix de Sambix, famous writing-master of Antwerp. DELFT, or DELPHIUS, James William, was the son of the preceding artist, born at Delft in 1619. Having been instructed in the art of painl> ing by his grandfather, Michael Mirevelt, he fol- lowed him in the excellent style of treating those subjects, and became eminent as a portrait painter. He also distinguished himself as an engraver, in which he Wcis instructed by his father. A set of oval portraits, without the names of the painters, is generally attributed to this artist ; among which are the following : Frederick Henry, Prince of Orange, Count of Nassau Katzenellenborgen. Louis XIII. King of France. Philip III. King of Spain. • Philip IV. King of Spain. Ambrosius Spinola. Vladislas IV. King of Poland. [DELGADO, D. Juan, a Spanish painter, estab- lished at Madrid about the commencement of the 18th century. He painted the picture of S. Francis Xavier in the Hermitage of Notre Dame, near the bridge of Segovia. He was a good colourist, but somewhat of a mannerist.] [DELGADO, Pedro, a Spanish painter, born at Orgaz, where he painted in 1529 two large pictures on wood for the Hermitage of the Conception. One represents the Virgin surrounded by Saints, and the other a Descent from the Cross : they are both in the style of the 15th century.] DELIBERATORE, Niccoto, called Niccoto FoLiGNATE. This painter was a native of FoUgno, and, according to Lanzi, flourished from the year 1461 tiU W80. The few of his works which have been preserved retain something of the Gothic style that had existed from the time of Giotto, nearly two centuries before him. The Abate G. Colucci, in his Antichitd Picene, notices a picture in the church of St. Francis at Cagli, painted by N. DeUberatore in conjunction with Pietro di Mazzaforte in 1461, for which they were paid one hundred and fifteen golden ducats, a considerable sum for that time. Another picture is mentioned by Lanzi at Camerino, in the church of S. Venanzio, representing the Crucifixion, with several figures painted on a golden ground j it is inscribed opus Nicolai Fidginatis, 1480. DELMONT, Deodato, a Flemish painter, bom at St. Tron, near Antwerp, in 1581. He was of an ancient family, and was educated suitably to his birth. His inclination for the art induced his parents to introduce him to the school of Ruhens, whom he had the good fortune of accompanying in his journey through Italy. These advantages were not neglected by the young Delmont, and he became a,n eminent painter of history. He was for some time employed at the court of Nieubourg, and also received some commissions from the king of Spain. In the churches of the Low Countries he has left several proofs of his ability. At Antwerp, in the cathedral, is a picture by this painter of the Trans- figuration ; in the church of the Jesuits, was former- ly an altar-piece of Christ bearing his Cross ; and in the convent, called Facons, the Adoration of the Magi. He died in 1634. DELSENBACH, John Adam, a German en- graver, who flourished at Vienna about the year 1721. He engraved several portraits for a work en- titled Icones Sibliopolarum et Typograph Among others, we have by him the following : Jonas in the Sea, swallowed by the Whale ; circular. Jonas thrown hack on the Sea-shore ; the same. A Dutch Merry-making ; after his own design. Adam and Eve taking the Forbidden Fruit ; after C, Van Mander. Christ appearing to Magdalene ; £. Dolendo, inv. etfec. The Holy Family ; after M. Coxoie. St. John preaching in the Wilderness. Pyramus and Thisbe ; after Crispin va/nden Broech. Jupiter and Ceres ; an allegorical subject ; after B. Spranger. The Assumption of the Virgin. DOLENDO, Zachary. This artist was also a native of Leyden, a contemporary, and probably a relation of the preceding engraver, whom he sur- passed, both in the style of his graver, and in the correctness of his design. He is said, by Mr. Huber, to have been a disciple of James de Ghein. There, are some portraits by this master, which are not in- ferior in neatness to those by J. Wierix : his plates are frequently marked with a cipher composed of Z. and D. thus, ^J. We have by him, WiUiam, Prince of Orange ; half-length, in Armour ; Z. Dolendo. 1581. Andromeda chained to the Kock ; finely drawn ; from his own design. Adam and Eve embracing, whilst Eve receives the Apple from the Serpent; after- B. Spraru/er. The Continence of Scipio ; after A. Bloeniaert. The Virgin and Infant, mth Two Angels ; after J. du Ghein. The Crucifixion ; after the same. St. Martin dividing his Cloak with two Beggars ; after Spranger. A Set of small Plates of the Gods and Goddesses ; copied from the larger ones by Henry Goltzius. DOLIVAR, John. This artist is said by Huber to have been born at Saragossa in 1641. He studied engraving at Paris, and engraved some of the plates of ornamental and decorative subjects for JSerain's Ornaments. He was also employed in the set of the Uttle conquests of Louis Xly . His works are com- pared with those of Le Pautre and Chaveau, though inferior to both. DOLLE, William, an English engraver, who was chiefly employed in portraits for the booksell- ers. He flourished about the year 1630, and worked chiefly with the graver in a stiff, tasteless style, and his portraits are sought after rather on account of their scarcity, than meir merit as engravings. We have by him the following portraits : Sir Henry Wotton, Provost of Eton. Mark Francke, Master of Pembroke Hall, Cambiidge. John Cosin, Bishop of Durham. George Villars, Duke of Buckingham. Sanderson, Bishop of Lincoln. John Milton. Robert, Earl of Essex. Samuel Botley, Short-hand Writer. [DOMENECH, Antonio, a painter of Valencia, and scholar of Padre Nicolas Borras, whom he as- sisted in several of his works, and whose manner he .--so closely imitated, that even at Valencia, where the productions of Borras may be supposed to be well known, the works of Domenech are attributed to him.] DOMENICHINO, Domenico Zampieri, called. This celebrated painter is introduced under the name of Domenichino, by which he is generally known, rather than that of his family, Zampieri, for the facility of reference. Domenico Zampieri was born at Bologna in 1581, and was placed, when young, under the tuition of Denis Calvart; but having been treated with severity by that master, for having been discovered copjdng a drawing by Annibale Caracci, he prevailed on his father to re- move him from that school, and to permit him to enter the academy of the Caracci, where Guido and Albano were then students. It was the practice of that celebrated seminary to excite the emulation of the pupils by proposing prizes for the best drawings, and one of those occasions occurred soon after Donienichino became their scholar. Fearful and unambitious, without hope of success, he was obliged, like the oth* pupils, to offer his design ; and whilst his fellow .students gave in their- works with confi- dence, regarding him with an air of conscious su- periority, Domenichino approached with timidity, scarcely daring to present his. drawing, which he would gladly have withheld. Lodovico Caracci ex- amined the whole, and pronounced Domenichino the successful candidate. This tiiumph, instead of rendering him confident and presumptuous, only served to incite him to greater assiduity. He con- tracted an intimacy with Albano, and on leaving the school of the Caracci, they visited together Parma, Modena, and Reggio, to contemplate the works of Coreggio and Parmegiano. On their return to Bologna, Albaiy)" went to Rome, and was soon afterwards followed by Zampieri. The Cardinal 213 dome] A DICTIONARY OF [domi Agucehi was the first that favoured him with his patronage, employed him in his palace, and com- missioned him to paint three pictures for the church of S. Onofria, representing subjects from the life of S. Jerome. Whilst at Rome, Domenichino was a frequent visitor of Annibale Caracci, who was then engaged in his great work of the Pamesian Gallery, and he was intrusted by that master to execute a part of it from his cartoons. He painted from his own designs in the loggia in the garden, the Death of Adonis, when Venus springs from her Car to succour her unfortunate Lover. The health of An- nibale becoming daily more impaired, he was under the necessity of renouncing many commissions which were offered him, and which he had the satis- faction of procuring for his scholars. It was by his recommendation that Guido and Domenichino were engaged by the Cardinal Borghese to paint the celebrated frescos in S. Gregorio, of which the Flagellation of S. Aiidrea by the latter is so justly admired. The Cardinal Parnese employed him in some works in fresco, in a chapel in the Abbey of Grotto Ferrata, where he painted several subjects from the life of S. Nilo, one of which, representing the cure of a demoniac, may be compared with the finest productions at Rome. He was employed about this time by the Cardinal Aldobrandini to de- corate his villa at Prascati, where he painted in fres- co ten pictures of the History of Apollo, which gained him great reputation. The next work of Dome- nichino, was his well-known production of the Communion of St. Jerome, painted for the principal altar of S. Girolamo della Carita. This admirable performance was considered as the finest picture at Rome, after the Transfiguration by Raffaelle ; its beauty and celebrity were sufiicient to mark it for one of the first objects of French spoliation, and it is now one of the principal attractions of the Gal- lery of the Louvre.* The distinguished reputation Domenichino had acquired had already excited the jealousy of some of his contemporaries, and it was now increased by the applause bestowed on these celebrated productions. Lanfranco in particular, one of his most inveterate enemies, pretended to as- sert, that his Communion of St. Jerome was little more than a copy of the picture of the same sub- ject by Agostino Caracci, at the Certosa at Bologna, and he engaged his scholar, Perrier, to make an etching from the picture by Agostino. But this stratagem, instead of confirming the plagiarism, dis- covered the calumny ; as it was evident that there was no other resemblance in the compositions than what must necessarily be the case in the pictures of two artists treating the same subject, and that every essential part, and all that was admired in the work, was entirely his own. If it had been possible for the exertions of modest merit to have repelled the shafts of slander, the pictures he immediately after- wards ijainted, representing subjects from the life of St. Cecilia, for the church of S. Lodovico, might have silenced the attacks of envy and malevolence ; but they only tended to increase the alarm of his competitors, and to redouble their injustice and ma- lignity. Disgusted with these continued cabals, he determined to leave Rome, and return to Bologna, where he passed a few years in the tranquil exercise of his talents. It was at this time that he painted his admirable picture of St. Agnes, for the church of that Saint ; and the Madonna del Rosari,o ; both engraved by Gerard Audran, and now among the [* The pictures taken by the French were returned.") 214 spoils of the French Museum. The fame of Dome- nichino was not to be suppressed by the infamy of intrigue, and Pope Gregory XV. invited him back to Rome, and appointed him his principal painter and architect to the Pontifical palace. The Car- dinal Montalto engaged him to paint the vault of S. Andrea della Valle, where he represented the Pour Evangelists with Angels, which have long been the admiration of Italy, and which, even in the poor en- gravings which we have of them, are the study and delight of the artist. Doftienichino was called to a new triumph in the chapel of Cardinal Bandini, in the church of S. Sylvestro in the Quirinal, where he painted four pictures, which may be considered among his finest works ; representing Esther before Ahasuerus ; Judith with the Head of Holofernes ; David playing on the Harp before the Ark ; and Solomon and his mother Bathsheba seated on a throne. He painted about the same time the Pour Cardinal Virtues, in the angles of S. Carlo, Cate- nari ; which have been finely engraved by Gerard Audran. Of his subjects of the Fable, one of the most admired is the chase of Diana in the Palazzo Borghese, which has been finely engraved by R. Morghen. He painted landscapes in an admirable style ; they are justly held in the highest estimation, and are generally enriched with his beautiful fi- gures. Domenichino died in 1641. It had been foretold by his friend and patron, the Cardinal Agucehi, that the merit of Domenichino would not be duly appreciated till after his death ; and it is certain that posterity has done justice to the talents of this extraordinary paiater. He is universally esteemed the most distinguished disciple of the Car racci ; the Count Algarotti even prefers him to those great masters, and Niccolo Poussin consider- ed him the first painter after Rafliaelle. The distin- guishing excellence in the works of Domenichino is expression, in which he has stood unrivalled since the time of Raffaelle. His design, like that of the great painter just mentioned, is pure and grand, his heads full of grace and beauty, and his compositions are studied and appropriate. His forms are select- ed from the most perfect models, designed with elegance and correctness, and impressed with the character that peculiarly belongs to them. The backgi'ounds of nis pictures are frequently enriched with noble architecture, in which he excelled. It has been remarked, that in his oil paintings there is an appearance of dryness, and a want of effect ; but this is not always the case, as appears in the Com- munion of St. Jerome, in the Martyrdom of St. Agnes, and in his St. Cecilia, which are painted with a full pencil, and admirably coloured. In fresco few painters have equalled him. DOMENIQUE, John. This artist was a native of France, but resided chiefly at Rome, where he died in 1684. He was a scholar of Claude Lor- raine, and was a successfial copyist and imitator of the works of that master. [DOMER, DOOMER, or DEMER, Jan, or Jacques, a i)utch artist bom in 1647, and who flourished about 1680. He is better known by his drawings than by his pictures in oil. His manner approximates to that of Rembrandt, and it may be believed that his dark landscapes have been ascribed to the latter. His compositions are simple, but strikingly true.] [DOMINGO, D. Luis, a painter and sculptor, born at Valencia in 1718, was a scholar of Hipolito Robira in painting, and of Bautista Balaguer in sculpture. The convent of S. Domingo possessed DOMi] PAINTERS AND ENGRAVERS. [dori several pictures by him, among which was a Saint Louis, that did honour to his talents. He died at Valencia in 1767. His works in sculpture are to be seen in several chm-ches in Valencia.] , DOMINICI, Bernardo, a Neapolitan painter, and writer on art, who flourished about the year 1740. He studied landscape painting under Joachim Francis Beisch, a German artist, who passed some time at Naples, and attached himself to the clear and finished style of that master. He also painted what are called Bambociate. In 1742 and 1/43, he published, in two volumes, Vite de Pittori, Scultori, ed Architetti Napolitani, printed at Naples. DOMINICI, Francesco. This painter was a native of Trevigi, and flourished about the year 1530. Ridolfl commends a work by this master in the dome of the Banca della Compagnia deUa Ma- donna, at Trevigi, representing the Procession of a Bishop and several Canons. He also excelled as apor- trait painter, but did not survive his thirty-fifth year. DONALDSON, John. This artist was born at Edinburgh in 1737, and distinguished himself as a miniature painter, both in enamel and water colours. In the year 1765, and again in 1768, he obtained the premiums given by the Society for the Encourage- ment of Arts, &c. for the best picture in enamel. He occasionally amused himself with the point, and etched several plates of beggars, after Remhrandt, which possess considerable merit. He died in 1801. DONDUCCI, Giovanni Andrea, called il Mastelletta. This painter was born at Bologna in 1575, and was first a scholar of the Caracci ; but he did not long remain under theii- tuition. His impetuous disposition disdaining the control of academic precisionj he attempted to establish a new style, founded on a spirited and graceful design, in imitation of the works of Parmegiano, which he particularly admired, and a promptness of execution which was natural to him. The novel manner of Donducci was not without its admirers ; and he was employed in a great number of works for the public edifices at Bologna, where are his principal works., He also painted landscapes, which were entirely in the style of the Caracci, and were much esteemed, particularly at Rome. Annibale advised him to establish himself in that city, and to devote himself to those subjects ; a counsel by no means agreeable to Donducci. The following are among his principal works at Bologna. In the church of the Madonna delle Grazie, two pictures of the Death and the As- sumption of the Virgin ; in S. Procolo, the Adulter- ess before Christ; in the Refectory of the Francis- cans, the Last Supper, one of his best works ; in the Mendicanti, the Flight into Egypt, with a fine Landscape. His most admired perfonnance is his S. Irene drawing the Arrow from the Breast of St. Sebastian, at the Celestines. He died in 1655. [DONGEN, DiONTSius Van, bom at Dort in 1748, was a scholar of J. Xavery, at the Hague. He painted landscapes and cattle in the manner of his master for some time ; but having removed with his parents to Rotterdam, he studied the works of Paul Potter, Cuyp, Wynants, and other masters, which, with a constant attention to nature, caused a sensible alteration in his style. His works found ready purchasers among the English, French, Ger- man, and other visitors, as well as his ovni country- men. He died at Rotterdam in 1819.] DON I, Adone, or Dqne. This painter was born at Assisi in 1472, and was a disciple of Pietro Perugino. His style retains but little of the Gothic manner of his master, and his portraits, according to Lanzi, are sometimes surprising for their truth and vigour of colouring. In the church of S. Fran- cesco, at Perugia, is a picture by this master of the Last Judgment ; and some of his works are in the Chiesa degli Angeli, at Assisi. [There is an error in the date, as Doni painted in 1476; Zani says he was living in 1484.] DONNE, W., a Dutch engraver, who flourished about the year 1680. Among other prints, he en- graved a plate representing Venus and Cupid, in a landscape, vsdth other figures in the distance, after A. Elsheimer. It is etched in a slight, poor style. DONNET, S. This artist is mentioned by Mr. Strutt as the engraver of a print representing a man seated reading a book. It is a very indifferent performance. DONNINI, Girolamo, was born at Coreg- rio in 1681, and studied first at Modena under Prancfesco Stringa, aftei-wards under Gio. Gioseffb dal Sole, at Bologna, and ultimately at Porli, under Carlo Cignani. He was chiefly employed in easel pictures, although he occasionally painted larger works for the churches. In the Madonna di Galiera, at Bologna, is an altar-piece representing S. Antonio di Padoua. There are some of his works in the churches of the Romagna, and at Turin, which are not unworthy of a scholar of Cignani. [DONZELLI, Pietro and Polito, two brothers, painters of the Neapolitan school, who flourished in the middle of the fifteenth century. According to Zani, Polito was born in 1405, and died in 1468 ; and Pietro was bom in 1412, and died in 1470. They were scholai's of Solano, and painted some large subjects in the refectory of S. Mario Novella, and in the palace of Poggio Reale, for Ferdinand, king of Naples, which in style resembles that of their master, except that their coloming is softer. They distinguished themselves in their architectu- ral ornaments, and in painting friezes and trophies, and subjects in chiaroscuro, in the manner of hassi rilievi, an art which it is supposed they were the first to practise. They acquired a great reputation by their paintings both in fresco and in oil. Pietro painted portraits also, which had all the force of nature ; and a few years ago, on the destruction of some of his pictures on a wall, in the palace of the dukes of Mantalona, some heads were removed with the greatest care, and preserved for their excellence.] [DOORNIK, Jan Van, a painter of Leyden, who, it is said, painted pictures in the manner of Wouwermans. He also painted history and portraits. It is not ascertained exactly at what period he lived.] DOORT, P. Van, a Dutch engi-aver, who worked entirely with the graver, and was a humble imita- tor of the style of Cornelius Cort. Among others, we have a print by him representing the Holy Family, in which St. Elizabeth is presenting an Apple to the infant Christ, eifter Bernardino Passari. DORBAY, , a Fiench engraver, who flourished towards the end of the seventeenth cen- tury. He engraved, among other plates, some views of the Royal Palaces in France, which are executed in a neat, pleasing style. DORIGNY, Michael, a French psdnter and engraver, born at St. Quintin in 1617, and was brought up under Simon Vouet, whose daughter he married. He painted history in the style of his master ; and some of his pictures are in the castle of Vincennes. He is, however, more known as an engraver; and we have several plates etched by him in a bold, spirited style ; but there is a considerable degree of harshness in the efiect of his prints, from 215 DORl] A DICTIONARY OF [doss a heavy darkness in his shadows, which is very dis- agreeable. The following are his principal plates, which are after the pictures of Simon Vouet : The Holy FarnUy ; dated in 1649. The Nativity. The Adoration of the Magi ; in four sheets ; in the man- ner of a frieze. Jupiter giving Apollo the conduct of the Chariot of the Sun. Apollo killing the Python. Peace descending on the Earth. Venus at her Toilet. Venus, Cupid, and Hope, plucking the Feathers from the Wings of Time. Mercury and the Graces. The Bape of Europa. A Set of Six Bacchanalian suhjects ; from his own designs. Michael Dorigny died at Paris in 1665. DOEIGNY, Louis, was the son of the pre- ceding artist, born at Paris in 1654. His father died when he was only ten years of age, and he was placed under the tuition of Charles le Brun. On leaving that master he went to Italy, where he passed the rest of his life. He resided chieiiy at Venice and Verona ; in both which cities he gave Eroof of his ability as a painter both in oil and in •esco. As an engraver, we have about forty etch- ings by him, which are executed in a free, painter- like style. A set of thirty-two Plates, with the Title ; from his own designs, engraved for an Italian edition of the Pensies Chretiennes, by Pere Boulwurs. Six suhjects from Ovid's Metamorphoses. Five Emhlems of Horace. A View of the Amphitheatre at Verona. The Descent of the Saracens at the Port of Ostie ; after He died at Verona in 1742. DORIGNY, Sir Nicholas. This celebrated French engraver was the younger son of Michael Dorigny, born at Paris in 1657. He was brought up to the bar,' and followed that profession until he was thirty years of age, when he turned his thoughts to the arts, and visited Italy, where he retaained twenty-eight years. He first attempted painting, but was advised by his brother to devote himself to engraving. His first plates were executed with the point ; and if we were to judge of his talent by his early prints, his reputation would be very- short of that which he acquired by a union of the point and the graver in his latter productions. He took for his model the admirable works of Gerard Audran ; and although he by no means equalled that celebrated artist, either in the great style of his dravring, or in the picturesque effect of his light and shadow, his prints vpill always be esteemed both for their merit as engravings, and the importance of the subjects he made choice of. In 1711 he was invited to Eng- land to engrave Raffaelle's Cartoons, which were finished in 1719, on which occasion he was knight- ed by King George I. Whilst he was in England he painted some portraits of the nobility, but with no great success. He returned to Prance in 1724, and died at Paris in 1746. The following are his principal prints : Nine plates of the Seven Planets, and the Creation of the Sun and Moon ; after the paintings hy Raffaelle, in the Chigi chapel, in la Madonna del Popolo. The Cartoons; after RaffaeUe ; in eight plates, in- cluding the title. Twelve, of the History of Cupid and Psyche, and the Triumph of Galatea, including the title ; after the paintines from the designs of Raffaelle in the little Famesian Gallery. The Transfiguration ; afier RaffaeUe. The taking down from the Cross ; after Daniello da VoUerra. 216 St. Peter and St. John healing the Lame Man at the Gate of the Temple ; after L. Cigoli. The Martyrdom of St. Sebastian ; after Domemchmo. St. PetroniUa ; after Guereino. St. Francis kneeling before the Virgin and Infant ; after Caracci. St. Catherine in Meditation ; after Carlo Cignam. St. Peter walking on the Sea ; after Lanfraneo. The Virgin and Infant, with St. Charles BoiTomoo and St. Liborius ; after B. Lamberti. The Trinity; from the picture by Gui^ Reni in the church of la Triniti d6 Monti. The Adoration of the Magi; after Caarlo Maratti. The Birth of the Virgin ; after Carlo Maratti. The Virgin and Infant, with St. Charles and St. Igna- tius ; after the same. Eight plates of the paintings in the Cupola of St. Agnes ; after Ciro Ferri. [DORN, Joseph, a painter of Bavaria, born in 1759, studied in the galleries of Munich, Vienna, and Dusseldorff. He has copied to deception the cabinet pictures of Francis Miens, Gerard Dou, Terburgh, Vander Werff, and others. It is uncer- tain whether he be still living ; but this notice of him may serve as a caution to amateurs some years hence.] DOSSI, Dosso, and Giovanni Batista. These painters were natives of the vicinity of Ferrara. Ac- cording to Barufialdi, Dosso was born about the year 1490, and was for some time a disciple of Lo- renzo Costa. He afterwards visited Rome and Venice, with his brother Gio. Batista, where they passed eleven years, studying the works of the greatest masters, and formed a style which may be called their own, and which, although not totally divested of the Gothic, is distinguished by originality of invention, and great harmony of colour. Dosso excelled in painting figures, in which Gio. Batista was less successftil ; but he distinguished himself as a painter of landscape, in which Lomazzo considers him little inferior to Gaudenzio, Pordenone, and even to Titian. The brothers were much employed by Alfonso, Duke of Ferrara, and by his successor Ercole II. They painted the cartoons for the tapes- tries in the dome at Ferrara, and for those in the church of S. Francesco, and in the Ducal palace at Modena. Dosso Dossi excelled in portraits as well as historical subjects, and painted that of Ariosto, who employed him to make designs for his Orlando Furioso. That poet has celebrated the names of the Dossi by enrolling them with those of Leonardo da Vinci, M. Angelo, Raffaelle, and Titian. There are several of the works of Dosso Dossi in the churches at Ferrara. In the Certosa, a picture of the Virgin and Infant, with St. John, and two saints. In the church of S. Maria del Vado, is his celebrated picture of St. John in the isle of Patmos. In S. Agostino, a fine picture of the Crucifixion, with the Virgin, St. John, and St. Augustine. His best preserved works are those at Dresden, of which Lanzi particularly notices that of the Four Doctors of the Church. Dosso Dossi died at Ferrara in 1560. [Zani says he was born about 1474, and quotes from Pungilione that he painted a large pic- ture in I5I2. From other circumstances, however, it would seem that Dossi and Correggio were nearly of the same age ; and that is in favour of Baruf- faldi.] DOSSIER, Michael, a French engraver, bom at Paris in 1684. We have a few plates by this ar(> ist, executed with the graver in a neat style, resem- bling that of P. Drevet. We have by him the following prints : The Portrait of John Baptist Colbert, Marquis de Torci > after Rigavd. 1711. doud] PAINTERS AND ENGRAVERS. [douw The Marriage of the Virgin ; after Jouvenet. Christ curing the Blind at Jericho ; c^ter Nie. Cohmbel. Christ driving the Money-changers from the Temple; after the same. Mary Magdalene washing the Feet of Christ ; after the same. Vertumnus and Pomona ; after Rigaud. DOUDYNS, William, a Dutch painter, bom at the Hague in 1630. He was of a distinguished family, and followed the art rather as an amateur than a professor ; but with a zeal that enabled him to reach a reputable rank among the painters of his country. After receiving some instmction from an obscure artist, named Alexander Petit, he travelled to Italy, where he passed twelve years, studying the best productions of the art, and acquired a correct- ness of design and an elevation of taste, which dis- tinguishes Ms works. On his return to Holland, he executed several, fresco paintings, particularly ceil- ings, in which he excelled from his perfect know- ledge of foreshortening. Some of his works of that description are in the town-house at the Hague. Two of his most admired easel pictures were in the possession of M. van Heteren, representing Time discovering Truth, and Wisdom faiumphing over Vice and Intemperance. He was one of the foulid- ers of the Academy at the Hague, of which he was appointed the Director. He died in 1697. DOUET, , a French engraver on wood, who flourished about the year 1530. Papillon notices a wooden cut, executed by him, representing the Virgin Mary and the infant Christ, after Andrea del Sarto. [DOUFFLEST, Gerard, bom at Liege in 1594, studied for some time at Antwerp in the school of Rubens, and afterwards in Italy. He composed and designed with good taste, and his historical pic- tures are much esteemed. Two of them were pur- chased for the Dusseldorflf Gallery at the sum of 19,000 florins. The name is variously written by different authors ; Doufilest, Douffet, Duffeit ; and the dates are as variable. Zani says he was bom in 1571, and flourished in 1640; FiissU, that he flour- ished in 1630; and Balkema, that he died in 1660.] DOUGHTY, William, an EngUsh artist, who flourished about the year 1760. He was a native of York, and practised portrait painting with some success in a provincial situation. We have by him a few etchings and mezzotintos of portraits, among which are the following : Thomas Beckwith, the Antiquary of York. Thomas Gray, the Poet. Admiral Keppel. Mr. Mason, the Poet. Miss Palmer, the niece of Sir Joshna Beynolds, the pre- sent Marchioness of Thomond. Doctor Samuel Johnson. , DOUVEN, John Francis. This painter was born at Ruremonde, in the Duchy of Cleves, in 1656. His father dying when he was young, he was placed under the care of a painter of Liege, named Gabriel Lambertin, who had studied in Italy, and had formed a collection of studies and drawings, which were of great utility to the progress of his pupil. On leaving that master he was taken into favour by a Spanish nobleman in the service of the king of Spain, then resident at Ruremonde, who possessed a valuable collection of the Italian school. He was permitted to copy and study them, and they were a mine of insti-uction to the young artist. His first essays were in historical subjects ; and he would probably have distinguished himself in that branch, but the flattering invitation he received from the Elector, induced him to visit Dusseldorff, where he painted the portrait of that prince, and the principal personages of his court. These were so generally admired, that he was appointed principal painter to the Elector. This success seems to have bent his future pursuits chiefly to portrait painting; and his talents were employed at almost every court in GeiTOany, where he, received many honourable marks of favour and distinction. He was also patronized at the court of Tuscany, where the Grand Duke placed his portrait in the Florentine Gallery. He occasionally painted easel pictures of historical subjects, which were correctly drawn and well com- posed. In the French Museum are two pictures by Douven, representing Susanna and the Elders, and the Holy Family. He died in 1727. [Balkema says he died in 1/24.] DOUW, Gerard. This extraordinary artist was bom at Leyden in 16l3. He was the son of a glazier, who, perceiving his inclination for dravdng, placed him vidth a glass painter, named Kowen- hoom, by whom he was instructed in the rudiments of the art. At the age of fifteen he became a scholar of Rembrandt, and three years passed under that admirable painter enabled him to dispense with further instruction. In that excellent school for colour and effect, he became a perfect master of harmony, and of the chiaro-scuro. The bold and vigorous style of Rembrandt, in his best time, had less attraction for Douw, than the more finished and more feeble productions of the early part of his hfe. He conceived a project of combining the rich and glovidng colouring of Rembrandt, with the pohsh and suavity of extreme finishing; and he adopted a mode of uniting the powerful tones, and the magical Ught and shadow of his instructor, with a minuteness and precision which so nearly ap- proaches to nature as to become perfect illusion. Although his pictures are wrought up beyond those of any other artist, there is still discernible in his works a spirited and characteristic touch that evinces the hand of the great master, and a breadth of hght and shadow which is only to be found in the most intelligent productions of the art. The fame ac- quired by Gerard Douw is a convincing proof that excellence is not confined to any particular style or manner; and perhaps his talents would have re- mained unnoticed and unknown, if he had attempt- ed to distinguish himself by a bolder pencil, and a more executive facility. So truly it may be said, that there are no positive rules by which an artist is bomid, in order to assure himself celebrity. Every intermediate style, from the daring and impetuous handling of Tintoretto, to the patient finishing of Douw, may conduct the painter to distinction, pro- vided he adapts his manner to the character of the subject he proposes for his model; and that he may obtain the applause and admiration of the judicious, whether it is in the perfect representation of the human figure in its most beautiful form, or in the just and delicate delineation of a rose or a butterfly. The flrst pictures he painted were small portrait, and although they were extremely admired for their resemblance, and the beauty of their finish, the length of time he employed on them disgusted his models. This will not appear surprising, when we find that he was occupied five days in finishing the hand of a lady who sat to him. He therefore aban- doned portrait painting for fancy subjects. In these he has surpassed every painter of his country, al- though the number of Dutch artists who have ex- celled in that particular style is so considerable. 217 doye] A DICTIONARY OP [drev Every object in his pictures is tenninated with the most minute scrupulosity, without diminishing the general effect, of which he preserved the unity by a masterly management of fight and shadow. His colouring is admirable, and loses nothing of its purity by the apparent labour of his finishing. His pictures are generally confined to a few figures, and sometimes to a single one ; and when he attempted a more considerable composition, he was less suc- cessful in his effect. The works of this master have ever been zealously sought after by the curious col- lector, and no pictures of similar subjects have ever been purchased at such considerable prices. They were always particularly admired in Prance; and the Revolution does not appear to have altered their taste, as they have been the objects of their plunder wherever they were to be met with. The French Museum contains no fewer than seventeen pictures by Gerard Douw, among which is the cele- brated picture of the Dropsical Woman, formerly in the possession of the king of Sardinia at Turin. He died in 1674. DOYEN, Le, a Prench engraver of httle reputa- tion, who lived at Paris about the year 1666, and executed some plates for the booksellers in a poor, formal style, among which are some prints of orna- ments, and the plates for a book entitled Figures des differents Habits des Charwines reguliers en ce sieole, published at Paris in 1666. DRAGHI, Giovanni Batista. This painter was born at Genoa in 1657. He was a scholar of Dornenico Piola, whose promptness and faciUty he imitated and acquired. He resided at Parma and Placenza, where there are several of his works. They discover something of the design of the Bo- lognese school, with the taste of Parmegiano. Al- though he painted with great despatch, he cannot be accused of negligence. To a brilliancy and gaiety of effect, he unites a judgment in the turn and relief of his figures that is masterly, particularly in his oil pictures. At the Pranciscans at Placenza, is a pic- ture by him of the Martyrdom of St. James. The dome of S. Agnese, in the same city, is by this master ; and in the church of S. Lorenzo, a picture of the Titular Saint. At Genoa there are some of his easel pictures in private collections. He died in 1712. DRAPENTIERE, John. This engraver, from his name, was probably a, native of France. He was in England about the year 1691, and was em- ployed by the publishers in some plates of portraits and frontispieces, which are executed with the graver in a neat, but tasteless style. The following portraits are by him : "William and Mary, when Prince and Princess of Orange. John Graham, Viscount Dundee. Thomas White, Bishop of Peterborough. Benjamin Calamy, Prebendary of St. Paul's. Henry Cuttes, of the Middle Temple ; scarce. Sir James Dyer, Chief Justice of the Common Pleas. Peter Perkins, Mathematician. Daniel Burgess. 1691 ; Dissenting minister. Benjamin Keach, Anabaptist Minister. Bhas Keach. John Todd, A. M. He also engraved a satirical print of a Lady shaving a Gentleman ; inscribed Le Beau service. [DREVER, Adrien Van, a Dutch landscape and marine painter, who flourished about 1673, passed the greater- part of his artistic life in Eng- land. A picture by him has been engraved by J. Boydell.] DREVET, Peter, the elder, an eminent 218 Prench engraver, born at Lyons in 1664. He was first a pupil of Gennain Audran, but afterwards finished his studies at Paris. His works are chiefly confined to portraits, and are executed entirely with the graver, of which he possessed a masterly com- mand. His stroke is firm, although his plates are very highly finished, and his drawing is correct. We have by him the following prints : portraits. Charles II. James Francis Edward Stuart, called the Old Pretender. Clementina Sobieski, his Consort. James Fitzjames, Duke of Berwick. Oliver Cromwell. Louis XIV., a full-length ; after H. Rigaud. Louis XV., seated on bis Throne ; after the same. Philip v.. King of Spain ; after the same. Louis, Dauphin of France ; after the same. Frederick Augustus, King of Poland ; after F. de Troy. Francis Louis, Prince of Conde ; after H. Rigaud. Louis Alexander, Count of Tholouse, with the Glove. The same Portrait, without the Glove. Een^-Francis de Beauveau, Archbishop of Narbonue ; after Rigaud, , Andrew Hercules, Cardinal de Fleury ; after the same. Mary de Neufchatel, Duchess de Nemours; after the same. Louis Anthony, Duke de NoaiUes ; after the same. Louis Hector, Duke and Marechal de ViUars ; after the same. Ernest Augustus, Duke of Brunswick Lnnebourg. Andrew Felibien ; after le Brun. Nicholas Boileau Despreaux ; after de Piles. Hyacinth Bigaud ; from a pictwe by himself. Mary de Serre, mother of Kigaud; after apictwe by the same. John Forest, Painter ; after N. de Largillieres. SUBJECTS OF DEVOTION. The Entry of Christ into Jerusalem ; after A. Dim. The Crucifixion ; in two sheets. Peter Drevet, the elder, died at Paris in 1739. DREVET, Peter, the younger. This cele- brated engraver was the son of the preceding artist, and was born at Paris in 1697. He had the advan- tage of his father's instruction, and at the age of thirteen produced a plate which was the surprise dad admiration of the time. The works of this ex- cellent artist are executed with the graver ; and al- though he may have been surpassed m boldness and freedom, he has hardly been equalled in the precious finish and clearness of his stroke. His celebrated portrait of Bossuet may be considered as one of the finest specimens of that style of engraviM. That of S. Bernard is scarcely less admirable. The follow- ing are his principal works : portraits. Louis XV., when young, conducted by Minerva to the Temple of Glory ; after Ant. Coypel. Louis, Duke of Orleans ; after Chwrles Coypel. Francis de la Mothe Fenelon, Archbishop of Cambray ; after Vivien. Francis Paul de ViUeroy, Archbishop of Lyons ; after Santerre. Claude le Blanc, Minister of War. William, Cardinal Dubois, Archbishop of Cambray ; after Rigaud. J. B. Bossuet, Bishop of Meaux ; full length ; after the same ; extremely tine. Samuel Bernard; the first impressions are before the words Conseiller d'Etat ; vei-y fine. Isaac James de Vertamont, Bishop of Conferans ; after de Troy. Rene PuceUe, Abb6 and Counsellor of the Parliament ; after Rigaud. Nicholas Peter Camus, first President of the Parliament of Rouen ; after Jouvenet. Robert Cotte, first intendent of Buildings, &c. ; after DREV] PAINTERS AND ENGRAVERS. [druy Mademoiselle le Couvreur, in the Character of Cornelia ; afier Charles Coypel; fine. SUBJECTS AFTER VARIOUS MASTERS. The Adoration of the Shepherds; after H. Rigaud. The Holy Family ; ajier Ant. Dieu. The Entry of Christ mto Jerusalem ; after the same. Adam and Eye after their Transgression ; after A. Coypel. The same subject ; smaller ; yery highly finished. Abraham going to sacrifice his son Isaac ; after the same. Abraham's Servant meeting Rebecca ; after the same. The Annunciation ; after Coypel. The same subject ; smaller. The Crucifixion ; after the same. The Presentation in the Temple ; after Louis de BouU longne. This is esteemed his best historical print. Christ in the Garden of Olives, with Angels ; after J. Restout, The Resurrection ; after J. Andre. Peter Drevet, the younger, died at Paris in 1739. DREVET, Claud?. This artist was the cousin- fermain of Peter Drevet the younger, born at /yons in 1710. He was instructed by his relation, aiid engraved some plates of portraits in a high fin- ished style, which possess considerable merit. The following are by him : PORTRAITS. Henry Oswald, Cardinal d'Auvergne ; after Rigaud., Charles Gaspar William de Vintimille, Archbishop of Paris ; after the same. Philip Louis, Count de Sinzendorf ; after the same. Peter Calvairac, Abbot of Pontignan ; after A. le Prieur. Madame le Bret, in the character of Ceres ; after Rigaud. He died at Paris in 1768. [DRIELST, Egbert van, bom at Groningen in 1746, practised under several masters; the last were H. Meyer of Haerlem, and J. Cats of Amsterdam. He particularly studied the works of Hobbema, Ruysdael, and Wynants, and compared them with nature. By this course his pictures approached nearer to the manner and taste of the great masters of the preceding century than to those of his own time. The subjects he represented were well-wooded landscapes, with farms and cottages, which he or- namented with figures and animals, correctly de- signed. He was fond of the picturesque effects of ruined hovels, old broken and uprooted treesj and barren heaths. These he depicted with a thorough knowledge of light and shadow, and with a colour suited to the objects. Sometimes, however, there is a certain degree of negUgence, or inattention, to be observed in nis pictures ; but he never appears to be a mannerist. He died in 1818.] DRILLENBURG, William, a Dutch landscape painter, bom at Utrecht in 1625. He was for some time a scholar of Abraham Bloemaert, but left the style of that painter to imitate the charming land- scapes of John Both. Although he never approached the excellence of that master, his pictures are said,- by Houbraken, who was his scholar, to possess great merit. DR-OESHOUT, Martin. This engraver, pro- bably a Dutchman, resided in England about the year 1623. He was chiefly employed by the book- sellers, and engraved some portraits, which, if they cannot be admired for the beauty of their execu- tion, are valued for their scarcity. We have by him the following portraits : James Hamilton, Marqnis of Hanultou. Thomas Coventry, Lord Coventry. John Donne, Dean of St. Paul's. Helkiah Crooke, M. D. William Shakspeare, prefixed to his worla in 1623. John Fox, the Martyrologist. John Howson, Bishop oflJurham. Lord Mounljoy Blount, afterwards Earl of Newport. He also engi'aved some plates for Haywood's Hier- archy of Angels, and the Death of Dido for Stapylton's Virgil. DROESHOUT, John, an engraver, who, from the date at which he flourished, was, perhaps, a re- lation of the preceding artist. We have by him a few portraits, frontispieces, and other works for the booksell/srs. Among which are, The Portrait of Richard Elton ; prefixed to his Military Art. The Portrait of Joan. Danesy; engraved for his Para- lipyomena; in 1639. [DROLLING, Martin, a native of Ober- bergheim in 1752, practised his art chiefly in Paris. He was a painter of familiar subjects of general in- terest, which he treated with great truth and beauty, both in the sentiment and in the colouring. His works were popular during his hfe, and are likely to continue so by their merit and their size. He died at Paris in 1817.] [DROOGSLOOT, Joost Cornelisz, a painter of Utrecht, who flourished from 1616 to 1660. He painted historical subjects and landscapes. He gave to the hospital of St. Job, at Utrecht, in 1628, a picture of Job and his friends, the landscape part of which is said to be very beautiful : in 1638 he was named regent of the hospital. There is a por- trait of him, painted by himself, in the manner of old Teniers; he is seated at his easel, and his ateher is furnished -with pictures: it bears date 1630, and he appears about 50 years of age. As J. C. Droogsloot painted landscapes, village scenes, and kermesses, and is classed vrith very respectable painters of the period, by writers on whose judg- ment rehance may be placed, he must not be con- founded with Nicholas Droogsloot, whose works of a like natm-e are known in England, and which rank among the lowest of his country.] DROOGSLOOT, Nicholas. This painter was born at Dort in 1650, and is supposed to have been a scholar of Henry Mommers. He painted village wakes and rural assemblies, which are distinguished by a disgusting vulgarity of character, which is not compensated by the agreeable tone of his colouring, or the spirit of his pencil. His works are httle known, except in his own country. [His works are well known in England, but held in very httle estimation. He died in 1702.] [DROSSAERT, a Dutch painter of landscapes with mins and stag hunts, who Uved in the 17th century.] DROST, N., a Dutch painter, bom at Amster- dam about the year 1625. He was brought up in the school of Rembrandt, and afterwards had the advantage of visiting Italy, where he improved his style of design, by studying the works of the great masters of the Roman schooL Houbraken speaks highly of a picture by Drost representing St. John preaching in the Wilderness. [His name and the date of his birth are difierently given by writers of equal credit. Nagler calls him Van Terle, W. ? — Balkema says he was born in 1636.] DRUEFKEN, . This artist was a native of Germany. He is mentioned by Evelyn, in his- Sculptura, as an engraver on wood, who usually marked his prints with a cluster of grapes. Among other cuts, he executed one representing the King of the Boors in Hungary eaten aUve by the rebels whom he had seduced. DRUYVESTEYN, Arnold Jansse, a Dutch amatem' painter, born at Haerlem in 1564. Karel van Mander speaks in very favourable terms of his 219 dubb] A DICTIONARY OF [duch talent as a painter of landscapes, with figures, al- though he practised the art for his amusement, be- ing of an opulent and distinguished family. He died in 1617. [DUBBELS, Henry and Thierry, are men- tioned by BaUcema, as being found in the Cata- logues of Hoet and Terwesten, but without any information as to their family, or the time in which they lived. He speais of a river-scene painted in the manner of W. Van de Velde, of a Winter-piece with Skaters, which was sold in 1773 under th6 name of Peter Dubbels; and another, sold in Vander Linden Shngelandt's sale, by Henry Dubbels. And this is all he could collect among his countrymen, respecting artists who may claim rank with the best of their school, as marine painters. In the in- cidental notices that occur of Henry Dubbels, he .is by some called the master of Backhuysen; by others, the scholar; the probability is in favour of the former. His works bear little or no resemblance to those of Backhuysen or Vander Velde, except in their subjects ; they are more analogous to those of Van de Capelle. Several pictures by Dubbels have passed through the hands of the writer, and many under his observation, which would warrant the highest encomiums for artistic skill. Mr. Vander Hoop, of Amsterdam, possesses one of great excel- lence, which he purchased a few years ago in Eng- land; many others are to be found in rich collections in this countiy, which proves^ that his merit has been appreciated, though, unfortunately for his re- putation, it has been under a diiferent name.] [DUBBELS, Jan, a scholar of Backhuysen, painted marine subjects in the manner of his master ; he was living in 1/15.] [DUBOIS, Cornelius, a landscape painter, who followed the manner of Jacob Ruysdael, lived about 1647. His mark is also found on pictures more in the style of Saftleven than Ruysdael.] DUBOIS, Edward. This painter was bom at Antwerp in 1622, and was a scholar of an obscure artist, named Groenwegen. He afterwards went to Italy, and was for some time in the employment of Charles Emanuel, Duke of Savoy. In the reign of King Wilham he came to England, and painted landscapes and portraits, with little success. He died in London in 1699. DUBOIS, SiMON, was the younger brother of the preceding artist. After studying some time in Holland, under P. Wowermans, he came to Eng- land, where he painted a few pictures of battles and landscapes with cattle ; but portrait painting being the only branch which was encouraged at that time, he was under the necessity of adopting it, though by no means suited to his genius or inchnation. He painted the portrait of Lord Chancellor Somers, by whose recommendation he was employed by several of the nobility. S. Dubois died in 1708. [DUBORDIEU, Peter, who lived about 1650, painted portraits in the manner of Mireveldt, several of which have been engraved by Suyderhoef, Na- talas, and Matham.] DUBOSCH. See Bosch. [DUBOURG, Louis Pabricius, an historical painter, born at Amsterdam in 1693, and died there in 1775. He was a scholar of Lairesse and Jacques Van Huysum. After producing several beautiful Eictures, some of which may be seen at the Wester- erk, and the New Church at Amsterdam, he quitted the palette for the graver. His collection of pic- tures and drawings was sold at Amsterdam in 17/6.] DUG, or DUCQ, John le, a Dutch artist, born 220 at the Hague in 1636. He leai-ned the principles of the art under Paul Potter, and for some time imitated the style of that admired painter of animals. He afterwards changed his style, and painted corps de gardes, assemblies of officers, and card-players. His pictures of this description are more frequently met with than his cattle-pieces, which ai'e very scarce. He had acquired the reputation of an able painter, when he abandoned the art, and followed a military hfe. Le Due etched a few plates from his own designs, among which is a set of eight prints of dogs, very neatly -and spiritedly executed. [Jan Le Ducq was director of the Academy at the Hague in 1671 ; he etched many other subjects be- sides those of dogs, of which an account may be seen in Nagler's Kunstler's Lexicon, and in Brul- liot's Dictionary of Monograms. He died, accord- ing to Balkema, in 1695.] [DUCCI, ViRGiLio, a scholar of Albano, flour- ished about 1660; he imitated the manner of his master, and painted two pictures of Tobias, in the chapel of the Duomo of^ Cetta di Castello, which are said to be done in an elegant and graceful style.] [DUCCIO, BuoNiNSEGNA, also called Nutini, a Sienese artist, painted from 1282, and died about 1340. He was a contemporary of Giotto, and per- haps the most eminent. His style does not resemble Giotto's, but appears rather in advance. Lanzi is in error when he says that it approaches the Greek manner ; but is right when he states that his large picture of the Virgin and various Saints, for which he received three thousand gold florins, is the most copious in figures, and among the best executed productions of the age. He designed, and wrought in mosaic, the pavement of the Duomo of Siena, part of which remains perfect, and represents the death of Absalom. Rosini has given an outline of a portion of it ; and that writer's researches wOl throw considerable light on the works of this neglected but superior artist, and also correct some of the chronological errors of Cieognara and others re- specting him.] DUCHANGE, Gaspar, an eminent French en- graver, born at Paris in 1662, and received into the academy there in 1707. Duchange may be ranked among the ablest artists of his country, particularly for the mellowness and harmony with which he has combined his etching with a tasteful management of the graver. His plates, after Coreggio, are pe- culiarly expressive of the admirable style of that painter. He lived to a very advanced age, and the number of his works is considerable. The following are his most esteemed prints : portraits. Francis Girardon ; after Rigavd; for his reception into the academy in 1707. Charles de la Fosse ; after the same ; for the same occa- sion. Antoine Coypel, with his son ; after apicture by himself. SUBJECTS AFTER VARIOUS MASTERS. Jupiter and lo ; after Coreggio. Jupiter and Dana'e ; after the same. Jupiter and Leda ; aftet the same. The good impressions of these fine prints are before the name of Sornique, who retouched the plates, and added draperies. The Entombing of Christ ; after Paolo Veronese; fine. Mary Magdalene washing the Feet of Christ ; after Jow- venet. Christ driving the Buyers and Sellers from the Temple j after the same. The Sacrifice of Jephtha ; after Ant. Coypel. Tohit recovering his Sight ; after the same ; fine. duck] PAINTERS AND ENGRAVERS. [dunk Solon explaining his Laws to the Athenians ; after N. Coypef. Trajan administering Justice to the People ; after the same. Diana disarming Cupid ; after Disormeaux. Venus sleeping, with three Loves, and a Satyr ; after A. Coypel. The Death of Dido ; after the same. The Bath of Diana ; after the same. Five of the plates of the Luxembourg Gallery ; after Rvbens. [DUCK, Jacob Le, was master of the associated body of painters of St. Luke at Utrecht, in 1626. He gave a picture, representing a musical reunion, to the hospital of S. Job in that city. He painted conversations in the tEiste of Jan Le Ducq, but with less delicacy of touch and finish ; nevertheless of great beauty. It is probable that he was the father of Jan Le Ducq, although there is a difference in the spelling of their names ; a circimistance not un- common with artists of the period.] [DUCROS, Pierre, an eminent painter in oil and water colours, was bom in Switzerland in 1745, and died in 1810. He Uved for a considerable time at Rome, and painted views of that city and the environs. H« executed twenty-four views of Sicily and Malta, and various others, in a masterly man- ner. He left numerous drawings made by him during his sojourn in Italy, some of which are of large dimensions.] DUDLEY, Thomas, an English engraver, who flourished about the year 1678. He was a pupil of Hollar, and though greatly inferior to that cele- brated artist, his prints are not without considerable merit. We have by him, among others, the fol- lowing : PORTRAITS. Bichard Russell, Bishop of Portalegro. James Sharpe, Bishop of St. Andrews. Titus Oates. He also engraved a set of twenty-seven plates for the Life of Msap, published by Barlow. DUETECUM, or DOETECUM, John and Lu- cas A. These artists, who flourished about the year 1559, were natives of Germany, and are sup- posed to have been brothers. They engraved, con- jointly, several large prints, representing the pomp- ous funeral of the Emperor Charles V. They are etched in a bold, masterly manner. John a Duete- cum engraved also an ornamental frontispiece for a book of perspective, by John Tridmanus Trisius. , DUETECUM, or DOETECUM, Batista, was probably related to the two artists mentioned in the preceding article, and flourished about the year 1610. He engraved a set of plates, representing the various habits and manners* of the Indians. They are executed entirely with the graver, in a • stifl) indifferent style. DUPLOS, Claude, a French engraver, born at Paris in 1678. It is not said by whom he was in- structed, but his style resembles that of Francis PoUly. We have by this ingenious artist a great number of plates, executed principally with the graver, although he occasionally called in the as- sistance of the point. His prints are very neatly finished, and his drawing tolerably correct. The number of his plates is very considerable, of which the following are the most deserving of notice : PORTRAITS. PhiUp, Diike of Orleans ; qfter R. Toumiere. ^ John Francis Paul de Goudy, Cardinal de Retz.' Denis Francis de Chavigny, Bishop of Troyes. Nicholas Lyon, Procureur du Roi ; after Herim/son. John James Gaudart, Conseiller du Roi; after Larqil- Here. '' Mark Ren6 de Voyer ; after Hyacinth Rigaud. SUBJECTS AFTER VARIOUS MASTERS. The Entombing of Christ ; after P. Perugino ; for the Crozat collection. The same subject; after Raffaelle. St. Michael discomfiting the'Evil Spirit; after the same; for the Crozat collection. Christ with the Disciples at Emmaus ; after P. Veronese ; for the same collection. The Adulteress before Christ ; after N. Colombel. Christ at Table with the Disciples ; after Titian. Bust of the Virgin ; after Guido. The Annunciation ; after Albano. Christ appearing to Magdalene ; after the same. St. Cecilia ; after P. Mignard. The Presentation in the Temple ; after Le Sueur. The Descent from the Cross ; after the same. The Murder of the Innocente ; after Le Brun. Christ on the Mount of Olives ; after the same. The Crucifixion ; after the same. The same subject; after the print by £deKncA ; after the same. The dead Christ, with the Virgin and St. John ; after the same. The Descent of the Holy Ghost ; after the same. The Assumption of the Virgin ; after the same. Mary Magdalene, penitent ; cfter the same. The Annunciation : after Ant, Coypel Magdalene at the Foot of the Cross ; after the same. A Concert ; after Domenichino. The Triumph of Galatea ; after the same. Cupid stung by a Bee ; after the same. The same subject ; smaller and circular. Bacchus and Anadne ; after the same. The Triumph of Bacchus ; after C. Natoire. The Triumph of Amphitrite ; after the sam^. This laborious artist died at Paris in 1747. DUGHET. See Poussin. DUGY, , a modern French engraver, who flourished about the year 1760. He engraved several slight prints, after the pictures of Francis Boucher, and other masters. [DUIVEN, Jan, bom at Gouda in 1600, was a scholar of Wautier Crabeth, and had a great reput- ation as a portrait painter. He died in 1640.] DULLAERT, Heyman. According to Hou- braken, this artist was born at Rotterdam in 1636. He was the son of a dealer in pictures, and having shown an early inclination for the ait, he was placed in the school of Rembrandt. Under that able instmctor his progress was such, that in a few years some of his small pictures were painted so much in the style of his master, as to be .mistaken for the works of Rembrandt. He generally painted cabinet pictures, of historical subjects and portraits, which were deservedly admired for harmony of colour, a vigorous touch, and a masterly effect of light and shadow. He died at Rotterdam in 1684. DUNKARTON, Robert, an English mezzotinto engraver, born about the year 1744. He scraped several plates of portraits and historical subjects, of which the following are the principal : port'raits. George, Lor^ Littleton ; after Mr. West. Jonas Hanway ; after E. Edwards. Doctor Ame ; after W. Humphrey. Miss Homeck ; after Sir Jos. Reynolds. John Elliot ; after N. Dance. Miss Bamiyeld; after W. Peters. James Brindley, engineer ; after Parsons. Miss Catley, in the character of Euphrosyne ; after Imw- ranson. SUBJECTS AFTER VARIOUS MASTERS. Lot and his Daughters ; after A. de Gelder. Christ and the Disciples at Emmaus ; after Guercino. Four subjects from the Life of Joseph ; after the same. 221 dunk] A DICTIONARY OP [dure [DUNKEB, Balthasar Antoine, landscape painter and engraver, born at Saal, near Stralsund, in 1746 ;— died at Bern in 1807. He was more dis- tinguished as an engraver than as a painter. His works are after Roos, Vander Does, Hackaert, and Schutz ; costumes and manners of the French before the Revolution; illustrations of books and other mis- cellaneous subjects, of which an account may be found in Huber and Nagler.] [DUNKEB, Philip Heinrich, son of the pre- ceding, was also an engraver, and a painter in water colours. In both pursuits it seems that he was a copyist, as his drawings are after Kobell, Roos, Weenix, and others, and his engraving after a pic- ture by Demarne is traced to one by Geisler. He died in 1836.] DUNSTALL, John. This artist Uvedin London about the year 1660. He engraved a few portraits and other plates, which are etched and finished with the graver in imitation of the style of W. Hollar. In 1662, he published a book of birds, beasts, flowers, fruit, &c., from his own designs. Among others, we have the following portraits by him : Mary, Queen of James II. King William and Queen Mary. Samuel Clarke, prefixed to his " Puritan Di-vines." Jacobus Usserius. [DUPLESSI-BERTAUX, Jean, a very proUfic French designer and engraver, flourished about the end of the last century. His prints are well known; Rigal enumerates 650 in his catalogue.] DUPONT, Gainsborough. This artist was the nephew of the celebrated Thomas Gainsborough, and painted portraits and landscapes in imitation of the style of his uncle. His principal work is a large picture representing the portraits of the Trinity Masters, which is in their court-room on Tower-hill. He died in 1797. [He also painted landscapes with architectural ruins, in which he imitated N. Poussin.] DUPUIS, Charles, a French engraver, bom at Paris in 1685. He was a pupil of Gaspar Du- change, and engraved several plates of portraits and historical subjects. They are etched with taste, and finished with the graver in a free, masterly style. His drawing is correct, and his heads are full of ex- pression and character. The following are his plates most worthy of notice : portraits. Louis XV. ; after Banc. Henry of Lorraine, Duke de Guise ; after Dumomtier. Nicholas Couston, sculptor ; after Le Gros. Nicholas de Largilliere, painter ; after Gueulain. SUBJECTS AFTER VARIOUS MASTERS. St. John preaching in the "Wilderness ; after C. Maratti. The Marriage of the Virgin ; after C. Vanloo ; very fine. Alexander Severus giving Corn to the Komans; after Noel Goypel. Ptolemy giving Liberty to the Jews ; after the same. Two of 8ie Elements, Earth and Air ; after Louis de Cupid triumphing over Pan'; after Ant. Coypel. Diana reposing, with her Nymphs ; after the same. Rinaldo and Armida ; after the same. ' The Passage of the Rhine ; after Le Brim. Charles Dupuis was a member of the French Academy, and died in 1742. DUPUIS, Nicholas Gabriel, was the younger brother of the preceding artist, bom at Paris in 1696, and was also instructed in the art of engraving by Gaspar Duchange. Although not equal to his brother, he possessed great ment, and was admitted a member of the Academy in 1754. He engraved several portraits and historical subjects, in the style 222 of his brother. We have by him the following prints : PORTRAITS. The Equestrian Statue of Louis XV. erected at Bour- deaux ; after Le Maine. The same, from that erected at Rennes ; after the same. C. F. Paul de Normand de Toumehem, Du'ector General of the Arts ; after L. Toqui. Philip Wowermans, painter ; after C. D. Visscher. SUBJECTS AFTER VARIOUS MASTERS. The Guardian Angel; after Domenic Feti; for the Crozat collection. The Adoration of the Magi; after P. Veronese; for the same. The Virgin and Infant, with Saints ; after A. Caracci. St. Sebastian ; after L. Caracci. St. Nicholas and St. Francis ; after Pierre. Amusement of a Pastoral Life ; after Giorgione ; for the Crozat collection. The Death of Lucretia ; after Guido. JEneas saving his Father Anchises ; after C. Vanloo. A Nymph and Satyrs ; after L. Chercm,. He died at Paris in 1770. [DUPBBEL, , an engraver of whom no particulars are related, but whose works are to be found in the Musees Francais, de Florence, and Napoleon, and in other publications of a like kind.] [DUQUE CORNEJO, D. Pedro, painter, en- graver, architect, and sculptor, was born in Seville in 1677. It is not known by whom he was instructed in painting. The pictures which he painted for the Chartreuse of S. Marie de las Cuevas, and for the monastery of S. Jerome de Buena- Vista, are not without merit. He had a ready invention, and pro- duced numerous designs, which are much esteemed at Seville, as are also his etchings. He died at Seville in 1757, and was buried with' great pomp. His works, as a sculptor and carver in wood, are to be seen in the cathedrals and churches of Seville, Cordova, Granada, and elsewhere.] [DUQUEYLAR, Paul, an historical painter, born at Digne in 1771, was a scholar of David. Most of the subjects painted by him are taken from the classic poets and ancient historians, and are of an elevated character. The Judgment of Minos, and story of Belisarius, both painted at Rome in 1804, are described by Kotzebue in his recollections of Italy. The time of his death is not recorded.] DURANT, J. L. This artist, if not a native of England, resided in London about the year 1690. He was a very indifferent engraver, and was chiefly employed by the booksellers, for whom he engraved a variety of book ornaments and portraits. Among the latter is that of Mary, Queen of William III., after Kneller. [DURANTE, Count Giorgio, bom at Brescia in 1683, and died in 1755. He was eminent in painting flowers and birds, and his works were eagerly sought after, no less for their exact imitation than for the taste of comj)osition, and the truly beau- tiful and picturesque attitudes in which they were drawn. They are rarely met with out of Brescia, though several noble "Venetian families possess a few specimens, but the best of all is to be seen at the royal court of Turin.] DURELLO, Simon, a German engraver, who flourished about the year 1674. He engraved some of the portraits for the work entitled, Istoria di Leo- poldo Cesare, published at Vienna in 1674. DURER, Albert. This distinguished artist, if he may not be considered as the founder of the German school, is at least entitled to the credit of having been the first that attempted to reform the taste of his country from the rude and barbarous dure] PAINTERS AND ENGRAVERS. [dure style that immediately preceded him. Albert Durer was bom at Nuremberg in 1471. He was the son of a goldsmith, who instructed him in the first ele- ments of design, and purposed bringing him up to his own profession; but the decided -inclination of his son for the study of the arts and sciences, in- duced him to permit him to pursue the object of his wishes, and when he had reached the age of four- teen, it was his intention to place him under the tuition of Martin Schoen at Colmar, the most eminent artist of his time in Germany; but the death of that master prevented it, and he became a disciple of Michael Wolgemut, under whom he ap- phed to painting and engraving for some years. He cultivated at the same time, with great assiduity, the study of perspective, the mathematics, and archi- tecture ; in Eul of which he excelled. In his works as a painter he "discovers a fertile invention, a design more precise than graceful, an excellent colour, and a polished finishing. We could desire in them a more select choice of forms, a more elevated expres- sion in his characters, less formality in his outline, and more amenity in the blending of his tints. It has been observed of this celebrated artist, that he would have equalled the greatest masters of Italy if he had visited Rome, and had the advantage of studying the beauties of antiquity, by which his de- sign might have possessed as much of beauty and elegance as it does of anatomical precision. Cos- tume, which had been entirely neglected by the art- ists of his country, was also Uttle regarded by Albert, whose figures are universally habited in the mode of Germany. The paintings by this master are in the most distinguished situations, particularly in the Imperial collection, and at Munich. Of these the most celebrated are, the Adoration of the Magi ; the Crowning of the Virgin ; Adam and Eve, as large as life ; the Crucifixion, a grand composition, one of his most esteemed works ; and many others. As an engraver, Albert Durer is deserving of particular notice. Bom in the infancy of the art, he carried engraving to a perfection which has since been hardly surpassed. If we merely consider his com- mand of the graver, as well as the remarkable neat- ness and clearness of his stroke ; he will appear an artist of extraordinary merit, not only for the time in which he hved, but at any period of the art that has succeeded him. It appears natural that, even with the possession of extensive powers, an artist, without the advantage of models worthy of imita- tion, can merely find, in his own resources, the means of improving his art to a certain degree ; and that it can only be brought to perfection by the progressive concurrence of the exertions of succeed- ing ability. Albert Durer may be cited as an ex- ception to this general rule. If we do not discover in his plates the boldness and freedom which is de- sirable in large historical works, we find in them every thing that can be wished for in subjects more minute, and more finished. Although the art of engraving has since had the advantage and experi- ence of three centuries, it would perhaps be diflicult to select a more perfect specimen of executive ex- cellence than his print of S. Jerome, engraved in 1514. He etched a few plates, but they are not equal to his engravings. We have by him several wooden cuts, which are executed in a fi-ee, spirited style, resembling his masterly pen-drawings. Al- though he was well acquainted with the anatomy of the human figure, and occasionally designed it cor- rectly, his contours are neither graceful nor pleas- ing; and are never entirely divested of the stiflF formal taste that prevailed at his time, both in his figures and drapery. The prints by Albert Durer are numerous, and many of them are extremely scarce and very valuable. They fi-equently bear the date of the year in which they were engraved and are generaUy marked with one of the following As ciphers, ]^. his plates executed with the graver are the most esteemed, we shall first give an account of the most important of them : PORTRAITS ON COPPER. Albert Durer, represented at two different dates, 1509, and 1517, on each side of a piece of architecture, with a Latin inscription. Albert, Elector of Mentz. 1523. Frederick, Elector of Saxony. 1524. BiUbald Pirkheimer. 1524. Philip Melanothon. 1525. Erasmus, from his Statue at Rotterdam, 1526 ; scarce. SUBJECTS ON COPPER. Adam and Eve, with the Serpent, 1504 ; fine. There is a fine copy of this print by John Wierix when he was sixteen years of age. Adam and Eve after their Fall. The Nativity , with St. Joseph filling a Vessel with Water, 1504, called The little Nativity. The Holy Family, where St. Joseph is resting on a Stone. 1506. The Holy Family, with a Monkey in the foreground, called The Virgin with the Monkey. The Virgin seated at the Foot of a Tree, with the Infant holding a Pear, called The Virgin with the Pear. The Virgin seated on a Stone, in a landscape, with Build- ings, and the Infant holding an Apple, called The Vvrgin with the Apple. The Passion of Christ ; in sixteen plates, including the frontispiece, 1507 — 1612 ; difficult to be met with, com- plete. The Twelve Apostles. The Crucifixion, with the Holy Women and St. John at the Foot of the Cross ; small circular ; very scarce. Christ praying in the Garden, 1516, said to be engraved on Iron ; very scarce. Angels with the Instruments of the Passion. 1516. The Great Ecce Homo, 1512, with a Latin inscription ; veiy scai'ce. The Prodigal Son ; the best impressions are before the date 1513. St. Hubert kneeling before a Stag, with the Cross on its Forehead ; one of his finest works. There is a good copy of tms plate reversed, by John Wierix, with the cipher of Albert. St. Jerome in the Desert, kneeling before a Crucifix, and holding a stone in his hand. St. Jerome seated in a Boom, writing, 1614 ; very fine. There is also a copy of this iine print by JohnWierix, when he was only twelve years old. A Woman with Wings, standing on a Globe, holding a Cup in her Hand, improperly called Vand&rcCs Box ; it is sometimes named The Great Fortune. A naked Woman on a Globe, holding a Stick with a Thistle at the end of it, called The Little Fortune. Melancholy, represented by a Woman resting her Head on her Hand, and holding a Compass ; very fine. Thi'ee Women, or Witches, with a Globe "over their Heads, with the letters O. G. H. and an appearance of HeU in the background; copied after Israel van Mecheln ; dated 1497 ; very scarce. An armed Man on Horseback, pursued by Death, called Death's Horse. The best impressions are before the date 1613. There is a good copy of this plate ; dated 1564. A Coat of Arras, with a Skull, a Satyr, and a young Wo- man standing near it, 1503 ; called The Death's Head. A Coat of Arms, with a Lion and a Cock. A Horse, with an armed Man with a Halebard following. 1505. A Man mounted on a Unicom carrying off a Female, called sometimes The Rape of Proserpine; very scarce. 223 dure] A DICTIONARY OF [duvr ETCHINGS BY ALBERT DUREE. Chiist seated, leaning his Head upon his Hand, and a Fi- gure in the front pointing towards him. • One of the Fathers of the Church in a Cell, with two Books. 1515. The Virgin holding the Infant asleep, with a young Fe- male kneeling. 1519. Moses receiring the Tables of the Law. 1524. The Cannon, with Figures at the Entrance of a Village, 1618, said to be etched on iron ; very scarce. WOODEN CUTS BY ALBERT DURER. PORTRAITS. Albert Durer, at the age of 56 ; inscribed Albrecht Durer Conterfeyt, Igc. Albert Dureri Effigies, edita ex linea tabula, &c. Bust of the Emperor Maximilian I, 1519. Ulrichus Vambuler, 1522 ; scarce. WOODEN CUTS OF VARIOUS SUBJECTS. The Life and Passion of Jesus Christ ; in thirty-six cuts. These prints were copied on copper-plates by Marc An- tonio, in a bold manner, in imitation of the wooden cuts. The Life of the Virgin; in twenty cuts, seventeen of which were also copied by Marc Antonio, with the mark of Albert Durer, except the last plate, on which he put his own. St. Anne, with the Infant Jesus on her Knee, and the Virgin kneeling with two Saints ; in chiaro-scuio ; very scarce. The Holy Famihf, in a landscape, with two Angels crowning the Virgin, and three Rabbits. In the lower part of the' print, St. Christopher carrying the infant Jesus ; scarce. The Emperor Maximilian, with the Virgin and several Saints worshipping the Saviour. The Siege of Vienna; in two sheets, 1627; scarce. The Triumphal Car of MaximiUan I. ; in eight sheets. The Rhinoceros, with a German inscription ; scarce. Six cuts of ornaments for tapestry and embroidery. Albert Durer died at Nuremberg in 1528. [It is now pretty clearly ascertained that Albert Durer did not execute any of the engravings on wood. Zani and Adam Bartsch are decidedly of this opinion. The latter adduces satisfactory reasons to show that the designs only were by Durer, and that the me- chanical operation of cutting was intrusted to work- men eminent in that line. This decision of Bartsch extends to Hans Schaufelin, HansBurgmaier, Hans Balduin Griin, Altdorfer, Lucas Cranach, and others.] DUBET, Peter,, a French engraver, living at Paris when Basan published his Diationnaire des Graveurs in 1767. He engraved several plates of landscapes, &c., principally after the Dutch masters ; among others we have by him : A View in Holland ; after Ruysdael, Two Moonlight subjects ; after Va7iderneer, The Country Blacksmith ; after Ph. Wowermans. An Italian Sea-port; after Vemet. DURNO, James, an English painter, born about the year 1752. He first studied under Andrea Casali, and afterwards was instructed by Mr. West. The early productions of this artist gave promise of great ability, which did not however answer public expectation. He went to Italy in 1774, where he died in 1795. Mr. Dumo painted two pictures for the Shakspeare Gallery. DURE, John. Tins artist was a native of Ger- many, and flourished about the year 1625. He was an engraver of little repute, and worked chiefly for the booksellers, for whom, among other book plates, he engraved some portraits, particularly those of H. J. Ernest and his family, and J. Zimmer ; the latter is dated 1625. DUSART, Cornelius, a Dutch painter and en- graver, bom at Haerlem in 1665. He had the 224 advantage of being instructed by Adrian van Ostade, whose style he followed with considerable success. His works, like those of Ostade, represent Dutch Peasants regaling and merry-making. Although not equal to his master in the richness of his tones, and the harmony of his effect, his colouring is clear and agreeable ; his compositions are ingenious, and his touch very spirited. There is a great inequality in the works of Dusart ; his best pictures are deemed worthy of being placed in the choicest collections. We have by this artist some very spirited etchings, and a few plates in mezzotinto, which are full of humorous character. The following are his best prints : plates in mezzotinto. An old Man playing on the Violin, with a Dutch Peasant regaling. A Girl confessing to a Monk. A Dutch Boor reading a Paper, and holding a Bottle. The Monkeys regaling. An Indian dancing with a Girl. A Girl dancing with a Tea-pot in her Hand. Twelve plates of the Months of the Year. [He also engraved, in mezzotinto, the Five Senses, of which a detailed account may be found in Brul- hot's Dietionnaire des MonogrammesJ] ETCHINGS. The Interior of an Alehouse, with Boors regaling. The Great Fair. 1685. The Ifittle Fair. 1685. The Amorous Cobler. The Village Surgeon. 1695. The VUlage Physician. 1695. The Inside of a Dutch Alehouse, with Peasants drinking, and a Man playing on the Violin ; with an inscription beginning, Rusticus ex animo, non puUus Hypocrita A Village Festival ; C. Dusart, pinx. He died at Haerlem in 1704. [DUTTENHOPER, Christian Friedrich, a German engraver, bom in 1778, is chiefly known by his landscapes after Claude, Poussin, Caracci, P. Brill, and various views in the Tyi'ol. He also copied WooUet's print of " SoUtude," after Wilson. He was one of the artists employed on the Musee Napoleon.] DUVAL, Nicholas, a Dutch painter, born at the Hague in 1644. After receiving some instruc- tion from Nicholas Weilling, he visited Rome, and became a scholar of Pietro da Cortona, whose style he followed. with some reputation. On his return to Holland, he was employed by King William at Loo, and was made Director of the Academy at the Hague; of which he painted the ceiling of the principal saloon, which is spoken of as a work of considerable merit. He attended the king to Eng- land, but it is not said how long he remained here. He died in 1732. DUVAL, Philip, a French painter, who flour- ished about the year 1672. He was a scholar of Charles le Brun, and afterwards studied at Venice. He came to England in the reign of Charles II., and painted some historical subjects, one of which, for the Duchess of Richmond, represented Venus receiving from Vulcan the Arms of .^neas. Of this performance, the noble author of the anecdotes observes, that the head-dress of the goddess, her bracelets, and the Cupids, had more the air of Ver- sailles than Latium. It was dated in 1672. He died in London in 1709. DUVENEDE, Mark van. This painter was bom at Bruges in 1674. He went to Rome when he was very young, and became a scholar of Carlo Maratti, in whose academy he studied four years. duve") PAINTERS AND ENGRAVERS. [ecks There are several of his pictures in the churches and convents of his native city, of which the most esteemed is the Martyrdom of St. Lawrence in the chapel of St. Christopher. He died in 1729. DUVET, or DAN ET, John, an old French en- graver, born at Langres in 1510. He is sometimes called the master of the Unicorn, from his having sometimes engraved that animal in his allegoricEU subjects. He flourished at Paris in the reign of Henry II. of France. He generally marked his plates I. D. or with one of these ciphers, Dr or /^^^. The following plates are by him : The God Mars ; I. D. 1530. The Marriage of Adam and Eve; Johannes Duvet, fee. Moses with the Patriarchs. A set of twenty-four plates, of the subjects of the Apoca- lypse. [Bartsch and Zani have clearly proved, by the in- scription and date on a print, the first of the series of subjects for the Apocalypse, that John Duvet was bom in 1485: "Joh. JDuvet aurifab. Lingon. annor. 70. has historias perficit, 1555." Bartsch enu- merates forty-five prints by this artist.] [DUYNEN, Isaac van, a native of Dort, lived about 1670; he painted sea and river fish very suc- cessfully.] [DYCK, Daniel Vanden, a native of Flanders, who studied in Italy, and became painter to the duke of Mantua, who made him keeper of his gal- lery. He was accounted a good portrait painter, and also in his historical subjects not without merit. Besides painting, he amused himself with the graver, after his own designs. He died in 1729.] [DYK, Florus Van, an historical painter, born in 1600, and died in 1649. He is better known as a painter of fruit and flowers, in which he excelled.] [DYXHOORN, Peter Arnout, born at Rot- terdam in 1810, and died there in 1839. He was a scholar of M. Schouman, and J. C. Schotel; he painted marine subjects and river scenes in a very able manner.] E EARLOM, Richard. Although it is unusual in works of this nature to introduce the living artists of our country, yet, as this distinguished engraver has, for some years, discontinued the exercise of his talent, and as his prints are so interesting, so general- ly admired, and occupy an important place in the portfolios of the collectors, it is hoped that the fol- lovidng Ust of some of his principal plates will not be unacceptable to the pubUc, nor oflTensive to their venerable author. etchings. The Portrait of Rembrandt : se ipse pinx. Banditti and Travellers ; after S. Rosa. Jacob wrestling with the Angel ; after the same. David and Gohah ; after the same. Venus and Adonis ; after N. Poussin. The Death of Abel ; after A. Sacchi. iEneas saving Anchises from the Buins of Troy ; after Tintoretto. The Holy Family ; after Gitercmo. Cupid bound; after Guido. PORTRAITS in MEZZOTINTO. William Henry, Duke of Gloucester ; after Hamilton, Thomas Newton, Bishop of Bristol ; after West. Sir Edward Astley, Bart. ; after the same. George Augustus Elliot, Lord Heathfield; after Rey- nolds. James Stuart, Duke of Richmond ; after Vandyck. Admiral Kempenfelt ; after T. Kettle. Q The Duke of Aremberg on horseback , after Vandyck. Rubens' "Wife ; Rubetis, pinx. A Portrait of Rembrandt ; after a picture by himself. Rembrandt's "Wife; iJemirffind^j^ina;. James Mac Ardell, engraver. SUBJECTS AFTER VARIOUS MASTERS. The Repose, called la Ziugara ; after Coreggio. The Virgin and Infant ; after Ouereino. The Virgin and Infant, with St. John ; after Carlo Dolci. Salvator Mundi ; after the same. The Virgin and Infant ; after Cantarini. The infant Jesus sleeping ; after Domenichino. Simeon receiving the infant Jesus ; after Guido. Christ curing the Blind ; alier An. Caracci. Galatea ; ajier Luc. Giordano. The Judgment of Paiis ; after the same. The Misers ; after Quintin Messis. The Holy Family ; after Rubens. Mary Magdalene washing the Feet of Christ ; after the saine. Nymphs and Satyrs ; after the same. Meleager and Atalanta ; after the same. The Death of Hippolitus ; after the same. Rubens' Son and his Nurse, with Fruit on a. Table; tifter the same. Elijah restoring to life the Widow's Son ; after Rem- brandt. The Presentation in the Temple ; after the same. Susanna and the Elders ; after the same. A Boar attacked by a Lion ; after Snyders. The Fruit- Market ; after Snyders and Langen Jan. The Fish-Market ; after the same. The Green-Market ; after the same. Two, a Fruit-piece and a Flower-piece ; after John van Huysum; extremely fine. David and Bathsheba ; after A. Vanderwerfj very fine. The Enchantress ; after T. Deniers. The Singing Master ; after G. Schalken. The Interview between Augustus and Cleopatra ; after . R. Mengs. "The Royal Family of England ; after Zoffany. The Royal Academy ; after the same. Angelica and Medora ; after West. Cupid stung by a Bee ; after the same. Meleager and Atalanta ; after Richaird Wilson. Apollo and the Nymphs ; after the same. A Blacksmith's Shop ; after Jos. Wright. An Iron Forge ; after the same.' We are indebted to Mr. Earlom for a very interest- ing work, pubUshed by BoydeU, entitled, Liber VeritaUs, coinprising two hundred plates, executed in the style of the original drawings, by Claude Lor- raine, which are in the possession of the Duke of Devonshire. [He died in 1822.] ECHARDT, or ECCARDT, John Giles. This painter was a native of Germany, but visited Eng- land about the year 1740, where he became a pupil of John Baptist Vanloo. He was much employed as a portrait painter, about the time that Sir Joshua Reynolds returned from Italy. We have a print of Mrs. Woffington, the actress, engraved by Fdber, from a portrait painted by Echardt ; and another of Doctor Conyers Middleton, engraved by the same artist, from a picture by this painter, who Mr. Strutt has erroneously mentioned as the engraver. ECKMAN, or ECMAN, Edward, a Flemish engraver on wood, born at Mechlin about the year 1610. He has engraved some wooden cuts, which are admired for the neatness of their execution, and the correct drawing of his small figures. He ap- pears to. have taken the prints of Callot for his model, and has copied some of them in wooden cuts with surprising delicacy and spirit, particularly his plate of the Fire-works on the river Amo. He also engraved after Businck and Abraham Bosse. Ac- cording to the Abbe de Marolles, the work of Eck- man consists of upwards of a hundred prints. ECKSTEYN, George David, a German en- graver, who resided at Nuremberg about the year. 225 edel] A DICTIONARY OF [edel 1721. He engraved part of the portraits for the work entitled, Icones Bibliopolarum et Typogra- phorum ; published in 1721. EDELmCK, Gerard. This admirable en- f raver was bom at Antwerp in 1627, and received is instruction from Cornelius Galle, under whom he acquired sufficient ability to be invited to Paris by M. Colbert in 1665, where he was taken into the service of Louis XIV., who settled a pension on him, and he was accommodated with apartments at the Gobelins. He was received into the Academy, and was soon after knighted by the King. This extra- ordinary artist worked entirely with the graver; and his execution is at the same time both bold and finished. His style is more precious than that of Bolswert and Pontius, without being less pictu- resque; and he possessed a profound acquaintance with what is called colour, in engi'aving. His plates, though exquisitely finished, discover nothing of labour or httleness. The size and the number of his prints evince the most surprising facility. On the slightest glance of his Magdalene, after le Brun, we perceive neatness, effect, and expression ; on a closer examination, we are surprised at the boldness of his stroke, and that freedom of touch which gives the appearance of life and reahty. The pictures of le Brun, under the graver of EdeUnck and Gerard Audran, appear to have been the works of an ac- complished colourist, and assume perfections, in which they were really deficient. In the plates of EdeUnck there is nothing of negligence or medi- ocrity, every object is perfectly finished, and his heads are distinguished by the most lively expres- sion. The uncommon merit of this excellent artist wiU justify an ample detail of his principal works. PORTRAITS. The Equestrian Statue of Louis XIV., the Frontispiece for the Illustrious Men of France. Louis XIV., half-length ; after J. de la Baye. Louis, Diike of Burgundy ; after F, de Troy. Esprit Flechier, Bishop of Nisme ; after Migaud. Charles Perault, of the French Academy. Paul Pelisson ; of the same. J. de la Fontaine ; of the same. J. Kacine ; of the same. Blaise Pascal. Peter van Bouc. Nathaniel Dilgerus. 1683. Titian, with a long Beard. Abraham Teniers ; after apicttire by himself. Albert Durer, with a short Beard ; EdeUnck, scul. John Cousin, with Moustaches ; the same. Giles Sadeler, engraver. Abraham Bloemaert. James Blanchard ; after a picture by himself. Francis Tortebat, pamter to the king ; c^er de Files. Israel Sylvestre, engraver ; after le Brun. Peter Simon, engraver ; ajfier P. Ernou. Francis Chaveau, engraver ; after C. le Fevre. Martin vanden Bogaert, sculptor ; after Rigaud. Hyacinth Bigaud, painter ; after apictv/re by himself. Julius Hardoiiin Mausart, architect ; after Rigaud. Charles le Brun ; after N. de Largelliere. Philip de Champagne ; after a picture by himself; very fine. Charles d'Hozier, Genealogist of France ; after Rigaud. Frederick Leonard, Printer to the King ; itf'ter the same. John Charles Parent, the same ; after Tortebat. Madame Helyot, wilji a Crucifix ; after Galliot. Franrandt, inv. C. Exshau, fee. 1758. A Head of an old Man, mth a Beard ; same inscription and date. Joseph and Potiphar's wife ; Rembrandt, pinx. Exshau, fee. aquaforte ; scarce. St. Peter's Bark in the Storm ; same inscription ; scarce. A Girl carrying a Basket of Cherries, with two Boys, each having a Gun ; after Rvbens. EYCK, Hubert and John van. These brothers were bom at the small town of Maeseyk, on the Maes; Hubert, the elder, in 1366, and John in 1370. They were the sons of an obscure painter, of whom we have no particular account, by whom they were instructed in the rude and Gothic princi- ples to which the art was at that early period con- fined. The city of Bruges was at the time of these artists the most flourishing and commercial in Europe ; and they established themselves , there, where they may be said to have been the founders of the Flemish school. The mode of painting pre- vious to the time of John van Eyck (who is fre- quently styled John of Bmges) was with gums, or a preparation called egg- water, to which they applied a kind of varnish, which required a certain degree of heat to dry. It is reported by Karel van Mander, that John van Eyck, having finished a picture with great care, and which had occupied him a long time, placed it to dry in the heat of the sun, when the 231 btck] A DICTIONARY OF [evck board on which it was painted spUt. His mortifi- cation at seeing the fruit of so much labour thus destroyed, urged him to attempt to discover, by his knowledge of chemistry, some process which would not in future expose him to so distressing an acci- dent. In this research he is said to have discovered the use of linseed or nut oil, which he found the most siccative ; and it was for some time generally believed that it was to this circumstance that the art was indebted for the discovery of oil-painting, in the year 1410. The authenticity of this discovery, however, has not only been disputed, but it has been proved by several of the writers on art, that oil- painting was practised long before the pretended dis- covery by van Eyck in 1410. A monk, named Teofilo, sometimes called Ruggiero, who lived in the eleventh century, wrote a book entitled, De omni scientia artis pinffendifinv/hich he gives instructions for the preparation and use of oil in painting. Lib. i. c. 18, Accipe semen lini et exsicca illud in sartagine super ignem sine aqua, %c. He afterwards continues, Cum. hoc oho tere minium sive cendbrium super lapi- dem sine aqua, et cum pincelto linics super ostia vel tabulas quas rubricare volueris, ^e. And in c. 22, he adds, Accipe colores quos imponere volueris terens eos diligenter oleo lini sine aqua, etfac mixturas vultuum ac vestimentorum sieut superius aqua feceras, et bestias, sive aves, aut folia variabis suis coloribus prout libuerit. Bernardo de Dominici, in his Lives of the Neapo- litan painters, mentions several pictures painted in oil by the artists of his country, previous to the period of the pretended discovery by van Eyck, some of them as early as the beginning of the four- teenth century. He describes a picture by Pippo, or Filippo Tesauro, painted in oil, which was formerly in the chm-ch of S. Lorenzo, at Naples, represent- ing the Virgin and Infant, with St. James and St. Sebastian, signed with the name of the painter, and dated 1309. It was still preserved in the time of that author, who wrote in 1742, in the collection of Sig. Girolamo P. Calzolojo. The same author men- tions two pictures painted in oil by Maestro Simone, a disciple of Tesauro, in the church of S. Chiara, representing S. Lucia and S. Dorotea. This painter died in 1346. He further describes some pictures painted in oil by Gennaro di Cola, in the church of S. Maria della PietA. That painter died in 1370. In a treatise on the subject of the invention of oil-painting, published in 1781, by Mr. Raspe, the celebrated antiquary, it is very satisfactorily proved that oil-painting was practised long before the time of John van Eyck. It appears flierefore certain, that the use of oU in painting was known at an earlier period ; but it was probably in a very imper- fect manner, and by a very tedious process; and that John van Eyck is still entitled to the credit of having brought the practice to perfection. The brothers van Eyck generally worked in con- junction, until the death of Hubert, and their pic- tures were held in the hiriiest estimation at the time in which they lived. Their most considerable work was an altar-piece, with folding-doors, painted for PhiUp the Good, Duke of Burgundy, and placed in the cathedral at Ghendt. The principal picture of this curious production represents the Elders worshipping the Lamb, a subject taken from the Apocafypse. On one of the folding-doors is repre- sented Adam and Eve, and on the other St. Cecilia. Although the composition contains upwards of three hundred figures, it is finished with surprising care and exactness ; and though the colouring is some- 232 what crude, there is great truth and character in the expression of the neads. This curious and in- teresting production is now in the Gallery of the Louvre. In the sacristy of the cathedral at Bruges is preserved, with great veneration, a picture painted by John van Eyck, after the death of his brother, dated in 1436, representing the Virgin and Infant, with St. George, St. Donatius, and other saints. John van Eyck died in 1441. [The reader must not rely on the correctness of the dates given in this article, as to the birth and death of these two cele- brated brothers, Hubert and Jan Van Eyck ; for, in this respect, gi-eat obscmty pervades almost every account of them hitherto pubUshed. It is a ques- tion whether Jan was not the elder, and there are probabilities in favour of that supposition. If the real family name could be discovered, it would serve to unravel some of the intricacies in which their history is involved. Maas-Eyck, their birth-place, has entailed on them the appellation Van Eyck, but it may be reasonably supposed that they had a more distinctive patronymic. The confusion so often found in accounts of Italian artists, proceeds from the same cause. If three, or more, Antonios, bom in one city, or principality, become eminent as artists, they are all designated from the place ; and, if the dates approximate, in process of time the works of one are ascribed to the others, or all to one, though there may be an apparent difference. The contest between the Italian, German, and Flemish writers for the precedency of painting in oil has given rise to much learned controversy, and led to very industrious researches and investigations of documents to throw Ught on the subject; when documents have failed, conjectures have been adopt- ed to supply their place. As these investigations would naturally have reference to dates, it might be expected that every event in the life of Jan Van Eyck, and of his brother Hubert, would have been brought under consideration ; few, however, have been recorded, and those few are to be found, inci- dentally, in writers, whose object was not the point in question. The accounts that appear, at present, most entitled to credence, place the birth of Jan Van Eyck at an earlier period than 1370. Zani m- clines to about 1350, but leaves it open for future discovery. Kijgler, whose account of and critical remarks on the works of the German and Flemish painters are so correct, places the birth of Hubert in 1366, and that of Jan in 1400, an interval of thirty-four years ; a circumstance in which he dif- fers from all former writers. Facio, who wrote in 1456, and died in 1457, speaks in high terms of Jan Van Eyck, under the name Johannes Oallieus, and Montfaugon (Les Monumens de la Monarchie Fran- qoise, torn, iii.) gives an inscription from a manu- script Bible of the date 1372, wherein it is said, " Johannes de Brugis Pictor Regis prcedicti fecit hanc picturam propria sua manu." The inscrhjtion is written oh a book with miniatures, which the artist, on his knees, is presenting to Charles V. of France. Charles at this time commanded in Flan- ders. In the work recently pubUshed by the Count A. Raczynski on "the Arts in Portugal," the fol- lowing notices occur. "It is almost certain that Jan van Eyck went to Portugal in the suite of the embassy sent to solicit the hand of Isabella, the daughter of John the Firsts for the Duke of Biu-- fundy." "In 1428 Don John had sent two am- assadors to France to treat with the Duke of Bur- fundy, PhiUp III., sumamed the Good, respecting is marriage with the Infante Isabella. In the eyck] PAINTERS AND ENGRAVERS. [etnh same year the Duke, on his part, sent an embassy to demand her hand." Among the distinguished per- sons who formed the ambassadors' suite, is noticed M AiTRE Jean, valet de chambre du Due de Sourgogne, fameux dans Part de la Peintttre. " At the time the embassy arrived at Lisbon (Dec. 28, 1428) the court was at Estremoz. The envoys went there, and while they treated of the marriage, maitre Jean, since the celebrated Jan Van Eyck, made a magnifi- cent portrait of the Infante Dona Isabella." The Count gives also the following extract from a manu- script, in Spanish, written in the 15th centiwy : — " And conjointly the said ambassadors had the por- trait of the said lady Infante Dona Isabella painted to the life by a man called Jean de Yel, moqa da camara dudif monseigneur de Bourgosne, excellent maitre dans Part de la peinture." Dr. Kngler, in his notice of the Van Eycks, says, " In PhiUp the Good, who, in the year 1419 assumed the government as Duke of Biu-gundy and Count of Flanders, Jan found a noble patron, and was made by him one of his privy council." A dictionary is not the proper place to discuss the foregoing apparent discrepan- cies, and unless Johannes Gallicus, Johannes diSrugis, Maitre Jean, and Jean de Yelhe different persons from Jon Van Eyck, it will be found diflScult to reconcile them with the generally received accounts of the artist's life. The Count Raczynski has promised a work to be entitled " A History of the Art from paintings in Manuscripts," which will, no doubt, throw considerable Ught on the subject. He is well qualified for the task by his love of art, his ad- herence to truth, his zeal, and talents to elucidate a matter at once obscure and intricate, although it may have baffled the researches of the most intelh- gent and industrious of his predecessors. Respect- ing the celebrated altar-piece at Ghent, it should be noted that it was painted for Jodicus Vyts, who placed it in the church of St. Bavon ; it is not in the Louvre now, but is unfortunately divided, part being at Ghent, and part at Berhn. For a minute and accurate description of the several subjects of this wonderful production, the reader is recommended to peruse the very valuable work lately yubhshed by Lord Lindsay, entitled " Sketches of the History of Christian Art," (part 3, letter 8,) a work in which he will find knowledge, judgment, and a right feel- ing of the intellectual beauties of art expressed in elegant language. Two prints of the upper and lower compartments of the altar-piece are to be found in Passavant's work, taken from an old copy painted for St. John's church at Ghent. Dr. Nagler's Kunstler-Lexicon, now in the course of publication, contains a very fuU account of the pictures of Van Eyck, and many interesting particulars relating to them, which may be gratifying to the curious.] EYCK, Gaspae van. This artist was bom at Antwerp in 1625. He excelled in painting marines and sea-fights, particularly between the Christians and Turks, in which M. Descamps observes that the fire and smoke of the cannon were admirably represented, and his small figures well drawn, and very neatly touched. EYCK, Nicholas van, is supposed to have been the brother of the foregoing artist ; and, according to the above-mentioned author, painted skirmishes and attacks of cavalry with great spirit. His pic- tures were highly esteemed at Antwerp, where he chiefly resided. [EYCKENS, Peter, called the elder, was bom at Antwerp in 1599, and died in 1649. He painted history, in which it is said that he excelled. Some confusion has arisen in consequence of there having been another historical painter of the same name.] [EYCKENS, John and Francis, were sons of Peter Eyckens the elder, and born at Antwerp in 1625 and 1627 : they were instructed by their father, but preferred painting fruit and flowers to historical subjects, and their productions were held in estima- tion. John died in 1699, and Francis in 1673.] EYCKENS, Peter, a Flemish painter, born at Antwerp in 1650. It is not said by whom he was instructed ; but he was an eminent painter of his- tory, and his works hold a respectable rank among the estimable artists of his country. He was chosen director of the Academy at Antwerp in 1689. The compositions of Eyckens are ingenious, the conduct of his subjects is judicious, and his design is tasteful and correct. The foldings of his draperies are broad and simple, and the backgrounds of his pictures are embellished with architecture and landscapes, of pleasing scenery. His principal works at Antwerp are, the Last Supper, in the church of St. Andrew ; St. Catherine disputing with the Pagans, in the cathedral ; and St. John preaching in the Wilder- ness, in the church of the convent called Bogaerde. At Mechlin, in the church of the Jesuits, were two of his most admired works, representing St. Francis Xavier baptizing a Pagan King, and the same saint resuscitating a dead person. [EYK, Abraham Vander, was a contemporaiy of William Mieris, and finished his pictures in the manner of that master.] [EYNDEN, Franz Van, born at Nimeguen in 1694, studied under Elias Van Nymegen at Rotter- dam. Aided by the counsels of Chevalier Vander JrVerf, he painte^ Arcadian scenes, which he exe- fcuted in the manner of Jan Van Huysum, but not with equal perfection. His skies and distances are serene and deUcate, and the clouds illumined by the sun are pleasingly reflected in the waters. His scenes are skilfully varied, and the different kinds of trees characterized with a neat and masterly touch. His figures are also well painted, and dis- posed with judgment. He seldom signed his pic- tm-es, unless required to do so by the purchaser. He (hed at Nimeguen in 1742.] EYNHOUEDTS, Remoldus, or Rombaut, a Flemish painter and engraver, born at Antwerp about the year 1605. He engi'aved several plares after the works of Rubens, CorneUus Schut, and other painters of the Flemish school ; and executed some of the prints for Teniers's gallery. They are etched in a slight, dark style; and his drawing, though not very correct, is bold and masterly. Among others, we have the following prints by him: SUBJECTS after RUBENS The Adoration of the Magi. , The Eesurrection. The Altar-piece of Rnbens's Chapel. Pope Gregory, surrounded with emblematical figures. The Four Doctors of the Church, with St. Clara holding the Sacrament. The Virgin and infant Christ, surrounded with Saints. St. Peter and St. Paul. An allegorical subject of Peace and Happiness. SUBJECTS AFTER VARIOUS MASTERS. The Assumption of the Virgin ; after Comelim Schut. The Martyrdom of St. George ; after tlie same. ■ The Ascension ; after the younger Pahna. 233 fade] A DICTIONARY OF [faci PABER, John, the elder. This artist was a native of Holland, but came to England about 1695. He drew portraits on vellum with a pen, but was more employed here in scraping mezzotinto. We have a number of portraits by him, which, though not to be admired for the excellence of their execution, are interesting to the English collector. His most considerable works were : The Portraits of the Founders of Colleges at Oxford and Cambridge. Tine Heads of the Philosophers ; after Rubens. The Portrait of Doctor John Wallis, the celebrated ma- thematician ; after Kneller ; one of his best prints. Humphrey Lloyd, of Denbigh, antiquary. 1717. He died at Bristol in 1721. FABER, John, the younger. This eminent engraver was the son of the preceding artist, born in Holland, but was brought to England when he was only three years of age. He greatly surpassed his father as a mezzotinto engraver, and was esteemed the ablest artist of his time in that branch, after John Smith. He engraved a great number of por- traits, many of which are very fine. To him we are indebted for. The Beauties of Hampton Court ; after Kneller. The Portraits of the eminent Personages of the Kit-cat Club ; ner the same. J. P. de Bougainville, of the French Academy ; after C. N. Cochin. The Marquis de Mirabeau : after Vanloo. ' The Duke de Choiseul ; after the same. SUBJECTS AFTER VARIOUS MASTERS. Diana and Acteon; after Giacomo Bassano; for the Crozat collection ; one of his best prints. St. John Baptist, with other saints ; after Coreggio. TETI PAINTERS AND ENGRAVERS. [fias The Holy Family, with St. Charles Boromeo ; after ScarseUino. The Four Liberal Arts, personified by Children; four plates; after C. Vanloo. Jupiter and Antiope ; after the same. Jupiter and Leda; o/ifer J. B. Pierre. The Birth of Venus ; after F. de Troy. Jupiter and Leda ; inter the same. , The Triumph of Ga&tea ; after Bouehardon ; etched by Count Cayltis, and finished by Fessard. The Triumph of Bacchus; after the same; etched and finished by the same. The NatiTi^ ; after Bomiher. A Flemish Festival ; after Ripens. Psyche abandoned by Cupid ; after Le Maine. FETI, DoMENico. This painter was born at Rome in 1589, and was iirst a scholar of Lodovico Cardi, called Cigoli ; but he afterwards studied at Mantua the worto of Giulio Romano.. His style of colouring is vigorous, and of a powerful effect ; and the characters of his heads ftill of expression. The works of this meister, which are chiefly easel pic- tures, are scarce. Pour of his most esteemed pro- ductions are in the Palazzo Corzini at Florence, re- presenting Christ praying in the Garden, our Saviour presented to the people by Pontius Pilate, the Crowning with Thorns, and the Entombing. Lanzi speaks highly of a picture by Feti in the Academy at Mantua, representing the Miracle of the Loaves. He was much patronized by Cardinal Ferdinando Gonzaga, afterwards Duke of Mantua, who appoint- ed him his principal painter. This able artist was unfortunately addicted to intemperance and excess, to which he fell a victim, at Venice, in the prime of life, in 1624. FEVRE, Claude lb, a French painter and en- graver, bom at Fontainbleau in 1633, and succes- sively the scholar of Bustache le Sueur and Charles le Brun. The latter advised him to attach himself to portrait painting, in which branch of the art he was one of the most eminent artists of his country. According to M. de W^atelet, he joined to the merit of resemblance that of truth, a correct design, and an excellent colour. He visited England in the reign of Charles II., but he appears to have been little known to Graham or Vertue, from whom the noble author of the Anecdotes takes his authority. fHe painted portraits and landscapes. He died at London in 1675.] FEVRE, Roland i^, called of Venice. Ac- cording to M. D'Argenville, this artist was bom at Anjou in 1608. He painted portraits and gallant subjects, and visited England in the reign of Charles II., where he was employed and patronized by Prince Rupert. FEVRE, Valentine le, a Flemish engraver, bora at Brussels, who flourished about the year 1680. During a long residence at Venice he en- graved a number of plates, after the works of Titian and Paolo Veronese. They are etched in a slight, feeble manner, but evince the hand of the master, and from the correctness of the design, give a faith- ful idea of the style of those eminent painters. These were pubhshed in Venice in 1680, in a large foUo volume, entitled, Opera sehcUora qnce Titianus Vecelliits Cadubriensis, et Paulus Calliari Veronensis inventerunt etpinxerunt ; queegue Valentinus le Febre JBruxellensis delineavit et sculpsit. FIALETTI, Odoardo. This painter was born at Bologna in 1573. After studying for some time under Gio. Batista Cremonini, at Bologna, he went to Venice, where he entered the school of Tinto- retto. Lanzi observes, that to avoid a competition with the Caracci, he resided the remainder of his life tt 2 at Venice, and painted several pictures for the pub- lic edifices, of which he particularly notices the Cru- cifixion, in the Chiesa della Croce. Boschini men- tions thirty-eight pictures by this painter, in the difierent churches at Venice. Odoardi Pialetti has etched a gi'eat number of plates from his own de- signs, and after other masters. They are executed in a masterly style, and his design is both graceful and correct. He usually marked his plates with the cipher ^. "We have the following by him : A lone frieze, with Tritons, Sirens, &c. Four, Venus and Cupid, Diana hunting, the God Pan, and a Man holding a Vase ; after Pordenone. Twenty plates, called the Pastimes of Love, entitled Scheni d'Amore espressi da Odoardo Fialetti, piitore in Venezia. A set of Plates of the Costume of difierent nations, and of the different religious orders. The Marriage at Cana in Galilee ; after Tintoretto. [And many others enumerated by Bartsch and Nagler.] He died at Venice in 1638. FIAMMINGO, Arhigo. This painter was a native of Flanders. His family name is not known ; but he is called by the Italians Piammingo, on ac- count of his country. According to Baglioni, he • visited Rome in the time of Gregory XIII. and was employed by that Pontiff in the Vatican. , In the church of S. Maria Maggiore, he painted for the Sistine chapel the Resurrection, which is spoken of by that author in favourable terms. In la Madonna degh Angeli, is a picture by this master of our Saviour and Mary Magdalene in the house of the Pharisee, a grand composition, of many figures; and in the same church is a fine picture of St. Michael discomfiting the rebel Angels, designed in a grand and noble style. Many other works of this painter are in the pubhe edifices at Rome, where he died, during the pontificate of Clement VIII., at the age of 78. FIAMMINGO, Enrico, another Fleming, called, from indolence or conceit, by the Italians Piammingo. He first studied under Giosefib Ribera, called Spagnoletto ; but he was afterwards a scholar of Guido. Lanzi mentions some works by this artist in the church of S. Barbaziano, at Bologna, which he considers equal to the imitations of Guido by Francesco Gessi, though darker in tint. [It is difficult to distinguish the Fiamminghi in the ItaUan writers, they are so numerous. Zani names no less than sixty-four.] FIASELLA, DoMENico, called il Sarzana. This painter was bom at Sarzana, in the Genoese state, in 1589. After passing some time in the school of Giovanni Batista Paggi, he went to Rome, where he studied attentively the works of Raffaelle. During a residence of ten years at Rome he was employed in several works conjointly with Do- menico Passignano, and Cavaliere d'Arpino. On , his return to Genoa he painted a great number of pictures for the churches in that city. His powers were equal to the noblest compositions ; and his de- sign partakes of the grandeur of the Roman school. As a colourist he is superior to the generality of the Genoese painters. Soprani mentions with dis- tinction many of his works, particularly a picture of S. Bernardo, in the church of S. Vincenzio, at Piacenza, in which he approaches the great style of Raffaelle. In the Dome of Sarzana he painted the Murder of the Innocents, a grand composition ; and in the church of S. Agostino, at Genoa, a fine picture of S. Tommaso di ViUa nova. He dis- tinguished himself also as a portrait painter. He 243 fich] A DICTIONARY OP [fili died in 1669. [He studied, and in some measure imitated, the works of Raphael, A. del Sarto, Guido, Carravaggio, and the Caracci. His Madonnas are prepossessing, but deficient in ideal expression.] PICHERELLI, Pelice, called Felice Riposo, was born at Florence ifi 1605, and was a scholar of Jacopo Empoli. According to Lanzi, this painter acquired the name of Felice Riposo, for his singular taciturnity ; for which he was not more remarkable than for his uncommon indolence. This inertness is the more to be regretted, as the few works he has left us are distinguished by an elegance of design, a morhidezza, and a harmony of colour that charm. Such is his picture of Adam and Eve driven from Paradise, in the Palazzo Rinuccini, and his S. An- tonio, in the church of S. Maria Nuova, at Florence. His copies after A. del Sarto have been mistaken for the works of that master. He died in 1660. FICQUET, Stephen, a French engraver, bom at Paris in 1731. He acquired great reputation by a set of small portraits he engraved of distinguished literary characters of France. They are executed with extraordinary neatness and delicacy, and are very coiTectly drawn. One of his best plates is a portrait of Madame de Maintenon, after Mignard, now become very scarce. He also engraved several of the plates for La Vie des Peintres Flamands, &c., in four volumes, by M. Deschamps, of which those of Rubens and Vandyck are very highly finished. The following are among his best prints : J. de la Fontaine ; after Migavd. J. J. Kousseau; after Aved. 1763. J. F. Regnard ; after Rigavd. F. A. de Voltaire ; after de la Tour. 1762. P. Comeille ; after Le Brun. J. de Crtbillon ; after Aved. J. B. P. de Moliere ; after Coypel. Ren6 Descartes ; after F. Hah. M. Montagne ; after Dumoustier. 1772. De la Mome le Vayer ; after Nanteuil. De la Mothe Fenelon ; after yivien. J. J. Vad6 ; after Richa/rd. JIHe died in 1794.] PIDANZA, Paolo, an Italian engraver, born at Rome about the year 1736. We have by him a few plates after Raffaelle and Annibale Caracci, but very indifferently executed. Among others the following : The Mount Parnassus ; after RaJ^ The Miracle of the Fire extinguished, called the Mass of Bolsena ; after the same. The Descent from the Cross ; after Armibale Caracei. St. Peter and St. Paul appearing to St. Francis ; after the same. FIESOLE, Pra. Giovanni da, called Angelico, an old Florentine painter, born at Fiesole in 1387. He is said by Mr. Filkington to have been a disciple of Giottino ; but that is evidently erroneous, as that painter died in 1356. According to Lanzi, his first effort in the art was illuminating Missals, and other works, in miniature, in which he appears to have been instructed by a Dominican monk, of which order he became a relirious, in 1407, when he was twenty years of age. What remains of his works retains much of the Gothic style of Giotto, both in the air of his heads and in the formal foldings of his draperies. He was, nevertheless, one of the most emment artists of his time. Lanzi mentions as one of his best productions, a picture of "the Birth of St. John Baptist, in the Florentine gallery. Another of his esteemed works is Adam and Eve driven from Paradise, in S. Maria de Pazzi. He died in 1445. [The reader is advised not to be contented with the foregoing meagre, dry, and imperfect account of the 244 life and works of Beato Pri AngeUco. It would occupy too much space in this Dictionary to give a full account of this extraordinary artist and his di- vine productions ; but the few who may be desirous of being acquainted with particulars, will be well recompensed by referring to the pages of Lanzi, {Staria Pittorica, tom. i.,) Rossini, {Storia della Pit- tura,) the Count de Montalembert, {Du Vandalisme et du Catholicisme dans P Art,) and to Lord Lindsay's recently published work on Christian Art (Letter vi.) : the last is particularly recommended as con- taining a full and most eloquent description of many of his pictures. It is also probable that Angelico was Uving in 1452.] PIGINO, Ambrogio. This painter was a native of Milan, and flourished about the year 1590. He was a scholar of Giovanni Paolo Lomazzo, and not only distinguished himself in portrait painting suf- ficiently to be celebrated in the poetry of Marino, but was eminent for his historical works. In these he is more remarkable for the correctness and ele- gance of his figures than for the number of them, as appears in his S. Ambrogio in S. Eustorgio ; and his S. Hatteo in S. Raffaelle, at Milan. He ap- proached nearer to the fine style of Gaudenzio Fer- rari, than any other of the Milanese painters. His Assumption in S. Fedele, and his admired picture of the Conception in S. Antonio, are among the most estimable productions of that school. [He was one of the most successful imitators of M. Angelo in his designs, which are consequently in the highest repute.] FILIPPI, Camillo. This painter was a native of Perrara, and flourished about the middle of the sixteenth century. According to Barrotti he was a disciple of Dosso Dossi, and painted history with some reputation. In the church of S. Maria del Vado, at Perrara, is a picture by this master repre- senting the Annunciation ; and in that of II Gesu, another of the Trinity. Baruffaldi states his death to have happened in 1574. Soprani says in 1585. FILIPPI, Sebastiano, called Bastianino, and sometimes Gratella, was the son of the preceding artist, born at Perrara in 1532, and was first in- structed in the art by his father. When he was eighteen years of age he went to Rome, where he had the advantage of being admitted into the school of M. Angelo Buonaroti, and, according to Lanzi, became one of the most assiduous and most cherish- ed disciples of that great master. Pursuing, with- out relaxation, his route in the Terribil Via, in which his sublime instructor had been his precursor, he acquired an elevation of thought, and a grandeur of style, that approached nearer to Buonaroti than any painter of his time. This is evident in his principal work of the Last Judgment, in the cathedral at Perrara, a prodigious performance, which he is said to have completed in three years, and in which he discovers a combination of the highest qualities of the art. Energy and originality of thought, grandeur and correctness of design, a continued variety in his groups, are the characteristics of this extraordinary^ production. Barotti, in his Pitture e Scotture di Ferrara, informs us that this surprising work was believed to be painted in oil, and that, under that supposition, some inexperienced persons had been employed to clean it ; by whom it was so much in- jured, that the figures which originally appeared as living flesh, now seem to be of wood. There are, however, many of his works in the churches at Fer- rara in a state of perfect preservation, which sufli- ciently prove him to have been a sober and harmo- FILl] PAINTERS AND ENGRAVERS. [FINI nious colourist, though generally in a subdued tone. He is stated by Lanzi to have acquired the name of Crratella from his having been the first of the Per- rarese painters who practised the squaring of large worjcs, in order to reduce them to a smaller size, with more precision ; a mode he had adopted from M. Angelo. Whether it was the eifect of indolence, or the hurry occasioned by an impatience of gain, it is surprising that, with the possession of such in- ventive powers, he should so frequently repeat him- self. In the churches at Ferrara there are no fewer than seven pictures of the Annunciation, differing little from each other in the composition. Among his best works may be noticed his Martyrdom of S. Caterina, in the church dedicated to that saint. In S. Maria de Servi, the Adoration of the Mag^ ; and in the Certosa, a grand picture of S. Cristofano, en- tirely in the great style of M. Angelo ; in S. Bene- detto, a dead Christ supported by Angels ; and at the Capuccini, the Virgin and Infant, with St. John. In the cathedral is a picture of the Circumcision, which is supposed to have been painted before he went to Rome, as it resembles the slighter style of his father, rather than the vigour that distinguishes his later works. This eminent painter died at Fer- rari in 1602. FILIPPI, Cesare, was the younger son of CanuUo FiUppi, born at Ferrara, and was instructed by his brother. He excelled in painting grotesques in the ornamental style ; although he sometimes at- tempted historical subjects, wmch are very feeble imitations of the style of his brother. Such is his picture of the Crucifixion in the chiu:ch della Morte. FILICUS, John, a Dutch painter, born at Bois- le-Duc in 1660. He was a scholar of Peter van Slingelandt, and painted in the very highly finished manner of his master. His pictures, like those of Slingelandt, represent conversations, or subjects taken from private life, and small portraits. His works, without possessing the extreme polish of those of his instructor, have great merit, and are found in the best collections in Holland. [Balkema calls him Films, and says he died in 1719 ; Zani says his name was Melius, hot Filius ; or pro- perly Jan Fil.'] FILLEUL, Gilbert, a French engraver, men- tioned by Basan. He flourished about the.end of the seventeenth century. We have by him some plates after le Brun, Simpol, &c. FILLEUL, Peter, was the son of the preceding artist. He engraved some plates for the Fables of La Fontaine ; and a middle-sized piint of the Car- riers, after Wowermans. FILLIAN, John, an English engraver, who flourished about the year 1676. He was a pupil of the elder Faithome ; and it is conjectured that he died young, as so few plates by him exist. He worked in the style of his instructor. We have by him the following : The Portrait of Thomas Cromwell, Earl of Essex. That of William Faithome his master ; after a print hy Tdm. The Head of Paracelsus. The Frontispiece to Heylen's Cosmography. FILOCAMO, Antonio and Paolo. These bro- thers were natives of Messina, and are noticed by Hakert in the Memorie de Pittori Messinese. They were educated in the school of Carlo Maratti,,at Rome ; and, on their return to Messina, estabUshed an academy, which was much frequented. They executed conjointly several works, both in oil and in fresco, in the former of which Antonio was very superior to Paolo. Their principal works are in the churches of S. Caterina di Valverde, and S. Gregorio, at Messina, where they both died of the plague in 1743. S_INIGUERRA, Maso. The invention of taking oiT impressions on paper from engraved plates has long been the subject of dispute between the Itah- ans and the Germans, who both lay claim to it. Vasari decidedly attributes this discovery to Maso Finiguerra, a Florentine goldsmith and enameller, who flomished about the year 1460, and accounts for the invention in the following manner. Having engraved some figures on a silver plate, which he intended to enamel, in order to try the effect of his engraving, he cast upon the plate some liquid sul- phur, when the dirt, or black, which had lodged in the traces of the gi-aver, adhered to the sulphur, and produced the effect of a print or pen-drawing. He afterwards succeeded in taking off a complete im- pression, by filhng the strokes with a black compo- sition, and passing a roller over the plate placed on damp paper. The Germans rest their pretensions to an earlier invention of this art, pn the existence of plates by their artists, bearing dates prior to the time of Finiguerra. Sandrart mentions a print with the date 1455, and marked with the cipher ^g^ . On this obscure topic, perhaps the most au- thentic and rational opinion is that of the ingenious and laborious Baron Heineken, who, on the subject of this disputed pretension, observes that, " Accord- ing to Vasari, and others, his countrymen, it was the goldsmith Finiguerra who invented this art, about the year 1460; and perhaps he was not mis- taken, if he speaks of Italy alone. It is very possi- ble that the art of engraving should have been long practised in Germany, and unknown in Italy. The Itahans, those of Venice excepted, had very little correspondence with the Germans. For this reason, Finiguerra might discover this art, without know- ing that it had already been discovered in Germany. All merchandises of Germany were sent to the Italians by way of Antwerp to Venice, who were better acquainted with the people of the Low Coun- tries than the other provinces. For this reason Vasari supposed that Martin Schoen, who was born at Culmback, in Germany, was a Fleming, and al- ways styles him Martin of Antwerp." Maso Finiguerra is said to have communicated his discovery to Baccio ~ Baldini, from whom it passed to Sandro Boticelli. Of the works of Fini- guerra little is known with certainty. M. Huber gives a particular description of twenty-four prints in the possession of M. Otto, at Leipsic ; certainly of the earliest productions of the Italian engraving, which have been judged by M, Heineken to be original ; and that opinion is strengthened by the circumstance of their having been formerly in the collection of the celebrated Baron de Stosch, who met with them during a long residence at Florence. They chiefly represent subjects of the fable, and are well preserved. [The priority of the discovery of taking off impressions on paper from engraved plates is now conceded to the Italians. Zani and Ottley have fully established the claim of Maso Finiguerra, and Bartsch admits it. Zani, who had the honour of first bringing into notice the print of " The Coro- nation of the Virgin," taken from a Pax executed by Maso Finiguerra in 1452, conjectures that he was bom in 1418 ; Ottley supposes that he was born in 1410, and that a print in his possession was ex- 215 FINL] A DICTIONARY OF [pish ecuted in 1445. For a description of this print see his History of Engraving, vol. i. p. 304. Zani de- scribes another which he found in the cabinet of M. Borduge, of " The Virgin and infant Jesus seated on a throne, surrounded by Angels and Saints." ^ Among the prints of the Cavalier Seratti, sold at ' London in 1816, by Mr. Stanley, were two by Maso Piniguerra, " The Epiphany," and " The Crucifix- ion : " the latter of a large size, measuring twelve inches and one-eighth high, and eight inches and three-quarters wide. This is now in the British Mu- seum. The Epiphany is in the collection of the Diike of Buckingham. The sulphur of the Coron- ation of the Virgin is in the British Museum, to which it was bequeathed by the late Mr. Thomas Grenville. This also belonged to Seratti, and was purchased by Mr. Grenville of Mr. Stewart, the gentleman who brought it with the prints from Malta, for the sum of £300. It should be recorded that Seratti died in obscurity at Malta.] FINLAYSON, J., an Enghsh engi-aver, born about the year 1730. He engraved in mezzotinto several portraits, and a few plates of historical subjects. Amojig others we have the following by him: PORTRAITS. The Duchess of Gloucester ; after Reynolds. Lady Charles Spencer ; after the same. Lady Elizabeth Melbourne ; after the sa'me. The Earl of Buchan ; after the same. Miss Wynyard ; after the same. Lady Broughton ; afier Cotes. Duke of Northumberland ; after Hamilton. Miss Metoalfe ; after Hone. Signora Zampenni, ia la buona Figliuola ; after the same. Wilham Drummond, Scotch historian ; after C. Jansen. Shooter, Beard, and Dunstall, in Love in a Village ; after Zoffamy. SUBJECTS. Candaules, King of Lydia, showing his Queen coming out of the Bath to his favourite Gyges ; cefter his own design. A Collier, with his Pipe ; after J. Weeninx. FINOGLIA, Paolo . DoMENico. This painter was a native of Orta, in the kingdom of Naples, and flourished about the year 1640. He was brought up in the academy of Cavahere Massimo Stanzione ; and is commended by Dominici as a correct and ex- pressive designer, and possessed of great fecundity of invention. His principal works were the Vault of the chapel of S. Genarro, in the Certosa at Na- ples, and some pictures in the Capitol. He died in 1656. FIORAVANTI, an Italian painter of still-life and inanimate objects. He excelled in painting vases, fruit and flowers, and musical instruments, which he represe^^ted with gi-eat exactness and fidelity. FIORE, CoLANTONio DEL. According to Do- minici, this old Neapolitan painter was bom in 1354.' He was a disciple of Francesco Simone, the son of Maestro Simone, and painted several altar- pieces for the churches at Naples ; some of which were still preserved at the time of the above-men- tioned author. One of his earliest productions is in the church of S. Antonio; it is signed with his name, and is dated 1375. The centre of the picture represents the Coronation of the Virgin, after her Assumption, on one of the laterals is the Ascension, and on the other the Descent of the Holy Ghost. His most esteemed work is his picture of St. Jerome extracting a thorn from the Lion's foot, in the • 246 church of S. Lorenzo ; painted when he was near eighty years of age, in 1436. He died in 1444. [FIORE, Jacobello del, a Venetian painter, who flourished from 1401 to 1436. His father, Francesco, was very eminent in the art, but he sur- passed him, and rose to a high degree of celebrity. He made himself known in 1401 by producing an altar-piece at San Cassiano di Pesaro, and another ■in 1409, both bearing his name, which he wrote Jacometto de Fktr. He afterwards painted a much nobler work, the Coronation of \ht Virgin, in the cathedral of Ceneda, extremelj? rich in figures ; in- somuch as to have deserved the name of the " Paint- ing of Paradise," in a MS. of the lives of the Bishops of that place, which is preserved in the episcopal residence, and declares the work to have been exe- cuted ah eximio illius temporis pictore Jacobello de Flore, 1432, at the expense of the bishop Ant. Cor- rer. Few artists of the time equalled him in his Eower of conferring a certain grace and dignity on is figures, as large as the Ufe, and a vigour and ease rarely to be met with. He would appear to more advantage in modern times if his figures had been less loaded with ornaments, and in particular the draperies glowing with gold lace, according to the custom of his age.] PIORENTINO. See Stefano. PIORI, Mario da. See Nuzzi. FIORINI, Giovanni Batista. This painter was a native of Bologna, and flourished about the year 1588. He is chiefly known as a coadjutor of Cesare Aretusi ; in conjunction with whom he paint- ed several pictures at Bologna and Brescia. In the church of S. Afra, at Brescia, is a picture by him of the Birth of the Virgin. At the Padri Servi, at Bologna, is a picture of the Mass of S. Gregorio, painted in conjunction with C. Aretusi. FIRBNS, Peter, anindifierent French engraver, who, according to Basan, resided at Paris about the year 1640. He engraved some portraits; among others, that of Henry the Fourth of France. He copied, in a stiflT, clumsy manner, the Hermits, after Sadeler. There are some other prints by him, after S. Vouet, C. Vignon, and others, very poorly exe- cuted. FISCHER, A., a modern engraver, who, Basan says, executed a print of the Carriers, after Wower- mans. It is the same subject that is engraved by Filleul*. [FISCHER, Anne Catherine, a German lady, who excelled in painting flowers in distemper and in oil. She was married to Benjamin Blok in 1664.] FISCHER, John. To this artist, who, in San- drart's Academia, is mentioned as an engraver on wood, are attributed the cuts for the Bible printed at Strasburg in 1606. FISHER, Edward, an English mezzotinto en- graver, who flourished about 1765. We have by him a number of portraits, chiefly after Sir Joshua Reynolds, which possess great merit. Among others are the following : PORTRAITS after SIR JOSHUA REYNOLDS. The Earl of Bute, when Lord Cardiff. Lady Eliza Keppel ; full length ; very fine. Lady Sarah Bunbury ; the same ; very fine. The Marquis of Kockiugham. Hugh, Earl of Northumberland. EKzabeth, Countess of Northumberland. Granville Leveson Gower, Earl Gower. 1765. George, Lord Edgcumbe, Vice Admiral. 1773. Viscount Downe. Lady Elizabeth Lee ; full length. John, Viscount Ligonier, on horseback. fitt] PAINTERS AND ENGRAVERS. [fleg Augustus Keppel, afterwards Lord Keppel. 1759. Augustus Hervey, afterwards Earl of Bristol. Lady A. and Lady JemimGf Yorke, Daughters of Earl Hardwicke. The Hon. George Seymour Conway. 1771- Lawrence Sterne, Prebendary of York. i Doctor Armstrong. PORTRAITS AFTER VARIOUS MASTERS. Frederick, Archbishop of Canterbury ; after N. Dance. Kichard, Lord Bishop of London ; after the same. William, Earl of Chatham ; after JBrompton. Doctor.Frauklin ; after Chamberlin. [Some of his engravings are dated as late as 1777-] [FITTLER, James, an eminent English en- graver, was bom in 1758, at London. He distin- guished himself by numerous works after native and foreign masters, of diiferent subjects and cha- racter ; and book illustrations by him abound. His best engravings are considered to be Lord Howe's Victory, and the Battle of the Nile, both after Loutherhourg ; the portrait of B. West ; the plates in Forster's British Gallery; and others in Dr. Dibden's Aedes Althorpianse. The last work was published in 1822; and it does not appear that he has published any of importance since.] FLAMEN, Albert, a Flemish painter and en- graver, who flourished about the year 1660. He painted landscapes, fishes, birds, &c., but his pic- tures are Uttle known in this coimtry. We have by this artist some charming etchings of the above- mentioned subjects, executed in a spirited and mas- terly style. He sometimes marked his plates with his name, and sometimes with the cipher / V^^ . We have by him. Two sets, of twelve each, of Fresh-water Fishes, with back-grounds of landscapes, &c. Two sets, of twelve each, of Sea Fishes, with marine back-grounds. A set of seven Landscapes, with small figures. A View of Port a 1' Anglois, near Charenton. A View of Confians, on the side of Juilly. A View of Pemay, on the side of Corbeil. ' AView of Marcoussi, on the side of Mont Cheri. An Encampment at ihe end of the Fauxbourg St. Victor, near the Horse-market ; very fine. [Rigal gives a catalogue of 322 pieces by him; Bartsch mentions only 152.] FLAMEN, F. This artist was probably of the same family with Albert Flamen. He was a native of Flanders, but resided at Paris about the year 1660. Among other prints, he etched a set of four plates of Views on the River Seine, after the designs of Isfdsli iSilDs^ifs [FLAMENCO, Juan, {that is, John the Flem- ing,) mentioned by Bermudez as a painter, who re- sided in the Monastery Certosa di Miraflores from 1496 to 1499, and painted the altar-pieces there. He was paid for his labom'S the sum of 53,545 ma- ravedis, besides his maintenance for the three years. On the right-hand, or gospel side of the altar, he represented various passages in the Ufe of " John the Baptist," which were well treated, with good colouring, and much expression, in the style of Lucas Van Leyden; that on the left, or Epistle side, is much deteriorated, and it can only be seen that it represented "The adoration of Kings." To this acpount may be added, FLANDES, Juan de, mentioned also by Ber- mudez, who painted eleven pictures in the cathedral of Palencia, which he began in the year 1509, under an engagement to complete them in three years, for the sum of 500 gold ducats. There is great j)roba- bility that the admirable John Hemling is the painter intended by these two appellations. Zani, under the name Fiammingo, notices " Maestro Gio- vanni, detto Giovanni de Flandes ;" he marks him BB., and says that he was working in 1496 and 1509. Now, this corresponds with both of the fore- going accounts. It was to the Monastery Certosa di Miraflores that John II., in 1445, presented the celebrated portable chapel painted by Roger de Bruges, known as the travelUng chapel of the em- peror Charles V., and now in the king of Holland's possession. This, until the right master was pointed out by Mr. C. I. Nieuwenhuys, was attributed to John Hemling; no doubt the circumstance of his having painted in the monastery so long, assisted the belief that it was by him. It may be observed, that the subjects of the pictures painted at the monastery are precisely those on which John Hem- hng exercised his pencil. See the article John Hemling.] [FLAMENC0,MiGUELEL,(-Mi:cAae?tte2%miny,) another Flemish painter mentioned by Bermudez, said to have been first a scholar of Rubens, after- wards of G. A. Ferrari at Genoa, and lastly to have studied under Cornelius Wael. From the styles of these three masters he formed one peculiarly his own, and painted pictures that entitled him to con- sideratioh, and portraits in the manner of Van Dyck. From Genoa he passed into Spain, where he was much esteemed for his ability and merit. It is added that he died there about the middle of the l7th century, and that his pictures have been at- tributed to masters better known. It may be sus- pected that this Miguel Flamenco means Michael Coxcie, who was a scholar of Bernard Van Orley,. and painted much in Spain; notwithstanding the statement that he studied under Rubens, Ferrari, and Wael ; as writers, when they name artists after their country instead of their family, fall into strange errors, and create much confusion. — The error, in this case, commences with Soprani, and is perpetu- ated by Bermudez. There are about seventy artists enumerated by Zani under the general head " Fiam- minghi" but known by other names in Flanders and in Holland. No wonder there is much con- fusion when they are noticed by Italian and Spanish writers.] FLATMAN, Thomas, was born in Aldersgate Street, in 1633, and was educated at Winchester school. From thence he went to New College, Ox- ford ; but leaving the university without a degree, he removed to the Inner Temple> where, in due time, he became a barrister. It; does not appear that he ever followed the profession of the law, but having a turn for the fine arts, he indulged his in- clination, and gained some reputation as a poet and a painter in miniature. We are informed by the noble author of the Anecdotes, that Mr. Tooke, master of the Charter-house, had a head of his father by Flatman, which was so well painted, that Vertue took it for Cooper's ; and Lord Oxford had another portrait by him, marked with his initial F., which was so masterly, that Vertue pronounced Flatman to be equal to Hoskins and next to Cooper. It is certain, that he excelled more as a painter than a poet. And Grainger asserts, that one of his heads is worth a ream of his Pindarics. He died in 1688. [FLEGEL, George, a painter of subjects of stiU- Ufe, was bom at Olmutz in Mbravia about 1563 ; he resided at Francfort, where he died in 1638. He painted fruit, flowers, fish, vases, glasses, and other inanimate objects, which, taken severally, had merit, 247 FLEl] A DICTIONARY OF [flin but with little taste in their arrangement as com- positions .] PLEISCHMANN, A. C, an obscure German engraver, who was employed by the booksellers at Nuremberg. He engraved some portraits for a book entitled Icones Bibliopolarum et Typographorum, pub- lished in 1626. PLEISHBERGER, T. P., a German engraver, who, like the preceding artist, worked for the book- sellers. He engraved an ornamental frontispiece for a book called Gregorii Horsti opera Medica, printed at Nuremberg in 1660; and a portrait ol G. Horstius, the author. PLEMAEL, Beetholet. This painter was born at Liege in 1614. His parents, who were very poor, placed him, when a boy, under the care of a musi- cian; and he had made considerable progress in that art when he turned his thoughts to painting. He received some lessons in design from an obscure artist, but was afterwards instructed by Gerard DoufHiet, an historical painter, who had studied at Rome. Under this master he acquired sufficient abihty to venture on visiting Italy on the produce of his talent. On his arrival at Rome, he was un- remitting in his studies after the works of the best masters ; and it was not long before he was noticed for the readiness of his invention and the freedom of his hand. The Grand Duke of Tuscany invited him to Florence, and employed him in ornamenting one of the galleries of his palace. After passing some years in the service of that prince, he visited Paris, where he Wcis patronized by the Chancellor Seguier, who employed him in some of the apart- ments at Versailles. He also painted the cupola of the Carmelites at Paris, where he represented Elijah taken up into Heaven, and Ehsha receiving the Mantle of the Prophet. In the sacristy of the Augustines he painted the Adoration of the Magi. Notwithstanding this flattering encouragement he quitted Paris, and returned to Liege in 1647, after an absence of nine years. His first work after his return to his native city was a grand composition of the Crucifixion, painted for one of the chapels of the collegiate church of St. John. This perform- ance gained him great reputation ; and he was em- ployed in several considerable works for the churches at Liege. In 1670 he was invited to return to Paris, and painted the cieling of the king's chamber of audience, in the palace of the Thuilleries, repre- senting an emblematical subject of reUgion. He was made a member, and afterwards professor, of the Royal Academy at Paris, and was nigh in the estimation of the public. The love of his native country induced him, however, to return to Liege, where he continued to exercise his talents, under the protection of Henry Maximilian, Prince Bishop of Liege, until his death, in 1675. Bertholet Plemael possessed an inventive genius, and had acquired by his studies in Italy a great style of composition, and a correctness of design that partake of the grandeur of the Roman school. He was an excel- lent colourist; and in his historical subjects was a strict observer of the propriety of costume. He ex- celled in architecture, with which he embellished the back-grounds of his pictures with taste and in- telligenoe. The principal works of this painter at Liege are the Elevation of the Cross, and the As- sumption of the Virgin, in the church of the Do- minicans; the Crucifixion, in the Convent of the Nuns of the Sepulchre ; the raising of Lazarus, in the Cathedral; and the Conversion of St. Paul, in the church dedicated to that apostle. 248 FLESHIER, B. This artist is mentioned by Lord Orford as a painter of sea-pieces, landscapes, and fiiiit. His pictures may be supposed to have pos- sessed considerable merit, as some of them were thought worthy of being, placed in the Collection of King Charles the First, and in that of Sir Peter Lely. FLETCHER, A. This artist is mentioned by Basan as the engraver of some views of Rome, after Canaletti. FLETCHER, Henry, an EngUsh engraver, who flourished about the year 1729. He engraved a print of Bathsheba and her Attendants at the Bath ; after Seb"'- Conca, and some portraits, among which is that of Ebenezer Pemberton, minister of Boston, preflxed to his sermons. FLEUNER, Peter. There is a wooden cut, executed in a very bold, spirited style, representing an emblematical subject, apparently the Procession of Gluttony, with the name of this artist at length, and dated 1549. FLEUR, Nicholas William de la. According to Florent le Comte, this artist was a native of Lor- raine, and flourished about the year 1639. He chiefly resided at Rome, where, among other prints, he engraved a book of flowers, consisting of twelve plates, with a title, representing his portrait, sur- rounded with flowers. FLINK, GovAERT. This painter was born at Cleves in 1614, of which city his father was treasurer. It was the wish of his parents to bring him up to mercantile pursuits, and with that view he was placed with a merchant at Amsterdam ; but his de- sire of becoming a painter induced him to seek every opportunity of becoming acquainted with the artists, and he was more frequently to be found in their painting-rooms than in the counting-house. He heard the remonstrances of his master with silent respect, but they were of little avail in extinguish- ing his love for the art ; and his father, finding it impracticable to control so marked a disposition, was at length persuaded to allow him to follow a profession for which he had shown so decided a propensity. He was first a scholar of Lambert Jacobs, a painter of little celebrity, under whom he remained some time ; but he afterwards entered the school of Rembrandt, and with the advantage of that master's instruction, became one of the ablest disciples of that distinguished colourist. G. FHnk painted historical subjects and portraits ; and in both he was one of the most successful and most employed artists of his country. The ma- gistrates of Amsterdam engaged him in many con- siderable works for the Stadthouse ; and he painted the portraits of some of the most illustrious person- ages of his time, particularly the Elector of Branden- bourg and the Duke of Cleves. Prince Maurice of Nassau, Stadtholder, favoured him with his pro- tection, and employed him in many important works. The pictures of this master, without equalling Rem- brandt in the richness and harmony of his tint, or the magical conduct of his light and shadow, are to be admired for a sobriety and purity of colour, and the studied and judicious arrangement of his com- positions. One of his best works is Solomon pray- ing for the Gift of Wisdom, in the council-chamber at Amsterdam ; and in that of the Burgomasters is another fine picture of Marcus Curius refusing the ' Treasures of the Samnites. It is said by Descamps, that on seeing some of the portraits of Vandyck, ne renounced that branch of the art, and confined himself to historical painting. The burgomasters of Amsterdam had commissioned him to paint twelve flip] PAINTERS AND ENGRAVERS. [fogo large pictures for the town-house, of which he had finished the sketches, when he died in 1660. PLIPART, Jean Charles, a French engraver, bom at Paris about the year 1700. He engraved some plates, which are executed entirely wim the graver, in a neat, finished style, but without much efiect. We have by him : The Portrait of Rene Choppin ; after Jannet. The Virgin and Infant ; after Raffaelle ; for the Crozat collection. Christ praying on the Mount of Olives ; after the same ; for the same collection. Mary Magdalene, penitent ; after Le Brun. Apollo and Daphne ; after R, Houasse. FLIPART, Jean Jacques, was the son of the preceding artist, born at Paris in 1723, and was in- structed in the art of engraving by his father, whom he. greatly surpassed. His plates are partly etched, and finished with the graver, and possess great merit. We have by this estimable artist, among others, the following : The Portrait of J. B. Greuze, painter ; after a picture by SUBJECTS AFTER VARIOUS MASTERS. The Holy Family ; after Giulio Bomano ; in the Dres- den collection. Adam and Eve, after their fall ; after C. Natoire. Venus presenting the Arms to .ffineas ; after C. Natoire. A Sick Man surrounded by his Children ; after Greuze. Twelfth-Night ; after the same. A Sea-storm at night ; after Vemet. A Sea-storm by day ; after the same. Christ curing the Paralytic ; lifter Dietricy, A Bear-hunting ; after C. Vanloo, A Tiger-hunting; after F. Bcmcher. The Combat of the Centaurs and Lapithae. FLODING, Peter, a Swedish engraver, who resided chiefly at Paris. He engraved several plates, both with the graver and in aquatinta. Among others, we have the following by him : The Portrait of Alexander BosUn, painter ; after himself. Apollo and Daphne ; afier F. Boitcher. Soldiers guarding a Prison ; after the same, A Girl sleeping, with a Dog by her ; after J. B. Deshais. FLORIANO, Flaminio, a Venetian painter, who imitated the style and copied the works of Tintoretto with success. One of his best perform- ances is a picture of S. Lorenzo, in the church of that Saint. FLORIGORIO, Bastiano. According to Ri- dolfi, this painter was a native of Udine, and flour- ished about the year 1533. He was a disciple of Pelegrino da S. Daniello, and painted history with repiitation. His fresco works at Udine are almost entirely perished, but of his oil-paintings, remain a picture of St. George and the Dragon, in the church of S. Giorgio ; and in the refectory of the Padri di S. Pietro Martyre, our Saviour at table with his Disciples. FLORIMUS, John, an obscure engraver, men- tioned by Florent le Comte. His works consist principally of portraits. We have also a fi-ontis- piece to a collection of antique heads by him. It is a composition of several figures, and is executed with the graver, in a neat, stiff style. FLORIS, Francis. The family name of this eminent Flemish painter was de Vriendt ; he was bom at Antwerp in 1520, and, until he was twenty years of age, studied sculpture under his uncle Claude de Vriendt. His love of painting. induced him to change the chisel for the pallet, and he became a scholar of Lambert Lombard, from whose instruction he derived great advantage. He after- wards visited Italy, where he studied attentively the works of Michael Angelo and the antique. After passing some years at Rome, he returned to Flan- ders, with an ample collection of drawings he had made from the objects most worthy of admiration. His first productions exhibited a grander and more correct design, and a superior style of composition to what had before been witnessed by his country- men, and he was styled by the honourable appella- tion of the Raffaelle of Flanders. He was particu- larly patronized by the Counts of Hoorn and Egmont, and was received into the Academy at Antwerp in 1559. With the possession of such powers, and favoured with the public esteem and encouragement, the exertion of his talents insured to him the road to fortune and fame, which he lost by an unfortunate propensity to intemperance and excess ; and it is surprising, that under such a de- rangement of conduct, he was able to produce the many important works which are mentioned by van Mander. He possessed an uncommon facility of invention, and a surprising freedom of hand, of which the author above mentioned gives a striking example. When the Emperor Charles V. made his entry into Antwerp, Floris was engaged to paint the triumphal arches ; and he is said to have finish- ed seven figures as large as life, with different attri- butes, in one day. And on a similar occasion, when Philip II. visited the Low Countries, he painted in a few hours a large picture representing Victory, with several figures of Slaves, and the attributes of War and Peace. Of this subject he etched a plate, which is dated in 1552. His design is bold, though not always correct ; his colouring is clear and bnlliant, and he gave great roundness and relief to his figures. Among the principal works of Francis Floris, are the Last Judgment, in the church of Notre Dame, at Brussels ; in the cathedral at Ant- werp, a fine picture of the Assumption ; and in the chapel of St. Michael, was formerly his most esteemed work of the Fall of the Rebel Angels. It is now in the gallery of the Louvre. He died in 1570. FLOS, Du. See Duflos. . FO, [G. R.] This artist was a native of Switzer- land, and flourished about the year 1551. Papillon speaks of him as an excellent engraver on wood, and a contemporary of Hans Holbein. He executed the cuts for the Histury of Animals, by Conrad Gesiier, published at Zurich in 1551. He also en- graved the coins and medals of the Roman Em- perors, by the same author, published in 1559. [POGOLINO, Marcello, an artist of the Floren- tine school, who practised chiefly at Vicenza. But httle that is authentic is known of him ; even his name has been corrupted, through negligence, by the few writers who have noticed his works. He was an historical painter and engraver, and flourish- ed in the fifteenth century. For along time he was supposed to be the engraver who marked his plates B. B. T. A., or Robetta : Zani has exploded that supposition. It may be conjectured that Heineken was unacquainted with his works, as he writes the name Fogellino, although three of his prints, the Statues, signed Marcello Fogolino in Roman capitals,, were in the Royal collection at Dresden. Bartsch honestly confesses that he had not seen them ; and mentions another in which there is a female seated caressing an infant, and a piece of beautiful architecture. In the collection of Richard Cosway, which, after his death, was sold by auction by Mr. Stanley, there was a small print representing a riposo of the Virgin and Child, in a landscape with 249 • fokk] A DICTIONARY OF [folo architectural ruins, and Joseph drawing water from a well, with the name in full, Marcello Fogolino ; it was purchased by Messrs. Woodburn, and is now in the British Museum. Mr. Ottley says, that he once possessed a small print, bearing his name, re- presenting the Nativity : and these seem to be all at present known. FogoUno must, however, have been an artist of high repute in his day. Boschini speaks of the picture of the Adoration of the Magi, at Vicenza, by Marcello FigoUno, which he says was painted before the time of Gian. Bellini, (prima che vivesse Gfio. Bellini,) and he calls it a most pre- cious work. It stiU exists in that city, in the church of San Bartholomew, as Reichard mentions it in his Guide des' Voyageurs en Italie. Lanzi, referring to it, after mentioning the works of Jacopo Tintorello at Vicenza, says, " ft is yet more highly honoiwed by an Epiphany painted in San Bartho- lomew by Marcello FigoUno, an artist commemorated by Ridolfi under the name of CHovanni Batista FigoUno, who flourished at the period of the two Montagna. He must, however, at that time, have been far advanced in years, if it be true that the era of his birth preceded that of Gian. Bellini." He adds, " His manner is undoubtedly original, so much so that I fihd nothing resembhng it either in Venice or elsewhere ; it embraces gi'eat diversity of countenance and costume, skilful gradations of light and shade, with landscape and perspective, and is remarkable for ornament, and the finish and smooth- ness in every part. It was fully entitled to render its author the father of a new epoch in the history of art; if, indeed, we are to believe him to be, which does not sufficiently appear, as ancient as has been afiirmed." Lanzi thinks that he was a pupil of Mantegna. In Rosini there is an engraving (plate 97) of a Chorus of Monks, after a picture by Fogo- lino, which is excellent in design, arrangement, and expression.] FOKKE, Simon, a Dutch engraver, who resided at Amsterdam about the year 1744. He was a pupil of J. C. Philips, and was chiefly employed for the booksellers in small portraits and vignettes, which he executed with neatness, and was more successful than in his larger plates of historical subjects. He engraved part of the portraits for a work entitled. Portraits Historiques des Hommes illustres de Dane- mare, pubhshed in 1746. We have also by him, among others, the following : The Portrait of Simon Fokke ; after his own design. A View of the Port of Leghorn ; after Vemet. A View near Narni, in Lombardy ; after the same. A Landscape, Winter ; afier P. Breitghel. A View of the Y, near Amsterdam. Two small plates of Animals. The Prodigal Son; after Spagnoletto; in the Dresden collection. Jacob keeping the Flocks of Laban; after the same; same collection. The Death of Dido, a burlesque ; after C. Troost. FOLEB, Antonio. This painter was born at Venice in 1526. He was a contemporary and friend of Paolo Veronese, whose splendid style he followed with some success in his colouring, though very deficient in his design, particularly in his large works. In his easel pictures, this inferiority is less discernible, and they possess considerable merit. Among other works by this master, Ridolfi notices the following; in the church of the Abbey of S. Gregorio, three pictures of the Assumption of the Virgin, the Scourging of Christ, and the Cruci- fixion ; in S. Barnaba, the Birth of the Virgin ; and 250 in S. Caterina, Christ praying in the Garden, and the Resurrection. He died in 1616. [According to the foregoing dates, he would have been 90 years old when he died. Zani says he was born in 1530, and died in 1626, so that he would have been 96.] FOLKEMA, Jacob, a Dutch engraver, born at Dockum, in Friesland, in 1692. He engraved several plates after the designs of Picart, and many portraits and vignettes for the booksellers. He also executed some plates of historical subjects, which are not equal to his other works. He had a sister, Anna Folkema, who painted miniature, and en- graved some few plates, about 1715. By Jacob Folkema we have, among others, the following : An Emblematical Subject on the Death of the Prince o'f Orange. Time discovering the Bust of F. Rabelais, with figures and satirical and emblematical attributes : a curious print. The Martyrdom of St. Peter and St. Paul ; after N. del PORTRAITS. Michael Cervantes de Saavreda ; after C. Kort. John Ens, Professor of Theology at Utrecht ; after Colla. Petrus de Mastrioht, Professor of Theology at Frankfort ; after the same. Humphrey Prideaux, Dean of Norwich ; after Seeman. Suethiagius, Pastor at Amsterdam; after Anna Folkema. [According to Zani he died in 1767.] FOLLI, Sebastiano. According to the post- humous work of Baldinucci, this painter was a native of Siena, and flourished about the year 1608. He was a scholar of Alessandro Casolani, and dis- tinguished himself by several fresco works in the churches at Siena, particularly the cupola of S. Marta, and some pictures of subjects from the Life of S. Sebastiano, in the chiu-ch of that saint, painted in competition vidth Rutilio Manetti, to whom they are in no way inferior. He visited Rome, and was employed in some considerable works for the Car- dinal de Medici, afterwards Leo XL [FOLO, Giovanni. This very eminent engraver was born at Bassano in 1764, and died at Rome in 1836. He studied in Volpato's school at Rome, but subsequently he chose Raphael Morghen as his model. In his earlier productions there appears - something of hardness and dryness of style, from which even his beautiful eng-aving of the "Ma- donna de' Candelabri," after Raphael, is not alto- gether free ; but this defect is wholly avoided in the " Mater dolorosa," after Sassoferato. Here the en- graver has succeeded in expressing the character of the original picture, and difiiased over the copy the same harmony of light and shade, and delicate colouring, that are the pleasing characteristics of the master. Folo merits the name of a great artist; he seeks rather to preserve grandeur of character than to produce a work that is merely pleasing to the eye by elaborate execution. His strokes through- out are powerful and firm; yet in subjects requinng amenity of treatment, he varies his manner so as to give a corresponding delicacy, as may be instanced m his Adam and Eve. The Saint Andrew, after Somenichino, is considered, by many, as his master- piece ; it is a very valuable engraving, delicately and forcibly executed. Folo's style was not suitable for small subjects, as may be conjectui-ed from the medallion of Pius VII. ; his productions are for the most part of a large size. He was a member of the academy of St. Luke at Rome. Nagler gives a good hst of his works, which are after paintings and sculptures of the most eminent masters, such as Raphael, M. Angelo, Titian, N. Poussin, Guido, fonb] PAINTERS AND ENGRAVERS. [font Rubens, Caracci, Thorwaldsen, Canova, and others of celebri^.] FON BONE, a French engraver, of httle celebrity. Among other subjects he engraved some of the plates for the large set of the Views of Versailles in 1715. FONTAINE, E., a French engraver on wood, who flourished about the year 1681. Among other cuts, we have a print by him representing the figure of Christ, standing upon a pillar. It is a very in- different performance, and is inscribed H. Fontaine, sculpsit. Anno 1681. [FONTAINE, PiEKRE La, bom at Courtrai in 1758, painted interiors of churches in the manner of Steenwyck and Peter Neefs. His imitations of those masters were so exact that they passed, with many, for originals. To the profession of an artist he joined that of a dealer in pictures, and found the latter the more profitable. He brought many fine pictures to England, for which he obtained large prices. His own works are much esteemed by those that know them ; and also by those who think them to be by Steenwyck or Neefs. He died at Paris in 1835.] FONTANA, Alberto. This painter was a na- tive of Modena, and flourished about the year 1540. He w€is a fellow student with Niccolo del Abate, under Antonio Begarelh, and in conjunction with his co-disciple, painted the pannels of the Butchers' Hall at Modena; a work which Scannelli, in his Microcosmo della Pittura, says appears to have been the production of Raffaelle, though he erroneously ascribes it entirely to N. Abate. There is certainly a gi'eat similarity in their style ; but, although Al- berto Fontana resembles Niccolo in the airs of his heads, he is always unequal to him in his design, and there is something red and heavy in his colour- ing. He died in 1558. FONTANA, Cesare. This artist was a native of Italy, and flourished about the year 1620. He en- graved several plates representing funeral processions and cavalcades. [Zani says he was living in 1660.] FONTANA, DoMENico Maria, was born at Parma about the year 1540, and learned the art of engraving at Bologna, and engraved several plates from his own designs, as well as after other masters. We have by him : The Flight into Egypt, with a mountainous Landscape. The Sabine Women maMng Peace between the Romans and the Sabines. Sti John preaching in the 'Wilderness. Mount CalTaiy, with a Latin inscription. Christ going to Calvary. 1584. [There must be error in the foregoing dates, as ap- pUed to D. M. Fontana, who was hving in 1651, as appears by an engraving with his name and that dkte. There was a painter of the name Sebastian Fontana, a son of the Cavalier Domenicho Fontano, who flourished about 1590; but it does not appear that he ever engraved, nor have his works, as a painter, been much noticed.] FONTANA, Veronica. This lady was the daughter of the preceding artist, and was instructed in design by her father and Elizabeth Sirani. She executed some neat wooden cuts, principally small porti-aits. [She was born in 1596, and was hving in 1675, according to Zani. BrulUot mentions the por- trait of Andreini, the poet, by her, published in 1620.] FONTANA, Giovanni Batista. This artist was born at Verona about the year 1524. He was a designer as well as an engraver, and etched several plates from his own designs, in a free, masterly style ; among other prints we have the following by him : A set of middle-sized plates, of subjects from the JEneid. the Imperialists and the A set oi miame-sized plates, of s St. Peter Martyr ; ajier J'itian, The Battle of Cadore, between Venetians ; after the same. The Crucifixion. Twenty-ei^t subjects from the Life of Romulus ; dedi- cated to Ferdinand, Archduke of Austria. 1573. FONTANA, Prospeho. This painter was bom at Bologna in 1512, and was a scholar of Innocenzio Francucci, called da Imola. He attached himself, however, more to the style of Giorgio Vasari, pre- ferring his expedition and facility to the diligent and careful finishing of Francucci. He is more incorrect and negligent than Vasari, and to Mm Lanzi attributes the principal cause of the decadence that took place in the Bolognese school at his time, until it was reformed by the Caracci, who were, notwithstanding, educated in his academy. He possessed fecundity of invention, boldness of design, a cultivated mind, and every requisite to form a great machinist; but his love of luxury and ex- pense induced him to gratify those propensities, so fatal to the reputation of an artist, by despatch and hurry, for the sake of gain. At Citta di Castello he painted a saloon in the Palazzo VitelM, representing the principal achievements of that noble family, which he finished, according to Malvasia, in a few weeks. Similar hasty promictions by him are at Rome, in the Villa GiuUa, and in the Palazzo di Toscana, in Campo Marzio, His best work at Bologna is the Adoration of the Magi, in S. Maria delle Grazie, which exhibits a grandeur, a facihty, and a splendour, that approaches the style of Paolo Veronese. This is one of his best works, which he has signed with his name in golden letters. In the same church is a fine picture of the Annunciation ; in la Morte, a Deposition fi'om the Cross ; and in S. Giovanni Batista, a picture of the Virgin and In- fant, with S. Catarina, S. Paolo, and S. Agostino, one of his most copious compositions. He was also an eminent portrait painter, and distinguished him- self at Rome in that branch in the pontificate of Julius III. and three of his successors. He died at the advanced age of 85, in 1597. [The Deposition from the Cross is said by Rosini to be in the Academy of Bologna; an engraving from it is in his Storia della Pittura, plate 156.] FONTANA, Lavinia. This eminent paintress was the daughter of the preceding artist, bom at Bologna in 1552, and was instructed in the art by her father. In the churches at Bologna there are some pictures by this lady, painted in the style of Prospero Fontana, of which the most worthy of notice are the Crucifixion, in La Madonna del Soc- corso ; the Miracle of the Loaves, in il Mendicanti ; S. Francis da Paolo resuscitating a dead Person, in la Morte ; and the Annunciation at the Cappucciili. Her greatest merit was, however, in portrait paint- ing, which she practised at Rome with the greatest success. She first visited that capital, according to BagUoni, during the pontificate of Gregoria XIIL, whom she painted, and the portraits of many per- sons of distinction ; and was considered one of the ablest artists of her time. Lanzi says she possessed a suavity of pencil (particularly after having seen the works of the Caracci) which is admirable ; and some of her portraits might have passed for the works of Guido. She died at Rome in 1614. FONTANIEU, M. de, a French amateur en- graver, who etched for his amusement a few small plates of animals, &c., some of them are dated 1760. FONTEBASSO, Francesco, a Venetian paints er and engraver, bom at Venice in 1709. He 251 font] A DICTIONARY OP [forn received his first instruction in the art at Rome, but he afterwards studied at Yeftice, under Sebastiano Ricci. His works as a painter are little known. As an engraver, we have by him : The Virgin appearing to St. Gregory, who is praying for the Delivery of the Souls in Purgatory ; after Sebas- tian Ricci. A set of seven fantastical subjects ; from his own, designs. [He died in 1769.] PONTBBUONI, Anastagio. This painter was a native of Florence, and was educated in the school of Domenico Passignano. According to BagUoni, he visited Rome in the pontificate of Paul v., where he painted some pictures for the churches, which Lanzi observes should not remain unnoticed. In S. Giovanni de Fiorentini, are two admired pictures of the Birth and the Death of the Virgin, which are considered his best works ; in S. Maria, in Selci, the Annunciation. The Vault of S. Giacomo de Spagnuoli is painted by AnEistagio. This promising artist died young. [He flourished fi-om 1600 to 1620.] FONTENAY, John Baptist Blain de, a French flower painter, born at Caen, in Normandy, in 1654. He was a scholar of John Baptist Mon- noyer, and had some merit in painting flowers and fruits, with vases, ornamented with bas-relief. Louis XIV. employed him for some time at the Gobelins. He died at Paris in 1715. FONTUZZI. See Pantuzzi. [PONTYN, Pierre, born near Dort in 1773, was instructed in his art by Pierre Hofinan and Guil- laume Van Leen. He painted portraits and interiors with figures, scenes of joviality and domestic enjoy- ments. He died in 1839.] POPPA, ViNCENzio. This old painter was a native of Brescia ; and is regarded as the founder of the Milanese school. He is said, by Ridolfi, to have flourished about the year 1407 ; but Lanzi disputes his having Uved at so early a period, as he had found a picture of the Crucifixion by this mas- ter in the Cararra gallery at Bergamo, inscribed Vincentius Brixiensis, fedt, 1455. And he is stated by Zamboni, in his Memorie di Brescia, to have died in 1492, as appears by the inscription on his tomb in the church of S. Barnabit, at Brescia. Lomazzo states him, en-oneously, to have been bom at Milan ; and bestows on him the absurd and extravagant eulogium, " that he traced his figures from the sculpture of Lysippus ; that from his writ- ings Bramante learned perspective ; that his book was of great utility to RafFaelle, Polidoro, and Gaudenzio, and that Albert Durer was a plagiarist of his inventions. The works of V. Poppa evince a correct design of the nude, an excellent colour, with great truth and character in the expression of his heads. His best productions are his pictures of the Trinity, and S. Orsola, in S. Pietro Oliveto, at Brescia ; and the Martyrdom of St. Sebastian, in S. Maria di Brera, at Milan. [The curious inquirer who is desirous to reconcile the discrepancies in the accounts of this old master, is recommended to peruse note 84, parte i. Tom. -IX. of Zani.] PORABOSCO, or PERABOSCO, Giholamo. This painter is said, by Orlandi, to have been a native of Venice, though claimed by the Padouese as one of their citizens. He was a contemporary of Boschini, who gives to this master, and to the Ca- valiere Liberi, the first rank among the Venetian painters of the time. He was more employed for private Collections than for the churches, and was 252 much engaged in portrait painting, in which he par- ticularly excelled. Zanetti, in his Pittura Veneziana, says that Forabosco possessed a noble and penetrat- ing genius, that he united suavity with finish, and elegance with force ; that his works were studied in every part, particularly his heads, which appeared speaking. He was Uving in 1660. FORD, M., an Engliyi engraver in mezzotinto, who flourished about the year 1760. He engraved several portraits : among others, ■William Stanhope, Earl of Harrington ; after Du Pin. Henry Singleton, Chief Justice of the Common Pleas in Ireland. PORE, Le, an obscure French engraver, who was chiefly employed in engraving portraits for the booksellers. Among others are the following: Henry de Mausses and Nicolaus de Netz, Episc. Aurelianensis, &c. FOREST, John, a French landscape painter, bom at Paris in 1636. He was instructed in the flrst rudiments of the art by his father, an artist little known. He went afterwards to Italy, and at Rome became the scholar of Pietro Francesco Mola. After studying the works of that master for some time, he applied himself to an imitation of the grand landscapes of Titian and Giorgione. On his return to France, he was esteemed one of the ablest landscape painters of his country, and was received into the Academy at Paris in 1674. From an un- fortunate process he made use of in' the preparation of his colours, some of his pictures have since be- come dark, but his touch is spirited, and the scenery of his landscapes is grand and picturesque. He died at Paris in 1712. [His name was Jean Baptiste Forest.] FORLI. See Melozzo. PORMELLO, DoNATO da. This painter was a native of Formello, in the Duchy of Bracciano. He was a disciple of Giorgio Vasari, and, according to BagUoni, visited Rome early in the pontificate of Gregory XIII. He greatly surpassed the style of his instructor, as is evident in his fresco works in a staircase in the Vatican, of subjects from the Life of St. Peter. This artist gave promise of extraordi- nary ability, but he died young. PORNAVERT, J. P., an obscure engraver, who was chiefly employed by the booksellers. Mr. Strutt mentions a frontispiece to a book of devotion by this artist, representing Moses and Aaron, with the Pour Evangelists. It is neatly executed with the graver, in a stiff, formal style. FORNAZERIS, Jacob de, a French engraver, who flourished about the year 1615. He resided at Lyons, and appears to have been principally em- ployed for the booksellers, though his plates are executed in a style very superior to the generahty of artists of that class. He engraved several fron- tispieces, which he generally embellished with small historical figures, correctly drawn. His plates are very neatly executed with the graver, though in a formal style. We have the following frontispieces, among others, by him : To the Biblia Sacra Lugduni. 1606 ; in quarto. ■ .fol:' 1609 ; in folio. folio. — Tabula Chronographica ; Ltigduni. 1616; in To the Praxis Fori Pcenitentialis Lugduni. 1616 ; the same. Toihi Commentaries of J. Femandvs. 1622; the same. [He is probably the same as Fomazori, who en- graved portraits in the manner of Grandhomme.] forr] PAINTERS AND ENGRAVERS. [four FORRESTER, J., an English engraver, who flourished about the year 1760. He resided some years in Italy, where he etched several plates of landscapes, which are executed in a neat, pleasing style. POSSATO, David Antonio, a Venetian painter and engraver, who flourished about the year 1620. His works as a painter are httle known ; but he etched several plates of landscapes and historical subjects, after various masters, of which the follow- ing are the most worthy of notice : Diana and Calisto ; after Solimene. The Family of Darius before 'Alexander ; after P. Ve- ronese. Jupiter fulminating the Vices ; o/ier the same. Rehecca and the Servant of Abraham ; after A. Belhieci. The Vocation of St. Peter to the Apostieship ; after the saTne. A set of twenty-four Views of Venice, and landscapes ; after Marco Ricci. He sometimes marked his plates with the cipher fy^. [BruUiot says he flourished about 1743, and quotes the twenty-four landscapes after Marco Ricci, who died in 1729.] POSSE, Charles de la, an eminent French painter, born at Paris in 1640. He was educated under Charles le Brun, and having gained the prize at the Academy, he was sent to Italy to study, with the pension of the King. He appears to 'have been less sensible of the sublime beauties of the Roman school, than the seductive colouring of the Venetian, and by studying the works of Titian and P. Vero- nese, he returned to Paris one of the most acomplish- ed colourists of the French school. He was imme- diately taken into the service of Louis XIV., and was first employed in painting fom- pictures for the ajiartments in the Thmlleries. His next work was the chapel of St, Eustache, where he painted in fresco Adam and Eve, and the Marriage of the Virgin. He painted at Versailles the Sacrifice of Iphi^enia ; the infant Moses saved from the Nile j and in the chapel the Resurrection. At Marly, a picture of Bacchus and Ariadne ; and at Trianon, Apollo and Thetis. These works brought him into great repute ; and he was received into the Academy at Paris in 1693. His picture of reception was the Rape of Proserpine. La Posse visited England in the reign of James II., and was employed in orna- menting the mansions of some of the nobility, par- ticularly the Duke of Montague, for whom he painted two ceihngs, of the Apotheosis of Isis, and an Assembly of the Gods. His principal work at Paris is the Cupola of the Invalids, which is fifty- six feet diameter, representing St. Louis before the Virgin, and Christ with a glory of Angels, and in the angles, the Four Evangelists. In the choir of Notre Dame he painted the Nativity and the Ador- ation of the Magi. Although the genius of La Fosse was equal to great and copious compositions, his design is neither elegant nor correct ; and though he is considered as one of the best colourists among his countrymen, he is very distant from the verity and clearness of Titian or Vandyck. He died at Paris in 1716. POSSE, John Baptist de la, a French en- graver, born at Paris in 1721. He was a pupil of Stephen Fessard, and was employed by the book- sellers, for whom he engraved several book plates, particularly for an edition of Ovid's Metamorphoses, and for Fontaine's Fables. We have also several portraits by him after the designs of Carmontel, among which are the following ; The Duke of Orleans on horseback. The same, with his Son, the Duke de Chartres. M. Kameau. The Abbe de Chauvelin. 1767. The unfortunate Calas Family. FOUCHIER, Bertram de, a Dutch painter, born at Bergen-op-Zoom in 1609. He was sent to Antwerp when very young, where he became a scholar of A. Vandyck. "When that master left Ant- werp to visit England, Fouchier retmmed to Hol- land, where he studied under John Bylart, at Utrecht. He afterwards went to Rome, where he met lyith encouragement during the pontificate of Urban VIII. He remained at Rome three years ; and would probably have acquired a distinguished reputation in that capital, if he had not been impli- cated in a quarrel, which obliged him to quit Rome. The fame of the Venetian painters drew him to Venice, where he particularly attached himself to study the works of Tintoretto. After an ab- sence of eight years he returned to Holland, where he soon found that neither the style he had acquired in Italy, nor the subjects of his pictures, were agreeable to the taste of his countrymen. He therefore abandoned historical painting, and apphed himself to paint similar subjects to those of Ostade and Brower, representing assemblies of pea- sants and drunken frolics, which were admired in his time, and are still to be found in the collections in Holland. He died in 1674. POUQUIERES, James. This painter was born at Antwerp in 1580, where he received some in- struction from Josse Momper, and afterwards stu- died under John Breughel, though he adopted a style of landscape painting different, and very su- perior to either of those masters. In this branch of the art he arrived at an excellence that induced Rubens occasionally to employ him to paint the back-grounds of his pictures. He afterwards visited Italy, where he greatly improved his style, by study- ing the works of Titian, wnose fine landscapes were the particular objects of his admiration. On his return to Flanders, he was invited to the court of the Elector Palatine, whose palace he ornamented with some considerable works. In 1621 he went to Paris, and was employed by Louis XIII., in the great gallery of the Louvre. His pictures were so much admired by that monarch, that he conferred on him the honour of knighthood. This mark of distinction is said by M. D'Argenville to have ren- dered him so vain and ridiculous, that he afterwards never painted without his sword by his side. He be- came so proud and overbearing, that his insolent conduct to Nicholas Poussin, who was employed by the King at the same time in the Louvre, \^as the means of depriving Prance of the talents of that ad- mirable painter, who left Paris in disgust, and resided at Rome for the remainder of his life. Pouquieres was, notwithstanding these foibles, a distinguished painter of landscapes ; his pencil is free and firm, and his colour, both in oil and in fresco, is clear and fresh, though occasionally cold, and partaking too much of the green. The figures with which he embellished his landscapes are correctly drawn, and touched with great spirit. He died at Paris in 1659. POUR, N. Du. This artist was a native of France, and flourished about the year 1 760. Among other prints, he engraved several small plates, after Weirotter, and other masters. FOURDRINIERB, Peter, a French engraver, who flourished about the year 1730. He chiefly resided in London, and engraved several plates for 253 four] A DICTIONARY OF [FRAN the embellishment of books, plays, and pamphlets. He also executed some large plates of architectural views, which are his best performances, some of which were for a large folio volume of the Villas of the Aniients, pubhshed by Robert Castel in 1728. He also engraved some of the plans and elevations of Hougliton Hall. POURNIER, , a French engraver, of little note, who executed part of the plates for a small folio volume, entitled Zes Tableaux de la Penitence. [FOURNIER, (Isaac ?) a native of Prance, and scholar of De Troy, who passed the greater part of his artistic life in Holland. He painted the portraits of many distinguished persons of his time ; among others, those of the Duke of Cumberland and Admi- ral Anson. He died in 1754.] FOURNIER, IsATfE. According to Florent le Comte, this artist was painter to Henry IV. of France. He is also called Fornaceriis, and is said to have engraved some plates, but the subjects are not specified. He flourished about the year 1590. FOUTIN, J. This engraver was probably a goldsmith, as the only prints known by him are some plates of ornamental foliage, with grotesque heads, figures, &c. They are signed J. Foutin, a Chasteattdun, and dated 1619. FRAGONARD, Honore, a modem French painter and engraver, born at Nice in 1733. He studied at Rome under the pension of the king, and soon after his return to Paris was received into the Academy, in 1765. He painted historical subjects and bacchanals with some reputation. By this artist we have several etchings from his own de- signs, and after various masters, among which are the following : The-Circumcision ; after Tiepolo. * The same subject ; after Seb^ Ricei. Christ with the Disciples at Emmaus ; after the same. The Last Supper ; after the same. St. Roch ; after Tintoretto. The Conception ; after the same. Four Bacchanalian subjects ; after Ms own designs, [He also painted conversations, and subjects of French manners, of a small size. He died in 1806.] [FRAISINGER, Caspar, an engraver of Ingol- stadt in Bavaria, who flourished about 1600. Bartsch gives his mark (P. Gr. t. ix. p. 584) among the anonymous engravers, and describes two prints by him, with the date 1591 ; Brulliot has discovered three others with the names in full, Caspar fraisinger, and Caspar fraisinger Ingolstaty, 1599. Malpe (t. i. p. 265) mentions several other pieces which, ac- cording to Brulliot, are by this artist, and ascribes them to, George Frenzel : this is a double error, as the artist he means was called Gregory Fenfzel, and his manner of engraving, and signature, are quite different.] FRANCESCA, Pietro della, da Borgo S. Sepolcro. This old painter, sometimes called Pietro Borghese, was bom at Borgo S. Sepolcro, in the province of Umbria, in 1398. At the age of fifteen he had made great proficiency in the ma- thematics and other studies, when he turned his thoughts to painting. He was taught the incipient principles of design by some obscure artist ; but he was principally indebted to the genius with which nature had endowed him for his attainments in the art. He first distinguished himself at the court of the Duke of Urbino, where he only painted some small pictures, which, Lanzi observes, are not the usual coramenceinents of a great master. He visited 254 Rome in the pontificate of Nicholas V., by whom he was employed in the Vatican, where a large pic- ture by him still remains, representing that pontiff, with several cardinals ajnd bishops ; in which there is a truth of character m the heads that is superior to the artists of his time. At Arezzo are shown some of his works, in the chou- of the Conventuali, which prove how much the art had advanced from its infancy in the time of Giotto. If he had pos- sessed the grace of Masaccio, he would nearly have equalled that master. At Borgo S. Sepolcro, in the public palace, is a picture of S. Lodovico by this master; and in the church of S. Chiara the As- sumption, with the Apostles, in which, though there remains some degree of Gothicity and stiffness in the design, yet, in the colouring and in the airs of the heads, it evinces the dawning of that great style which was afterwards improved by his scholar Pietro Perugino, and was perfected by Raffaelle. According to Vasari, he becam^e blind in his sixti- eth year, m 1458, though he lived to the age of 86, and died in 1484. FRANCESCHI, Paolo, called Paolo Fiam- MiNGO. This painter was bom in Flanders in 1540, but went young to Venice, where he became a scholar of Tintoretto, and resided in that city the remainder of his Ufe. He principally excelled in painting landscapes, although he sometimes painted historical -subjects. In the church of S. Nicoolo de Frari, at Venice, are two pictures by this master, of the Descent from the Cross, and St. John preach- ing in the Wilderness, which are commended by Ridolfi. He was employed by the Emperor Ro- dolphus II., for whom he painted several landscapes, and other subjects. He died at Venice in 1596. FRANCESCHIELLO. See De Mura. FRANCESCHINI,Baldassaee, called IlVol- TERRANO. According to Baldinucci, this painter was born at Volterra in 1611. He was called II Volterrano Giuniore, to distinguish him from Da- niele Ricciarelli da Volterra, and first studied under Matteo Rosselli, but he afterwards became a scholar of Giovanni de S. Giovanni. He is said to have excited the jealousy of that master, who, having en- gaged him as his coadjutor in some works in the Palazzo Pitti, after witnessing his capacity, thought it prudent to dismiss him. He was one of the most distinguished fresco painters of his time, in which he was more employed than in easel pictures. The fire of an ardent genius was tempered by reflection and decorum, and his natural taste of design was strengthened and varied by his study of the best works of the schools of Parma and Bologna. The praise bestowed on this eminent artist by his biogra- phers, is considered by Lanzi rather parsimonious than extravagant, as will be evident to whoever considers his ingenious invention ; the correctness of his design, so rare in machinists ; his perfect knowledge of foreshortening; the spirited move- ment of his figures ; and the quiet haimony of his colouring. The cupola of the Capella Niccolini, in the church of S. Croce, at Florence, surprises even the admirers of Lanfranco. That of the Nun- ziata is equally admirable ; and the vault of a chapel in S. Maria Maggiore, representing Elias, is so finely foreshortened, that it reminds the spectator of the celebrated S. Rocco, of Tintoretto. Pro- portionate qualities shine in his oil pictures ; such is his S. Filippo Benizzi, in the Nunziata at Flo- rence ; his S. Giovanni EvangeUsta, in the church of S. Chiara at Volterra; and his S. Carlo Bor- romeo, communicating the Pestiferous, in the Nun- FRAN] PAINTERS AND ENGRAVERS. [P^AN ziata at Pescia. He is highly respectable in his easel pictures, of which there are many at Florence and Volterra, particularly in the Palazzi Maffei and SermolU. He died in 1689. FRANCESCHINI, Cavaliehe Marc Anto- nio. This eminent painter, whom Lanzi styles one of the heads of the new Bolognese school, was born at Bologna in 1648. Prom the academy of Gio. Batisti Galli he passed into that of Carlo Cignani, of whom he became the most assiduous assistant, and the most particular friend ; and this attachment was increased by his marrying him to his cousin, the sister of Quaini. Cignani distinguished him above all his scholars, keeping him apart from his fellow students, furnishing tim with select models for the design of the nude, and directing him in the use to be made of them in his compositions. By a constant study of the best productions of art, tinder the eye of Cignani, he acquired the tasteful choice and grandem- of his instructor, to which he added a certain vaghezza of colour, and a novelty of style entirely his own. Rich in ideas, facile and prompt in his operation, his powers were peculiarly adapted to the functions of a great machinist. His colour- ing is clear, without coldness, and his compositions are copious, without confusion. The principal works of M. A. Pranceschini, at Bologna, are a ceiling in the Palazzo Ranuzzi ; a fine picture of the Annunci- ation at the Institute ; the Death of St. Joseph, in the church of Corpus Domini ; St. John in the Isle of Patmos, in la Carita ; and St. Prancis di Sales kneeling before the Virgin and Infant, in la Ma- donna di Galeria. At Rimini, in the church of the Augustines, is a fine picture of S. Tommaso da Vil- lanova giving Alms to the Poor. This eminent artist continued the exercise of liis talents with little apparent diminution of his powers, until he reached the advanced age of eighty-one. His picture of the Pounders of the Order, at the Padri Servi at Bo- logna; and his Pieta, at the Agostini at Imola, painted when he was near eighty, have no appear- ance of feebleness or senihty. He died in If 29. FRANCESCHINI, Giacomo, was the son and scholar of the foregoing artist, born at Bologna in 1672. He painted history in the style of his father ; and there are some of his pictures in the churches at Bologna. In S. Maria Incoronata, is a picture of S. Usualdo, St. Margherita, S. Lucia, and S. Ce- cilia; in S. Simone, the Crucifixion; and in S. Martino, S. Anna. He died in 1745. FRANCESCHINI, Domenico, an indifferent modern Italian engraver, by whom we have a slight etching of the Amphitheatre of Flavius ; dated 1 725. FRANCESCHINI, Vincenzio. This artist was probably a relation of the preceding engraver. He executed part of the plates for the Museo Fiorentino; published in 1748. They are usually marked with the initials of his name, V. F. FRANCESCHINO. See Caracci Francesco. FBANCESCHITTO, [or PRANCISQUITO.] Lanzi states this painter to have been a native of Spain, and a scholar of Luca Giordano, who was accustomed to assert that the disciple would surpass his master. He accompanied that painter to Italy, on his leaving Madrid ; and at Naples gave proof of the prediction of Luca, in a picture he painted for the chiu'ch of S. Maria del Monte, representing S.,Pasquale, with a beautiful choir of Angels, and a grand landscape. This promising artist died young at Naples. FRANCHI, Antonio. This painter was bom at Lucca in 1634, though domiciliated at Florence. He was a scholai- of Baldassare Pranceschini, called II Volterrano, and was a reputable painter of his- tory. His picture of S. Giuseppe di Calassanzio, in the chm-ch of the Padii Scolopi, is admired for the con-ectness of its design, and the vigour of its efifect. In the parochial church of Caporgnano at Lucca, is his most capital work of Christ giving the Keys to S. Peter. He was employed by the Grand Diike of Tuscany, for whom, as well as for private collec- tions, he painted several easel pictures. He wrote a book on art, entitled La I'eorica delta Pittura, printed, after his death, in 1739. He died in 1709. [FRANCHI, Lorenzo, the younger, was born at Bologna about 1563, and was instructed by Ca- miUo Procaccini; after leaving that master he attached him to the manner of the Caracci, whose works he copied, or imitated in small. He became eminent in this way ; but the masters he chose for his models have the reputation of the performance, and the name of Lorenzo is scarcely recognised out of his own country. He died about 1630.] PRANCIA. See Raibolini. FRANCISQUE. See Mile. PRANCK, Constantine. This painter was bom at Antwerp about the year 1660. He excelled in painting batues and sieges ; and though his pic- tures of those subjects may not be equal to the works of Vandermeulen, they possess great merit. His most capital performance was a picture repre- senting the Siege of Namur by King William, in which he had introduced the portrait of that mon- arch, and of the principal generals that attended him. The town was seen in the distance, and the encampment was between the principal group of figures and the city. This picture was much su- perior to his usual productions, which are some- times rather diy and nard. [PRANCK, Hans, one of the early engravers on wood, and who assisted in the work of the Triumph of the Emperor MaximiUen, after Hans Burgkmair. He is supposed to be the same Jan Franeh who lived at Nuremberg, and worked for Albert Durer.] PRANCK, or PRANCKEN, Jerome. This Flemish painter was born at Herenthals, near Ant- werp, about the year 1544, and was a disciple of Francis Floris. He afterwards visited Prance in his way to Italy, and passed some time at Paris, where he was employed by Henry III., whose por- trait he painted, and was appointed painter to the King. He afterwards went to Rome, where he studied for some time. On Ms return to Flanders, he established an academy, and after the death of Francis Floris, the scholars of that master placed themselves under the tuition of Jerome Franck. In the cathedral at Antwerp is a picture by this master representing one of the miracles of St. Gomer, signed H. F. P. 1607. The princiml altar- piece in the church of the Cordeliers at Paris, re- presenting the Nativity, is by Jerome Pranck. It was painted in 1585.' [Brulliot says he was born in 1542; and Zani, that he died in 1620.] PRANCK, or PRANCKEN, Francis, called THE ELDER. This painter was the younger brother of the preceding artist, born at Antwerp about the year 1546, and was also instructed in the art by Francis Floris. He painted history with consider- able reputation, and was received into the Academy at Antwerp in 1581. His most esteemed work was an altar-piece in the cathedral at Antwerp ; the principal picture representing Christ amidst the Doctors ; .and the two folding-doors, the Baptism of St. Augustine, and the Miracle of the Widow of 255 FRAN] A DICTIONARY OF [FRAN Sarepta. His easel pictures are preferable to his larger works ; they are well coloured, and touched with great freedom and effect. He died at Antwerp in 1616. PRANCK, or FRANCKEN, Ambrose, was the youngest brother of Jerome Franck, born at Antwerp about the year 1549, and, as well as his brothers, studied under Francis Floris. He painted history, and some of his pictures are in the churches of the Low Countries. In the cathedral at Ant- werp there is an altar-piece representing the Mar- tyrdom of St. Crispin, and a picture of St. Luke painting the Portrait of the Vir^n. [The majority of wi-iters on the subject place his birth in 1544.] FRANCK, or FRANCKEN, Sebastian. This painter was the elder son of Francis Frank, called the Old, born at Antwerp in 1573. He was a dis- ciple of Adam van Oort, and at first distinguished himself in painting battles and skirmishes of caval- ry. He afterwards painted landscapes, into which he introduced subjects from sacred history. In these he was one of the most esteemed artists of his time. Some of his best works are in the collection of the Elector Palatine, one of which is highly valued, representing the works of Mercy. FRANCK, or FRANCKEN, Francis, called THE YOUNGER, was the youngcr son of Francis Franck the elder, born at Antwerp in 1580. He was instructed in the art by his father, whose style he followed for some time. He afterwards visited Italy, and resided chiefly at Venice, where he studied the works of the great colourists of that school. After an absence of three years he returned to Antwerp, and was received into the Academy there in 1605. He painted several pictures for the churches at Antwerp ; one of the most esteemed of his works is our Saviour disputing with the Doctors in the cathedral. CorneUus de Bie dates his death in 1642. FRANCK, or FRANCKEN, John Baptiste, was the son of Sebastian Franck, born at Antwerp in 1600. He received his first instruction from his father, and for some time followed his style, which he afterwards improved, by an attentive study of the works of Rubens. His first efforts were histori- cal subjects ; but he adopted a mode of representing the interiors of saloons and galleries, embelUshed with pictures and statues, &c., with gallant assem- blies of figures and conversations. His works of that description were painted with great beauty of colouring, and a very spirited touch. They were greatly sought aftei-, and were placed in the choicest collections. He possessed a talent of imitating the peculiar touch and style of each master in the small pictures he introduced into his galleries, so exactly, that it was easy to point out the original painter. [It was the possession of this talent that induced so many contemporary artists to solicit his assist- ance to decorate their pictures with small figures, both in landscapes and interiors. Many of Peter Neef s are so ornamented.] FRANCK, John Ulrich, a German designer and enmaver, bom at Kaufbeuren, in Suabia, in 1603. He resided chiefly at Augsbourg, where he etched several plates, after his own designs ; among others, we have the following by him : A set of four Battles of Cavalry ; Hans Ulrich Franck, /• 16*3. The Meeting of David and Abigail. Alexander and the dying Bai'ins. 1644. FRANCK, John. This engraver was the son of the preceding artist, and engraved several portraits 256 for the booksellers, of which are some of those in the Priorata Hist. Leap. In conjunction with Su- sanna Sandrart and J. Meyer, he engraved a set of the gardens and fountains in the vicinity of Rome. [FRANCK, Francis Frederic, another son of John Ulrich, was a portrait painter, as would ap- pear by several engraved- by Kilian bearing his mo- nogram, three F F F interlaced, and the date 1683.] PRANCKALLS, Baptist, an obscure engraver, mentioned by Florent le Comte, who says he ex- celled in engraving tournaments, theatrical scenes, and magnificent decorations. FRANCO, Batista, called il Semelei. This eminent painter and engi'aver was born at Venice in 1498, where he was instructed in the first rudi- ments of the art. He went to Rome when he was young, and attached himself to an attentive study of the works of Michael Angelo Buonaroti. He also copied at Florence every production of that great master, in pictures, sculpture, and drawings. By his constant contemplation of these admirable objects, he became one of the ablest designers of his time, although he was less successful in colouring. Vasari considers, as some of his best works, the irescos he painted for a chapel alia Minerva at Rome, of some subjects from the Evangelist. He painted in fresco the choir of the Metropohtan church at Urbino, and a picture in oil representing the Virgin and Infant between St. Peter and St. Paul, painted, according to Lanzi, in the best style of Florentine art, though there is something of stifihess in the figure of St. Paul. In the sacristy of the cathedral' at Osimo, are several easel pictures of the life of our Saviour, which are regarded as rarities, as he seldom painted in small. As an en- graver, Batista Franco is deserving of particular attention. It is not certainly known ftom whom he learned the use of the graver ; but it has been sup- posed that he was instructed by Marc Antonio Raimondi ; and this conjecture is strengthened by a near resemblance between the style of B. Franco and that of Giulio Bonasone, who was unquestion- ably a disciple of Marc Antonio. His plates are worked entirely with the graver, though some of them have the appearance of being assisted with the point. They are executed in a free, bold, but agreeable style. His masses of light and shadow ^re broad and masterly ; and his design exhibits the ^andeur and correctness of the great model from which he formed himself. He generally marked his plates B. P. V. P. for Batista Franco Venetus, fecit. The following are his principal plates : Moses striking the Rock. Abraham meeting Melchisedeck. Abraham sacriiicing Isaac. The Israelites gathering Manna in the Desert. The Captive Kings brought before Solomon. The Adoration of the Shepherds, with Angels in tlie Clouds. The Virgin and Infant, with St. John. St. John the Baptist. St. Jerome holding a Skull. Christ disputing with the Doctors. The Entombing of Christ by the Disciples. Simon the Magician before the Apostles. The Cyclops at their Forge. Hercules and Dejanira. The Donation made to the Church by the Emperor Con- stantine ; after Raffaelle. A Bacchanalian subject; after Giulio Romano. The Triumph of Bacchus ; after the same. The Deluge ; after Polidoro da Caraoaggio. This artist died in 1561. [Bartsch enumerates above 100 pieces by him, among which is one with FRAN] PAINTERS AND ENGRAVERS. [frar the date 1563. Zani says he was Uving in 1566; and Vasari says he died in 1580. It is also a quesr tion whether he was born at Venice or Udine, in 1498 or 1510: he calls himself of Venice.] FRANCO, GiACOMO, an Italian designer and en- graver, who was probably a relation of the artist mentioned in the preceding article. He was born at Venice about the year 1560. His style of en- graving resembles that of Agostino Caracci; it is free and masterly ; his design is correct, and there is a fine expression in his heads. The following prints are the most worthy of notice : Part of the plates for an Edition of Tasso's Jerusalem, published at Genoa in 1590 ; • after the designs of Ber- nardo Castelli ; the rest were engraved by Agostino Caracci. Habiti delle Donne Yenetiane ; published in 1626. A collection of portraits of the Great Men ; dated 1596. St. Jerome ; J. Franco RomcBy sc. The Crucifixion ; signed Giacomo Franco-, fee. Hercules between V irtue and Pleasure ; from an antique basso relievo. FRANCOIS, Lucas. This painter was born at Mechlin in 1574. It is not mentioned by whom he was instructed in the art; but he painted history with considerable reputation, and was also much employed as a portrait painter. He passed the early part of his life at the courts of France and Spain, and was appointed painter to both those monarchs. After an absence of six years he returned to Flan- ders, where he painted several altar-pieces for the churches, which are deservedly admired. At Tour- nay, in the abbey of St. Martin, is a fine picture by this master of St. Placido and St. Maurice ; and in the church of St. Catherine, at Mechhn, the Mar- tyrdom of St. Lawrence. He died at Mechlin in 1643. FRANCOIS, Peter. This painter is miscalled, by Mr. Pilkington, Lucas Francois the Young. He was the son of the foregoing artist, born at Mechlin in 1606. For some time he studied under his father, and followed his style in his large historical works ; but he afterwards entered the school of Gerard Segers, whose academy was then in great repute, and adopted a mode of painting history and por- traits of a size smaller than Ufe, which were greatly admired for the beauty of the colouring, and the neatness of his pencil. The Archduke Leopold in- vited him to his court, where he was favoured with the esteem and patronage of that prince. He was also solicited to visit Paris, and met with the most flattering encouragement. He rendered himself ex- tremely acceptable to the Parisians, by his accom- plishments as a man of the world, and his knowledge of music. After passing four years in France he returned to Flanders, where he continued to exer- cise his talents with great success. Peter Fran9ois was ingenious in his compositions,, a firm and cor- rect designer, and his colouring is clear and seduc- tive. In the church of the Nuns of Bethenian, at Mechlin, are two pictures by this master of subjects taken from the history of their order. He died in 1654. [He had a younger brother called Lucas, bom at Malines in 1615, who painted history and portraits, and resided a considerable time in France : the remarks on the one will apply to the other.] FRANCOIS, Simon, a French painter, born at Tours in 1606. Without the help of a master, he had made some progress in the art, when he went to Italy, where he studied some years. , At Bologna he became acquainted with ' Guido Reni, whose portrait he painted. On his return to Prance he settled at Paris, where he painted the portrait of the young Dauphin so much to the satisfaction of the court, that he looked forward with confidence to the acquisition of fortune and fame. In these flat- tering expectations he was however disappointed, and died'm obscurity at Paris in 1671. FRANCOIS, John James, a modern French engraver, born at Nancy in 1717. He is said to have been' the first that engraved at Paris in the style representing drawings made in cfayons, for which he received a pension of 600 livres from the king. He also executed some small plates of por- traits with the graver. The plates for the History of the Modern Philosophers, by Saverien, were en- graved by this artist. Among others, we have by him the following prints : Louis XV., King of France. His Queen. Peter Bayle ; after Carle Vanloo. Desiderius Erasmus ; after Holbein. Thomas Hobbes ; after Pierre. John Locke ; after Vien. Nicholas Malebranche ; after Bachelier. The Dancers ; after F. Boucher. A March of Cayalry ; after Parocel. He died at Paris in 1786. [Brulliot and Zani say that he died in 1769, and both call him John Charles. Zani maintains that he was the original inventor of the manner of engraving to imitate chalk drawings, and quotes a letter, addressed to M. Severien in 1740, in proof.] FRANCUCCL See Imola. FRANGIPANE, Niccolo. This painter is be- Ueved by some to have been a native of Padua, hy others of Udine. He flomished from the year 1565 till 1593 ; and though his works are not mentioned by Ridolfi, his talents are highly worthy of notice, from the proofs he has left of his ability. , At Padua, in the church of S. Bartolomeo, is a fine picture by him of S. Francesco, painted in 1588 ; and at Pesaro, an altar-piece of S, Stefano. But his most admired work is his Assumption, in the church of the Con- ventuali, at Rimini, of which Lanzi speaks in the highest terms. [Some of his works are dated 1597.] PR ANQUAERT, James, a Flemish painter, born at Brussels in 1596. He received a hberal education from his parents, who were of great respectability, and having shown .an early inchnation for the art, he was sent to Italy to study painting and archi- tecture, where he remained some years. On his re- turn to Flanders he was appointed principal painter and architect to Albert and Isabella, then governors of the Low Countries. He was greatly esteemed by those illustrious personages, who employed him in several public works, both in painting and archi- tecture. The church of the Jesuits, at Brussels, was built on his plan, which he ornamented with some of his pictm-es. He died at Brussels at an ad- vanced a^e. [Balkema says he was bom in 1577, and died m 1652.] FRANS, Nicholas. This painter was born at Mechlin in 1539. It is not said under whom he studied ; but he was a respectable painter of history. In the coUegiate church of Our Lady at Mechlin, is an altar-piece by this master, representing the Phght into Egypt ; and in the church of Hanswyck, near Mechlin, are two pictures by him of the Visit- ation and the Annunciation. His drawing is cor- rect, and he was an excellent colourist. FRANSSIERES, J. de, a modern French en- graver of little celebrity. He engi-aved part of the plates for a set of Turkish habits, published at Paris in 1714, by M. de Perriol. FRABI, Francesco. See Bianchi. 257 frat] A DICTIONARY OF [PRES FRATE, iL. See Porta. FRATELLINI, Giovanna. This celebrated paintress was born at Florence in 1666. The early- disposition she showed for the art recommended her to the notice of the Grand Duchess Victoria, who took her under her protection, and had her instructed in drawing and music, by the best masters. She was afterwards taught miniature painting by Ippo- lito Galantini, and finished her studies under Ant"' Dpmenico Gabbiani. She painted historical sub- jects and portraits in oil, miniature, and in crayons, but chiefly excelled in the latter, in which she is no way inferior to the celebrated Rosalba. Her reputa- tion soon spread throughout Italy. She painted the portraits of Cosmo III. ; that of his grand duchess, her patroness; the principal nobiUty of the court; and the most illustrious personages of Italy. 'One of her best works is in the Ducal gal- lery at Florence. It represents her painting the portrait of her son. This distinguished lady died at Florence in 1731. FRATELLINI, Lorenzo Maria. This painter was born at Florence in 1690. He was the son of the lady mentioned in the preceding article, by whom he was instructed in the elementary principles of design. He afterwards studied under A. Do- menico Gabbiani, who had been the instructor of his mother. Under that master he acquired a ready and correct manner of designing, and became a promising painter, both in history and portraits; but he died in the prime of life, in 1729. [FREEBAIRN, Robert, an English landscape painter, was bcrn in 1765; he was for a short time with Richard "Wilson, who died before his educa- tion was completed. He afterwards went to Italy, where he remained about ten years. But where nature has denied the gift, neither master nor country will supply the deficiency. He never rose above mediocrity. His pictures are simply pleasing, never striking. On his return to England he met with several patrons, and as he was slow in per- formance, it is probable they were the chief pur- chasers of his works. He died in 1808. There are about forty prints of Italian and English Scenery published by him.] [FREEZEN, Jean George, a painter of fruit and flowers, was born at Palts, near to Heidelberg, in 1701. He first studied under Jean Van Nikkelen, and afterwards under Philip Van Dyck, of whom he became one of the best scholars. He was patron- ized by the Duke of Hesse, and was appointed his- torical and portrait painter to the court of Cassel.] FREMINET, I^artin. This artist was born at Paris in 1567.' He was the son of an obscure , painter, who taught him the rudiment of the art, and without any better instruction he acquired sufficient ability to produce his picture of St. Sebas- tian, in the church of S. Josse, at Paris. He after- wards went to Italy, and arrived at Rome at the time when the artists were so divided between the styles of Michael Angelo Caravaggio, and Cavaliere Giuseppe Cesari. He formed an intimacy with the latter, without preferring his style. The works of M. Angelo Buonaroti were the particular objects of his admiration. Freminet visited Florence, and afterwards Parma, where he studied some time the works of Parmegiano. After passing fifteen years in Italy he returned to Paris, in the reign of Henry IV., who appointed him his painter, and employed him in the chapel at Fontainbleau. He had scarce- ly commenced that undertaking when the King was assassinated. His successor, Louis XIII., continued 258 him in his employment, and conferred on him the Order of St. Michael. Freminet possessed a ready invention, was a bold, rather than an elegant de- signer, and was perfectly acquainted with anatomy and perspective. In attempting to imitate the great style of Buonaroti, he fell into the y . We have, among others, the following prints by him : The Last Judgment ; after M. Angela Bitonaroti. On the tombstone, at the left-hand comer, liis cipher is marked, in the first impressions of the print ; and when he had retouched the plate he added the inscription, Sebastan. Fulcanis reinciditgue. St. Sebastian ; a half figure. An ornamental Frontispiece to the works of Gul. Fabri- cius, dated 1646. It is etched in a very spirited style, and is signed S. Ftvrck, f. He also engraved some plates from Titian, and other masters. FULCO, Giovanni. This painter was born at Messina in 1615. After having learned the first principles of design in bis native city, he went to Naples, where he entered the school of Cavaliere Massino Stanzione. He is said by Hakert, in his Memorie de Pittori Messinese, to have been a firm and correct designer, and to have excelled particu- larly in the representation of children. Many of his pictures have been destroyed by the earthquakes, to which his, country is subject. Of those that remain are his fi-esco works, and a picture in oil of the Birth of the Virgin, in the chapel of the Crucifixion,, at the Nunziata de Teatini, at Messina. He died about the year 1680. FULLER, Isaac, an English painter, who flour- ished in the reign of Charles II.. Of his family, or instructor in his own country, nothing is known ; but he studied some years under Francis Perrier, at Paris. He wanted invention and imagination to succeed in historical painting; and his works of that description have little claim to notice. This will be readily admitted by whoever has seen his miserable performance at Magdalene and All Souls colleges, at Oxford, though Mr. Addison wrote a Latin poem in praise of the former. He had, how- ever, a correct delineation of the model before him, which enabled him to succeed better in portrait painting ; many of which, independent of a strong resemblance, are bold and masterly. His own por- trait, which is in the gallery at Oxford, though ec- centric, is touched with great force, and full of cha- racter. Fuller etched some plates for a drawing- book, called IMri'o da disegnare ; and in conjunction with Tempesta and Henry Cooke, etched the plates for the Moral Emblems, by Ceesar Ripa; they are very indifferently executed. Mr. Strutt miscalls this artist John. He died in London in 1672. FUMACCmi. See Samacchini. FUMIANI, Giovanni Antonio. This painter was born at Venice in 1643, though he was educated at Bologna. After acquiring an excellent style of design and composition in that distinguished school, he returned to Venice, where he studied for some time the splendid and ornamental principles of Paolo Veronese. With such advantages, it was. 261 FUMi] A DICTIONARY OF [fyt expected that he would have distingtiished himself; but in his best works there is a coldness and languor in his colouring, a feeble arrangement of light and shadow, and a want of expression, unusual in the school in which he was brought up. Lanzi con- siders his picture of Christ disputing with the Doc- tors, in the church of La Carita, as his best per- formance. He died in 1710. PUMICELLI, LoDovico. This painter was a native of Trevigi, and flourished about the year 1536. It is not certainly known whether he was a scholar of Titian or not ; but Lanzi regards him as one of the ablest and most memorable of his imi- tators. In 1536 he painted the principal altar- piece of the Padri Eremitani at Padua, representing the Virgin and Infant seated in the clouds, with S. Agostino, S. Jacopo, and Santa Marina below ; which, according to Ilidolfi, is designed and colour- ed in a style worthy of the greatest masters. In the church of the Padri Serviti, at Trevigi, he painted, a picture of S. Liberale and S. Caterina, with two laterals, representing S. Sebastiano and S. Pilippo, the founder of their order. It is to be regi-etted, that the offer of an advantageous situa- tion in the engineers tempted him to abandon painting. FUNGAI, Bernardino. This painter was bom at Siena, and flom-ished about the year 1512. His style retains something of the diy, stiff manner which preceded him, though not more than many of his contemporaries. Among the works of this master which remain, are the Virgin and Infant, with several Saints, at the Carmine at Siena, painted in 1512, and the Crowning of the Virgin, at Fonte Giusta. FURINI, Francesco. This eminent painter is styled by Lanzi the Guido and Albano of the Florentine school. He was the son of a respectable portrait painter, born at Florence in 1604, and was first instructed by his father. He afterwards stu- died under Passignano and Roselli ; and on leav- ing their schools, visited Rome, where the works of Guido were so much the objects of his admiration, that he attached himself to an attentive study of them, rather as a rival than an imitator. Of his large works in the churches, the most admired are at- Borgo S. Lorenzo, near Florence, representing St. Francis receiving the Stigmata and the Con- ception of the Virgin. But he acquired the high reputation in which he is held, by his admira^ ble easel pictures, which are found in the first col- lections in Florence, and are in the highest estima- tion. He drew with elegance and correctness, particularly the delicate forms of women and chil- dren, and he generally made choice of those sub- jects in which they could be introduced with the happiest effect. Such is his picture of the Three Graces, in the Palazzo Strozzi ; and that of Nymphs carried off by Satyrs, in the Casa Galli. Lanzi observes, that he sometimes painted Magdalenes, which were not much more veiled than his Nymphs. This elegant artist died in the prime of life, in 1646. [Zani places his death in 1649.] FURNIUS, Peter, a Flemish designer and en- graver, who resided at Antwerp about the year 1570. He was a contemporary of the Galles and the Sadelers, who engraved some plates from his designs. His style of engraving bears a near re- semblance to that of those artists. Though he drew the figure correctly, in attempting to imitate the great style of Michael Angelo Buonaroti, he fell into affectation and extravagance. He worked en- 262 tirely with the gi-avcr in a slight, feeble manner. His plates are sometimes marked with the cipher K. Among other prints we have the following by him : A set of six plates of the Parable of the good Samaritan. The Martyrdom of St. Felicia ; P. Fumius, in. et fee. The Escape of Clelia, with other subjects from the Ko- man History ; marked P. Ftimins, fecit. [FUSELI, Henry, for so he chose to write his, name after he arrived in England, was the son of John Caspar Fiiessli of Zurich in Switzerland, and born in 1745. He came to England at an early age, with the intention of making literature, and not art, his pursuit; but having shown some of his drawings to Sir Joshua Reynolds, who spoke very favourably of them, he decided thenceforth to devote himself to painting. In 1798 he exhibited his illustrations of Milton, and made the full extent of his genius known to the public. His other performances are numerous, and are subjects from the higher order of poets, or writers of wild and wonderful fictions ; though he could represent the pathetic or ludicrous with equal felicity. His lofty imaginings were set down by matter-of-fact people as extravagancies; but such critics may be left to admire Dutch boors, and the other commonplaces of mechanic artisans, and in- dulge their taste in the surprising truth of pictures of still-life ; the poetry of art is not for them. His knowledge of anatomy was extensive, but it must be admitted that, in some instances, it was too ostentatiously displayed. For twenty years he wor- thily filled the offices of professor of painting and keeper of the Royal Academy. Fuseli was a scholar, and enjoyed the friendship of his most eminent literary contemporaries; and his domestic charac- ter was truly estimable. He died in 1825. John Knowles, his executor, has published an account of his life and works, and of many other matters, in 3 vols. ; he says that Fuseli was bom in 1741, though Fuseli had altered that date, in a former publication, to 1745 ; others say that he was 87 when he died, which would place his birth in 1738. As an artist Fuseli was truly original, he had no pre- cursor, nor is it likely that he will soon have a follower, with the same stamp of genius : a mere imitator would be contemptible.] FYT, John, an eminent Flemish painter, bom at Antwerp in 1625. He excelled in the represent- ation of every species of animals ; but in dogs he is perhaps without a rival. It is impossible for art to approach nearer to nature than in the pictures of Fyt of that description. His touch is without manner, or the formality of practice; it is loose, spirited, and playful, but peculiarly characteristic, and full of energy. Such was his extraordinary merit, that he was courted by the greatest painters of his time to embellish their works, with the additional attraction of his admirable animals. Rubens, Jansens, Crayer, and Jordaens, employed him in that way, which is the more flattering to his talent, as the gi'eat painter first mentioned particu- larly excelled in painting animals of every descrip- tion. His works are placed in the choicest collec- tions. We have by Fyt some admirable etchings, executed in the bold and spirited style of his pic- tures ; they are as follow : A set of eight of Dogs and other Animals ; marked Jo. Fyt. 1640. A set of seven of Dogs, of different species, with back- grounds of landscapes ; dated 1642 ; inscribed Johcm- nee Fyt,pinx. et fecit. gaal] PAINTERS AND ENGRAVERS. [gadd A set of eight small plates of a Cai-t, a Horse, a Dog, Foxes, Goats, and three of Cows. These are very scarce. [Lanzi mentions a Oio. Fayt di Anversa, who resided for some time at Venice, and was employed in the Case Sagredo, and in that of Contarini : this is a mistake as regards Jan Fyt, as will be shown in a subsequent article. Fyt died in 1671.] G GAAL, Barent, a Dutch painter, born at Haer- lem in 1650. He was a scholar of Philip Wower- mans, until the death of that master in 1668, when he found himself capable of dispensing with farther instruction. He painted hunting parties, battles, horse-fairs, and similar subjects to those of his instructor. Though very inferior to Wowermans in correctness of drawing, and the sweetness and pohsh of his pencil, the works of Gaal are not without considerable merit in the truth of his colouring, and his intelligent management of light and shadow. He frequently painted the figures, &c. in the land- scapes of Isaac Koene, a scholar of Jacob Ruysdael. [He died in 1703.] ~ [GAAL, Peter, was bom at Middelbourg in 1770, and received his first instructions from his father, under whom he made some progress ; he afterwards became a pupil of Schwieckhardt, at the Hague. After visiting London, Paris, and several places in Germany, he settled in his native city, where he painted portraits, landscapes, animals, live and dead game, and subjects of oi-dinary Mfe. His compositions are distinguished by a superior mode of treatment and li^tness of pencilling. Some of his pictures are of large dimensions ; two of that description were exhibited at Amsterdam in 1808, one representing General Monnet, with seve- ral Ofiicers of his Stafi", in full uniforms ; and the other. Cattle and Sheep of the natural size. He died at Middelbourg in 1819.] [GAAL, Thomas, born at Termonde in 1739, fixed his residence at Middelbourg, and was one of the founders and directors of the Academy there. He painted portraits, birds, and flowers. J. Perkois, J. H. Koekkoek-, and S. de Koster were his pupils. He died in 1817.] [GAAST, Michel de, was born at Antwerp in 1510, and became a member of the body of painters in 1558. All his pictures represent the ruins of an- cient Rome, ornamented with animals and figures.] GABBIANI, Antonio Domenico. This painter was bom at Florence in 1652, and after stud3ring some time under Justus Subtermans and Vincenzio Dandini, the Grand Duke Cosimo III., having been made acquainted vrith his promising talent, took him under his protection, and sent him to the Flo- rentine Academy at Rome, where he frequented the school of Giro Ferri. After passing three years at Rome he visited Venice, and improved his style of colouring, by the example of the great painters of that school. PascoU is, not deserving of credit, who, in his life of Benedetto Luti, ranks this artist among the ordinary painters of his time. Lanzi re- gards him as one of the most correct designers of the age in which he Uved; and Mengs mentions with distinction some of his drawings he had seen in the possession of Signor Pacini, which he com- mends for their elegance and facility. His colour- ing is occasionally languid; but this is not often the case ; and his carnations are generally tender and true. His greatest deficiency is in the choice and folding of his draperies, which are frequently formal and heavy. He was invited to the court of Vienna, where he painted the portraits of the Em- peror and the King of the Romans; and some historical subjects for the Imperial gallery. On his return to Florence he painted several altar- pieces for the churches, particularly a fine picture of the Assumption, and a Repose in Egypt ; and his celebrated picture of S. FiHppo, in Sie church/ of the Padri dell Oratorio. In his easel pictures he generally'selected subjects in which he could intro- duce children, in which he excelled; and in his works of that description he is little inferior to those of Gio Batista Gauli. They are placed with dis- tinction in the Florentine gallery, and in the princi- pal palaces of that city. He continued to paint until he was seventy-four years of age, and was killed by a fall from a scafibld in.l726. GABBUGIANI, Baldassare, a modem Italian engraver, who engi-aved some of the plates for the Museo Fiorentino, published at Florence, in ten volumes. GABRIELLI, Camillo. This painter was a native of Pisa, and was a scholar of Giro Peni. Lanzi states him to have been the first that intro- duced the style of P. da Cortona among his country- men. He painted some oil pictures at the Carmel- ites, and for private collections ; but he was more distinguished for his fresco paintings, which were much esteemed. His principal work was the great saloon in the Palazzo Allicata. GABRIELLO, Onofrio. This painter was bom at Messina in 1616. After studying six years in his native city, under Antonio Ricci, called Barbalunga, he went to Rome, and entered the school of Pietro da Cortona. He afterwards visited Venice, in com- Eany with his countryman Domenico Maroli. Oh is return to Messina, he was much employed for the churches, for private collections, and in por- traits. He was in gi'eat repute when the Revolution, which took place in 1074, obliged him to quit Sicily, and he settled at Padua, where he resided several years, and was usually called Onofiio da Messina. Some of his best works are in the chm-ch of S. Francesco di Paola at Messina, and in the Quida di Padoua are mentioned several of his pictures in the public edifices and in private collections, particular- ly in the Palazzo Borromeo. He died in 1706. [GABRON, William, a native bf Antwerp in 1625. He was a good painter of fruit and flowers, and excelled in the representation of gold and silver vases, porcelain, and ornaments of a like kind. He died at Antwerp in 1679.] GADDI, Gaddo. This old Florentine painter was bom in 1239. He was the contemporary and the particular friend of Cimabue and of Andrea Taffi ; and from this intimacy may be traced the first dawn of excellence in the Mosaic art. In his works as a painter he at first retained something of the Greek style, united with that of Cimabue ; but he afterwards went to Rome, where he improved his manner, and was employed in the Mosaic works in the Facade of S. Maria Maggiore. He also painted some pictures, of which Lanzi mentions one in the Florentine gallery, of the Crucifixion, which is a re- spectable performance for the time. He died in 1312. GADDI, Taddeo, was the son of the foregoing painter, bom at Florence in 1300, and was first in- structed in the art by his father ; but he afterwards became the favourite disciple of Giotto. Vasari, who had seen his works at Florence, when they were in a state of more perfect preservation, states 263 oadd] A DICTIONARY OF [gain him to have surpassed his master in the expression of the heads, and in the delicacy of his colouring ; an opinion, which the ravages of time render it impossible now to approve or contradict ; although several of his works yet remain, particularly in the church of S. Croce, which appear entirely in the style of Giotto. More originality and a better taste are discernible in his works in the Capitolo degli Spagnuoli, where he painted in competition with Lippo Memmi. In the vault are some subjects from the life of our Saviour, and in the refectory the Descent of the Holy Ghost. According to Baldinucci, he was living in 1352. [According to Zani, he was living in 1365. Two subjects by Taddeo Gaddi are given in Rosini's work, " Storia della Pittura Italian a," which exhibit a beautiful simplicity in their compositions, and gracefulness in forms and attitudes. One represents the Birth of the Virgin ; the other, Religion, Arts, and Sciences, in the persons of the most eminent in each depart- ment. The first is in the church of S. Croce, and the other of S. Maria, at Florence. See also. Lord Lindsay, letter iv., " History of Christian Art." GADDI, Angiolo, v/as the son of Taddeo Gaddi, born at Florence, according to Baldinucci, in 1324. He was instructed in the art by his father, whose style he followed without alteration or improvement. In the church of the monastery of S. Pancrazio, at Florence, is a picture of the Virgin and Infant, vrith several saints, which was well composed and colour- ed for the time ; and in the church of the Conven- tuali, the finding of the true Cross. He died in 1387. [Zani places his birth in 1314, which, if he was the son of Taddeo, must be an error, and he says that he was living in 1394. II Padre Finesco says that Angiolo was the son of Zanobio, and not of Taddeo, and that he died in 1378, at the age of 63.] GAELEN, Alexander van, a Dutch painter, bom at Haerlem in 1670. He was a scholar of John van Huchtenburg, and, like his master, painted bat- tles and subjects of the chase, which he treated with CTeat fire and spirit. Whilst he ~«'as a pupil of Huchtenburg, he had an opportunity of improving his touch, by copying the works of Wowermans, Berchem, and other eminent masters, as his in- structor was a dealer in pictures as well as a painter ; and he was perhaps more indebted to this circum- stance, than to the lessons of Huchtenburg. He soon found himself able to dispense with further in- struction, and he resolved on visiting other coun- tries in search of improvement. He went to Ger- many, where he passed some time at Cologne, in the employment of the Elector. After a few years passed in Germany he returned to Holland, and not meeting with the encouragement he expected, he did not long remain there, but determined to visit England, whither some of his pictures pre- ceded him. He accordingly came to this country in the reign of Queen Anne, and he is said, by Van Gool, to have painted a picture of her Majesty in a coach drawn by eight horses, and attended by several of the nobility. He is also stated to have painted for a nobleman three pictures, representing two of the principal battles between the Royal Army and that of the Commonwealth in the time of Charles I., and the Battle of the Boyne. No mention is however made of this artist in the Anec- dotes. He died in 1728. [Balkcma says he died in 1723.] GAETA, Da. See Pulzone. GAGLIARDI, Cavaliere Bernardino. This painter was bom at Citta di Castello, in 1609. Al- 264 though he was a scholar of Avanzino Nucci, he pursued a difierent path after he had made a jour- ney to Rome, where he was particularly stmck with the works of the Caracci and Guido. In the dome at Castello, he painted the Martyrdom of S. Crescen- ziano, a work of considerable merit in effect, but deficient in other respects. He appearfe to more advantage in his two pictures of the history of the young Tobit. But his best performance is his pic- ture of S. Pellegrino, with two laterals, in the church of^S. Marcello at Rome. He died in 1660. [Zani places his birth nine years earlier.] GAGLIARDI, Bartolombo. According to Or- landi, this artist was born at Genoa in 1555, and is said to have been a painter of some reputation. We have several plates by him, both etched and finished ynXk the graver, among which is a large print- re- presenting an emblematical subject. It is executed in a style resembling that of Cherubino Alberti, though very inferior. GAGNIERES. See Ganieres. GAILLARD, Robert, a French engraver, bom at Paris in 1722. We have by this artist a con- siderable number of plates of portraits, historical and other subjects. He also engraved landscapes in a style that does him great credit. The follow- ing are his best prints. PORTRAITS. Cardinal Ettiene Beu^ Potier de Gcsvres ; after P. Bot- tom. Chvistophe de Beaumont, Archbishop of Paris; after Chevalier. Jean Joseph Languet, Archbishop of Sens; after the same. The Queen of Sweden ; after Latinville. SUBJECTS AFTER VARIOUS MASTERS. Venus and Cupid ; after Boucher. Jupiter and Calisto ; after tlie same. Bacchants sleeping ; t^ter the same. Sylvia delivered by Amyntas ; after the same. Villagers fishing ; after the same. The Cabaret; after J. B. le Prince. The Kussian Concert ; after the same. The Father's Malediction ; after J. B. Greuze. The Son's Punishment ; after the same. The Lace-maker ; after Schenau. A Girl spinning ; after the same. GAILLARD, de Lonjumeau, P. I., a French amateur engraver, who etched several small plates for his amusement. Among others, a set of views of the Antiquities of Aix. 'They are dated 1750. GAINSBOROUGH, Thomas. This eminent English painter was born at Sudbury, in SuflJblk, in 1727. Endowed with an intuitive disposition for the art, without the help of technical instruction, he reached an excellence which has seldom been equalled by those who have had the advantage of a regular graphical education. It has been aptly ob- served of him, " that nature was his teacher, and the woods of SuiFolk his academy." He was little more than thirteen years of age when he left his native place; and before he was sixteen he established himself in London as a portrait painter. His suc- cess was commensurate with his merit; and though his genuine and rational admirers vnll not be dis- posed to accede to the inflated and inconsiderate eulogium of a zealous, but imprudent biographer, who asserts, " that his portraits vrill pass to futurity vrith those of Vandyck," they will ever be admired for a striking resemblance, expressed perhaps with less of eflbrt than any other painter, and evincing a dexterity of handling, and an intelligence of colour and effect, that may be said to be peculiar to himself. But it is well known to those who had the advan- gala] PAINTERS AND ENGRAVERS. [gali tage of his acquaintance, and have survived him, that he never wished to rest his reputation on his works of that description. It is in his chaste and picturesque delineation of English landscape, so exquisitely exhibited in his admirable pictures of our domestic scenery; the bewitching embellish- ments with which he has decorated them, of groups of cottage children ; the charming rusticity of his husbandmen, their horses and their cattle ; and the characteristic simplicity of the whole, that the transcendent merit of our interesting countryman is peculiarly conspicuous. It will not be unaccept- able to the lovers of art, to be made acquainted with the remarks of Sir Joshua Reynolds on these ex- traordinary faculties of Mr. Gainsborough. " This excellence (says that enlightened critic) was his own, the result of his particular observation and taste j for this he was not indebted to the Flemish school, nor indeed to any school ; for his grace was not academical or antique, but selected by himself from the great school of nature." It has been ob- served, "that his landscapes approach nearer to those of Rubens than to any other master; and that his trees, fore-grounds, and figures, have more force." Mr. Gainsborough's claim to originality renders nugatory the first part of, this ill-judged compliment, which degrades him into an imitator ; and it would not have been consonant with his feel- ings, that his title to distinction should have been founded on the artificial basis of his superiority to Rubens. The same mistaken zeal and untutored judgment has led his indiscreet advocate to equal his skies with the " briUiaricy of Claude." A njorg judicious panegyrist would have steered clear of this uncouth comparison, which is as inapplicable to his style, as the atmospheres they painted were foreign to each other. The private worth of Mr. Gainsborough is so faithfully and so amiably de- sc^bed by the author alluded to above, that it is with heartfelt satisfaction that it is here inserted. " While we lament him as an artist, let us not pass over those virtues that were an honour to human nature ; that generous heart, whose strongest pro- pensities were to relieve the genuine claims of poverty. If he selected, for the exercise of his pencil, an infant from the cottage, the tenants of the himible roof generally participated the benevo- lence of the painter." Of Mr. Gainsborough it may be truly said, " he had a tear for pity, and a hand open as day to melting charity." He died in 1788. [Gainsborough's earlier landscapes are imitations of the manner of Wynants ; they have the same clayey and sandy grounds,, and a similar aiTangement of objects to that which is seen in the smaller pictures of that eminent master. He had a second manner, more original and more English, but rather heavy. His last manner may be seen in the picture at the National Gallery.] GALANINO,BaldassareAlloisi, called. This painter was born at Bologna in 1578, and was brought up in the school of the Caracci, to whom he was related. He was Uttle inferior to the ablest of his fellow students; of this he has given proof in several of his works in the churches at Bologna, particularly his admired picture of the Visitation in la Cariti, so highly commended by Malvasia ; and the Virgin and Infant, with St. John and St. Francis, at the Osservanza. . He visited Rome in the pon- tificate of Urban VIIL, where, accordiiig to Baglioni, he was much employed in painting portraits of the most illustrious personages of his time, which were admired for the force and truth of their colouring, and for their extraordinary relief. He also painted some works for the churches at Rome, of which the principal was the great altar-piece in the church of Gesu e Maria, representing the Coronation of the Virgin. He died at Rome in 1638. GALANTINI, Ippolito, called II Cappucino, and sometimes II Prete Genoese. He was born at Genoa in 1627, and was for some time a scholar of Giovanni Batista Stefaneschi. Early in his life he became a monk of the order of the Capuchins, on which account he was called II Cappucmo, and also II Prete Genoese. He was sent as a missionary to India, where he passed several years, and on his return to Europe painted several pictures for the churches of his order. One of his best works is the pictm-e of the Tribute Money, in the Florentine gallery. He died in 1706. GALASSI, Galasso. This painter was bom at Ferrara about the year 1380. It is not known by whom he was instructed, and but few of his works have survived the ravages of time. At Bologna, in the church of la Madonna di Mezza Ratta, are pre- served some pictures of the Passion of our Saviour, with the date 1404. The design is stifi"and Gothic, though minutely finished, and not ill coloured. In the sacristy of la Madonna delle Rondini, is a small picture of the Virgin and Infant, with several saints ; and in the Palazzo Malvezzi, the Annunci- ation. ^ GALEOTTI, Sebastiano. This painter was b'om at Florence about the year 1676. He first studied under Alessandro Gherardini, but went afterwards to Bologna, where he became a scholar of Giovanni Gioseflb dal Sole. He possessed a ready invention, and was a good designer; and his powers were well adapted to fresco painting, in which, according to Ratti, he executed some considerable works in the Chiesa della Madalena, at Genoa. Few of his works are to be found in his native city ; from which it appears that he was not held in so much reputation there, as in Upper Italy. There are several of his works at Piacenza and Parma, and particularly at Turin, where he was made Director of the Academy, in which capacity he died, in 1746. GALESTRUZZI, Giovanni Batista. This artist was born at Florence in 1618. He studied painting under Francesco Furini, and afterwards went to Rome, where he was received into the Academy of St. Luke, in 1652. Of his works as a painter little is known, but he acquired consider- able celebrity as an engraver. He was the friend of Stefano della Bella, whose style he imitated, and, according to Huber, finished some of the plates left imperfect at his death. He etched a great number of plates, of which there is a catalogue by Giacomo Rossi. The following are among his principal works : Paris receiving the Golden Apple from Mercury ; after An. Caracal. St. John the Baptist in Prison ; after Batista Ricci. ' The Apotheosis of the Emperor Claudius. 1657 \ rare. ScTeral sets of Friezes and Bas-reliefs ; after Polidoro da Caravaggio. A set of Antique Gems, with explanations by Leonardo Agostiuo ; published at B.ome in 1657 and 1659. Six plates, representing the Mausoleum of Cardinal do Mazarin ; fi-om the designs of the Abbe EJpidius Bene- dictus. 1661. GALIMARD, Claude, a French engi-aver, bom at Troyes, in Champagne, in 1729. He passed some time at Rome ; and on his return to France became a meinber of the Academy at Paris. We have by him several plates after de Troy, Subleyras, and 265 OALl] A DICTIONARY OF [gall Sebastian Bourdon. He has also engraved a num- ber of ornaments for books, of which fourteen fron- tispieces and vignettes, after Cochin the younger, are particularly described by M. de Heineken. The following are also by this artist : The Bust of Nicholas Vleughel ; after M. A. Slotz ; Claudius Galimard, Pariainus, incidit, 1744. The Queen of Sheba before Solomon ; after J. F. de Troy. GALIZIA, Pede. This lady was a native of Trento, in the Milanese, and flourished about the year 1616. She was the daughter of Annunzio Galizia, a miniature painter, resident at Milan, from whom she received her instruction in the art. She painted history and landscapes, in a pleasing and finished style, resembling that of the Bolognese school, anterior to the Caracci. One of her best historical pictures is Christ appearing to Mary Mag- dalene, in the form of a Gardener, in the Chiesa della Maddalena at Milan. [GALLARDO, Mateo, a Spanish painter, who resided at Madrid in 1657, had the reputation of being a good professor. There is a figure of Christ, signed ^vith his name, and several of the Virgin, of the size of life, which for suavity of colour, and fine impasto, entitle him to notice.] GALLE, Philip, an eminent engraver, born at Haerlem in 1537. He was the origin of a family of artists, who became conspicuous in the art of en- graving. Philip Galle established himself at Ant- werp as an engraver and printsellei-. He possessed considerable capacity ; his design was not incorrect, and his command of the graver shows considerable facility, though, like the other engravers of his time, there is a want of harmony and effect in his plates. The number of his prints is considerable. He ge- nerally marked them with one of the ciphers Tl^J- or S . The following are his principal plates : PORTRAITS. Joannes Calvinus. Martinus Lutherus. Hulricus Swinglius. Bililaldus Pirohmeyer. Thomas Morus. Dantes AUgerus, Florentinus. These are part of a set of portraits of celebrated persons of the fifteenth and sixteenth centuries. The Pede.strian Statue of the Duke of Alba. 1571. Martin Hemskerk, painter. William Philander, architect. VARIOUS subjects. A set of thirty-four plates, including the title, inscribed D. CatherincB Senensis, Vita ac miracula selectiora, S;c., apud Philip. Gallaeum. 1603., A set of prints of subjects from the Old and New Testa- ment ; after M. Hemskerk, Martin de Vos, A. Bloek- landt, the elder Breughel, ^c. A set of ten plates of the Sibyls, "inscribed Jesu Christi dignitatis virtutis ct efficientia prceventus Sibyllis X. ; * after Bloeklandt. The Seven Wonders of the World, and the Ruins of the Amphitheatre of Vespasian at Rome ; eight plates ; after Martin Hemskerk. A set of prints of the Triumph of Death, Fame, and Honour ; after the same. A set of twenty-eight plates ; entitled Divinarum nup- tiorum conventa et acta ; dated 1580. Christ with the two Disciples at Emmaus ; after the elder Breughel. The Death of St. Anne ; after the same. The Trinity ; a large plate ; after M. De Vos ; his best print. Solomon directing the building of the Temple ; after F. Floris. 266 Abraham sacrificing Isaac ; after the same. Mutius Scevola in the Tent of Porsenna ; after the same. 1563. GALLE, Theodore, was the elder son of the fore- going artist, born at Antwerp about the year 1560, and was instructed in the use of the graver by his fa- ther. He afterwards went to Rome, where he improv- ed his style of drawing by studying the antique, and engraved several plates after the great masters. His plates are more neatly finished than those of his father, but there is still a degree of stifiiaess, and a want of effect in the management of the' light and shadow. The following are his principal works : The Portrait of Justus Lipsius ; oval, in a frame orna- mented with allegorical figures ; with six Latin verses. St. Jerome kneeling, in a Grot. A set of emblematical subjects ; entitled Litis abusus, ijc. ; scarce. A set of plates of the Life of St. Norbert ; published at Antwerp. Twenty-eight plates of the Life of the Virgin and St. Joseph. A set of thirteen figures, each with a title and explica- tion ; entitled Typus occasionis, in quo receptee com- modo, miniature painter, at a period when the ablest artists of his country were in their greatest celebrity. He came to England when young, and was a retainer of the Duke of Buckingham as early as the year 1613, and painted the portraits of the principal nobility of the time. He was afterwards employed in some diplomatic situations, and accompanied the Duke of Buckingham to Spain, where he was sent to bring about the treaty of marriage. Among the Harleian manuscripts is a letter from the Duchess of Buckingham to her lord, when in Spain, in which she says, " I pray you, if you have an idle time, sit to Gerbier for your picture, that I may have it well done in httle." In the collection of the Duke of Northumberland, is a large oval miniatore of the Duke of Buckingham on horseback. The head is well painted ; the figure dressed in scarlet and gold ; it is finished with great labour and richness. The head of the horse is spirited. Over the Duke's head is his motto, Fidei coticula crux ; and on the fore- ground is inscribed B. Gerbier. 1618. In a letter dated 1628, it is said, " That the King and Queen were entertained at supper at Gerbier's, the Duke's painter's house, which could not stand him in less than one thousand pounds." Vandyck painted a fine picture of Sir Balthasar Gerbier and his family. GERCO, B., a Dutch engraver, who executed 1 some plates in imitation of the charming prints of Waterloo. After etching the plates he scratched upon them with the graver, and from not having afterwards cleared away the barb, there is an un- pleasant clumsiness in the effect. [GERICAULT, Jean Louis Theodore Andr6, an historical painter, born at Rouen in 1790, and died in 1824. He studied first under the direction of Karle Vemet, and afterwards in the school of Guerin. Most of his works were popular, but that on which his reputation is based is the " Wreck of the Medusa," which was exhibited in London with great applause, and now occupies a place in the gallery of the Louvre.] GERMAIN, . This artist was a native of Prance, and flourished about the year 1765.- We have by him some spirited etchings, representing 277 germ] A DICTIONARY OF [gheb laews in Rome, from the designs of Le Geay and Bumont. [GERMAN LLORENTE, Bernardo, a Spanish portrait painter, bom at Seville in 1685. He was patronized by Philip V., but refused the offer of be- ing painter to the kmg, that he might not be obUged to follow the court. He was cafled Pintor de las Pastoras, because he painted many of his Virgin Marys in the habits of shepherdesses. He gave to his heads so much grace, sweetness, and relief, that many were sold as the work of Murillo, and pass for such out of Spain. At the latter part of his life, by endeavoming to increase the force of his chiaro- scuro, he produced blackness, very injurious to his pictures of that period. He died at Seville in 1757.] [GERMYN, Simon, a native of Dort, bom in 1650, was a scholar of G. Schalcken, whose manner he for some time followed; he afterwards studied under Ludowyk Smits, called Hartcamp, who in- structed him in his peculiar manner of painting fruit, but, though successful at first, his productions in that way are not much esteemed. He next turned to landscape painting, which he continued till his death, in 1719.] GERRARD of Haerlem, an old Dutch painter, born at Haerlem about the year 1460. He was a disciple of Albert van Ouwater, who was the first that practised oil-painting in his country, soon after the time of John van Eyck. He was sometimes called Gerard of St. John, fi'om his residing in a convent of that name, though not a monk. Al- though he only reached the age of twenty-eight, he finished many pictures for the churches, which were admired for the beauty of the coloiuing, and for a better expression and a more correct design than was usual at that early period. His most considerable work was an altar-piece in the church of St. John at Haerlem. The principal picture represented the Crucifixion, and on the folding-doors the Descent from the Cross and the Resurrection. The expres- sion of grief in the Marys and the Apostles, was superior to any production of the time. He died about the year 1488. [There is reason to suppose that Gerard of Haerlem (called also Geertgen of St. John) and Gerard of Ghent signify the same artist. The dates, occupation, and style ascribed to each, have a close relation. See the article Dirck van Haerlem.] GESSI, Francesco. This painter was bom at Bologna in 1588. He was one of the ablest scholars of Guido Reni, and one of the most successful imi- tators of his style. He possessed a vivacity of genius, and a facility of execution, which are said by Lanzi to have excited the jealousy of his master. His early pictures exhibit a suavity of colour, and a delicacy of pencil, which nearly approach the excel- lence of his instructor. His Assumption, in the church of La Morte at Bologna ; his Martyrdom of St. Caterina, in the church of that Saint ; and above all, his S. Francesco, at the Nunziata, have fre- quently been mistaken for the works of Guido. Abusing a fertile invention, and an uncommon promptness of hand, he afterwards declined into the languor and coldness of a mannerist. There are, however, several other pictures by him in the churches at Bologna, wmch are greatly admired, and which justly rank him among the able artists of that schooL Such are his picture of S. Carlo pray- ing in the midst of the Pestiferous, in the chin-ch of La Compagnia de Poveri ; S. Antonio di Padoua, in S. Maria delle Muiatelle ; and the Descent of the Holy Ghost, at the Cappuccini. He died in 1649. 278 GESSNER, Solomon. This celebrated person- age is well known to the literary world by his poejn of the Death of Abel, and his other poetical works. He claims our notice here as a designer and an en- graver. He etched several plates of vignettes, and other ornaments, for his Death of Abel and his Pastorals. We have, besides, by him several land- scapes, executed in a very pleasing a,nd finished style, of which the following are the princip4,l : A set of ten Landscapes ; dedicated to M. Watelet. 1764. Twelve pastoral Landscapes. 1767. 1786. Ten Landscapes, with mythological flguies. 1769. 1771. [He was born at Zurich in 1730, and died in 1788.] GHEDINI, Giuseppe. This painter was born atFerrara about the year 1710, and was a scholar of Giacomo Parolini. There are several of his Works in the churches at Ferrara. In S. Caterina da Siena, is a picture by him of S. Lucia ; in S. Leo- nardo, the Martyrdom of St. Catherine ; in Corpus Domini, the Annunciation, and the ■ Death of St. Joseph ; and in the refectory of the monastery of S. Maria degli AngeU, his principal work, representing the Multiplication of the Loaves, painted in 1755. GHEEST, Wybrand de, was a native of Fries- land, about the year 1591. He travelled to Italy when young, where he resided several years, chiefly at Rome, vmere he made drawings from the princi- pal statues and pictures ; and on his return to Hol- land painted historical subjects with considerable reputation. The plates in the book entitled Cabinet des Statues, published at Amsterdam in 1702, are from his designs. GHEIN. See Gheyn. GHENDT, Emanuel de, a modern French en- graver, who resided at Paris about the year 1749. He was a pupil of J. Ahamet, and has engraived several plates in a neat, pleasing style. He executed many of the prints and vignettes for the Voyage d' Italie de L' Abbe de Saint Non. We have also, among others, the following prints by him i L' Amour Asiatique ; after Ch. Eisen. Les Moissonneurs dans les Champs ; after the 'same. Lapleine Moisson ; after Isaac Mouchii'on. A V iew of the Fountain of Arethnsa at Syracuse ; after Chatelet. The Four Times of the Day ; after Bavdouin. [GHENT, Justus van, a scholar of the Van Eycks. He is supposed to have assisted those masters in some of their most celebrated pictures ; and Dr. Waagen is of opinion that the Last Judg- ment in the church of St. Mary at Dantzig is by him, though long held by connoisseurs to be the work of John van Eyck. This picture is one of superior excellence, and is ranked by Kiigler, avery competent judge, among the greatest master-works of art. He has given a very full description of it. Kugler, however, does not say that it is by Justus van Ghent ; he speaks only of the Communion in the church of S. Agatha, at Urbino, and a small picture at Ghent of the Finding of the True Cross, in which he says there is a want of depth of concep- tion, and some dryness of handUng. The picture at Urbino was probably finished in 1475, as he was paid in that; year the sum of 300 florins, by the brotherhood of the " Corpo di Crista!' for whom it was originally painted. There is much uncertainty about the painters of this era ; and many able art- ists are defrauded of their just reputation by the de- sire of the possessors of pictures of merit to ascribe them to the brothers Van Eyck.] GHERARDI, Christoforo, called Doceno. This painter was bom at Borgo S, Sepolcro in 1500, GHEtt] PAINTERS AND ENGRAVERS. [ghez and was a disciple of RaffaeUiuo dal Colle. He ex- celled particularly in fresco, and assisted Giorgio Vasari in many of his most considerable works. There are several ^otesque subjects by him in the Casa Vitelli. Of Ms oil-paintings, the principal are the Visitation of the Virgin Maiy to St. Elizabeth, in the church of S. Domenico at Citta di Castello ; and his picture of S. Maria del Popolo, at Perugia, painted m conjunction with Lattanzio della Marca. According to Lanzi, he died in 1552. [According to Zani, in 1556.] GHERARDI, Filippo, was born at Lucca in 1643, and was first instructed in the art by his father Bastiano Gherardi, an artist of no great celebrity : but he went to Rome when young, and became a scholar of Pietro da Coftona, under whom he made great improvement. He afterwards visited Venice, where he studied the works of the great colourists of that school ; and in conjunction with Giovanni CoU, painted, several pictures in the Library of S. Giorgio Maggiore. Pietro da Cortona invited him back to Rome, to assist him in painting the cupola of S. Maria in Campitelli. In the Colonna Gallery are two fine pictures by him of the Battle of Le- panto, and the Triumph of Mark Anthony Colonna. There are several picturesby him in the churches at Lucca. He died in 1704. GHERARDINI, Alessandeo. This painter was born at Florence in 1655, and was a scholar of Alessandro Rosi. He proved a very eminent painter of history, both in oil and in fresco. His composi- tions evince a fertile and inventive genius ; his de- sign is correct, and his colovuing rich and harmoni- ous. In the Monastery of the Augustines at Florence, is a fine picture by this painter of the Crucifixion ; and in the Casa Orlandim, a subject from the Liife of Alexander the Great. He died in 1723. GHERARDO, Calle Notti. See Hondthorst. [GHERINGS, John, a Flemish painter of archi- tecture and perspective, hved about 1665. Some of his works are m the galleries at Vienna and Dresden.], GHE YN, or GHEIN, James, the elder, a Flem- ish designer and engraver, bom at Antwerp in 1565. He was instructed in drawing by his father, who was a glass-painter, and learned engraving under Henry Goltzius. He imitated the style of that master, and his plates evince a great command of the graver. They are executed in a bold, free style, and his design is correct, and not Without taste. He engraved a great number of plates, both from his own designs and after other masters, and his prints are highly esteemed. He generally used the cipher Tjp, The following are his principal works : -Ijm"" PORTRAITS. Tyoho Brahe, the celebrated Danish Astronomer. Abraham Gokevius, antiquary, of Amsterdam. Hugo Grotius. Phuip de Mamix, the disciple of Calvin. The Count de Medici, called the Father of the People. Sigismund Malatesta, a famous warrior ; circular. Johannes Basilowitsch, Autocrator Bussiae ; circular. SUBJECTS AFTER HIS OWN DESIGNS. Vanity ; represented as a Woman at her toilet. Magdalene ; a small oral. . Mais and Venus ; two small medallions. A Gipsy telling a Girl her fortune. The Statue of the Laocoon. A Lion, in a landscape ; J. de Ghein,fec. C. de Visscher, exc. ; vejy scarce. A set of ten plates, called the Masks ; J. de Ghein, inv. etfec. ; very scarce. The Twelve Koman Emperors ; circular ; fine. SUBJECTS AFTER VARIOUS MASTERS. The Life and Passion of Christ ; in foui-teen plates ; en- graved by J. de Ghein and Z. Bolendo, after C. van Mander. The Twelve Tribes of Isi-ael ; in twelve plates ; after the same. The Four Evangelists ; after Henry Goltzius. The Confusion of Tongues at the building of the Tower of Babel ; after C. van Mander. The Adoration of the Trinity ; after the same. The Judgment of Midas ; mier the same. The Prodigal Son ; in two dieets ; after the same. The Crucifixion ; after Crispin vander Broeck. The Assembly of the Gods ; after the same. 1589. The Empire of Neptune; cfter H. Goltzius. 1S87. Twelve plates of Soldiers of the Guard of Kodolphus II. ; fine. The Annunciation ; after Ah. Sloemaert. A Bepose in Egypt ; after the same. Christ preaching to the Jews ; after the same. The Miracle of the Loaves ; after the same. Daniel in the Lions' Den ; ^er T. Bernard. Diana and Acteou ; after the same. J Polyphemus, with Acis and Galatea; after C. van Haerlem. A small Landscape ; an etching; after Breughel. [He died in 1615.] GHEYN, or GHEIN, James, the younger, was of the same family as the preceding artist, but it is not ascertained whether he was his son or his nephew. He is supposed to have studied in Italy, under A. Tempesta, from the resemblance in their style. In conjunction with CorneUus Boel, he ex- ecuted eight plates for La Vie de Charles V., from designs by Tempesta, He marked his prints, J. de Ohein, Jun.fee. He flourished about the year 1630. GHEYN, or GHEIN, William, a Flemish en- graver, probably related to the foregoing artist. He chiefly resided at Paris, where he engraved some plates for J. le Blon. Jointly with Jeremiah Falk, he engraved the Four Seasons, represented by French ladies, attired in the mode of the time of Louis XII. We have also by him the two follow- ing portraits : Louis XIV. when aboy, on horseback ; G. de Gheyn,fec. Bernard, Duke de "Weymar, on horseback ; saTne ma/rk. GHEZZI, Sebastiano. This painter was born in the Communanza, near Ascofi, and flourished about the year 1638. He was a scholar of Guercino, and painted history with some reputation. At the Barefooted Augustines at Monsamartino, there is a fine picture by him of St. Francis receiving the Stigmata. GHEZZI, Giuseppe, was the son of the preced- ing artist, bom in 1634, and was for some time in- structed by his father ; but he went afterwards to Rome, where he studied the works of Pietro da Cor- tona, whose style he adopted. He was employed and highly esteemed by Pope Clement XI., and at the time of his death, in 1721, was secretary to the Academy of St. Luke, at Rome. GHEZZI, Cavaliere Pier Leone. This painter was the son of Giuseppe Ghezzi, and studied under his father, whom he surpassed. In conjunction with L. Garzi, F. Trevisani, and B. Luti.he was employed by Benedict XIV. to paint the Prophets in St. John of Lateran, and in other works. He was also em- ployed in several considerable works by the Duke of Parma, who conferred on him the order of the Golden Spur. But he was most celebrated for his talent in caricature, and his works of that descrip- tion are numerous in the collections at Rome. We have by him a few etchings, executed in a clear, 279 ghia] A DICTIONARY OF [ghis neat style, from his own designs, and after the works of his father. Among others. The "Virgin and infant Jesus ; after Gitiseppe Gheezi, marked Petrua Leo Ghezzius, del. et scul. Soma. WOO; fine. The Portrait of the Abh. Pietro Palatio. -^ Signior Nicola Zabbaglia; Ingegniere dellafabrica di S. Pietro. He died in 1755, aged 81. GHIARINI, Marc Antonio, an Italian en- graver, bom at Bologna in 1652. He etched and published a set of plates of the Aqueducts and Fountains at Rome. GHIGI, Teodoro, or Teodobo Mantuano. This painter was a native of Mantua, and flourished about the year 1545. He had the advantage of be- ing educated under Giulio Romano, and was one of the ablest of his scholars. After the death of Giulio, he was selected by the Duke of Mantua to finish the works which were left imperfect by that great master. GHIRLANDAJO, Domenioo Coreadi, called DEL. The family name of this painter was Corradi, but he was usually called del Ghirlandajo, from his father's following the profession of a flower- maker. He was bom at Florence in 1449, and was instructed in design, with the intention of his being bred to the business of a goldsmith ; but his incUnation for the art of painting induced him to become a disciple of Alessio Baldovinetti, and he proved one of the most distinguished artists of that early period, both as a mosaicist and a painter. His design Wcis more correct and graceful than was usual in his time, and the expression of his heads is superior to any painter that had preceded him. According to Mengs, he was the first of the Floren- tine painters, who, by a judicious attention to per- spective, gave to their works the appearance of verity and depth. He was also the first of his countrymen that exploded the gilded and tawdry ornaments with which the painters anterior to him were accus- tomed to load their works, who, not being able to give beauty to their figures, were determined to make amends for it by finery. Pope Sistus IV. in- vited him to Rome, and eniployed him in the Sistine chapel, where he painted two pictures, one of which, the Resurrection, has perished; the other, repre- senting the Vocation of St. Peter and St. Paul to the Apostleship, is still preserved. He was the founder of an eminent school, which produced many able artists ; and he claims the credit of being the instructor of Michael Angelo Buonaroti. Many of his woiTss are mentioned by Vasari at Rome, Flo- rence, Pisa, and Rimini. At Florence, in the church of the Innocenti, is a fine picture by this master of the Adoration of the Magi ; in S. Trinita, several pictures of the Life of S. Francesco; and in the same church an altar-piece representing the Na- tivity. He died in 1493. [Zani and Land place his birth in 1451, and his death in 1495.] GHIRLANDAJO, Bidolpi Corradi, called. This painter was the son of the foregoing artist, bom at Florence in 1485. His father dying when he was only eight years of age, he was taken under the protection of his uncle Davide Corradi. He afterwards studied under Fra. Bartolomeo di S. Marco, and had so far profited by the instmction of that master, that when Raffaelle visited Florence, he was so satisfied of his ability, that he intrusted him to finish a picture of the Virgin and Infant he had commenced, for one of the churches at Siena. He entertained so high a respect for his talents, that on his return, to Rome he invited him to assist him 280 in his great works in the Vatican. Unfortunately for his fame, he refused the invitation of Raffaelle, which, if he had accepted, he would probably have participated in the glory of that illustrious painter in an equal degree with Giulio Romano. He pos- sessed an acute and vivacious imagination, with an elegance and taste in his forms that have a near affinity to the style of that master. In some of'his first productions, in S. Jacopo di RipoU ; and in S. Girolamo at Florence, though there is something of the dryness of Pietro Pemgino, they bear a great re- semblance to the juvenile works of Raffaelle. He approaches nearer to the better time of that master in nis two pictures of subjects from the Life of S. Zanobi, originally painted for the Academy at Flo- rence, but afterwards placed in the Ducal Gallery. He died in 1560. [The print of the Procession to Calvary (plate 125 of Rosini) will give an idea of his style of composition, and deUneation of charac- ter ; but it does not bear much of the impress of Fra. Bartolomeo or Giulio Romano.] GHISI, Giovanni Batista Britano, [or Beb- tano,] called Mantuano. This artist was born at Mantua about the year 1500, and, according to Baldinucci, was a painter, a sculptor, an architect, and an engraver. He was a disciple of Giulio Ro- mano ; but little is known of his works as a painter. As an engraver he is more distinguished, and is sup- posed to have been instructed in the use of the graver by Marc Antonio Baimondi, from the re- semblance of their style. His design is correct, though somewhat stiif, and there is a want of har- mony in the eflfect of his prints. He usually marked IBM (538. We have the his plates with the cipher following by him : Some Heads, with Hebnets, and antique ornaments. The Virgin Suckling the infant Jesus. 1.539. David cutting off the Head of GoUah ; after Giulio Ro- mano. 1540. A young Warrior carrying off a young "Woman ; called Paris and Helen. 1639. A River God ; after Luca Penni. Mars, Venus, and Cupid. A large naval Combat; from his own design. 1538. The Burning of Troy, a grand composition ; fine. GHISI, Giorgio, caUed Mantuano, was the son of the preceding artist, born at Mantua in 1524, and was instructed in design, and the use of the graver, by his father, whose style he greatly improved. He drew the naked very correctly, and was particularly attentive to the extremities. There is, notwith- standing, a continued sameness in his figures, as if he had only consulted one model, which gives to his works the appearance of a mannerist. This de- fect is particularly discernible in his immense print of the Last Judgment, after Michael Angelo Buonar roti. These deficiencies are sufficiently compen- sated by the many excellencies we find in the works of this esteemed artist, which are highly valued hy the intelUgent collector. Fine impressions of his prints are now become scarce. They are generally signed CHorgio Ghisi di Mantoua, fecU, or marked with the cipher G.^.TVff'. The following are his principal plates : The Portrait of Julius II. ; after Raffaelle. The Holy Family, half length ; after the same. The School of Athens, two sheets ; after the same. The Dispute of the Sacrament ; after the same. An emblematical subject ; sometimes called Raffaelle' s Bream, and sometimes The Melamcholy of Michael An,- gelo. It represents an old Man looking at a Ship- wrecked Vessel, whilst a Nymph appears approaching GHIS] PAINTERS AND ENGRAVERS. [ghit hiia ; in the back-ground are seen several horrible and fantastical figures. It is inscribed Raphaelis Urbinatus inventum, and on a tablet, Georgiua Ghisi Mat. 1561. The Propheta and Sibyls ; six large plates ; after the paint- ings by M. Angela Btionaroti, in the Sistine Chapel. The Last Judgment ; ten large plates ; after the cele- brated work by the same painter. An allegorical subject, representing the Birth oia, Prince gf the House of Gonssague : imer Giulio Romano. 1568. Cupid and Psyche crowned by Hymen ; after the same. The Birth of Memnon ; after the same ; very fine. Cephalus and Procris ; cMer ths same. The Interview between Hannibal and Scipio ; after the same. Begulu^ led to death by the Carthaginians ; after the same. Regulus shut up in the Tun ; afier the same. Venus in the Foree of Vulcan, sharpening the Arrows of Cupid ; after Perino del Yoga. Venus and Mars ; afier Raffaelle da Reggio. An allegorical subject, representing a Judge on his Tri- bunal with Asses' Ears ; afier Luca Penni. Endymion carrying Biana to the Chase on his shoulders ; after the sam£. Hercules conquering the Hydra ; after Giov. Bat. Bri- tano Mantiumos. The Judgment of Paris ; after the same. The Siege of Troy ; afier the same. The talung of Troy ; afier the same. A Print representing tombs, skeletons, &c., called the Resurrection of the dry Bones. 1654 ; fine ; o/ier the same. Venus and Adonis ; after Teodoro Ghisi. Angelica and Medora ; after the same. The Birth of the Virgin ; after B. Sjn-anger. The Mystery of the Trinity ; after his own design. 1576. The Adoration of the Shepherds ; after Angela Bron- zina; in two sheets. 1554. The Last Supper ; after Lambert Lombard. The Visitation of the Virgin to St. Elizabeth ; after his own design. The Crucifixion ; after the same. GHISI, Adamo, called Mantuano, was the younger brother of the foregomg artist, born at Mantua about the year 1530. He engraved several plates after the great ItaUan masters, which are well drawn; and though inferior to the works of Giorgio, possess great merit. He sometimes signed his prints Adamo Sculiore, Mantuanus, and some- times marked them with the cipher _^^\_. We have by him the following : The Nativity ; after Giulio Romano. Adamo Scultore The Presentation in the Temple ; t^er Nic. Ma/rtinelli. RxmuB. 1581. Adamo Scultore Mont. sc. The dead Christ in the Jjop of the Virgin ; after the celebrated scu^ture by Michael Angela Buonairoti. Adam. Mantuano. 1666 ; on a white ground. This plate was afterwards retouched, and the back-ground changed into a landscape, with the inscription, Romce Ant. Lafreri, sc. Cupid carrying the Arms of Mars ; after Giulio Romano. Mars, preceded by Cupid, going to Battle ; after the same. The Bath of Venus ; after Giulio) Romano. Diana going to the Chase ; after the same. Endymion regarding the Moon ; after the same. Hercules between "^^rtue and Vice ; after the same. Venus and Cupid, with Pan playing on the Pipe. GHISI, Diana, called Mantuana. This distin- guished lady was the sister of the two preceding artists, and probably was instructed in engraving by her brother Giorgio, as she has executed several plates in his style, which possess great merit. We have some excellent prints by her, which are usually signed with her name, and sometimes simply Diana. The following are her principal plates : Two Men and a Woman seated at a Table ; signed Diana. The Virgin and Infant, with St. John and St. Joseph presenting a Basket of Fruit ; Diana Mantuana inci- debat Roma. A. M. D. LXXV. without the name of the painter. The Holy Family, with St. Joseph at work ; after Co- reggio. The Hohr Family, with St. John presenting a Billet ; after Raffaelle, The Virgin caressing the Infant ; after F. Salviati. The Virgin and Infant seated in the Clouds, and below the Archangels Stichael, Gabriel, and Baphael ; in- scribed B. v. I. Diana Mantuana and Regma Angel- orum. St. Peter made Head of the Church, accompanied by the Ten Apostles, kneeling before Christ ; after Raffaelle. The Adtdteress before Christ ; after Giulio Romano. The Continence of Scipio ; o/ier the same. The Birth of Castor and Pollux ; after tlie same ; fine. The Festival of the Gods at the Nuptials of Cupid and Psyche ; after the design of Giulio Romano, in the Palazzo del T. at Mantua ; in three sheets, very fine. The Visitation of the Virgin to St. Elizabeth ; afier G. Vasari. GHISLANDI, DoMENico. This painter was a native of Bergamo, and flourished about the year 1662. He excelled in painting architectural and perspective views in fresco ; though he occasionally painted historical subjects. Comte Tassi mentions some pictures of the life and miracles of S. Fran- cesco di Paola by him, in the cloisters of the Padri Minimi at Bergamo ; and in the Palazzo Terzi is a saloon ornamented with architecture, in which the figures are painted by Giacomo BarbeUo. GHISLANDI, Fra Vittore, caUed Fra Pad- lotto, was the son of the preceding artist, born at Borgo di San Leonardo, in the Bergamese state, in 1655, and was a scholar of Sebastiano Bombelli. Although he never reached any eminence as an his- torical painter, he distinguished himself as one of the ablest portrait painters of his time. For this excellence he was more indebted to his attentive study of the portraiture of Titian, than the counsels of his instructor. He died in 1743. GHISOLFI, Giovanni. This painter was bom at Milan in 1623; and, according to Orlandi, was first a scholar of Girolamo Chignolo ; and was after- wards instructed in architecture and perspective by his uncle Antonio Volpini ; but his best instl-uction he received from Salvator Rosa. He is principally known as a painter of perspective and sea-ports : he nevertheless occasionally painted historical pictures and altar-pieces ; some of which are in the Certosa at Pavia, and in the Sanctuario at Varese. When the Archduchess of Austria made her pubhc entry into Milan, he was employed to paint the triumphal arches. In 1650 he visited Rome, where he made designs of the magnificent ruins in the, environs of that city, which fimiished him with admirable ma- terials for the composition of his pictures. His works abound at Rome, Naples, Milan, and Genoa, where they are placed in the choicest collections. He died in 1683. [Zani places his birth in 1632.] GHISSONI, Ottavio, was a native of Siena, but at an early age went to Rome, where he studied several years, chiefly under the tuition of Gherubino Alberti. In the year 1610 he visited Genoa, and was for some time a scholar of Ventura Salimbeni, where he painted some pictures in fresco for the public edifices. His works are more esteemed for the excellence of his colom-ing, than for correctness of design. GHITI, PoMPEO. This painter was born at Marone, a small town in the vicinity of Brescia, in 1631, and was first a scholar of Ottavio Amigoni. He afterwards went to Milan, where he studied five years under Giovanni Batista Discepoh, called Lo 281 gial] A DICTIONARY OF [OILA Zoppo 4i Lugano. On his return to Brescia, he was employed in several works in oil and in fresco. He possessed a ready invention, and was a coiTect designer. His colouring is, however, cold and langiiid. He had a number of scholars, who resorted to him for his excellence in drawing. He died in 1703. [His last known work is dated 1704.] GIALDISI,N. According to Zaist, in his Notizie depittori Oemonesj, this painter was of Parma, but flourished at Cremona about the year 1720. He ex- celled in painting flowers and fruit, and particularly in his pictures of still-life, such as carpets, with mu- sical instruments, books, &c., which he represented with a fidelity of form and a truth of colom- which are admirable. [Zani calls him Francesco, or Gio- vanni.] 6IAMPIC0LI, GiuLio, an Italian engraver, born at Venice about the year 1700. His style renders it probable that he was brought up in the school of Wagner. He engraved several plates after Marco Ricci and others ; among which are the following : A set of tliirteeii Landscapes, with the frontispiece after Marco Ricci, entitled Raccolti di 12 paesi inventati e dipinti dal celebre Marco Ricci. A set of four pretty Pastoral subjects. A set of four Landscapes ; after M. Ricci and F. Zuccw- relli. [Brulliot says he was the nephew of Marco Ricci, and was born in 1690 j Zani, that he was born in 1698, and died in 1760.] GIANNETTI, Pilippo. According to Hakert, this painter was a native of Messina, and flourished about the year 1685. He was a scholar of Abraham Casembrot, and painted landscape in so bold a style, and with such extraordinaiy facility, that oc- casioned him to be styled the Luca Giordano of landscape. GIAQUINTO, CoKRADO. This painter was a native of Molfetta, and flourished about the year 1750. He was first a scholar of Francesco Soli- mene ; but he went afterwards to Rome, where he entered the school of Sebastiano Conca, whose style he followed. Less correct in his design, and even more of a mannerist than his instructor, he possess- ed a ready invention and a resolute touch. His best works are his frescos in the tribune of St. Croce, and the great altar-piece of the church of La S. Triniti at Rome. There are many of his works at Macerata, Turin, and other cities in Italy. He was invited to the court of Madrid, where he was employed in some of the palaces. He died in 1765. GIAROLA, or GEROLA, Antonio, called It Cavaliere Coppa, was born at Verona in 1595, and studied at Bologna under Guido and Albano. In some of his pictures he approached the suavity of colour and the graceful contours of the former, though inferior to him in relief, and in the elegance and simplicity of his compositions. In the church of S. Bernardo at Bologna, is a picture by him of S. Mauro kneeling before the Virgin and Infant ; but he is seen to more advantage in his Magdalene in the Desert, in the church of the Padri Servi. In the refectory of the seminary at Verona is a fine picture by Giarola of Christ with the Disciples at Emmaus. He died in 1665. GIBERTONI, Paolo. This painter was a na^ five of Modena, and flourished about the year 1760. He chiefly resided at Lucca, and excelled in gro- tesque subjects in fresco, in which he introduced little animals of every description, touched with great spirit. He also painted landscapes, which 282 were esteemed in his time, and have increased in value since his death. GIBSON, Richard. This extraordinary person- age was usually called the Dwarf, firom his diminu- tive size, being only three feet ten inches high. He was, when a boy, page to a lady at Mortlake, who Eerceiving in him a disposition for the art, placed im under the care of Francis de Cleyn, under whom he made considerable progress. His talent attracted the notice of King Charles I., who made him one of his pages. It is reported in the Anec- dotes, that he was married to a little lady of his own height, and that their maniage was celebrated in the presence of Charles I. and Ms queen, who or- dered a diamond ring for the bride ; but.the troubles coming on she never received it. The union of this diminutive couple was distinguished by Waller in one of his prettiest poems. After the death of the king he was taken into the protection of Philip, Earl of Pembroke, and is said to have painted the portrait of Oliver Cromwell several times. When Sir Peter Lely visited England, Gibson improved himself greatly, by copying the portraits of that master ; and he rose into such repute, that he was sent to Holland to teach the Princess Mary to draw, and had also the honour of instructing Queen Anne. R. Gibson lived to the age of 75, and died in 1690. GIFFART, Peter. This artist was born at Paris in 1648. He engraved a considerable number of portraits and book ornaments, which are neatly executed with the graver, but without much taste, though his merit was sufficient to . obtain the dis- tinction of engraver to the King. We have, among others, the following prints by him : PORTRAITS. Maria Anne Victoire de Baviere, Dauphiness of France. Frances d'Aubign^, Marchioness de Maintenou. Philip, son of Thomas XIII., Count of Savoy. Edward, son of Amedeus XV., Count of Savoy. VARIOUS SUBJECTS. A set of Medals from the French King's Cabinet. A set of Ornaments ; after Berain, A Frontispiece to the Introduction to Geography, by P. Violier ; after S. Le Clerc. Glf^FORD, George, an EngUsh engraver of portraits, who flourished about the year 1640. He was chiefly employed by the booksellers, and his plates are very indifferently executed. Among others, he engraved the following : Hugh Latimer, Bishop of Worcester. Sir Edward Marmion; scarce. John Bate ; prefixed to his Mysteries of Natvire. GILARDI, Pietro. This painter was born at Milan, in 1679, and was instructed in the art by Federigo Bianchi, but he afterwards went to Bo- logna, where he became a scholar of Marc Antonio Franceschini, and afterwards studied under Gio- vanni Gioseffo del Sole. He painted history with reputation, and especially excelled in large fresco works, his talents being particularly adapted to the embellishments of cupolas, vaults, and other exten- sive operations, in which he proved himself an able machmist. Such are his ii'escos in the refectory of S. Vittore at Milan, which are not less esteemed for the ingenuity of the composition, and the facility of the execution, than for the tenderness and harmony of the colouring. GILARTE, Mateo, a Spanish painter, bom at Valencia, according to Palomino, in 1647. He was a scholar of Francisco Ribalta, and proved an emi- nent painter of history, both in oil and in fresco. gile] PAINTERS AND ENGRAVERS. His chief residence was at Murcia, where there are several of his works. In the church of Nuestra Sennora del Rosario, are three large pictures in fresco, representing Esther before Ahasuerus, Jacob wrestling with the Angel, and St. Dominick with other saints. In the refectory of the same convent, he painted the Miracle of the Loaves and Fishes. Although the works of this master are not distin- gniiished by the beauty of his forms, or the expres- sion of his heads, his compositions are grand and copious; and he was a perfect master of flie chiaro- scuro. He died in 1700. GILES OP Antwerp. See Coignet. GILES, or GYLES, Henry, an Enghsh painter on glass, who resided at York, and flourished from about the year 1640 to 1687. One of his principal performances is the east window of University Col- lege, Oxford, which is marked. Hen. Giles, pinxit, 1687. GILIOLI, GiACiNTO, a Bolognese painter, bom in 1584, and was brought up in the school of the Caracci. He painted history with some reputation. Of his works at Bologna, the most esteemed are his Picture of the Death of St. Joseph in S. Mattia, and )avid with the Head of Goliah in S. Salvatore. He died in 1665. GILLARDINI, Melchiore. According to Or- landi, this painter was a native of MUan, and was a scholar of Giovanni Batista Crespi, called II Cera- no. After the death of that master, he was em- ployed to finish the pictures he left imperfect ; and he also painted several altar-pieces for the churches of his own composition. At S. Cdso, a small town near Milan, is a picture by him of S. Caterina da Siena, of which Lanzi speaks in favourable terms. By Melchiore GUlardini, who is miscalled Girardini by Mr. Strutt, we have some etchings after P. da Cortona, Cruido, and others. He also etched several plates from his own designs, in the style of Callot, representing battles and other subjects, executed with neatness and spirit. He died in 1675. [Ac- cording to Zani, his proper name was Gherardini.'] GILLBERG, John, a Swedish engraver, born at Stockholm about the year 1748. He engraved se- veral portraits of distinguished personages of Swe- den ; and afterwards went to Paris, where he exe- cuted several plates in imitation of chalk drawings ; among which' were some heads after Maffaelle, and some landscapes engraved jointly with Demarteau. GILLEMANS, N., a Flemish painter of flowers and fruit, bom at Antwerp about the year 1672. His pictures are generally small, and very highly finished, but without much effect. [See the follow- ing article.] [GILLEMANS, John Peter, a fruit and flow- er painter of Antwerp. His pictures are generally of a small size, well coloured and composed, and neatly finished. He assisted other artists in deco- rating their pictures, where flowers and fruit were required. Balkema says he was born in 1672 : the time of his death is uncertain, but it is related that he fell into a canal and was drowned.] [GILLI6, Jacob, born at Utrecht in 1636, paint- ed landscapes and river fish. He died in 1688.] GILLIG, M. This artist is mentioned by Mr. Strutt as the engraver of a portrait of Gerard de Vries, philosopher of Utrecht. GILLOT, Claude, a French painter and en- graver, bom at Langres in 1673. He was sent to Paris when young, and became a scholar of J. B. ComeiUe. He chiefly excelled in designing fauns, satyrs, and grotesques, in which he acquired some : [gimi reputation, and was received into thfe Academv at Paris m 1715. Anthony Watteau was his scholar, and greatly surpassed him. His works as a painter are little regarded ; but he has left us a considerable number of etchings, from his own designs, which are executed in a bold, free style, and sufliciently finished. Including the plates he engraved for Leg Fables de la Mothe-Jffoudard, M. Gersaint makes his prints amount to near one hundred and eighty Among others, we have the following by hun : The Feast of Diana disturbed by Satyrs ; C. L. Gillot, fee. Tne Feast of Bacchus, assisted by Satyrs and Bacchante. The Triumph of Pan celebrated by Nymphs and Sylyans! The Triumph of Faunus, the God of the Forests. The Count Caylus engraved several plates after his designs. He died at Paris in 1722. [GILLR AY, James, the most eminent of English caricaturists, was born in 1757, and is supposed to have been of Irish descent. Scarcely any particu- lars of his early years are known. It is said that he was the son of a Chelsea pensioner, and a person of the same name, who was probably his father, filled the, oflSce of sexton to the Moravian cemetery at Chelsea for forty years, and was buried there in 1799. Like the illustrious Hogarth, and the cele- brated engraver Sharp, he began his career as a letter engraver, though we have been unable to find any specimens of his works of that description. Being disgusted with this monotonous occupation he ran away from his employer, joined a company of strolling players, and, after undergoing the va- rious hardships this course of life invariably entails upon its followers, he returned to London, and be- came a student of the Royal Academy, where he pursued most energetically his studies in the art of design. That he must have attained remarkable proficiency is very evident from several plates which he engraved after his own designs, particularly two subjects from Goldsmith's Deserted Village, in- scribed " The Village Train," and " The Deserted Village," published in 1784. These are designed in a remarkably free and picturesque manner, and have some resemblance to the earlier works of Sto- thard. They are exceedingly well engraved in the dotted manner, and though we are not acquainted with the name of his instructor in this art, they so much resemble the works of the unfortunate By- land, that we have little hesitation in asserting that he must have been instructed by him. Among other works of this class, and executed about the same time, are, a capital portrait of Dr. Arne, after Sartolozzi ; Colonel Gardiner's last Interview with his Children ; The burning of the Duke of Athol East Indiaman, 1785 J The Wreck of the Nancy Packet off Scilly, 1784; and two portraits ofWilham Pitt: all after his own designs. The two last, though admirable representations of the man, are nevertheless some- what approaching to caricature. He also engraved a few plates after Lady Spencer's drawings, and, whether for the purpose of amusement or mystifica- tion, occasionally adopted fictitious names. Thus the following plates, which are known to be by him, have other names attached to them : The Nativity, after Copley, J. Kurd, fecit, 1785; The Return, a child with a dog in a landscape, /. Kent, fecit, 1781 ; A Storm, J. Perm, fecit, 1786 ; and were it necessary, many others of his works might be quoted bearing these names. He also, on many of his earlier caricatures, made use of a monogram com- 283 gill] A BlCTlONAtlY OF [gill posed of the letters J. S., interlaced, very much resembling that used by Sayer the caricaturist, and he probably adopted It to mislead the public as to the real author of his publications. • Gillray appears to have worked as an engraver long after his career as a caricaturist had com- menced, as he engraved, in 1792, a large plate after Northoote, representing the delivery of the prisoners from the Bastille, inscribed, " Le Triompne de la Liberie, ou, L'elargissement de la Bastille; " and in 1794, "Marquis Cornwallis receiving the royal Host- ages at Seringapatam," after the same painter : pro- bably the last of his productions of this description. Admirable as many of these works are, it is as a caricaturist that Gillra,y is best known, and upon which his fame entirely rests. In this art he has no rival ; and the exquisite tact with which he seized upon points, both in politics and manners, most open to ridicule, is only equalled by the con- summate skill and wit with Which he satirized them. His earlier works are more carefully than spiritedly executed, and look like the productions of an en- graver only. The earliest of his undoubted carica- tttfes, though many others antecedent have been with great reason attributed to him, is dated 1779 j it is probably a satire on the Irish Fortune-hunter, and is called " Paddy on Horseback," the so-called Jiiyne being a hvll, on Which he is riding with his face to the tail. But his improvement was rapid and extraordinary, and he soon attained a marvel- lous freedom both of design and in the management odf the etching needle. We believe he etched his ideas at once upon the copper without making a previous drawing, his only guides being sketches of the distinguished characters he intended to intro- duce made on small pieces of card which he always carried about him, and many of which we have seen. His caricatures amount to more than twelve hundred; and as it would be quite impossible to give any thing like a complete list of them in this Work, we shall merely notice a few of the more im- portant, arranging them according to the dates at which they appeared, A Nev) Way to pay the National Debt. George III. arid his queen are coming out of the Treasury loaded with money, which is overflowing their pockets; on the right is the Prince of "Wales in a very shabby condi- tion, gratefully receiving money from the Due d'Or- leans. April 21, 1786._ Ancient Music. A capital caricature of the king and' queen in ecstasy at a concert performed by the minis- ters. May 10, 1787. Monstrous Craws ; a powerful satire on the grasping ava- rice of George III. and Queen Charlotte. May 29, 1787. March to the Bank. . A capital etching, executed in the most masterly style. August 22, 1787. There are two states of this plate ; in the ^at, the female who is thrown down in front has less drapery. Market Day. Lord Thurlow, as a grazier, is attending Smithfleld Market, and examining the beasts, the heads of which represent the leading political characters of the day. May 2, 1788. Election Troops bringing in their Accounts to the Pay Table ; J. Gillray invt. et fecit, 1788. A satire on the means employed by ministers, unsuccessfully however, to frustrate the election of Fox for Westminster. This we believe is thef/rat caricature on which the name of Gillray appears. Frying Sprats: — Toasting Muffins. 1791. Two small but very clever caricatures on the parsimonious habits of George III. and his queen. In the first the queen is represented carefully frying her own sprats ; and in the second the king is in the full enjoyment of toasting his own muffins. Anti-Saccharitea, or John Bull andhia Family leading off the me of ^ar. 1792. The king and queen, from economical motives, are enjoying and praising their tea without sugar, while the princesses are evidently very 284 much disgusted, and take no pains to conceal it. The royal family, it is said, were highly delighted with this caricature. A Connoiaaeur examining a Cooper. A very bold and happy idea, capitally carried out. George III. is re- presented almost purblind looking with ^eat atten- tion at a miniature of Oliver Cromwell, which he holds in one hand, and has a candle in the other. The bitter- ness of this satire was occasioned by the disparaging observations the king made on the portraits Gillray had sketched during his tour in Flanders with Lou- therbourg. The king had said, "I don't understand these oancatures." The exasperated artist made this drawing, and said, " I wonder if the royal connoisseur will understand this ?" Temperance enjoying afrugaX Meal, and A Voluptuary under the Horrors of Digeation. 1792. Two most ad- mirable productions, unsurpassed either in humour, design, or execution. The temperate habits of George III. in the former, and the Epicurean manners of the Prince of Wales in the latter, are portrayed with the most consummate ability. Bengal Levee, from an original drawing made on the spot by an amateur. 1792. A very large and skilfully executed plate. The Dagger Scene, or the Plot diacovered. 1792. A ca- pital representation of a well-known scene in the House of Commons, in wMch Edmund Burke was the chief performer. Fatigues of the Campaign in Flanders. 1793. The Duke of York luxuriating m the company of the Flemish frows, attended by his soldiers, who are bringing in large bowls of punch. _ The Loyal Toast. 1798. The Duke of Norfolk givmg his celebrated toast, " The majesty of the people," at the Crown and Anchor Tavern, for which he was dismiss- ed from his oiflces. The consequencea of a successful French Invasion; a set of four plates, in which the horrors to be expected are given with extraordinary spirit. No doubt these and other similar caricatures produced a great and power- ful efieot on the minds of the English public, inspiring the people to a determined resistance. The Cow-pock, or the wonderful effects of the new Ino- culation. A very humorous burlesque on the popular opinions respecting Jenner's invaluable discovery. L'Assemblie Nationale, or a grand co-operative Meeting at St. Anne's Hill, (the residence of Charles James Fox,} respectfully dedicated to the admirers of a Broad Bot- tom'd Administration. 1804. This we have no hesi- tation in asserting to be the most talented caricature that has ever appeared. The king is supposed to have been executed, the republic proclaimed, and Fox, as first consul, is holding his levie at his house at St. Anne's Hill. All the leading Whigs are present, of ■whom the likenesses are most admirable, and intheright comer is seen a portion of the figure of the Prince of Wales. This caricature gave so much ofience to the prince that, he offered a large sum of money for its suppression, which being accepted, he ordered the plate to be destroyed. It was the misfortune of the prince and those by whom he was surrounded to place reliance on each other ; the plate was not destroyed, it was se- creted, and still exists. It will be found in the col- lection published by Mr. Bohn. The King of Brobdingnag (sic) and Gulliver (George III. and Buonaparte) ; two plates. 1803 and 1804. The Middleaex Election, 1804. Sir Francis Burdett dragged in his carriage to the poll by the Duke of Nor- folk, Charles Fox, and other leading Whigs. The Reconciliation between George III. and the Prince of Wales, 1804. Admirably treated. The Life of William Cobbett, written by himaelf; eight satirical plates. 1809. Installation of the Chdncellor of Oxford, (Lord Gren- viUe,) Aug. 8, 1810 ; a large plate, and the last po- litical engraving having his name. Other pieces not of a political nature, but full of humour, and sometimes severely satirical on the fashionable frivolities of the time, wherein he did not spare the persons of the prime leaders of the ton, may be added : A Pic Nio Orchestra, in which are introduced the por- traits of the Marchionesses of Buckingham and Salis- bury, Lady Mary Chomley, Lord Edgecumbe, and Charles GreviUe, GIOR] PAINTERS AND ENGRAVERS. [giov Magdalene penitent. The Adulteress tefore Christ. Christ disputing with the Doctors. St. Anne received into Heaven by the Virgin. Luca Giordano died at Naples in 1705. GIORGETTI, GiACOMo. This painter was bom at Assisi about the year 1610, and was a scholar of Giovanni Lanfranco. He painted history, chiefly in fresco, and several of his works are in the churches of hj^native city, of which the most con- siderable is the dome of the principal church. In the sacristy of the ConventuaU he painted some pic- tures of the Life of the Virgin, ms colour is good, and his works are more finished than those of his master, but his idesign is not so correct. GIORGIO, Giovanni, an Italian engraver, who was employed chiefly by the booksellers. He re- sided at Padua, where he engraved the plates for a collection of antique lamps, pubUshed in 1653, en- titled De Lxicernis Antiquorum reconditis, Patavii, 1653. He also engraved a frontispiece with figures to a book on Anatomy, by J. Veslingi, dated 1647, signed Joan Georgius Patavii. We have also by him a ludicrous print, called the Bath of the Anabap- tists ; after Maffaelk. GIORGIONE, Giorgio Barbarelli, called. This distinguished painter was bom at Castelfranco, near Trevigi, in 1477. His father, perceiving his disposition for the art, placed him under the tuition of Giovanni Bellini, at Venice, where Titian soon after became his fellow student. Giorgione was the first of the Venetian painters that broke through the timid and constrained style to which the art was confined at the time of the Bellini, and intro- duced a freedom of outline, a boldness of handling, and a vigorous efiect of chiaro-scuro, which were unknown before him. Rich and harmonious in his colouring, dignified in his characters, broad and simple in ms masses of light -and shadow, he was the first that practised the admirable blending of his tints, which forms so great a part of the beauty of Venetian colouring. For this excellence he was little indebted to the instruction of Bellini. The works of Lionardo da Vinci were the models he most consulted ; and by a profound study of them he acquired the breadth of efiect and the extra^ ordinary reUef by which his works are distinguished. He added suavity to force, and in his carnations he sometimes approached the tenderness and truth of Coreggio. His pictures became the admiration of Titian, who for some time followed his style. Of his works in fresco, the greater part have perished, and those which remain are so materially injured, that little of their original beauty is discernible. Giorgione was much employed in portrait painting, to which his powers were peculiarly adapted ; and in that department of the art he may be ranked with the greatest masters. Grace, dignity, expres- sion, and truth of character distinguish his works of that description. Of his oil pictures the princi- pal are, Christ bearing his Cross, in the church of St. Roch at Venice ; in the school of Sarfi, his pic- ture of S. Omobono ; and in that of S. Marco, tiiat saint appeasing the Tempest. At Trevigi, in the Monte di Pieta, is a fine picture of the dead Christ. One of his most admired works is the finding of Moses, in the archiepiscopal palace at Milan. This eminent painter died of the plague in the prime of life in 1511. GIOTTINO, ToMASo. See Stefano. GIOTTO, sometimes called Ambrogiotto, and by others Giotto di Bondone. This venerable painter was bom at Vespignano, near Florence, in 1276. He was the son of a shepherd, and whilst guarding his fiocks in the fields, he was discovered by Cimabue amusing himself with drawing the figure of a lamb on a stone. Struck vidth the dis- position of the boy, he persuaded his father to intrust him to his care, and conducted him to Flo- rence, where he educated him with the greatest at- tention. It was not long before the disciple sur- passed his master ; and in one of his earliest pictures, painted for a convent at Florence, representirig the Annunciation, although the style was dry and hard, there was a dawning of grace and beauty, which indi- cated the advancement he afterwards made in divest- ing the art of the stifihess and formality which still marked the works of Cimabue. In his attention to symmetry, a more correct design, a softer blending of his tints, and in the expression of his heads, he was superior to every artist of his time. Giotto dis- tinguished himself as a mosaicist, particularly in his celebrated work in the Portico of the Basilica of St. Peter's at Rome, called the Navicella, or the Boat of St. Peter, now so mutilated and repaired, that it retains Uttle of the original design. Another fa- mous mosaic by Giotto is the Death of the Virgin at Florence, so much admired by Michael Angelo Buonaroti. He was the first painter who gave to portraits the air of truth and resemblance. Among other illustrious persons, he painted the portraits of Pope Clement IV. and that of Dante, who has celebrated him in his poem. He died in 1336. [The inquirer who may be desirous of fuller information respecting this great patriarch of painting, wiU be gratified by referring to the instructive and delight- ful work on " Christian Art," by Lord Lindsay ; in which he will find collected many particulars re- lating to the artist, his contemporaries, and his scholars. As the greater part of Giotto's works have been destroyed by accident, by ignorance, and by time; and as many inferior productions have been attributed to his pencil by careless or pre- sumptuous writers, it will be satisfactory to peruse the records of facts concerning those lost and those that exist, as described by this noble and in- telligent writer on art. One fact the reader should be made acquainted vrith ; the discovery of the por- trait of Dante. In the chapel of the Podest4, now the Bargello, at Florence, which had for two centu- ries been coated with whitewash, and partitioned into prisoners' cells, was this discovery made. Re- lying on the assertion of Vasari that Giotto had introduced the portrait of Dante in " the Gloria " painted there, Signor Bezzi, Mr. Kirkup, and some other gentlemen obtained permission to remove the whitewash at their own expense, which was done with admirable address by the painter Maiini, and the portrait discovered. It represents the poet in his thirty-fifth year, wearing the falUng cap of the time, holding a book in his right hand and a pome- wanate in his left. Rosini, in his " Storia della Pittura Italiana," has given an outUne of it (tom. ii. p. 223). The Deposition and Transition of the Virgin, plate 14 of the same work, is one of the noblest productions of art, and it may be doubted whether it has ever been excelled.] GIOVANNIj BA San Giovanni. See Man- NOZZI. . , ,. GIOVANNINI, ^riAcoMO Maria, was born at Bologna in 1667, and was a scholar of Antonio Roli. He painted some pictures for the churches at Bologna; one of the most esteemed is that of Magdalene worshipping the Cross, in the church of GIOV] A DICTIONARY OF [glau S. Niccolo degli Alberi. He is more known as an engraver than a painter. We have by him several plates after the great masters, particularly after Coreggio and the Caracci. They are executed very neatly, chiefly etched, and some of them assisted ■with the graver ; but there is a want of effect in his prints, and his design is frequently incorrect. The following are his principal plates : A set of twenty large plates ; aftertlie paintmgs by Lodo- vico Caracci, and others, in the cloister of bt. Michael in Bosco, at Bologna. Twelve prints irom the pictures by Coreggio, in the cupola of S. Giovanni at Parma. A print after the celebrated picture called the St. Jerome, by Coreggio. The same has been engraved by Agostino Caracci and Sir Robert Strange, The Virgin and Infant, with St. George ; after the fa- mous picture by Coreggio; in the Dresden gallery. St. Sebastian ; after Lodovico Caracci. The Communion of the Apostles ; after Marc. Ant. Franceschini. [He died at Parma in 1717.] GIOVANNINI, Carlo, was probably related to the preceding artist, and flourished at Bologna about the year 1698. It is not said by whom he was in- structed, but he w^as a reputable historical painter. There are several of his works in the public edifices at Bologna, of which the following are the most esteemed : St. Anne teaching the Virgin to read, in the church of La Morte ; Adam and Eve driven from Paradise, in La Madonna del Piombo ; and Christ giving the Keys to St. Peter, in S. Giovanni in Monte. 6I0VANNIN0, DEL Pio. See Bonati. GIOVENONE, GiROLAMo. This painter was a native of Vercelli, and flourished about the year 1514, as appears from two of his pictures in the church of S. Paolo in that city, dated 1514 and 1516. At Milan, in the church of the Augustines, there is a fine picture by this master of the Resurrection, with two laterals representing St. Margaret and St. Cecilia. [Rosini has given a print of a votive pic- ture, in the gallery of Lochis at Bergamo, with the date 1527, (plate 122,) which wiU excite a high opin- ion of the master. J GIRANDOLE, . See Buontalenti. [GIRODET TRIOSON, Anne Louis, one of the most eminent French painters of modern times, was bom at Montargis in 1767, and died at Paris in 1824. His name, originally, was Girodet; it was only in 1812 that he adopted that of his tutor. Dr. Trioson. He was a pupil of David, and afterwards completed his pictorial education at Rome. He gave early indication of talent, and before he attain- ed his twenty-second year he gained the highest academical prize. During his residence at Rome he produced his pictures of Endymion sleeping and Hippocrates refusing the Presents of Artaxerxes. On his return to France he rose to the highest rank in his profession. His picture of the " Deluge" car- ried off the palm from the " Sabines," by David, in the competition for the great prize for the best his- torical composition. He painted numerous portraits of the distinguished persons of the time ; and made many designs to illustrate the works of Anacreon, Virgil, and Racine, pubhshed by Firmin Didot in quarto. A great number of his works have been engraved or lithographed; and the originals are in the royal and private collections in Prance. He was. buried at the Cemetery of Pfere La Chaise.] GIRTIN, Thomas. This ingenious English art- ist was born in 1775, and was a pupil of Edward Dayes. He was one of the most admired landscape 286 painters of his time, and was among the first found- ers of that tasteful style of designing landscapes in water-colours, which our countrymen have carried to such perfection. On -the occasion of the peace of Amiens, Mr. Girtin went to Paris, where he made twenty drawings of the principal views in that me- tropoUs, of which he etched the outUnes, and the plates were finished in aquatinta by other artists. Though of a very weak and dehcate constitution, such was his attachment to the art, that he conti- nued to exercise his profession till within a few days of his death, though in a state of the most deplora- ble debility. This interesting artist died in 1802, at the premature age of 27, regretted by every admirer of taste and genius. GISMONDI, Paolo, called Paolo Perugino. This painter was a native of Perugia, but was brought up at Rome, under Pietro da Cortona. He painted history with some reputation, and was re- ceived into the Academy at Rome in 1668. Some of his best fresco works are those in the church of S. Agnese in Piazza Navona, and the pictures in the tribune of S: Agata in Piazza Nuova at Rome. GIUGNI, . See Zugni. GIUSTI, Antonio, was born at Florence in 1624, and was first a scholar of Cesare Dandini, but afterwards studied under Mario Balassi. His talent was not confined to historical subjects. He painted with equal success landscapes, animals, and huntings ; and continued to exercise his pro- fession with unabated vigour, until he reached his eighty-first year, and died in 1705. GLAUBER, John. The family of this painter was originally of Germany, but his father resided at Utrecht, where he was born in 1646. Glauber was distinguished by a decided disposition for the art, which difficulties appear to have encouraged, by which obstacles were converted into means, and who, by an invincible perseverance and energy of character, overcame the most embarrassing impedi- ments which circumstances ajjd prejudice could op- pose to him. His father destined him to a different and favourite profession; and, after a long resist- ance, he was with difficulty prevailed on to permit him to follow the bent of his inclination, by placing him under the tuition of Nicholas Berghem. With the advantage of so able an insb-uctor, and gifted with uncommon genius, his progress was unusual. Having seen some of the lanicapes of Caspar Poussin and others, representing the grand scenery of the environs of Rome, he conceived a strong de- sire to visit a country of which the transcripts ap- peared to him so picturesque and interesting. He determined on a journey to Italy ; and in 1671 he left Holland to travel to Rome, through France, where he expected, by the exercise of his talent, to furnish himself with the means of accomplishing his journey. After passing three years at Paris ana at Lyons, in both of which cities he left proofs of his ability, he arrived at Rome, and it was not long before he distinguished himself in the metropolis of art. He was received with acclamation into the Bentevogel Society, where they conferred on him the title of PoUdore. Glauber passed two years at Rome, in designing the most remarkable scenery in the vicinity of that capital ; and afterwards visited Padua and Venice, on his return to Holland. He settled at Amsterdam ; and having formed an in- timacy with Gerard de Lairesse, who was then in the height of his reputation, he became his inmate, and by the union of their talents the admirers of the art were gratified by the production of some ad- GLAU] PAINTERS AND ENGRAVERS. [gobb mirable landscapes by Glauber, decorated with the classic figures of the Poussin of Holland. Such was the desire of possessing their works, that it was with difficulty they could execute the commissions they received. It was at this time that he painted the fine landscapes in the Chateau of Soesdyck, for the Prince of Orange, in which the figures are painted by Lairesse. The works of Glauber ex- hibit nothing of the taste of his country, his forms and scenery are entirely Italian, and of a select and grand choice. We have by this painter several etchings, executed in a slight, spirited style, some of which are after his own designs, and others after Berghem and Gaspar Poussin. He also etched somfe plates from the designs of Gerard de Lairesse. The following are his principal prints : Various Landscapes and Cattle ; o^er Berchem. Two Landscapes ; after Gaspar Poussin ; Gaspar Pous- sin, pinx.; J. Glauber, fee. A set of six Landscapes, lengthways ; from his men de- signs. A set of six Landscapes, npriglit ; after the same. A set of circular plates of ^legoncal subjects, &om the history of the four great Monarchies of Assyria, Persia, Greece, and Kome ; aft&r de Lairesse. J. Glauber died in 1726. GLAUBER, John Gottlieb, was the younger brother and scholar of the preceding artist, bom at Utrecht in 1656. At the age of fifteen he accom- panied John Glauber in his journey through France to Italy. Whilst at Paris, he was placed under the care of Jacob Knyf, who was in some repute as a painter of architectural views and sea-ports. After passing some time under that master he rejoined his brother at Lyons, and went with him to Rome, where he studied two years. In 1684 he went to Hamburg, and met with great encouragement. He was soon after invited to the court of Vienna, where he passed great part of his life. John Gottlieb Glauber painted landscapes in the style of his brother, though more finished and less masterly in the handling; and also excelled -in sea^-ports, which he embellished with small figures, correctly drawn and neatly touched. The pictures of this ai-tist are almost confined to Germany, where they are found in the choicest collections. He died in 1703. GLAUBER, Diana. This paintress was the sister of the two foregoing artists, bom at Utrecht in 1650. She was instructed in design by her elder brother. Her talent led her to paint historical sub- jects and portraits, in which she distinguished her- self at Hamburg, where she chiefly resided. She had acquired considerable reputation in that city, when she became bhnd, some years before her death. GLOCKENTON, Albert, an old German en- f raver, bom at Niffemberg, about the year 1432. apUlon asserts that he executed some wooden cuts in a coarse style; but this is contradicted by Huber, and the other German authorities. ^ His plates are wrought entirely with the graver, in a neat but stifl" style ; and he appears to have imitated the manner of Martin Schoen, some of whose plates he copied. He usually marked his prints with the initials A. G. in Gothic letters, with the date /N (5- We have 15(0. the following by him : Twelve plates of the Passion of Christ ; fine and scarce ; after Martin Schoen. Ten plates of the wise and foolish Virgins'; after the same. Christ bearing his Cross ; after the same ; scarce. The Death of the Virgin ; after the same. The Virgin and Infant seated on an altar. GLOVER, George, an English engraver, who flourished about the year 1637. He worked chiefly for the booksellers, and engraved several portraits of distinguished persons, which are interesting to Eng- lish History. They are executed in a bold, open style, though without much taste. He also engraved some frontispieces and emblematical subjects ; but his portraits are the best of his works. We have the following by him : James I. Chai-les I. Henrietta Maria, Queen of Charles I. Mary, Daughter of Charles I. Charles II. Catherine, Queen of Charles II. James XL Maria Beatrix, Queen of James II. Oliver Cromwell. . WiUiam Russell, Duke of Bedford. Francis Russell, Earl of Bedford. Algernon Percy, Earl of Northumberland. Robert Devereux, Earl of Essex. Henry Rich, Earl of Holland. Thomas 'Wentn'orth, Earl of Strafford. James Usher, Archbishop of Armagh. Sir Thomas ITrquhart ; very scarce. Sir Edward Deering ; fine. 1640. Sir James Cambell. Sir Henry Oxenden de Barham. Sir Anthony Vandyck. John Fym, M. P. for Tavistock. John Fox, the Martyrologist. Lewis Roberts, Mercat. Lond. 1637. John Goodwin, Presbyter. 1642. ,^»^ "William Bariff. 1643. '^'^ John Lilbume. 1641. Henry Burton, Rector of St. Matthew's, Friday-street. 1648. Nat. Witt, an idiot, with four verses. GLUME, J. G. This artist is said by Basan to have been a native of Germany, and a painter. He etched some plates of portraits and other subjects, from his own compositions. He flourished about the year 1760. GNOCCHI, PiETRO. This painter was a native of Milan, and, according to Morigia, flourished about the year 1595. He, was a scholar of Aureho Luini, and surpassed his instructor in-the elegance and taste of his figures. Lanzi conjectures that this artist may be the painter called Pietro Luini, as it was not unusual at that time for the disciple to adopt the name of his master. His best perform- ance is his picture of Christ giving the Keys to St. Peter, in the church of S. Vittore at Milan. GOAR, Van, an old German engraver on wood, who was employed chiefly by the booksellers. Al- though the subjects he was engaged in are little interesting in themselves, being principally frontis- pieces and book ornaments, yet his cuts are executed with so much spirit, and in so masterly a style, that his prints are much esteemed. He flourished about the year 1516. He usually marked his prints with the cipher ^Jv'- GOBBO, Pietro Paolo Bonzi, called II. The family name of this painter was Bonzi, but he is generally known by the name of il Gobbo. He is sometimes called il Gobbo da Cortona, from his having been born in that city in 1580, and some- times il Gobbo de Caracci, from his having, been brought up in their academy ; but he is more fre- quently styled il Gobbo da Erutti, from his singular excellence in painting fhiit. He first attempted • 287 gobb] A DICTIONARY OF [goet historical painting ; and has given proof of his in- competency in his picture of the Incredulity of St. Thomas, in the rotunda at Rome. He was not much more successful in landscapes, as appears in his pictures of that description in the Palazzo Maz- zerini at Monte Cavallo. But he surpassed every artist of his country in painting fruit. His arrange- ment of these objects is tasteful and picturesque ; and his colouring has all the voluptuous richness of nature, with a relief that is perfect deception. His works are the ornaments of several of the palaces at Rome, particularly the beautiful festoons in a ceil- ing in the Palazzo Mattel. His oil-pictures are not less admired than his works in fresco, and are found in the first collections. He died in 1640. GOBBO, Antonio. See Caeac/ci. GOBBQ, DEL. See Solari. GODDARD, J., an English engraver, who flour- ished about the year 1651. He engraved some fron- tispieces, maps, and other subjects, for the book- sellers. One of his best prints is the portrait of Martin Billingsley, a writing-master, in an oval border; dated 1651, with four English verses. It is prefixed to his copy-book. Mr. Strutt mentions a small upright print of a woman standing, imder which is inscribed Vetura, and another its com- panion. [GODEFROY, Jean, a French historical en- graver, was born at London, of French parents, in 1771, and was a scholar of J. P.^imon. He en- graved the works of the most eminent French paint- ers of his time ; particularly those of Gerard, Prud'hon, Karle Vemet, Isabey, and Chaudet. There are also ,:by him engi'avings after Raphael, Correggio, Poussin, and the Caracci. His last work of importance was the Congress at Vienna, after Isabey, which he executed in 1819. He was living in 1831.] ' GODBTZ, Anthony des, a French designer and engraver, who flourished about the year 1682. He published a large folio volume of plates, entitled, Zes Edifices Antiques de Rome, engraved from his designs ; and he etched the frontispiece himself. GODEWYCK, Margaret. According to Hou- braken, this ingenious lady was bom at Dort in 1627. She was a pupil of Nicholas Maas, and painted landscapes and flower-pieces, which were ad- mired in her tiipe. She possessed a remarkable ta- lent of executing similar subjects in needle- work. She died in 1677. ir GODFREY, G. This English artii«graved, among other things, some of the plates for Grose's Antiqvuties in 1785. GODFREY, Richard, an English engraver, who flourished about the year 1760. He engraved several views and antiquities, and some English portraits for the Antiquarian Repertory; among which are the following : Edward, the Black Prince. Thomas, Duke of Gloucester. Margaret, Countess of Salisbury. Sir Henry Unton, British Minister in France, Simon Forman, Astrologer. Sir Anthony Weldon, Historian. John Evans, Astrologer. Abraham Cowley, Poet. Kichard, son of Oliver Cromwell. GODPROY, Francis, a modem French en- graver, born at Rouen in 1748. He was brought up under P. le Bas, and has engraved several plates of landscapes and other subjects, in the neat style of his instructor. Among others, we have the follow- ing by him : 288 A pair of Landscapes, called Le Temph des Amours, and La Tour de deux Amans ; after Lantara. A View of the Village of Moutiers Travers ; after Cha- telet. Amusement of Brabant ; after Teniers. The Georgian Bath ; after L. de la Hyre. A pastoral Landscape ; after Casanova. A Landscape, with a 'Waterfall ; after le Prince. A Landscape ; after Claude Lorraine. GOEBOUW, [or GOBAU,] Anthony, a Flemish painter, born at Antwerp in 1625. His parents were opulent ; and after being taught the rudiments of the art, he was sent to Italy for improvement, and passed several years at Rome. On his return to Flanders he painted some historical subjects with considerable reputation; but his chief merit was in painting similar subjects to those by Teniers and Ostade, representing village festivals and merry- makings. His pictures of that description are de- servedly admired in his own country, and are placed in the best collections. [He also painted Italian sea-ports and market-places, with numerous figures, in the style of Lingelbach, which have great merit; and also fields of battle after the conflict, with sol- diers and camp-followers stripping the slain. His representations of such scenes are so true that they are horrible. It may also be suspected that some of the naked figures in K. du Jaidin's pictures are by him. He died in 1677.] GOEREE, J., a Dutch engraver, who resided at Amsterdam about the middle of the seventeenth century. He engraved a variety of frontispieces and other book plates, which are chiefly, if not en- tirely, from his own designs. Mr. Strutt miscalls this artist Goerce. GOES, Hugo Vander, an old Flemish painter, born at Bruges about the year 1405. He was a dis- ciple of John van Eyck, who instructed him in oil- painting. Van Mander describes several of the works of this ancient master, particularly a small picture, which served as an epitaph in the chapel of wouter Gaultier, in the church of St. James at Ghendt. It represented the Holy Family, in which the head of the Virgin was extremely beautiful for the time, and the whole was very highly wrought up. At Bruges there are some of his works, one of which is preserved with great veneration in the sa- cristy of the church of St. James, representing the taking down from the Cross. In the convent call- ed Sion, at Brussels, are two pictures by Vander Goes of the Resurrection and the Transfiguration, very highly flnishM. [There are great discrepancies among the several writers respecting the birth and death of this master. Some would place his birth in 1366, and his death in 1427; but this is evidently erroneous, as Waagen describes a picture, which he calls "a well-preserved one of this scholar of Van Eyck," with the date 1472. It is in Lord Shrewsbury's collection at Alton Tower. Lord Lindsay gives a critical description of an altar-piece by him, in the church of S. Egidio, which he paint- ed for the Portinari family. Kiigler mentions se- veral, but does not give any date. He says there are four small pictures by him, in the private collection of the king of Holland. Mr. C. J. Nieuwenhuys does not notice them as the work of Vander. Goes, in his excellent catalogue of that collection : it is probable that Kiigler alludes to the St. John, the Magdalene, St. Stephen, and St. Christopher, which are by John Hemling. Rathgeber gives a detailed account of his pictures. The probability is that he died in 1480.] GOETZ, Gottfried Bernard, a German paint- gold] PAINTERS AND ENGRAVERS. [qolt er and mezzotinto engraver, born at Kloster- Welch- rod, in Moravia, in 1708. He was instructed in painting by Eckstein, and afterwards was a scholar of John George BergmuUer, at Augsburg. His works, as a painter, are little known out of his own country ; but he has scraped some plates in mezzo- tinto, among which are the following : The Portrait of the Emperor Charles VII. ; after a pic- ture by himself. Bust of Louis XV. St. Amandus ; after J. G. Bergmuller. St. Walburg ; after the same. GOLD AR, John, an EngUsh engraver, who flour- ished about the year 1760. He engraved several humorous subjecte, after Collet and other masters ; among which is a set of four plates after Inigo Col- let, called Modern Love. He also eiiOTaved a print of Ships, after an engagement ; after Wright. GOLE, John, a Dutch engraver, born at Amster- dam about the year 1660. We have by him several prints, some of which are executed with the graver, and others in mezzotinto. The former are the pre- ferable performances. Among others, the following are by him : ENGRAVINGS. Charles XI. King of Sweden. 1685. The Duchess de la Valiere ; the same date. Mahomet IV., Emperor of the Turks. Kara Mustapha, Grand Visir. Abraham HeUenhrock, Minister of the Gospel. Nicholas ColTius, Pastor of the Walloon Church ; after B. Vaillant. MEZZOTINTO PORTRAITS. Charles III. King of Spain. Frederick, King of Poland. George Augustus, electoral Prince of Brunswick Lune- hourg. Charles, Landgrave of Hesse Cassel. Cornelius Tromp, Admiral of Holland. Balthasar Becker. SUBJECTS IN MEZZOTINTO. Feasants smoking ; after A. Ostade. Dutch Boors regaling ; after A. Brower. The Tooth-drawer ; after Teniers. The School-master ; after E. Hemskerk. Heraclitus ; after Cornelius Dtisart. [Nagler calls him Ja^iob, and gives an ample list of his worksj GOLTZ, or GOLTZIUS, Hubert. This eminent artist and learned antiquary was born at Venloo in 1520. He was the son of an obscure painter, who taught him the rudiments of design, and placed him under the tuition of Lambert Lombard of Liege. That painter had, during a long residence in Italy, made designs from the most celebrated remains of antiquity, which were given to Goltzius to copy. The constant study of these interesting objects ex- cited in him a strong inclination to contemplate the source from which his instructor had drawn such admirable materials, and he resolved to visit Rome, where he resided several years. On his return from Italy, he settled at "Bruges, where he published several works on antiquity, embellished with prints, in which he was assisted by Joseph Giethnghen, of Coiirtray, who executed the wooden cuts. Of his works as a painter little is known. Van Mander commends a set of pictures by Hubert Goltzius, re- presenting the history of the Golden Fleece, painted for the house of Austria. In 1563 he published his work, entitled C. Julius Ceesar, sive historic Impera- torum Ceesarum Romanorum, ex antiquis numismati- hus restitutes, liber primus, Huherto Goltzio, Herhipo- lita Vanloniano Atuitore et Scvlptore. Printed at Bruges, with forty-six copper-plates. In 1566 was pubushed another work, entitled Fastoa Magistu- um et Triumphoruin Somanorum ah Urbe condita ad Augusti ohitum, ex antiquis Monumentis restitutos, IFubertus Ooltzius Serbibolita Venlovianus dedicavit. Printed at Bruges, with two hundred and thirty-four plates and wooden cuts. He died at Bruges in 1583. GOLTZ, or GOLTZIUS, Henry. This dis- tinguished artist was born at Mulbrecht, in the duchy of Juliers, in 1558. His father was an emi- nent glass-painter, who instructed him in the first principles of the art ; and he was taught engraving by Theodore Cuernhert. His progress was such, that he soon surpassed his master, who employed him to engrave some plates, and he executed several for Phihp Galle. He afterwards travelled through Germany to Italy, where his studies were particu- larly directed to the works of Michael Angelo, Raf- faelle, and Polidoro da Caravaggio. A too vehement desire to imitate the sublime style of Buonaroti, led him frequently into an outrageous and extravagant design, which is not always compensated by the extraordinajy excellence of his graver. He was perfectly master of the anatomy of the human figure, and di-ew the extremities with the greatest precision. There is occasionally an appearance of affectation, and a desire to display the unrestrained energy of his graver. His compositions are often eccentric, and the attitudes and movement of his figures strained and unnatural; but these defects are greatly recompensed by the uncommon beauty and freedom of his execution. His style is some- ' times extremely neat and highly finished; at others; it is surprisingly bold, clear, and masterly. Nature seems to have endowed him with a faculty of ap- Eropriating his manner to the particular object he ad to represent. During his residence at Rome, he engraved several plates after Raffaelle, PoUdoro, and omers ; and on his return to Holland he settled at Haerlem, where he engraved several plates from the principal Flemish and Dutch masters. He imitated with the greatest success the styles of Al- bert Durer, Lucas of Leyden, and the other admired old masters, which he has proved by a .set of six large plates, called the Masterpieces of Goltzius, not because they are his best productions, but as showing how perfectly he could copy the particular mannei- of those artists whose works were held in higher estimation than his. Henry Goltzius had reached his forty-secoild year when he commenced painting. His first picture represented the Cruci- fixion, with the Virgin Mary and St. John, and it is commended by Van Mander for the excellence of the colouring, and the boldness of the design. Prom his having begun the practice of painting at so late a period of his hfe, his picttires cannot be supposed to be very numerous. Some of his works, in paint- ing, are in the Imperial collection at Vienna ; but he is much more distinguished as an engraver than a painter. His prints are very numerous, and they are highly esteemed by the inteUigent collector. They amount to more than five hundred plates. He frequently marked hi? prints with the cipher JQJ • The following list of his works comprises his prin- cipal plates, and their merit and variety will excuse our giving an ample detail of them. PORTRAITS. , Henry Goltzius; inscribed, H. Goltzius Sculptor et Pic- tor. Henry IV. King of France. 1592 ; oval ; very scarce. 289 golt] A DICTIONARY OF [gome Frederick II. King of Denmaa-k. 1588 ; oval. William, Prince of Orange, in Armour, with an emblem- atical border ; H. Goltziuiyfec. ; fine. Charlotte de Bourbon, Princess of Orange ; fine. Theodorus Cortihertius ad vivum d^nctits et aeri incisuSf ab H, Goltzius; very scarce. Gerbrand Adriaans Brederods ; with an oval border of laurels; scarce. Joannes Bollius, Mechliniensis pictor ; in an ornamented border, John Stradan, painter. Philip Galle, enraaver. ' Peter Forest, or Forestus, physician. 1586. Justus Lipsius ; inscribed, Morihvs antiquis. 1587. John Zurenus, holding a Book ; after M7 Hemskerk. M. de la Faille; inscribed. Leges tueri ; very highly finished. Madame de la Faille, with a Scull. 1589 ; the companion. Christopher Plautin, the printer. Frances D'Egmont, ivith her hand on a ScuU ; oval. Robert Dudley, Earl of Leicester. 1586; oval; fine and scarce. The portrait of S. Sovius, without his name ; inscribed, Ben£ agere et nil Hmere. ' 1583 ; scarce. VARIOUS SUBJECTS FROM HIS OWN DESIGNS. Judah and Thamar ; circular ; supposed to be one of his earliest plates. The Life and Passion of our Saviour, in twelve plates, executed in the style of Albert Durer; H. Goltz,feo. 1597. There is a set of copies after these, in a stiff, formal style. Christ and the Apostles, in fourteen plates. 1598. Six large plates, known by the name of his Masterpieces. They are executed in the style of each of the masters he wished to imitate, and are as follow : The Annunciation ; in the style of Raffaelle. The Visitation ; in imitation of Parmegiano. The Annunciation ; in the manner oiBassano. The Circumcision ; in the style of Albert Durer. The Adoration of the Magi ; in imitation of Lucas of Leyden. The Holy Family ; in the manner of F. Baroccio. The Nativity ; Jac. Mathan, exe. 1615 ; extremely scarce ; the plate is unfinished. The Adoration of the Magi ; scarce. The Murder of the Innocents ; C. Visscher, exc. ; very scarce ; the plate was not finished. The Repose in Egypt ; H. Goltzius, fee. 1589. The Woman of Samaria ; H. Goltzius, so. et exc. 1589. The Wise Men's Offering ; a curious composition ; fine and scarce. The infant Jesus holding a globe, with a glory of Angels ; , H. Goltz.fec. 1697. The Temptation of St. Anthony. A Female Saint, holding a book ; Mathan, exc. ; very scarce. Some parts of the plate are merely traced. A set of fifty-two plates for the Metamorphoses of Ovid ; J. C. de Visscher excudit. It is supposed that Golt- zius was greatly assisted by his scholars in these plates, A set df ten plates of Eight of the Heroes of ancient Rom£, with the introduction and conclusion; H. Goltz. 1586. Engraved in a free, bold style, with fine back- grounds. Venus recHning against a Tree, holding a Bunch of Grapes, whilst Cupid presents her a handful of Com ; inscribed, Sine Cerere et Baccho,friget Venus ; a cir- cular plate, of a most finished and beautiful execution. Three plates ; Bacchus, Venus, and Ceres ; dedicated to Cornelius van Haerlem. Three, of Juno, Minerva, and Venus ; ovals. 1596. Mars and Venus, 1585. Three ; Jupiter and Juno, Neptune and Amphitiite, and Pluto and Proserpine, Pygmalion and his Statue; inscribed, Seulpsit. — Marita est. 1593. Jo. Jansonius, sxc. Mercury and Argus ; a small plate, very scarce. Nine, of the Muses ; each with four verses ; dedicated to John Sadeler. 1592. Three, of the Graces. Thfe Three Fates ; in circular plates. The Apollo of Belvidere, with the Portrait of the De- signer, in half-length ; inscribed, Apollo Pythius, Stc. The Hercules Conunodus ; inscribed, Hercules AAEZI- KAKOS inscriptus, &c., with four Latin verses. 290 The Famesian Hercules; inscribed Hercules Victor, &c., with four Latin verses and two figures. The three last-mentioned prints, after the famous antique statues, are executed with sm-prising beauty and energy. Hercules holding his Club ; in the back-ground are re- presented his labours. 1589. In this plate Goltzius has overcharged the outline of the figm'e in the most barbarous manner, the parts are scattered, and the whole is without effect. The Judgment of Midas. 1590. The seven Cardinal Virtues ; Faith, Hope, Charity, Jus- tice, Prudence, Fortitude, and Temperance ; in seven plates. Three fine plates, of Diligence, Patience, and Wisdom ; personified by female figures. Labour and Diligence ; represented by a male and a fe- male figure. 1580 ; scarce. An emblematical subject of Christian Prudence, in a female figure, richly clothed ; inscribed, Astu serpentes, et simplicitate columbas : small circular, highly finish- ed and scarce. The Blind leading the Blind ; circular ; the same. The Chariot of War ; an, immense composition ; Henri- cus Goltzius, fecit. Joan. Galle, exc. ; very scarce. The Boy and Dog. The Boy is supposed to be the por- trait of the son of Theodore Frisius, a painter of Venice, to whom he dedicated the print. It is considered one of his finest plates. Corydon and Silvia ; a pastoral ; fine and scarce, A Mountainous Landscape, with the story of Dedalus and Icarus ; an etching. WOODEN CUTS AFTER HIS OWN DESIGNS, A Landscape, with a Cottage, and a Woman drawing Water from a Well, A Landscape on the sea-coast, with a large Rock, and a Herinit kneeling, A pastoral Landscape, with a^ Shepherd and Shepherdess. A Warrior, with a Helmet and a Spear ; half-length, Hercules slaying Caucus, A set of seven, of the Heathen Divinities ; fine. SUBJECTS AFTER VARIOUS ITALIAN MASTERS. St, Joachim ; after Raffaelle. The Triumph of Galatea ; after the same. Eight plates of the Heathen Divinities ; in niches ; after the paintings by Polidoro da Caravaggio, in the Qui- rinal. Two Sibyls ; after the same. The Last Supper ; after Paolo Veronese. 1686, The Marriage at Cana ; after G. Salviati ; in two sheets, St. Jerome in the Desert, in meditation ; after Palma ; fine. SUBJECTS AFTER VARIOUS FLEMISH AND GERMAN MASTERS. The Fall of Adam and Eve ; after B. Spranger. 1585. The dead Christ supported by an Angel ; after the same. The Banquet of the Gods on the Marriage of Cupid and Psyche ; in three sheets ; o/ifer B. Spranger.. The Venetian Ballr after Theodore Bernard; in two The Dragon devouringthe Companions of Cadmus ; after Cornelius van Haerlem. 1588. The dead Christ, with the Four Evangelists at the Tomb ; after A. Bloeklandt. [For a still more ample catalogue of his works, consult the industrious Nagler's Kunstler-Lexicon.] GOLTZIUS, Julius. This engraver was pro- bably of the same family as the two foregoing arl^ ists, and flourished about the year 1580. From the style of his plates, it is thought he was a pupil of the Galles. His drawing is incorrect, and his execution is tasteless and poor. The following are by him : The good and bad Shepherd; a set of middle-sized plates ; after Martin de Vos. Christ appearing to Magdalene ; after Fed. Zucc/iero. Part of the plates for a book, entitled Habitus Variorum Orbis Gentium ; by Joan. Jac. Boissa/rd. 1681. [GOMEZ, Juan, a Spanish historical painter in gome] PAINTERS AND ENGRAVERS. [goua the service of Philip II. in 1593. He painted the large picture of 'the Martyrdom of S. tfrsula and her companions, which was designed and traced by Pellegrino Tibaldi to supply the place of the same subject by L. Cambiasi, which had been removed to the old church of the Escurial. He also painted several subjects from the Life of S. Jerome. He re- stored the Annunciation, and the S. Jerome penitent, by P. Zucchero, which PhiUp had rejected, and ordered to be retouched. He died in 1597.] GOMEZ, Sebastiano, called El Mulato de MuEiLLO. This extraordinary personage was a Mulatta servant to the celebrated Murillo. Prom the opportunities he had of witnessing the exercise of the admirable talents of his master, he conceived an aifection for the art, and passed his leisure time in humble efforts to acquire some proficiency in it, and his endeavours were by no means fruitless. After the death of Murillo, in 1685, he painted some pictures for the churches and convents at Seville. In the portico of the qonvent of the Mercenarios Descalzos, there is a painting by him of the Virgin and infant Christ ; and at the Capuchins, our Saviour bound to the Pillar. There are several other works by him at Seville. GOMEZ, Vicente Salvador, a Spanish paint- er, born at Valencia about the year 1645. He was a scholar of Jacinto Geronimo de Espinosa, and discovered such extraordinary juvenile powers, that before he was fifteen years of age, he executed some considerable works in fresco, of subjects from the Life of St. Ignatius, which equally satisfied and surprised his employers. His talents were not con- fined to historical painting ; he was equally success- ful in landscapes, animals, and architectural views. He is said to have been the founder of an academy of artists at Valencia. [He was director in 1670, of the Academy of Valentian Artists, held in the convent of Saint Dominic in that city. He died about the end of the l7th century.] GONZALEZ. See Cocques. GONZALEZ, Bartolome, was born at Valla- dolid in 1564, but he visited Madrid when young, and became a scholar of Patricio Caxes. He painted history and portraits, and 'was employed by Phihp III. to paint the portraits of difierent branches of the Austrian family, for the palace of the Pardo. On the death of Castello he was made painter to the king. There are many of his works in the Escurial, at Valladolid, and at Burgos. Of his historical works, the principal are the angles in the church of the Augustines at Madrid; and an allegorical subject representing the Arts, in the royal collection. He died at Madrid in 1627. GONZALEZ DE Vega, Don Diego. This painter was born at Madrid in 1622, and was a scholar of Francisco Rici, whose style he followed. There are many of his works in the public edifices at Madrid, and some of his easel pictures in the private collections. In the cloister of the Francis- cans are several pictures by him of the Life and Passion of our Saviour ; and in the convent of the ReUgiosas Mercenarias, are some subjects from the Life of the VIm^. The works of this master are commended by Palomino for a grand style of design,, and an excellent colour. He died at Madrid in 1 697. GONZALEZ, Don Pedro Ruiz, was bom at Madrid in 1633, and was brought up in the school of Antonio Escalante. He did not, however, attach himself to the style of that master, preferring the bolder manner of Don Juan Carreiio. He painted several pictures for the public edifices at Madrid, n 1 which gained him great reputation, of which a par- ticular account is given by Palomino. His most admired works are his picture of the Nativity, in the church of San Justo at Madrid ; and the Death of St. Joseph, in the Lado de la Epistola. Palomi- no, perhaps with an excusable partiality for his compatriot, compares his picture of Christ before Pilate, to the works of Paolo Veronese; and his Entombing of our Saviour, to Titian. He died at Madrid in 1709. GONZALEZ, Juan Giacchinetti, called II Borgognone dalle Teste, a Spanish portrait painter, born at Madrid in 1630. It is not known by whom he was instructed, but by the evidence of his style, it is probable his best studies were from the works of Titian. He particularly excelled in portrait painting, and from his extraordinary talent in that branch, acquired the name of II Borgognone dalle Teste. About the middle of his life he \yent to Italy, and painted many portraits at Brescia and Bergamo, at which latter city he died in 1696. GOOL, John van, a Dutch painter and writer on art, who resided at Amsterdam about the year 1750. He painted landscapes, with cattle, in which he at- tempted to follow the fine style of Paul Potter, but it is a very humble imitation. His drawing of the animals is not very incorrect, and his pencilling is neat and clean ; but he is greatly deficient in the admirable expression of truth and nature, as well as in the spirited and exquisite touch, which distin- guish the works of his celebrated model. In 1751 and 1752, he published a continuation of the Lives of the Dutch Painters, from the period at which Houbraken left it, in two volumes octavo, with por- traits. [John Van Gool, the author of the Lives of the Dutch Painters, as a supplement to Hou- braken, was bom at the Hague in 1685; He was a scholar of Terwesten and Simon Vander Does. He painted landscapes and cattle, which are at- tractive in design and colour, but are not admissible into collections that can boast of Paul Potter, Berghem, or Karil du Jardin. In fact. Van Gool, for his peculiar manner, stands alone ; his pictures are objects of admiration for the uninitiated in art, but will never obtain the approbation of the in- structed. He died at the Hague in 1763.] GOTTI, ViNCENzio. This painter was a native of Bologna, and was a scholar of Denis Calvart at the time that Guido Reni studied under that master. When he was twenty years of age he went to Rome, in company with Guido, where he painted some pictures. He was invited to the court of Naples, where he passed the remainder of his hfe. This painter possessed so ready an invention, and such surprising facility, that Orlandi states, from a list of his works, found after his death, that he had painted no fewer than two hundred and eighteen pictures for public situations, in the different towns of the kingdom of Naples. He died in 1636. GOUAZ, Yves le, a French engraver, born at Brest in 1742. He went young to Paris, where he became a pupil of J. Aliamet ; and was afterwards instmcted by Nicholas Ozanne. We have by him a great many plates of views of the sea-ports of France, after the designs of Ozanne, and other subjects. Among which are the following : Three Views of the Ports of Toulon, Brest, and Kouen ; Nic, Ozmme, del. Yves le Gouaz, fee. The Port of Autibes ; the same inscription. A View of the Port and Gulf of Calvi, in Corsica ; after La Croix. A View of the Port of St. Lawrence ; after the same. 291 gova] A DICTIONARY OF A Sea-stomi; afte>' Bon. Peters. Two Views of the En-rirons of Caudebec, in Noi-mandy ; after Philip Haekert. [60VAERTS, Jean Baptiste, of Antwerp, paints ed figures, fruit, and flowers. There is a picture by him m the Musee, representing an assembly of the fraternity of Cross-bowmen. He died in 1746.] [GOUDA, Cornelius Van, was bom at Gouda in 1510, and was a scholar of Martin Heemskirk, whose manner he followed. He died in 1550.] GOUDT, Henry, Count de. This distinguished amateur artist was of a noble family of Holland, and a Count of the Palatinate. He was born at Utrecht in 1585. A passionate inclination for the art led him to an early application to drawing, and when he was young he went to Rome, in search of improvement. Arrived in that capital, he was one of the most assiduous students of his time, and daily frequented the academy, to design after the model. He contracted an intimacy with Adam Elsheimer ; and, as it is noticed in the Life of that painter, he became his most liberal benefactor. He purchased some of the most finished works by Elsheimer, which he has engraved in a style peculiar to him- self, which is perhaps better adapted to express the polished finishing and the admirable effect of chi- aro-scuro of the originals, than any other that could have been adopted. His plates are wrought en- tirely with the graver, and their extraordinary effect is produced, not in the usual mode of deepening and strengthening the stroke, but by delicately crossing and recrossing them several times in the shadows. Though his plates are finished with the most extra- ordinary precision, there appears a surprisingly free and dexterous handling of the graver. There is a fine expression in the heads, and his figures are correctly drawn. The plates of Count Goudt have been so judiciously described by Mr. Strutt, that it has been judged proper to quote that author pre- cisely on this occasion. The following are the seven prints by him, after Adam Elsheimer : Ceres drinking from a Pitcher. An old woman appears holding a candle at the door of a cottage, and a boy nak£d standing by her, is laughing and pointing at the goddess, for which contempt he was metamorphosed mto a frog. The powerful and striking effect of this engraTing cannot be properly described. The very deep shadows are perhaps rather too sudden upon the strong lights in some few instances; but in the fine im- pressions this is by no means so conspicuous as in those after the plate had been retouched. This print was well copied by Hollax, who, with the point only, has giren us all the effect, though not the neatness, of the ori- ginal. It is distinguished by the name of the Sorcery. The Flight into Egypt; a night scene, in which the moon and stars are introduced with great success. The Angel with Tobit ; who is drawing a iish by his side. The back-ground is a landscape ; the weeds in the fore- ground, and the branches of the trees in front, as well as the foliage and weeds hanging from them, are beau- tifully expressed. "He fails most in those parts where the graver alone is by no means equal to the under- taking, namely, the distant woods and assemblage of trees, which graduate one from the other, and require that freedom of determination which the point only can gire : when executed with the graver, they always ap- pear flat and heavy. The. Angel with Tobit crossing a stream of water; Tobit holds the fish under his arm. The back-ground is a landscape. Hollar has copied this print with much success. Baucis and Philemon entertaining Jupiter and Mercury ; a small plate, nearly square. Aurora remesenting the Dawn of Day ; a small land- scape. The effect is very beautiful. The Beheading of St. John in Prison ; a very small oval print, which is by far the scarcest. 292 [goye [GOVERT, , a painter of landscapes with humorous figm-es ; he lived at Amsterdam at the early part or middle of the 17th century.] [GOVERTZ, Theodore, a portrait painter of Utrecht, was the master of H. Verschuring and T. Camphuysen. He lived about the middle of the 17th century.] GOUPY, Joseph, a French painter and en- graver, born at Nevers in 1729. He came to England when he was young, where he resided the remainder of his life. He excelled in painting landscapes in water-colours, which he treated with great spirit and intelligence. His pictures in the style of Sal- vator Rosa have considerable merit. J. Goupy has etched several plates in a very spirited and masterly style, some of which are from his own designs. Among others, we have the following by him : Mutius ScsBvola burning his hand before Porsenna ; from his own design. Zeuxis painting Helen ; after Solimene. Diana hunting with her Nymphs ; after Rvbens. St. Philip baptizing the Eunuch ; after Salvator Rosa. St. John preaching in the Wilderness ; after Salvator Rosa. The Vocation of St. Andrew to the Apostleship, in a landscape ; after P. da Cortona. A grand Landscape, with the story of Pyramus and Thisbe ; after N. Poussin. , A View of Castel Gandolfo, and of the Campagna near Rome ; after Bolognese. A set of eight Landscapes ; after Sal. Rosa. He died in London in 1763. GOURAND. See Goyhand. GOURMONT, a French engraver, mentioned by Mr. Strutt, from his name being affixed to a por- trait of Charles', Duke of Bourbon. He is supposed to have worked chiefly for the decoration of books. GOUSBLOOM, an obscure Dutch engraver, by whom we have a portrait of Leonard Valider Goes. GOUWBN, G. Vander, a Dutch engraver, a native of Amsterdam, who flourished about the year 1716. We have an indifferent set of prints for the Bible, published in that city in 1720, after the designs of Picart and others. He also engraved some ornamental frontispieces, and other woAs, for the booksellers. GOYEN, John van. This painter was born at Leyden in 1596. His family was in easy circum- stances ; and his father, Joseph van Goyen, being a lover of the art, encouraged the propensity he dis- covered in his son, and placed him under the care of a landscape painter, named Schilperoot, with whom he passed some time. He afterwards became a scholar of John Nicolai, and ultimately studied under Esais Vandevelde, of Haerlem. His progress was extraordinary, and he acquired a faciUty of operation that has produced a greater number of pictures and drawings than any artist of his prolific, country. The pictures of Van Goyen represent" landscapes, and views in Holland of the banks of rivers, with boats, full of figures, very neatly drawn ; and in the distance he generally introduced a small town or village. His pencil is surprisingly light and spirited ; and though he appears to have been little attentive to depth and richness of colouring, his pictures please from his chai-ming facihty of touch. The works of this painter are extremely unequal; some of them are finished with care, and are held in considerable estimation ; but many of them are the productions of negUgence and haste, and are little more than sketches. We have a few small etchings of landscapes by Van Goyen, exe- cuted in a spirited and masterly style. He died at the Hague in 1656. goyr] PAINTERS AND ENGRAVERS. [gran GOYRAND, Claude, a French engi-aver, born at Sens about the year 1634. He resided some time at Rome, as appears from the inscription on one of his plates. We have by this artist a variety of neat and spirited etchings, after Callot, DeUu Bella, &c., of landscapes and views, of which the following are the principal : A set of twenty Landsciipes, &o. ; o/Jer Callot ; publish- ed by Israel, dedicated to M. de Crenan, A set of four Views ; the Castle of Bissetre, the Inralids, the Kuins of an old Tower, and the Fountain in the Garden of Tivoli. Four Landscapes ; after de la Bella. Eight Views in Pans and the environs ; after the same ; Goyrand, fecit ; Israel, exc. 1645. The Chapel of 8. Maria Maggiore at Home; after the same. A small Head, with an ornamental border; inscribed, CI, Goyrand Gall'- aculpsit Romce; worked with the graver. GOZZOLI, Bennozzo. This painter was bom at Florence in 1400. He was a disciple of Fra Giovaniu da Fiesole, called Angehco. His style, however, rather resembles that of Masaccio, whom he surpassed in the grandeur of his architecture, the beauty of his landscape, and in the tasteful ar- rangemeiit of his compositions. In the chapel of the Palazzo Riccardi at Florence are two pictures by Gozzoh, of th'S Nativity, and the Adoration of the Magi, in which he has introduced a profusion of gilding and embroidery, that is perhaps unex- ampled in fresco painting, and which false taste he had afterwards the judgment to relinquish. He resided the remainder of nis life at Pisa, where he executed several works in a superior style to that which he had exhibited at Florence, and in which he exploded the tinsel, gaudiness and minute orna- ments which load his earlier productions. His S. Tommaso d'Aquina in the dome, is highly com- mended by Vasari ; but above all, Lanzi extols his numerous pictures of Scriptural subjects in the Campo Santo, completed in two years. In these he shows a grandeur of composition, an ingenious va- riety in ms forms, a verity of individual representa- tion, -a clearness and brilliancy of colour, and. an affecting expression in the heads, that rank him superior to every artist of his time; perhaps.with the exception of Masaccio. Near to. these, his principal works, is erected his monument; raised by the city as a grateful tribute to his memory and his talents. He .died in 1478. [GRAAP, John, was bom at Vienna in 1680, and was a scholar of Van Alen. He painted fairs and market-places, horses, and other animals. His pictures are well grouped, and designed, and touched with spirit. He Was also a good landscape painter. He die4 at Vienna in 1734.] [GRAAP, or GRAVE, Joshua, a painter of landscapes and views of cities ; he also painted fortified places and encampments. He lived at the end of the 17th century, and was an officer in the service of Holland.] [GRAAF, or GRAVE, Timothy de, a landscape painter. Neither the date of his bu1;h or his death is recorded ; but he was the master qf Jacob Appel, at Amsterdam. The Sale Catalogues of Hoet and Terwesten mention many pictures of this aitist, particularly of landscapes aind views in the vicinity of Amsterdam.] GRAAT, Baeent, or Bernard, a Dutch painter, born at Amsterdam in 1628. Whilst he was very, young he was placed under the care of his uncle^si. reputable painter of landscapes and animals. His application to his studies was exemplary, and his progress was commensurate with his industry. The pictures of Peter de Laer, called Bamboccio, were then in the highest estimation, and he applied him- self to study and imitate the style of that master, in which he was so successful, that some of his pic- tures were mistaken for those of Bamboccio. The landscapes of Graat exhibit very pleasing scenery, and the figures and animals with which he embel- lished them are correctly drawn and touched with great spirit, particularly his sheep and goats, in which he' excelled. The success he met with in that branch of the art inspired him with the ambi- tion of distinguishing himself in the higher walk of historical painting, and he "was not unsuccessful in his attempt. To perfect himself in the design of the figure, he established a kind of school or academy in his house, where his contemporary art- ists and himself occupied themselves in drawing after the model. The Dutch biographers speak highly of his talents in historical paintmg, and par- ticularly commend a picture he painted for the Council-chamber at Amsterdam, representing Time discovering Truth. Another admired picture by him was David and Bathsheba. He also painted portraits with great success. He died at Amster- dam in 1709. [His cabinet pictures of interiors and conversations are of a very pleasing character ; the figures are well grouped, and selected from the better class of persons, whose habits may be considered as favourable specimens of the fashion of the times. His colouring is, in general, subdued in tone, but in perfect harmony with his subject.] GRAAW. See Grauw. GRADO, Francesco de, an ItaUan engraver, who resided chiefly at Naples, and flourished about 1690. He engraved the plates of the illustrious personages published at Naples in 1693, and ex- ecuted part of the portraits for Bellm-fs Lives of the Painters, &c. He worked with the graver in a formal, tasteless style. GRAFFICO, Camillo. This artist was a native of Friuli, and flemished about the year 1588. He engraved several plates of devout subjects, among wmch is one representing the Holy Fainily, in which the Virgin is suckling the infant Jesus, after BernarcRno Passari. He worked entirely with the graver, in a style resembling that of Cornelius Cort, but very inferior. GRAMMATICA, Antiveduto. According to Baglione, this painter was born at a village in the neighbourhood of Rome in 1571. He was a dis- ciple of Domenico Perugino, and proved a very reputable painter of history. Several of his works were placed with distinction in the public edifices at Rome. In the church of S. Maria in Trastevere, there is a picture of the Virgin and Infant in the clouds with Angels, and below S. Giacinto ; and in S. Giacomo degl IncurabUi, a fine picture of the Nativity, with the Adoration of the Shepherds. His talents had raised him to the presidency of the Academy of St. Luke, of which distinction he was deprived, on account of a nefarious attempt to dis- pose of a picture by Rafiaelle belonging to the Academy, and to substitute a copy he had made of it, in its place. He did not long survive this dis- grace, and died at Rome in 1626. [GRAN, Daniel, an historical painter, bom at Vienna in 1694, died at Polten in 1757- His pic- tures ornament several public buildings in his native ; city, and he was of some consideration in his time, but his works are not known out of Germany.] GRANACCI, Francesco. This painter was 293 gran] A DICTIONARY OP [geau born at Florence in 1477, and was a fellow student with Michael Angelo Buonaroti, under Domenico Ghirlandajo. He lived in habits of intimacy with that subUme artist, to whose friendship and counsel he was indebted for a great share of the abiUty he unquestionably possessed. He was the companion of his studies in the Medicean Museum, founded by Lorenzo de Medici, in the garden of S. Marco ; and had the advantage of studying from his cartoons, by which he aggrandized his style, and made rapid strides towards the great principles established oy Buonaroti. Of this he has given proof in his pic- ture of S. Zannobi and S. Francesco, with the Vir- gin and Infant in the Clouds ; but still more in his Assumption, in S. Pier. Maggiore, in which the figure of St. Thomas is entirely in the great gusto of Michael Angelo. He died in 1544. [A print in Bosini (plate 134) will give an idea of the grand style of the artist. The action, expression, and pose of the figures are noble and true.] GRAND, Le, a French engraver, who resided at Paris about the year 1750. He was chiefly em- ployed in vignettes and other decorations of books, many of which were after the designs of Gravelot, Eisen, and others. He engraved a set of plates for an edition of Ovid's Metamorphoses, pubhshed at Paris. We have also by him some large plates of ruins, neatly executed, but with little taste. GRANDHOMME, or GR ANTHOMME, James, a German engraver, born at Heidelberg, and flour- ished about the year 1600. He is supposed to have been a pupil of Theodore de Bry. We have several plates by him, engraved in a neat, stiff style, without taste. His best prints are his portraits, which pos- sess considerable merit. He worked entirely with the graver. He usually marked his plates with one of these ciphers, ^ or ffirTp. The following are his principal prints : The Portraits of the Doctors and Reformers of the > Church ; or, as they are styled, the Heresiarch ; after a painter whose imtiah are J. M. F. The infant Dauphin strangling a Serpent. 1601. Adam and Eve. The Portrait of Henry Smetius. The Death of Adonis. Venus and Adonis. The Murder of the Innocents. The Apostles; twelve small prints ; after his oum designs. The Rape of Helen ; copied from the print by Marc An- tomOf after Raff a(Me. GRANDI, Ercole, called Ercole da Feerara. This painter was born at Ferrara in 1491, and was a disciple of Lorenzo Costa, whom he surpassed, and was one of the most reputable artists of his time. In the church of S. Paolo at Ferrara, is a picture by him, representing St. Sebastian, St. Peter, and St. John Evangelist, painted in the style of Pietro Perugino, and in no way inferior to that master. His principal works were his fresco paintings of the Life of St. Peter, in the Garganelh chapel, in S. Pietro Martyre, at Bologna, which occupied him seven years, and have been demolished with the chapel. In S. Lucia at Ferrara, ispreserved a fine picture by E. Grandi, of the Holy Trinity. He died in 1531. [Three of the pictures painted in the Gar- faneUi chapel were jireserved when it was taken own, many years ago, and were placed in the Ta- nara palace ; these were afterwards brought to Eng- land by Mr. Edward Solly. They induce a very poor opinion of the painter.] [GRANET, FRAN901S Marius, a French paint- er of interiors, was born at Aix en Provence in 1774, 294 and received his first instructions from a painter of the name of Constantine in that city. He after- wards entered the school of David at Paris. He made his first exhibition of three interiors of sub- terraneous chapels in 1800; and continued to ex- hibit till 1829. His style is peculiar, and may be termed Dioramic painting in small ; the efiects are surprising. There is a fine specimen of his manner in the Royal Collection of England, which cost about £800 sterling. He was hving in 1833.] GRANGES, D. TJes, an obscure artist, mention- ed by Mr. Strutt as the engraver of some very in- different frontispieces and book-plates; among others, the ornamental title to a book, called Bethd, or a Fm-m far Families. 1634. GRAND. See Gandini. GRANVILLE, , an Enghsh engraver, who flourished about the year 1760. He engraved landscapes; among which we have some plates from the pictures of Thomas Smith of Derby. [GRASDORP, William, a painter of fi-uit and flowers, was a scholar of Ernst Stuven in 1710; he resided at Amsterdam. His pictures are held in great estimation, and are to be found in some of the finest private collections in Holland.] GRASSI, Giovanni Batista. This painter was a native of Udine, and flourished about the year 1568. According to Vasari, he was a disciple of Gio. Antonio Licinio, called II Pordenone; but Lanzi thinks it more probable that he was brought up in the school of Titian, to whose style his best works bear a strong resemblance. Such are his pictures in the cathedral at Gemona, representing the Annunciation, the Vision of Ezechiel, and Elijah taken up into Heaven. GRATELLA. See Filippi. GRATI, Giovanni Batista, was bom at Bologna in 1681, and was a scholar of Giovanni Giosefib dal Sole. He is commended by Crespi for the accuracy of his design and the elegance of his compositions. There are several of his pictures in the churches at Bologna, of which the most esteemed are the Virgin and Infant, with S. Francesco, S. Giuseppe, and S. Gaetano, with a glory of Angels, in S. Maria Inco- ronata ; and St. Anne teaching the Virgin to read, in S. Giacomo Maggiore. He died in 1/58. GRAVELOT, Henry, a French designer and engraver, who resided chiefly in England, whither he was invited in 1733, by Claude du Bosc, to assist him in the plates for the Religious Ceremonies, which he published in English, copied from Picart. He was an excellent draughtsman, and drew designs for ornaments, ancient buildings, monu- ments, &c., with great taste. He etched several plates for books ; among which were those for Sir Thomas Hanmer's edition of Shakspeare, some of which were from his own designs, and others after Francis Hayman. He also engraved the plates for Theobald's Shakspeare, from his own designs. His best plate is his large print of Kirkstall Abbey, which is a fine specimen of his abilities. He died at Paris in 1773. GRAUW, Henry, a Dutch painter of history, bom at Hoom, in North Holland, in 1627, and was successively the scholar of Peter Grebber and Jacob van Kampen the younger. On leaving those mas- ters, he was employed by Prince Maurice of Nas- sau, to paint four frescos in the cupola of the Palace in the Wood, which established his reputation as one of the most promising artists of his time. Am- bitious of improvement, and elated with the descrip- tion he had heard of the wonders of Italy, he re- gray] PAINTERS AND ENGRAVERS. [grep solved to visit that country, and in 1648 he embark- ed for Leghorn, and made the best of his way to Rome. The celebrated remains of antiquity, and the admirable productions of modem art, which presented themselves to his view on every side, as- tonished and dehghted him. For three years he was assiduously employed in designing, after the objects most worthy of his contemplation ; and he returned to Holland with an ample store of mate- rials for his future studies. On his establishing himself at Amsterdam, he was loaded with commis- sions, so anxious were his coxmtrymen to witness the improvement of a talent which had appeared to them so promising, nurtured and refined by the ad- vantages of travel. He painted for the family of Broncthorst a series of historical and fabulous sub- jects, of which two were particularly admired, repre- senting the Triumph of Julius CsEsar, and the Edu- cation of Bacchus. His compositions are grand and noble, his design is correct, evincing nothmg of the taste of his country, and he was an excellent co- lourist. He resided chiefly at Amsterdam and Utrecht, universally esteemed, and enriched by the exercise of his respectable talents. He died in 1682. [Balkema says in 1684.] GRAY, an English engraver, of little celebrity, by whom there is a set of plates of views, engraved for a work entitled Thirty different BraagUs of Guinea, by William Smith, Surveyor to the Royal African Company of England, &c. There is a frontispiece to the work, representing an Elephant, which is very freely etched, in the style of Hollar, very superior to the plates by Gray. GRAZIA, LioNARDo. See Pistoja. GRAZIANI, Ercole. This painter was born at Bologna in 1688, and was brought up in the school of Donato Creti, whose style he improved by a grander character of design, a more harmonious colouring, and a greater freedom of hand. His powers approximate to those of Marc Antonio Pran- ceschini and others, that issued from the school of Cignani. He was an artist of unusual assiduity, and painted a prodigious mmiber of pictures for the pubhc edifices at Bologna and Piacenza. The churches at Bologna abound with his works, of which the most esteemed is his celebrated picture of St. Peter consecrating S. ApolUnare amidst an as- semblage of the primitive Christians. The Cardinal Lambertini; on being made Pope, commissioned him to paint a duplicate of this fine picture for the church of S. ApolUnare at Rome. In the same church is his Baptism of Christ by St. John. In S. Bartolomeo di Reno, are two admired pictures by him of the Marriage of St. Catherine, and St. Anne teaching the Virgm to read. In la Purita, is the Ascension ; and m la Madonna delle Rondini, the ' Annunciation, one of his most celebrated works. He died in 1765. GRAZZINI, Giovanni Paolo, was a native of Ferrara, about the year 1570, and passed the first and greater part of his life in the business of a gold- smith. He had learned the rudiments of design, as was at that time usual with those of his profession, and hving in habits of intimacy vrith Carlo Bonone, the celebrity acquired by his friend prompted him to make an essay of his powers in painting, though he had already passed the prime of his life. His first public performance, which occupied him eight years, was a picture of S. Eligio, Bishop of Nojon, which Lanzi says was painted for the Scuola degli Orefici. Barotti, in his description of Ferrara, places it in the church of S. Ginliano, and adds. that Carlo Bonone embellished it with lour angels at the comers, in chiaro-scm-o, and that Scarselhno environed it with nine small pictures of the prin- cipal actions of the saint. He also painted several easel pictures, which were esteemed by his fellow citizens for their merit, and the singular story of the painter. He died in 1632. [GREBBER, Francois Pietersz de, was born at Haerlem in 1579; he was a scholar of Roland Savery, and painted both in large and small. He also made copies of his master's works and those of Breughel de Velours. He died in 1636.] GREBBER, Peter, a Dutch painter, born at Haerlem about the year 1590. He was the son of an obscure artist, named Francis Peter Grebber, who in- structed him in the elements of design ; but he after- wards became a scholar of Henry Goltzius. He paint- ed history and portraits ; and there is a grandeur in his style which partakes of that of his master. He chiefly painted easel pictures, of which there are many in the collections in Holland, particularly at Haer- lem. He had a sister, Maria Grebber, who excel- led in painting perspective and architectural views. By Peter Grebber we have a spirited etching, in the style of Rembrandt, of Christ and the Woman of Samaria. [Peter Grebber, according to Nagler and Balkema, was born in 1600. There are several other engravings by him, one of which is dated 1655; it is supposed that he died in the following year. Immerzeel calls him Pieter Franz de Grebber.] GRECCHI, Marc Antonio. This painter was a native of Siena, and flourished about the year 1634, as appears from a picture by him, mentioned by Lanzi, in a church at Foligno, representing the Holy Family, signed with his name, and the above date. It is painted in a chaste, expressive, and cor- rect style, resembUng rather the Bolognese taste of Tiarini, than any of the Sienese' painters, GRECHE, Domenicho delle, or JDomenico Teoscopoli, called il Greco. According to Palo- mino, this painter was a Greek, and a disciple of Titian, whom he accompanied to Madrid, whither he was invited by the Emperor Charles V. The works of this artist are almost entirely confined to Spain, where he passed the greatest part of his life. His best productions are those he painted in imitation of his master, though he occasionally attempted an originality of style, in which he was totally unsuc- cessful. When he depai-ts from the principles of Titian, he sinks into an extravagance of composi- tion, with so impoverished a mode, both of drawing and colouring, that he no longer appears the same painter. Such are his pictures in the convent of Donna Maria of Arragon at Madrid, and the Mar- tjrrdom of San Mauricio in the Escurial. Contrasted with these are his fine pictures in the cathedral at Toledo, particularly a grand composition of the partition of om- Saviour's Raiment before his Cruci- fixion, painted entirely in the style of Titian, and but little inferior. A very capital picture by this master is in the parochial church of San Thome at Toledo, representing the Burial of Don Gonzalo Ruiz, with St. Augustine and St. Stephen placing the Body in the Tomb, considered his most celebrat- ed work. Domenico delle Greche executed some fine wooden cuts, after the designs of Titian. Palomino states him to have died at Madrid in 1625, aged 77. GRECHETTO. See Castiglione. GREFP, Jerome, a German engraver, who was a native of Franckfort, and flourished about the year 1520. He is supposed to have been a pupil of Albert Durer; but mis conjecture probably arose 295 greet] A DICTIONARY OF [OREE from his having copied some of the wooden cuts of that artist with great exactness. We have by him the wooden cuts of the Apocalypse of St. John, copied from Albert Durer, the same size as the originals, very finely executed. He usually marked his prints with the cipher ■aflkf . [He is also called Jerome von Franchfort. He published some wood cuts in 1502.] GREEN, John, an English engraver, a native of Shropshire, who flourished about the year 1758. He was a pupil of J. Basire, and engraved several plates of landscapes and views, and a few portraits. He also executed the plates for Sorlase's Antiquities of Cornwall. He engi'aved the Almanacks of the ' University of Oxford for some time. Among other portraits, we have the following by him : Thomas Rowney, M. P. Thomas ShaiV, D. D. Master of Edmund Hall, Oxon. WilUam Derham, D. D. Canon of Windsor. GREEN, Valentine. This much respected and venerable artist has lately ended a long life, che- quered indeed by the vicissitudes of success and ad- -versity, but always distinguished by honourable feeling and an assiduous exercise of his eminent talents. Mr. Green was born in Warwickshire in 1739, and was intended by his father for the profes- sion of the law, for which purpose he was placed under a respectable practitioner at Eusham, in Worcestershire, with whom he passed two years; but having a taste for drawing, he abandoned his office, and, without his father's concurrence, became a pupil to an obscure line-engraver at Worcester. His progress in that branch of engraving not suc- ceeding to his wishes, he came to London in 1765, where he turned his thoughts to scraping in mezzo- tinto, and, without the aid of an instructor, arrived at a perfection which has seldom been equalled. Mr. Green participates with Mac Ardell and Earlom the merit of being the first artists who gave conse- quence and variety to the particular mode of en- graving to which they devoted themselves ; and it is due to Mr. Green to remark, that his celebrated prints of Hannibal and Regulus, after the pictures by Mr. West in the royal collection, were me first plates of equal magnitude and importance that had appeared. These were succeeded by several others of similar consideration, which will ever rank among the ablest and most energetic efforts of mezzotinto. This indefatigable artist, by his unremitting exer- tions during a period of upwards of forty years, has produced nearly four hundred plates, engraved from the most celebrated painters, ancient and modem. In 1789 Mr. Green obtained a patent from the Duke of Bavaria of the exclusive privilege of en- graving and publishing prints from the pictures in the Dusseldorf Gallery; and in the year 1795, had pubhshed twenty-two prints of that collection. The enterprise promised to remunerate him amply for so spirited an undertaking, but unfortunately, during the siege of that city by the French in 1798, the castle and gallery were laid in ruins, and a very valu- able property belonging to him was destroyed. Other speculations, flattering in their outset, were lost to him by the overwhelming eruption of the French Revolution, of which Mr. Green thus be- came one of the innumerable victims. In 1767 he was elected a member of the Incorporated Society of Artists of Great Britain ; and in 1774 one of the six associate engravers of the Royal Academy. On the foundation of the British Institution he was ap- 296 pointed Keeper; and it will be allowed that his zealous exertions to promote the purposes of the estabhshment, and the urbanity of his manners to the public and the artists, were exemplary. Mr. Green died in July, 1813. The merit of his works, and the importance of their subjects, will authorize our giving an ample list of them. PORTRAITS AFTER SIR JOSHUA REYNOLDS. The Portrait of Sir Joshua Koynolds. 1780 ; from the picture at the Royal Academy. The Duke of Bedford, Lord Henry and Lord William Russell, and Miss Vernon. 1778. Lord Dalkeith, son of the Duke of Buccleuoh. 1778. Maria Isabella, Duchess of Rutland. Emilia Maria, Countess of Salisbury. 1787- Anne, Viscountess Townshend. 1780. The three Lady Waldegraves. 1784. Lady Louisa Manners. 1769. Lady Elizabeth Cavendish. 1781. Louisa, Countess of Aylesford. 1783. Lady Elizabeth Delme. 1779. Lady Talbot. 1782. Lady Caroline Howard. 1782. Lady Georgina Spencer, Duchess of Devonshire. 1780. Lady Jane Halliday. 1779. Jane, Countess of Harrington, with her two Sons. 1780. PORTRAITS AFTER VARIOUS MASTERS. Charles Theodore, Elector of Bavaria ; after P. Battoni. Sir Thomas Wharton ; after Vandyc/c; for the Houghton Collection. Henry, Earl of Danby ; after the same; for the same. George, Marquis of Huntly ; after the same ; for the same. Richard Cuniberland, Esq. ; after Romney. 1771. Mrs. Yates, as the Tragic Muse ; a,fter the same. 1772. John Hamilton Mortimer, painter ; after a picture by Mr. Garrick and Mrs. Pritchard in Macbeth ; after Zof- fany. Mr. PoweU and Mr. Bensley in the characters of Kmg John and Hubert ; after Mortimer. HISTORICAL SUBJECTS, AFTER MR. WEST. The Stoning of Stephen ; very fine. 1776. The Raising of Lazarus. Christ calling to him the little Children. Peter denying Christ. Jacob blessing the Sons of Joseph. 1768. Daniel interpreting Balthasar's Dream. 1777- Nathan said unto David, " Thou art the mat),." 1784. St. Peter and St. Paul going to the Sepulchre. The three Marys at the Sepulchre. Alexander and his Physician. Regulus leaving Rome to return to Carthage. Hannibal vowing eternal hatred to the Romans. Mark Anthony's Oration on the Death of Caesar. Agrippina weeping over the Urn of Germanious. The Death of Epaminondas. The Death of the Chevalier Bayard. SUBJECTS AFTER VARIOUS MASTERS. The Annunciation ; after Fed. Baroccio. The Nativity ; after the same. The Virgin and Infant ; after Domeniehino. St. John with his Lamb ; after Mwillo. The Assumption of the Virgin ; after the same. The Entombing of Christ ; after L. Caracci. Time clipping the Wings of Love ; after Va/ndyck. Venus and Cupid ; after Ag. Caracci. The Descent from the Cross ; after Rtthens. The Visitation ; after the sarhe. The Presentation in the Temple ; after the same. GREENHILL, John, an English portrait paint- er, born at Salisbury in 1649. He was one of the ablest scholars of Sir Peter Lely, and before he was twenty copied Vandyck's picture of KiDigrew and his Dog so well, as to be mistaken for the original. His heads in crayons were much admired ; and he appears to have been more employed in that way than in oil. He would probably have reached an eminent rank in the art, but he fell a victim, in the prime of life, to an intemperate and dissolute course of life. He etched a portrait of his brother, Henry gree] PAINTERS AND ENGRAVERS. Greenhill, the mathematician, with a sphere. He died in 1676. GREENWOOD, John, an English engraver, who flourished about the year 1780. He scraped some plates of portraits and other subjects, and etched some landscapes. We have by him, among others, the following : PORTRAITS. Simon Fokke, Dutch engraver ; after J. Buys. John Wesley ; after N. Hone. George Whitefleld ; after the same. SUBJECTS AFTER VARIOUS MASTERS. Christ, with Nicodemns : after Rembrandt. Rembrandt's Father ; after the same. Christ among the Doctors ; after the same. An old Woman ; after Vanaen Eecklumt. The happy Family ; after Van Harp. The good Friends ; o/ier Teniers. A Dutch Woman, with a Parrot ; after G. Metsu. GREGORI, Caklo, an Italian engraver, born at Florence in 1719. He was instructed in engraving by Jacob Frey at Rome, and has executed seversfl plates, of which the principal are those after the painting by Bernardino Barbatelli, called Poccetti, in the chapel of S. Neri at Florence. He also en- graved several plates for the Museo Fiorentino ; as well as many after the pictures, &c. in the collection of the Marquis Gerini, and several portraits. Among others, we have the following by him : PORTRAITS. Francis Maiy, Grand Duke of Tuscany; after Canmiglia. Eleonora Yincentina, of Gonzaga, his spouse ; after the same. Sehastian BombelU ; after a picture by himself. SUBJECTS AFTER VARIOUS MASTERS. The Image of the Virgin ; after a design by Fratta. St. Catherine ; after Bartotozzi. Fourteen plates of the life of S. Neri ; after Bernardino Barbatelli, called Poccetti. The Marys at the Sepulchre ; after Raffaelle. [Nagler states that he died in 1759, and gives a good list of his works.] GREGORI, Ferdinando, was the son of the preceding artist, bom at Florence in 1743. After receiving some instruction in engraving from his father, he went to Paris, where he became a pupil of G. Wille. On his return to Florence, he engraved several plates, which possess considerable merit, of which the following are thej)rincipal: The Portrait of Carlo Gregori ; after his own design. The Virgin suckling the infant Jesus ; after C. Maratti. Venus sleeping ; after Guido. St. Sebastian ; hall-length ; after the same. Venus, with Cupid mounted on a Dolphin ; after Ca- sanova. Two Groups of Sculpture ; after Cellini. The Holy Family ; after A. del Sarto. The Stoning of Stephen ; after L. Cardi; fine. The Death of St. Louis Gonzaga ; after Cipriani. [According to Nagler he died in 1804. See Kunst- ler-Lexicon for a list of his works, and also for those of several others of the same name.] GREISCHER, M., a German engraver, men- tioned by Basan. He is said to have engraved several plates after various masters, one of which is a print of , The Virgin and infant Christ, with St. John ; after F. Baroccio. GRESSE, John Alexander. This artist was bom in London in 1741 ; his father was a native of RoUe, on the Lake of Geneva. He was first in- structed in the rudiments of design by Gerard Scotin, the engraver, but afterwards stuped some [OREU years under Cipriani, and also received some instrac- tion from F. Zuecherelh. He was one of the first students who attended the Duke of Richmond's gallery, and in a short time afterwards he entered the Academy in St. Martin's Lane. Though he possessed considerable talents, he was not sufiicient- ly assiduous in the prosecution of his studies, to distinguish himself in the higher branches of paint- ing J and as he inherited a small fortune at the death of his father, he relinquished the more arduous exercise of the profession, and became a drawing- master, in which pursuit he acquired great reputa^ tion and extensive employment ; and in 1777 was appointed drawing-master to the princesses. In tine early part of his life he etched the figures, &c. for Kennedy's Account of the Statues and Pictures at the Earl of Pembroke's, at Wilton, in which he had the advantage of being assisted by Bartolozzi. There are also four other etchings by this artist, one representing a View of Framlingham Castle, Suf- folk ; another, a Cottage ; a St. Jerome, mentioned by Basan in his Catalogue ; and a Satyr sleeping, after Nicholas Poussin. These prints are now scarce. He died in 1794. GREUT, Joseph. This artist is noticed by Mr. Strutt as the engraver of a portrait of Hieronymus Bartholomeus. It is neatly executed with the graver. He is supposed to have been of Germany, and to have worked chiefly for books. GREUTER, Matthew, a German engraver, bom at Strasburg about the year 1564. After re- ceiving some instruction in his native city, he travelled to Italy, by way of Lyons and Avignon, in both which cities he was some time employed. He resided chiefly at Rome, where he engraved several plates, executed in a very neat style, though his design is generally incorrect. Some of his plates are wrought entirely with the graver, and the others are etched, and finished with the graver, in a slight- er style. He sometimes signed his prints with his name at length, and sometimes with the cipher /^n ♦ '^^^ following are his principal works : Pope Sistus V. with an ornamental border. Cardinal Seraphinus Oliverius Razzalius. The Virgin seated, with the infant Jesus and St. John ; after F. Baroccio. Mary Magdalene sitting, in a landscape, holding a Book, leaning Tier hand on a ScuU ; cfter Gaetano. 1584. Venus standing on a Globe, with figures emblematical of Virtue and Vice ; very neatly finished with the graver ; marked M. Greuter, vnv. et fecit. 1587. The Fall of Phaeto^ ; after W. Dietertin. 1588. The Burning of Troy ; after Lanfranco. The grand Cavalcade of the Emperor Charles V. ; en- graved conjointly with Lucas Vosterman. A set of small plates of Insects ; etched in a style like that of Gaywood. [FiissU says he died at Rome in 1638, in his 72nd year. BruUiot misquotes Fiissli in his Dictionary of Monograms, with respect to the date of Greuter's birth, and founds an argument on his own mistake. Nagler gives a good list of his works.] GREUTER, John Frederick, was the son of the preceding artist, born at Rome about the year 1600, and was instructed by his father. We have by him a variety of plates executed with the graver, in a clear, neat style. He engraved the plates for the Mora of P. Ferrari. Among others, the fol- lowing are by him : The Portrait of Gio. BatistaMarino ; after J. Fouet. Hercules in the Garden of the Hesperides ; after P. da Cortona. 297 GREU] A DICTIONARY OF [grip Marc Antonio Collona carried in triumph by Sea Gods ; after the same. The Forge of Vulcan ; after Lanfraneo. The Hesperides arriving in the Port of Naples, with their Fruit, borne by Britons ; after the same. Apollo and the Muses ; after A. Camassei. The Virgin and Infant,' with St. Francis kneeling ; after his own design. The Death of fet. Cecilia ; after Domenichino. An emblematical subject of the Growth of Christianity ; (Mer Romanelli. A Battle ; after A. Tempesta. [He died in 1660. For a copious list of his works see Nagler.] [GREUZE, Jean Baptiste, was bom at Tour- nus, or Tonneins, in'1726, and died at Paris in 1805. His works are well known by the engravings of them by several eminent Trench artists, and are not uncommon in England. His style is eminently French, and he may be considered as one of their best colourists ; a quality in his pictures that can be recommended for imitation. He was a great man- nerist, and, therefore, easily copied; many dupli- cates, as they are called, exist of heads of young persons ascribed to Greuze. It is the manner only that they possess ; they want the mind and spirit of the master. They are generally overcharged, or have an affected freedom of pencilUng ; in the latter case they are termed his unfinished pictures, of which it is said that he left a great number. His larger compositions are sometimes defective in arrangement, though the story is generally well told ; and his representation of the passions often borders on caricature. The costume is frequently unfavour- able, and renders that which was intended to be pathetic, ludicrous ; but still there is strong sen- timental expression. The heads of young girls are the most pleasing of his works, especially when he paints them as nature formed them, with the un- tutored simplicity and innocence of infancy, before they are spoilt by education, and tricked out vnth the dress and airs of coquettes. His pictures are highly prized by his countrymen, and no less so by English amateurs ; enormous prices have been ^ven for them in public sales. There is a good specimen in the National Gallery, bequeathed by the late Richard Simmons, Esq. Among the best may be reckoned the pictures named " La Confidence," « L'Aveugle trompe," " Le Pere de Famille," " L'Ac- cordee'de Village," in the Louvre, "La petite Fille et le Chien," which was sold in London in 1832, for £703 10s. ; " Le priere du Matin," in the choice collection of Monsieur Waldo, and " La Latiere," in that of Baron Rothschild, at Paris. It is to be regretted that an artist so capable of exciting agree- able sensations by the expressions of youthful inno- cence, should ever have debased his pencil by pro- ducing subjects for the gratification of the sensual- ist, or make vice look amiable in beautiful foi-ms seduced from the paths of virtue, or alluring by the meretricious glances of assumed simplicity.] GRIBELIN, Simon, a French engraver, bom at Blois in 1661, and was instructed in engraving at Paris. He came to England in 1680; but it was above twenty years before he was noticed. The first work that raised his reputation was a plate he copied from Gerard Edelinck's fine print of the Tent of Darius, after Le Brun. This vfas followed by a set of the Cartoons. They had some success, being the first complete set of them that had ap- peared ; but they were on too small a scale for the grandeur of the subjects, and the contracted powers of GribeUn, both in execution and drawing, were 298 extremely inadequate to express the sublimity of Raffaelle. He afterwards pubUshed several plates after some pictures in the Royal Collection ; but his prints give no idea of the style of the masters he engraved from. They are at best but neat memo- randa. He also engraved some portraits, and a variety of other subjects. The following are his principal prints : PORTRAITS. William III. ; after Fowler. Mary, his Queen : after the same. WUliam, Duke of Gloucester ; after Kneller. Queen Anne. Frederick, Prince of Wales. George GranTille, Lord Lansdowne. James Butler, Duke of Ormond ; after Dahl. 1713. Thomas Herbert, Earl of Pembroke. The Duke ofSchomberg. The Earl of Shaftesbury ; after Closterman ; aiExed to the Characteristics. Sir 'WiUiam Dawes, Archbishop of Tork ; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Cartoons ; seven small plates ; after Raffaelle. On the title is the portrait of Queen Anne, and the repre- sentation of the apartment in which the paintings then hung. The Apotheosis, of James I. ; after the ceiling at White- hall, by Rvbens ; in three plates. Hercules between Virtue and Vice ; after P. Mat/ieis. The Adoration of the Shepherds ; after Palma. Esther before Ahasuerus ; after Tintoretto. Apollo and the Muses ; after the sam^. The Birth of Jupiter ; after Giidio Romano. S. Gribelin, junior, died in London in 1733. [GRIFF, or rather GRYEFF, Anthony, a painter of wooded landscapes with dead ^ame, dogs, and accessories of the chase. His pictures are small, but painted with spirit and well coloured, though somewhat too sombre. He lived about the middle of the 17th century, but there are no par- ticulars of him recorded. His pictures are well known in England, and are frequent in sales.] GRIFFIER, John. This painter was bom at Amsterdam in 1645, and was first placed under a flower-painter ; but his taste leading him to land- scape, Jne became a scholar of Rmand Rogman, whose works were then highly esteemed. He pre- ferred, however, the brighter and more agreeable style of Ruysdael and Lmgelbach, and he studied , their pictures more than those of his master. In a short time he became a very pleasing painter of landscapes and views of the Rhine, in which he particularly excelled. J. Grifliier came to England soon after the fire of London, where his pictures were much admired, and he met with great encouragement. His favour- ite subjects were views of the Thames ; and that he might consult nature more intimately, he purchased a yacht, embarked his family and his pencils, and passed his whole time on the river between Wind- sor, Greenwich, and Gravesend. After staying here many years, he sailed in his own yacht for Rotterdam, but was shipwrecked, and lost the pro- duce of his industry in England. In hopes of re- pairing his fortune he returned to this country, where he died in 1718, aged 73. He etched some plates of birds and animals, after the drawings of Barlow. They are executed with great freedom and spirit, and the animals are finely drawn. [Balkema, Nagler, and BniUiot, place his birth in 1656; the last says he was living in 1720. If he ever imitated the styles of Ruysdael and Lingelbach, or copied the works of Rembrandt, Teniers, and Poelemburg, as some writers assert, they must be deceptions indeed. It is more Ukely that he studied grif] PAINTERS AND ENGBAVERS. [grim the landscapes and style of Herman Zachtleven, as is apparent in the works of both father and son.] GRIFFIER, Robert, was the son of the fore- going artist, born in London in 1688, and was in- structed in the art by his father. His pictures, like those of the early works of John Griffier, represent views of the Rhine, with boats and figures, very neatly painted, and agreeably coloured. They are highly esteemed in Holland, where he chiefly resid- ed, particularly at Amsterdam. [He died in 1750.] GRIGNON, James, a French engraver, who flourished about the year 1680. The best of his works are his portraits, some of which possess great merit. They are executed entirely with the graver, in a neat, clear style. In his plates of historical subjects he is less successful, as his drawing is very incoiTect, and his management of the li^ts and shadows heavy, and without efiect, particularly in his plates after Caracci and Poussin. He engraved some of the plates for a work entitled Les Tableaux de la Penitence ,■ after the designs of Chaveau. We have also the following portraits by him : Francis Maria Khima ; an ecclesiastic. Peter Barbareau, Doctor in Theology ; after Champagny. Jacqnes Caur de St. Fargeau ; J. Grignon, Jean Bureau, Mayor of Bordeaux ; J. Grignon, so. GRIGNON, Charles. It is probable that he was a relative of the preceding artist. He was born in France about the year 1710, and was established in London in 1750. He engraved several plates in a masterly style ; some of which were executed in conjunction with his contemporaries. Among his earliest works were several of the plates for the celebrated anatomical work oiAWinvs, pubUshedby Knapton in 1757. He handled the graver in a clear, bold manner, and executed with the point with great neatness and facility. He engraved some of the plates of the Antique Statues, after the designs of Dalton, as weU as for the tapestries of the Vatican, published in 1753. We have also by him the following prints : A View taken &om the Star and Garter at Richmond ; ajier Heckel. Two perspective Views of the Foundling Hospital ; after VaUe. Four plates of the Election ; after Hogarth ; engraved conjointly with Le Cave and AveKne. Garrick, in the character of Richard III. ; W. Hogarth and Ch. Grignon, soul. 174d. Phryne and the Philosopher Zenocratcs ; after Sal. Rosa. GRIMALDI, Giovanni Francesco, called il BoLOGNESE. This eminent painter was bom at Bologna in 1606, and was a relation and a disciple of the Caracci. In that celebrated academy he be- came a skilful and correct designer of the figure, though his inchnation led him to landscape paint- ing. In that branch of the art he followed the great style of Annibale ; and having acquired no mean degree of ability in their school, he went to Rome, where, by copying and studying the fine objects with which he was smTounded, he soon rose to distinction, and was taken into the protection of Innocent X., who employed him in the Vatican, and in his gallery at Monte CavaUo. These com- missions were . accomplished so much to the satis- faction of his Holiness, that the Prince Pamphilo, nephew to the Pope, engaged him in several works for his villa of Bel Respiro, which he embellished with some admirable landscapes with figures, in the style of the Caracci. His reputation reached Paris, whither he was invited by Cardinal Mazarine, and was employed by Louis XIV. in the palace of the Louvre, who rewarded him vrith his accustomed munificence. On his return to Rome, after the death of his protector. Innocent X., he was equally patronized by his successors, Alexander VII. and Clement IX., and was one of the most employed and successful artists of his time. He was twice ap- pointed chief of the Academy of St. Luke. The landscapes of II Bolognese are of grand and select scenery ; his pencil is light and flowing, his fohage admirable, and his colouring is fresh and agreeable,- though occasionally too green. He is inferior to Annibale Caracci and Domenichino in the choice of his forms, in his aerial tint, and in the energy of handling. An instance of the most interesting be- nevolence is recorded of this artist, which it is gratifying to commemorate. A Sicilian nobleman, who had been obliged to fly from Messina during the troubles in that country, had taken refuge at Rome, with his daughter, and was reduced to a state of the greatest indigence and distress. Their wretched habitation happened to be precisely oppo- site to the residence of Grimaldi, and it was not long before he became acquainted with their story and their deplorable situation. Desirous of aflfording relief, without wounding the feeUngs of the illustri- ous sufierers, he approached their door under the darkness of evening, and knocking gently, as- soon as it was opened threw in a purse of money, and re- tired undiscovered. This humane stratagem had been repeated more than once, when the SicUian, resolved to find out his mysterious benefactor, con- cealed himself near the door, and on his approach rushed into his armS and fell at his feet, expressing his gratitude and admiration. Grimaldi brought the strangers to his house, and lived in the closest friendship with them till his death. We have a considerEible number of etchings by this able artist, executed with great freedom, taste, and spirit. Some of them are from his own designs, and others . after Titian and the Caracci. Among others are the following: A set of four small Landscapes. ' A grand Landscape, with Buildings, and in the fore- ground Figures at play ; Gio. Fran. Grimaldi Bolog- nese, inv. etfee. A grand Landscape, with Buildings and Fishermen ; same mark. A Landscape, with the Baptism of Christ. A Landscape, with Ruins and Figures ; Fr. Grimaldi Bolognese, fee. A mountainous Landscape, with Figures ; no mark. Two upright Landscapes ; after An. Caracci. A set of four Landscapes ; after the same. [He left a great number of drawings with the pen, some of which have been engraved by Bartolozzi.] G. P. Grimaldi died in 1680. [There is some doubt respecting the exact year of his death. Those who wish to know more of his etchings will do well to consult Bartsch or Nagler.] GRIMALDI, Alessandro, was the son and scholar of the pueceding artist, and painted land- scapes in the style of ms father, though very in- ferior to him. There is a spirited etching by him of the Brazen Serpent, sigaeA Alex. Grimaldi, inv. et fee. GRIMANI, . See Jacobs. GRIMMER, Jacob. This painter was bom at Antwerp in 1510, and was for some time a disciple of Matthew Cock; and afterwards studied under Christian Queburg. He was a reputable landscape painter, and was received into the academy at Ant- werp in 1546. His pictures are generally embel- lished with buildings and ruins, in which he ex- celled; and his pencil is neat and 'flowing. The works of this artist are little known out of his own 299 GSIS] A DICTIONARY OF [ouch country. [Balkema writes. his name Jacques 6rim- maar, and says that he was an excellent landscape painter, and also of views of cities and villages. His distances and skies are admirable for colour and lightness of handling.] GRISONI, Giuseppe, was bom at Florence about the year 1700, and was a scholar of Tom- maso Redi. The rising merit of the disciple is said to have occasioned so much jealousy and uneasiness in the master, that it shortened his life. He painted history and portraits ; but particularly excelled in the latter, of which his own portrait, in the gallery at Florence, is a fine specimen. He died in 1769. GROENSVELT, John, a Dutch engraver, bom at the Hague about the year 1650. He etched several views and landscapes, after Berghem, Van Goyen, Lingelbach, and others ; and engraved some historical subjects and portraits. The following are his principal, prints : The Portrait of Dorothy, Countess of Sunderland ; after A Girl, with a Cat; after Ab. Bloemart. A Man sleeping on a Barrel. The Adoration of the Magi ; after P. Veronese ; J. Gro- ensvelt, fee. Christ before Pilate ; after A. ScMavone ; J. Groensvelt, fee. A set of six Landscapes ; after Berghem. A set of four Landscapes ; after the same ; Berghem^ del. Groensvelt, fee. Cle. de Jonghe, exe. ; fine. GRDNIGIUS, Gerard, an engraver, mentioned by Mr. Strutt as having etched ten plates, emblem- atical of the life of man, from ten to a hundred years. The drawing is incorrect, and the outline hard ; but they are not devoid of merit. They are marked Ger. Gronigius, inv. faciebat. GROSNIER, Mademoiselle, a French lady, mentioned by Basan as the engraver of several plates, after various masters; but he has not speci- fied any of them. [GRUNEWALD,Mathias, was born at Asehaf- fenburg about the year 1450, according to some virriters, or in 1480, according to others. He has been considered, in a measure, as the rival of Albert Durer; but his works, preserved at Munich and Mayence, do not support the title. Fiiessli says he died in 1510; if so, the first date is probably right.] 6RUNWALD, Hans, a German engraver, by whom we have some plates, indifierently copied, after Albert Durer ; among which is the Virgin and Child, a small upright plate ; and a Woman and a Satyr, with another Woman striking at her, and a Man warding ofi' the blow, a middle-sized upright plate, copied the reverse way from Albert Durer, but not correctly. There are also some wooden cuts by this artist; among which is a Landscape, with a rock and a view of the sea. He usually marked his prints with the cipher ^m^. [Hans was the bro- ther of Mathias Griinewald.] GUALDORP, Geldorp Gortzius, called, a Flemish painter, bom at Louvain in 1553. After' learning the rudiments of the art in his native city, when he was seventeen years of age he went to Antwerp, where he became a disciple of Francis Franck ; and on the death of that master he passed into the school of Francis Pourbus. Under that able master he became one of the most reputable artists of his time, particularly in portraits, in which he was greatly employed. His talents were not, how- ever, confined to portraits : he painted several his- torical subjects for the Duke de Terra Nova at Cologne. Among his best works are the Four ' 300 Evangelists, which have been finely engraved by Crispin de Passe. He died in 1618. [Balkema says he died at Cologne in 1611. He names him Oehdorf] GUARANA, GiACOMO, an Italian painter and engraver, born at Venice in 1716. He first studied under Sebastiano Eicci, but was afterwards a scholar of Giovanni Batista Tiepolo. There are several of his pictures in the churches at Venice, and in the Palazzo Rezzonico. He etched some large fabulous subjects after his own designs. GUARDI, Francesco. This painter was born at Venice in 1712. He was a scholar of Canaletto, and, hke his instructor, excelled in painting archi- tectural views of Venice. Though inferior to Canaletto in the exactness of his perspective, and the masterly conduct of the light and shadow, his works, perhaps from the nature of the subjects they painted, bear so near a resemblance to those of his master, that they are frequently mistaken for them. He died in 1793. [An accurate observer can hardly mistake the works of Guardi for those of Canaletto. The light, spirited manner and pencilling of Guardi are far superior to the mechanical execution of the other. It is true that his pictures are not so laboured as those of Canaletto, nor do they yet ob- tain so large a price in the market; but they exhibit more of the spirit of a real artist, who observes and paints from nature, than of the artisan who works with the assistance of the Camera lucida.] GUCHT, Michael vandeb, a Flemish engraver, born at Antwerp in 1660, and was a pupil of one of the Boutats. It is not ascertained at what time he came to England, but he met with considerable en- couragement. He was employed in several portraits and other subjects for the booksellers, and engraved many of the portraits for Clarendon's history. He also executed many plates of anatomical figures, and a large print of the Royal Navy, after Baston. The following portraits are also by him : Queen Elizabeth ; tfter Sir Anthony More. William III. and Mary his Queen. Queen Anne ; four plates. George II. ; two plates. Edmund GrindaU, Archbishop of Canterbury. Lord Astley. James Butler, Duke of Ormond. Edward Montague, Earl of Manchester. Sir Josiah Child ; after Riley. J. Savage, prefixed to his History of Germany ; after Foster; fine. James Drake, M. D. ; after the same. James Stanley, Earl of Derby ; ajfter Winstanley. George Granville, Lord Lansdowne. Francis Atterbury, Bishop of Rochester ; after Kneller. William ConCTeve, poet ; cfter the same. Simon Patrick ; Bishop of Chichester ; iMer the same. Thomas Sprat, Bishop of B,oche8ter ; after LeVu. Offspring Blackall, Bishop of Exeter ; after M.Dahl. William Beveridge, Bishop of St. Asaph ; after Ferrers. Joseph Addison, poet ; after Sneller. Thomas Betterton, actor ; after tlie same. There are several other portraits by this artist. Michael Vandergucht was the instmctor of the in- genious and industrious George Vertue. He died in 1725. GUCHT, Gerard vander, was the son and the pupil of the preceding artist, and was principally employed by the booksellers. • We have by liim, among others, the following portraits : James II. and Maria his Queen. John TiUotson, Archbishop of Canterbury ; after Kneller. Matthew Wren, Bishop of Hereford. The Countess of Clarendon. John Milton, poet ; three plates. John Dryden, poet ; after Kneller. guch] PAINTERS AND ENGRAVERS. [guek John Hughes, poet ; after the same. John Phinps, poet ; after the same. John Barber, Aldennan of London ; after Dandridge. John Allen, D. M. Colley Gibber, poet and actor ; after Van Loo. Charles Jervas, painter. GUCHT, JohnVander, was the younger son of Michael Vander Gucht, and was instructed in en- graving by his father. He also received some in- struction in drawing from Louis Cheron, and com- pleted his studies at the academy by designing from the model. He engraved six academical figures, from the drawings of Cheron, which were much ad- mired; and was employed by William Cheselden, the surgeon, to engrave the plates for his Osteology, for which he commends him highly in his preface to that work. He also had a share in the plates after Sir James ThornhiU's Cupola of St. Paul's. There is a print by him of Tancred and Erminia ; after N. Poussin. We have also by him the follow- ing portraits : John Ker, of Kerslaud ; affixed to his Memoirs ; The Virgin and Infant, with St. Catherine and other Saints ; after Ciro Ferri. St. Philip Nerikneeling before the Virgin ; after the same. Coriolanns refusing to see the Roman Ambassadors; after the saTne. The Grrecian Philosophers in Conference; after ij^- manelli. 313 haye] A DICTIONARY OP [hkck. [HAYE, Reynier de la, a Dutch painter of scenes of private life, attempted in the manner of Terbm-g and of Metsu ; but his style is not so large nor so light, his colouring is not so vigorous, and his chiaro-scuro defective. He lived about 1670.] HAYLS, John. This English portrait painter lived in the reign of Charles II., and, according to Lord Orford, possessed an extraordinary talent for copying the pictures of Vandyck, and v^as a rival of Sir Peter Lely. At Woburn are some portraits of the illustrious house of Russell, painted by Hayls. He also painted the portrait of the father of Secre- tary Pepys, and another of Thomas Platman, the poet and painter. He died in 1679. HAYM, NicoLO Francesco, an Italian engrav- er, who resided in London in the year 1719, vifhen he etched the plates for a work he published, en- titled Tesoro Britannico. HAYMAN, Francis, an English painter, bom in Devonshire in 1708. He was a scholar of Robert Brown, and leaving that master, was much employed in making designs for the booksellers. As a painter, he is principally known for the pictures he painted for Vauxhall, which are considered the best of his works. He died in 1776. He etched a few small plates, one of which represents Falstaff seated upon a drum. [He was one of the first members of the Royal Academy, and was librarian at the time of his death.] HA YNSWORTH, William, an indiflferent Eng- lish engraver, who lived towards the end of the seventeenth century. We have by him a portrait of Richard Cromwell. He also copied the print by Jerom David of Oeffroy le Orandent le Lusignmi, in a dark, stiff style. HEAD, Guy. This artist was a native of Car- lisle, and the son of a house painter in that city. He was instructed in the elements of design, and at an early age gave so much promise of future emi- nence in the art, that he obtained the patronage of a gentleman, who enabled him to visit Italy. He appears to have formed an idea, that the best method of study was the constant employment in copying the works of the old masters ; a servile drudgery, by which none of the higher excellencies of the art can ever be acquired. On the subject of this erroneous method of proceeding. Sir Joshua Reynolds thus expresses himself in one of his ad- mirable discourses : " I consider general copying as a delusive kind of industry ; the student satisfies himself with the appearance of doing something ; he falls into the dangerous habit of imitating with- out selecting, and of labouring without any de- terminate object; as it requires no effort of the mind, he sleeps over his work ; and those powers of invention and composition which ought particularly to be called out and put in action, lie torpid, and lose their energy, for want of exercise." He painted some original pictures, which are not without merit, though they are rather dry in the outline and tame in the execution. His copies of the most celebrated pictures of the Italian and Flemish masters are very numerous. He died in the early part of the year 1801. [HEAPHY, Thomas, was brought up as an en- graver, but soon devoted himself to painting in water colours. In the earlier part of his career he enjoyed more patronage than any other artist of the day, in his department. His " Fish-markets " caused a great sensation'; and his scenes of low life found ardent admirers among the connoisseurs in vulgarity. The artist became disgusted with his 314 own productions, and turned from the purlieus of St. Giles to the more refined precincts of St. James. He painted portraits of Queen Caroline, the Prin- cess Charlotte, Prince Leopold, the Duke of Well- ington and about fifty field-officers, in one piece ; the print of the last is well known. In 1831 he visit- ed Italy, and made many copies of celebrated works of art, which are said to be admirable. Heaphy was undoubtedly a man of talent. He studied nature, and his works possess much simplicity and truth, dehcacy of colouring, and appropriate ex- Eression. His reputation would have been greater ad he been less versatile. He did not confine him- self to painting ; he was equally expert at quaiTying for stone, constructing a pleasure-boat, building a house, devising an improved axle, or laying down a railway. He was an intractable man : he was always opposed to the Academy ; he was one of the earliest members of the old Water-colour Society, but soon seceded from it; after lending a willing hand to the Society of British Artists, of which he was the first president, he almost immediately with- drew from the connexion. He died in 1835.] [HEARNE, Thomas. This excellent artist was bofn in 1744, at Brinkworth, near Malmsbury, in Wiltshire. He came to London very early, and was articled to the celebrated engraver, Willialn WooUett, with whom he continued for six years, and assisted him in many of his works. He did not long continue the practice of engraving ; for at the expiration of his term with Woollett, he went as draughtsman with Lord Lavington, who was ap- pointed Governor of the Leeward Islands, and remained nearly five years in the West Indies. On his return to England his fondness for antiquity led him to the study of Gothic architecture, combined with landscape, and in 1778 he engaged with Byrne in that valuable work, " The Antiquities of Great Britain," for which he made the whole of the draw- ings.. He also made drawings for other pubUcar tions : but. it is in private collections that his works are chiefly to be found ; and though, from the care and fidelity with which they are executed, they are not numerous, they are eminently distinguished for some of the best qualities of the art. He seldom at- tempted the bolder effects of nature ; but for truth, a chaste and mild tone of colouring, and an admirable Judgment in the arrangement of the whole, they have seldom been surpassed. He may be styled the father of all that is good in the art of painting landscape in water colours, which is peculiar to England. His works in pencil are a matchless combination of accuracy and tasteful execution. He died in 1817.] [HEATH, James, an eminent English engrav- er, bom in 1 765. His works are numerous, and his earlier productions, which are much esteemed, are to be found, as illustrations, in various pubUoar tions by the booksellers. His larger plates are the Death of Major Pierson, after Singleton ; the Dead Soldier, after Wright; the Riots in 1780; the Death of Nelson, after West; and Scenes from Shakspeare, after Smirke and Peters. He also assisted in completing the Canterbury Pilgrims, after Stothard.] HECK, John van. This painter was born at Quaremonde, near Oudenarde, in Flanders, about the year 1625. In the early part of his Ufe he visited Italy, and resided some years at Rome, where he was patronized by the Duke of Bracciano. He painted small landscapes with figures, representing views of the environs of Rome, neatly Mawn, and heck] PAINTERS AND ENGRAVERS. [heer highly finished. He also excelled in painting flow- ers and fruit, vases of gold and silver, with figures of bronze and marble. His pictures of those sub- jects were in high estimation at Rome, where he met with great encouragement. In 1660 he re- turned to Flanders, where his works were equally esteemed. We have several etchings by this artist, executed in a free, spirited style, from his own de- signs, particularly a set of twelve plates of animals, dated 1656. [Died about 1670.] HECK, Nicholas vander, was bom at the Hague about the year 1580, and was a scholar of John Naeghel. He painted history and landscapes, but excelled particularly in the latter. Of his his- torical works, the most considerable are three large Eictures in the town-house at Alkmaer, which are ighly commended by HoubraJcen and Weyermans. In one, he has represented the Decollation of a Magistrate, for an act of oppression towards a pea- sant ; the second is the terrible Justice of Cambyses ; and the third, the Judgment of Solomon. His compositions are copious and ingenious, his pencil- ing bold and firm ; and there is a fine effect of the chiaro-scuro in his pictures. He w£is one of the founders of an academy at Alkmaer, in the year 1631. [He died in 1638.] HECK, Martin Hemskirk vander, was the son of the preceding artist, and received his instruc- tion from his father. He painted landscapes, with ruins, in the dark style of Roland Rogman, but never rose above mediocrity. HECKELL, G. van, a Dutch painter, who flour- ished about the year 1660. He is not mentioned by any of the biographers of the artists of his country, but, from the style and character of his pictures, it is probable that he was a scholar of Gerard Douw. He painted similar subjects to those of that admired artist, and his works, though not equal to the extra- ordinary productions of Douw, are very highly finished, and briUiantly coloured; the masses of light and shadow are managed with great ability. HECKENAVER, Leonard, a German engraver, bom at Augsbourg about the year 1640. He en- graved several of me plates for the Academia Artis PietoricB, by Sandrart, published 1683. His plates are worked chiefly with the graver, in a formal, heavy style. Among other prints by him is a Holy Family; after Pietro Liheri, dated 1675. HECKINS, Abraham. This artist is supposed by Mr. Strutt to have been a goldsmith. He en- graved a set of ornaments for goldsmiths and jewel- lers, executed in a neat style. They are signed Abraham Ileckins, inv. et Ceelatar. 1634. HECQUET, Robert, a French engraver, bom at A bbeviUe about the year 1 730. He resided several years at Paris, but was not very eminent in the art. We have by him an upright plate of a Woman Bathing; after Nicholas Poussin. He also engraved fom: small plates, copied from the large prints of the Labours of Hercules, by Rousselet, after Guido. [HEDA, GuiLLAUME Klaasz, a painter of still- life, insects, flowers, and fruit, in the manner of David de Heem, was born at Haerlem in 1594. His pictures were formerly in much esteem, as it is recorded in Hoet's Catalogue that one sold at Dort, in 1708, for 105 florins, a large price at that time. He lived to a good old age, as Jacob De Bray paint- ed his portrait in 1678, when he was in his eighty- fourth year.] HEEDE, WiLtiAM VAN. This painter was bom at Fumes, in Flanders, in 1660. It is not said un- der whom he studied ; but he travelled, when young, through France to Italy, where he resided a con- siderable time, and left many proofs of his abiUty as an historical painter at Rome, Naples, and Venice. On his return to Flanders, he was invited by the emperor to the court of Vienna, where he orna- mented the imperial palace with several of his works. He did not reside long in his native town, as the only picture by him at Fumes is an altar- piece in the church of St. Walboiirg, representing the Martyrdom of a Saint. It is finely composed, correctly drawn, and the colouring is rich and har- monious. It bears a great resemblance to the style of Gerard Lairesse. He died in 1728. [His works are better known and more esteemed in foreign countries than in his own.] HEEDE, Vigor van, was the younger brother of the preceding artist, born at Fumes in 1661. He accompanied him to Italy, where he did not remain long, but returned to Flanders, and painted history with some reputation, but was very inferior to his brother. He died in 1708. [It is also said that he distinguished himself as a painter of still-life.] [HEEM, David de, born at Utrecht in 1570, was an excellent painter of fruit, flowers, gold, silver, and crystal vessels, and other objects of still- Ufe. He was the father of John David de Heem, and dealers, and possessors of his pictures, delight in placing his works to the son's account. There is a group of flowers by him in the Museum at Brus- sels. He died in 1632.] [HEEM, John de, a son of David, was bom in 1603. He was instructed by his father, whose man- ner he followed very exactly. There is a picture of still-hfe by him in the Museum at Amsterdam. He died in 1650.] HEEM, John David de. This artist was bom at Utrecht in 1600. He was the son of a flower painter, by whom he was instructed, and whom he soon greatly surpassed. The pictures by de Heem represent fruit, flowers, vases, and ornaments of gold and silver, musical instruments, and similar objects of still-life ; and it is impossible to render subjects of that description more interesting than he has done, by the ingenious and picturesque arrange- ment of his compositions, the correct delineation of every object, the beauty of his colouring, and the delicate pohsh of his finishing. His pencil is sweet and tender, yet decided ; and he was a perfect mas- ter of the chiaro-scuro. He particularly excelled in imitating the transparent clearness of glass and crystal, which he was fond of introducing into his pictures, and \?hich he has represented with a verity that is perfect deception. The pictures of John David de Heem were so superior to those of every artist that had preceded him, in similar subjects, that his works were anxiously sought after by the most distinguished persons of his, time, and were purchased at large prices. They are still held in high estimation. During the troubles which took place in Holland in 1671, he was obliged to leave Utrecht, and he took refuge at Antwerp, where he died in 1674. HEEM, Cornelius de, was the son and scholar of the foregoing artist, born at Utrecht in 1623. Cornelius painted similar subjects to those of his father, and though his pictures are well coloured and highly finished, they are infinitely inferior to the admirable productions of John David de Heem. [HEEMS, N. VAN, of Rotterdam, made admirable copies of the pictures of the Chevalier and Peter Vander Werf.] HEERE, Lucas de. This painter was bom at 315 heer] A DICTIONARY OP [hein Ghentjin 1534, of a family distinguished in the arts. His father was an eminent sciflptor and archi- tect, and his mother painted miniature with such diminutive neatness, that she represented a land- scape, with a windmill and figures, a cart and a horse, in so small a space, that a grain of corn would have covered the whole performance. His father instructed him in the first principles of de- sign, and being obliged, in the pursuit of his pro- fession, to visit, frequently, Namur and Dinant, he was accompanied by Lucas, who designed the csis- tles, ruins, and other objects worthy of notice, which they met with on their journey. He was afterwards placed under the tuition of Francis Floiis, and made so rapid a progress, that in a short time he made several designs for tapestry, and for the gleiss-paint- ers, which passed for nis master's. After studying three years under F. Floris, he visited France, where he was for some time engaged by the' Queen and Queen-mother, in making designs for tapestry at Fontainbleau. On his return to Ghent, he was employed in some works for the public edifices. In the church of St. John, he painted a picture of the Resurrecti(5n, and on the folding-doors, Christ with the Disciples at Emmaus, and his Apparition in the Garden; and in St. Peter's, is an altar-piece by him, representing the Descent of the Holy Ghost, and on the shutters, the Last Supper. He was also much employed in portraits, in which he particularly ex- celled. Lucas de Heere visited England in the reign of Queen Elizabeth, but it is not known in what year. Several of his portraits of the Queen and the nobility are mentioned in the Anecdotes. The most remarkable is a picture at Kensington, representing Queen Elizabeth, richly dressed, with her crown, sceptre, and globe, coming out of a palace, with two female attendants. Juno, Venus, and Minerva seem flying before her; Juno drops her sceptre and Venus her roses ; Cupid flings away his bow and arrows, and clings to his mother. On the old frame remain the following lines, probably written by himself, as he was a poet as well as a painter : Juno potens sceptris, et mentis acumine Pallas, Et roseo Veneris fulget in ore decor ; Adfiiit Elisabeth ; Juno perculsa refugit ; Obstupuit Pallas, enibuitque Venus. If his colouring was as glowing as his flattery, he was probably the favourite painter of her Majesty. Lucas de Heere returned to Flanders, and died at Ghent in 1584. [Lucas de Heere must have vi- sited England before the reign of Elizabeth, as there is a beautifully executed portrait of her sister Mary by him. It is in the possession of the Eev. Heneage Finch.] [HEERSCHOP, Henry. The only record of this painter is on his portrait, painted in 1649, when he was in his twenty-second year, where it is said that he was a pupil of Rembrandt. There is a pic- ture by, him in the collection at Cassel ; it represents a soldier and a female playing at Cards.] HEFELE, . According to Lord Orford, this painter was a native of Germany, and came to England as a soldier in King William's Dutch troops; he obtained his discharge, and remained here several years. He painted landscapes, flowers, and msects, neatly, in water colours, but without much knowledge of the chiaro-scuro. [HEGRET, Theodore, a landscape and histo- rical painter, born at Malines in 1643. He was a scholar of C. Beerings. There are pictures by him 316 in some of the churches and convents of his native city.] HEIL, Daniel van. This painter was born at Brussels in 1604; It is not known under whom he studied, but he had acquired considerable reputation as a landscape painter, when he changed the sub- jects of his pictures for conflagrations and towns on fire, which he represented with surprising effect, and a brilliancy of colour well suited to the subjects he painted. He had a lively and spirited touch, and was well acquainted with the principles of the chiaro-scuro. He occasionally painted winter-pieces, which were also admired. Houbraken speaks highly of two pictures by Van Heil, representing the Burn- ing of Sodom, and the Destruction of Troy. [Ac- cording to Balkema, he died in 1662.] HEIL, John Baptist, was the younger brother of the preceding artist, born at Brussels in 1609. He painted history and portraits, and was employ- ed for some of the churches in his native city. His chief merit was in portraits, of which there are many in the Low Countries, painted in a firm, free style, and finely coloured. [He was living in 1661.] HEIL, Leo van. This artist was the youngest of the brothers Van Heil. He is more known as an architect than a painter. He etched for his amusement a plate of a Dance of Flemish Villagers; after Rubens. [His name was Leonard, or Leone, and his birth is placed in 1603 by some writers, and in 1 605 by others. He painted architecture, flowers, and insects.] HBINCE, Zachary, a French engraver, who flourished about the year 1690. Conjointly with Francis Bignon, lie engraved a set of portraits of persons of France, after the pictures by Simon Vouet, in the Palais Royal. They are large prints, with ornamental borders, in which are introduced small historical subjects, etched in a spirited style. The heads are executed with the graver, in a neat manner, but without taste. They were published in 1790. [HEINS, HEINSIUS, or ENS, Gioseffo, the son of Gioseffo, a copyist, who was employed by Rodolph I. to make copies of the works of the old masters, flourished about 1660, and was a painter of subjects which the Italians style Capricci. He ac- quired celebrity in Venice by some highly imagina- tive pictures, partaking of the style of Salvator Rosa, Civetta, Carpioni, and the devilry of Breu- ghel de I'Enfer. 'Tney represent allegorical fictions, in which are introduced sphinxes, chimera, and monsters in grotesque shape. In such a career did he arrive at the honour of being made a chevalier of the order of the Cross by Urban VIII. Subse- quently, however, he applied himself, with more judgment, to the study of truth, and left behind him, in Venice, several altar-pieces, one of which, adorning the church of Ognissanti, is extremely beautiful. Some of his pictures have been brought to England, and have been puzzles, both as regard- ed the subjects and master.] HEINS, , a German painter and engraver, who came to England, and resided at Norwich, about the year 1740. He painted the portraits of several members of the corporation, some of which he engraved in mezzotinto, in a formal, poor style. One of his best prints is Thomas Gooch, Bishop of Norwich, half-length, signed Heim, pinx. et fecit. HEINS, J., was the son of the preceding artist, bom at Norwich about the year 1740. His father placed him as an apprentice to a stuff" manufacturer; hein] PAINTERS AND ENGRAVERS. [helm but, without his parent's approbation, he became a painter of portraits, both in oil and in miniature. He succeeded better in engraving. His plates are executed in a style resembling that of Worlidge, by scratching with the dry poyit, without the help of aquafortis. He made the drawings of the views and monuments for Bentham's History of Ely. Of his engravings, Mr. Strutt mentions a plate of a Cat with Kittens ; after Collet ; and the portraits of Mr. Grosse and his Wife. He died at Chelsea of a de- cline, about the year 1770. HEINS, W. C. This artist was probably of Germany, and flourished about the year 1640. He engraved several plates of portraits ; among which, the most considerable are those he executed for Bats- sard's Bibliotheca Chalcographica. HEINTZ, Joseph. This painter was a native of Berne, in Switzerland, but the time of his birth is not known, nor is it mentioned by whom he was instructed. He is said, however, to have been a respectable painter of history ; and was invited to Prague by the Emperor Rodolphus II., who favour- ed him with his protection, and sent him to Italy for improvement. He applied himself particularly to the study of the works of Coreggio, at Parma, whose style he imitated with some success ; and on his return to Germany painted several pictures, which gained him reputation. Among his best works are, Jupiter and Leda, the Rape of Proser- pine, and Diana and Acteon. HEINZELMAN, . See Hainzelman. HEISS, Chkistopher Elias, a German painter and engraver in mezzotinto, born at Memmingen, in Suabia, about the year 1670. He was one of the first of the German artists that practised mez- zotinto engraving, on any considerable scale; and though his plates are scraped in a dark, heavy style, and his drawing indifferent, his prints are not with- out merit, considering the period at which they were executed. He engraved several very large plates, of which some are upwards of three feet high, and more than two feet wide. The following are his principal plates : PORTRAITS. Petrus Alexiewitz, Czar, et Magn. Dux Mosooviae. Fridericus August. Rex Polon. et Elect. Saxon. ; after Hoyer. SUBJECTS AFTER VARIOUS MASTERS. St. Paul and St. Anthony, the fii-st Hermits. Christ praying on the Mount ; a large plate ; after C. Maratti. The Virgin and Infant, on a glohe ; the same. The Adoration of the Shepherds ; lie same. The Annimciatiou ; after J. G. BergrmtUer. HEKEL, Augustine, a German engraver, bom at Augsbourg about the year 1690. He was the son of a chaser on gold and silver, and followed that profession with success. He came to England, and was considered the first artisan, in that line, of his time. He drew views in water colours, some of which were engraved by Bowles and Sayer. He etched eight small plates of Richmond, and its en- virons ;. a Horse, after Wootton ; and a Book of Flowers. He had a sister who engraved, in a neat style, some plates for Kilian's Bible. [HELLE, Isaac del, a Spanish painter who flourished about 1568. ' He painted for the cathedral at Toledo, a capital picture of St. Nicasius, which Pons mistook for the work of Berruguette, a proof of its merits. It is said that he was a disciple of M. Angelo ; of this there is no certainty, but it appears that he studied his manner. There are no records of his birth or death yet discovered.] HELMAN, Isidore Stanislaus, a modern French engraver, born at Lisle in 1743. He was a pupil of J. P. le Bas, and has engraved several plates in the neat, finished style of his instructor. Among others, we have the following prints by him ; Joseph and Potiphar's Wife ; after Lamgrenie. Susanna and the Elders ; after the same. The Death of Cleopatra ; after the same. The Useless Precaution ; after le Prince. The Useless Lesson ; after the same. The French Quack-Doctor ; aftar Bertaux. The German Quaok-Dootor ; after the same. The Temple of the Sibyl at TivoU ; after Robert HELMBRECKER, Theodore. This eminent painter was born at Haerlem in 1624. He was the son of an organist, who destined him to the study of music, but his disposition evidently leading him to painting, he was placed under the tuition of Peter Grebber, at the time that Sir Peter Lely was a scholar of that master. On the death of his in- structor, he travelled to Venice, and on his arrival was patronized and employed by the Senator Lore- dano, for whom he painted several pictures, which were greatly admired. The celebrity of his talent reached Rome, and he soon after visited that city, where he was immediately taken into the protection of the Cardinal de Medici. He afterwards visited Florence and Naples. After a residence of several years in Italy, he was desirous of returning to his native country, and of exhibiting his powers, such as they had become, from the advantages of travel, and the study of the best models. He was not dis- appointed in his hopes of a favourable reception from his countrymen. He was loaded with com- missions, which he found it difiicult to keep pace with. This flattering encouragement could not, however, detain him in Holland, his desire of re- visiting Rome prevailed, and he returned to Italy. On his arrival at Rome he was employed by the Jesuits two years, for whom he painted some of his finest pictures. The style of Helmbrecker is ex- cellent. He sometimes painted subjects as large as life; but he is more successful in his easel pictures, representing markets, fairs, public places, and views m Rome, with groups of poor, to whom the monks are distributing alms or food. His pic- tures of that description are admirably composed ; his figures designed with elegance and taste, with the most expressive character ; his touch is broad and free, and his colouring clear and harmonious. He sometimes resembles Bamboccio in the subjects and tone of his pictures, but they are designed and painted in a greater style. This estimable painter died at Rome in 1694. [HELMONT, Lucas Gassel van, born at Brus- sels in 1480, is mentioned as a landscape painter whose works are very rare. He died in 1528.] HELMONT, Matthew van, was a native of Brussels, about the year 1650. It is not known by whom he was instructed; but he excelled in painting fairs and Italian markets, with shops of confectionery, vegetables, &c., in a style that makes it probable that he had visited Italy. He resided some time at Paris, where his works were admired by Louis XIV., for whom he painted some of his best pictures. [He was a scholar of D. Teniers, and painted pictures, if not in imitation, at least analogous to those of that master. He died in 1719.] HELMONT, Segres James van. This painter was the son and scholar of the foregoing artist, born 317 IIF.LS] A DICTIONARY OP [hemm at Antwerp in 1683. Although he had the mis- fortune to lose his father when he was very young, It does not appear that he received the instruction of any other master, but improved himself by study- ing the best models, and consulting nature in every thmg. Van Helmont painted history with great reputation ; his compositions are grand and copious, his design correct, and his colouring chaste and pure. His principal works are in the churches at Brussels, where they hold a respectable rank among the able artists of the Flemish school. In the church of Mary Magdalene, is a fine picture of the Martyrdom of St. Barbara, designed and painted in the style of Vandyck. In the church of St. Michael, is the Triumph of David : and at the Car- melites, one of his most esteemed works, represent- ing Elijah sacrificing before the Priests of Baal. He died in 1726. HELST, Bartholomew vander, a very emi- nent portrait painter, born at Haerlem in 1613. The Dutch biographers do not inform us by whom he was instructed, but he is deservedly considered as one of the ablest artists of his country. That his talents were of no ordinary cast may be pre- sumed, from Sir Joshua Reynolds's description of his celebrated picture in the Stadthouse at Amster- dam. " The best picture in this house," says that judicious critic, " is painted by Vanderhelst. It re- presents a company of trained bands, about thirty figures, whole length, among which the Spanish ambassador is introduced, shaking hands with one of the principal figures. This is perhaps the first picture of portraits in the world ; comprehending more of those qualities which make a perfect por- trait, than any other I have seen : they are correctly drawn, both heads and figures, and well coloured, and have gre9,t variety of action, characters, and countenances ; and those so lively and truly express- ing what they are about, that the spectator has nothing to wish for." [Vander Heist occasionally painted historical subjects, but~he is superior in por- traits. He died at Amsterdam in 1670.] HEMMELINCK, John. This painter was born at Damme, a small town near Bruges, about the year 1450. He lived soon after the time of John van Eyck, the supposed discoverer of oil-painting, as some of his works are dated 1479. It is not mentioned by whom he was instructed, but Van. Mander reports, that being of a very dissolute cha- racter, he was reduced to the necessity of engaging as a private soldier, and, falling sick, was received as a patient into the hospital of St. John at Bruges. Sickness and solitude is the season of reflection; and it was during a tedious confinement that Hem- melinck beheld, in a proper view, the depravity of his conduct, and the degradation of his talent. He was no sooner in a state of convalescence, than he made known to the brotherhood of the hospital his profession, and offered to paint a picture for their chapel, as a testimony of his gratitude. He accord- ingly painted an altar-piece, with two folding-doors ; in the centre picture he has represented the Na- tivity, with the Adoration of the Shepherds ; on one of the shutters, a group of angels adoring the infant Jesus in the cradle j and on the other, the Present- ation in the Temple. The picture bears the inscrip- tion. Opus Jbhannis Memmelinch m.cccc.lxxix. This extraordinary performance is preserved in the chapel of the hospital, with great care and vener- ation. It is impossible to conceive any thing more beautifully or more delicately coloured than this surprising picture i the figures are grouped with an 318 , order and intelligence httle known in that early pe- riod ; and some of the heads bear a character and expression very superior to the artists of his time. In the chapel of St. Julian was formerly a picture by Hemmelinck, representing St. Christopher carry- ing the infant Jesus across a River, with St. Bene- dict and St. Giles; it was considered an object worthy of French spoliation, and is now in the gal- lery of the Louvre. [The preceding short and unsatisfactory notice, shows how little was known of John Hemling when the first edition of this Dictionary was published. Since that time discoveries respecting him have been made, that not only throw considerable hght on his real works, but on those of several contem- porary artists, whose names had almost sunk into oblivion, and whose pictures had been apportioned, according to the will of the possessor or the confi- dence of self-styled connoisseurs, to masters who had the good fortune to be historically recorded. Although the recent discoveries, as they may be termed, of several real connoisseurs in these mat- ters, have cleared away much of the obscurity that enveloped the Flemish painters of the middle age, yet there remains sufficient to incite to further in- quiry. Indeed, more than one country is interest- ed in appropriating the artist whose works attract attention by their excellence, but the record of whose name and birth-place they had neglected to pre- serve, and had left solely to the care of tradition. The parties interested in sharing the glory of these eminent, but neglected artists, are the Germans, the Flemings, and the Dutch. Each can now furnish claims for one or the other of them, ^ut as this is ndt the place for the discussion, it must ■suffice to five a concise account of some of the pictures ac- nowledged to be the work of John Hemling, (or, as some will have it, Memling,) and of others attributed to him with less .certainty. Dr. Franz Kiigler, in his Hand Book of the His- tory of Painting, part the second, on the German, Flemish, and Dutch Schools, notices Hans Hem- ling, as " the scholar of Roger of Bruges, and as one of the best artists of the school of, van Eyck, and the one by whom its principles, so far as we may judge from existing works, nave been carried out, at once with the greatest freedom and originality. Of the personal career of this artist," he says, "little is known. This only is certain, that from the year 1479 he worked a great deal in the hospital of St. John, at Bruges ; according to tradition, out of gra-- titude for having been received and attended there, when a sick and indigent soldier. At an earlier pe- riod he is said to have lived for some time in Italy ; and in the last years of the fifteenth century, to have worked in Spain. This last supposition rests on his identity with Juan Flamenco, (John the Flem- ing,) who gained a considerable reputation in Spain." (See Cean Bermudez, Diccionario Historico de los mas illustrea Professores de las hellas Artes en ISspana, tom. ii. page 118; and the articles Juan Fla- menco and Juan de FLXNDES,in this Dictionary.) " Hemling adopted the mode of conception peculiar to the school of Van Eyck, tinged, howevfer, with greater severity. The features are less lovely, but more earnest; the figures less elegant; the move- ments less soft ; the handling sharper, with greater finish of the detail. His gi'ouping is strictly symme- trical, and he confines himself in general to the cha- racters absolutely necessary ; whilst, on the other hand, he endeavours to exhaust the history, and often introduces the events which preceded or fol- hemm] PAINTERS AND ENGRAVERS. [hemm lowed the principal action, in a smaller size in the back-gi'ound. We trace his more serious feel- ing particularly in the conception and colouring of his landscapes. If in John Van Eyck these shone in the light of spring, jn Hemling they glow with the richness of summer ; the greens are darker, the meadows more equally tinted, the foliage of the ti-ees more dense, the shadows stronger, the masses of light broader and more tranquil. In other cases, the tone of his landscapes is a clear, uniform, autumnal tint. He is always successful in scenes which require the highest brilliancy of strong hghts, as the rising sun ; or forcible and singular combina- tions of colour, as in visions and such-like sub- jects." After this eloquent discriminating character of the master's style. Dr. Kiigler proceeds to give an account of his pictures, of which, he says, " the best collection is in Bruges, and particularly in the hospital of St. John. Two of them are inscribed with his name and the date of the year 1479. Both are altar-pieces with wings, and are preserved in the common or chapter haU." Of these he gives a minute description ; and mentions a third picture of a Sibyl, in the same hall, ascribed to Hemling, but the genuineness of wjiich is doubted. In the chapel of St. John's hospital is also the celebrated Re- liquary of St. Ursula, a shrine about four feet in length J its style and form are thdse of rich Gothic church architecture, such as we often find adopted for the larger depositories of relics. On this pre- cious gem of art is represented, in diflFerent compart- ments, the several events recorded in the legend of St. Ursula, and other subjects of a rehgious charac- ter ; all of which are eloquently described by Kiigler. " These little pictures," he says, " are among the very best productions of the Pfemish school. The drawing in these small figures is much more beauti- ful than in the larger ones by the same master; there is nothing in them meagre, stiff, or angular ; the movements are free ; the execution and tone of colour, with all its softness, very powerful ; the ex- pression in the single heads, of the highest excel- lence." He next mentions the series of small pic- tures in the private collection of the king of Holland, formerly in Brussels, as equally excellent. They contain, in two long panels, ten scenes from the life of St. Bertin, and once served as a covering to the splendid reliquary of this saint, preserved in the Abbey-church of St. Martin, at St. Omer. Also, a similar picture, of a long form, now at Munich, and formerly in the Boisseree collection, which, he says, deserves especial notice. " It represents the princi- pal events of the life of Christ and the Virgin (the Seven Joys and the Seven Sorrows of the virgin) ; not in separate compartments, but in one great whole, united in a landscape, with an endless num- ber of subordinate events: a whole world of life, and joy, and sorrow, all executed with wonderful grace and beauty." In the Academy of Bruges are preserved two altar-pieces by Hemling. The one which contains the Baptism of Christ, and other scenes of sacred history, is an excellent and beauti- ful work; the other, with the date 1484, and the Story of St. Christopher, is less important. Besides these, there are in Bruges other works bearing the name of Hemling ; one is a small altar-piece, in a closed chapel, on the right, in St. Salvator, represent- ing the Martyrdom of St. Hippolytus. In the hall of St. Julian's hospital, is also a diptych, of the year 1487 ; on one of the panels is painted the Holy Vir- gin and Child, and on the other, the donor. In a chapel at Louvain there is an altar-piece by Hem- ling, which consists of several panels ; it represents the martyrdom of St. Erasmus ; on the wmgs are saints, and above, the Last Supper, a simple sym- metrical composition, of extremely delicate execu- tion. Of the pictures " marked with the name of HemUng, in the Berlin Museum," Kiigler speaks with some hesitation ; and the editor of the English translation of his work (the intelligent Sir Edmund Head) cannot reconcile his description of an altar- piece there with the account of the picture in the Berlin Catalogue. There are also some excellent portraits by HemUng. Two are in the private col- lection of the king of Holland j one represents a young lady ; the other, a man of middle age, which is" supposed to be Hemling's own likeness. A third was in the collection of Mr. Aders, in London, with the date 1462, also taken to be a portrait of the artist. Among the numerous excellent miniatures in the style of Van Eyck, which occur in diflTerent places, the hand of Hemling is said to be often recognised; but of these only one is historically authenticated. It is a large Breviary, in the library of St. Mark, at Venice : the text is enclosed in ornamented bor- ders of the most varied kind, and is broken by larger illuminations,' chiefly of sacred subjects. The richness of these illustrations, their grand style, and fine execution, give to this work the first place among similar manuscripts. These were exe- cuted by Hemling, with the assistance of two scho- lars, Livin of Antwerp, and Gerard of Ohent. Pro- fessor Waagen, director of the Royal Gallery at Berlin, in the account which he gives of his journey in England, says, " I have really had the good for- tune to see one of the richest and most beautiful works of this great master. It is the small travel- ling altar of the Emperor Charles V., which, up to the time of the French Revolution, Wcis in the cathe- dral of Bruges, whence it was obtained by purchase by Viscount d'Armagnac, a French general, and has lately been sent to M. Berthon, a French painter residing here, (London,) to be sold." He then gives a detailed description of the subjects, and concludes by saying, " Unfortunately the demand of £3000 sterling for this jewel is so extravagant, that no offer even has been made for it." — This jewel is now in the private collection of the king of Holland, as will be seen in the sequel. Dr. Kii^er has been quoted largely for the knowledge and just feeling he displays with regard to the masters of the Flemish and Dutch schools, and of painters in general ; and Dr. Waagen, for the reputation he has acquired, and the value so frequently attached to his opinions on art and artists.- Others of less celebrity, who have written as mere tourists, may be passed on the present occasion, as their accounts and opinions ap- pear, too frequently, but ech:)es. It is a different matter, however, with Mr. C. J. Nieuwenhuys, whose excellent and very valuable catalogue of the pictures in the private gallery of the king of Hol- land, contains an account of no less than nine au- thentic works of John Hemling, and of four others, under J;he head " Attribue." As this catalogue is privately printed, and not to be readily obtained, it will, perhaps, be gratifying to many to have copious extracts from it, especisuly as regards the artist under consideration. The high reputation which Mr. Nieuwenhuys has acquired as a profound connoisseur, in all that relates to the German, Flemish, and Dutch painters, and the extensive conimerce he has had for many years in the best works of the best masters, are guarantees for a right judgment on all that he discusses relating thereto* hemm] A DICTIONARY OF [HEMM He commences his account of the works of the mas- ter, in the king's collection, by stating that John Hemlingwas bom at Bruges about the year 1440, and that he was living in the year 1499. He then gives a detailed and critical description of the two pic- tures (Nos. 6 and 7) containing the ten subjects of the hfe of St. Berlin. St. John the Baptist, Mary Magdalene, St. Stephen, and St. Christopher, (Nos. 8, 9, 10, and 11,) are next described. The Repose in Egypt, (No. 12,) formerly in Mr. Aders's col- lection in London ; the portrait of a Young Lady, (No. 13,) taken from a sepulchral monument in the church of St. Donat, at Bruges, in 1818, and on which is inscribed obyt ano dni 1479; and lastly, St. Luke painting the Virgin (No. 14). The celebrated portable. altar of Charles V., which gave Professor Waagen so much delight, and with which he would probably have enriched the Museum at Berlin, but for the enormous sum demanded for it, next ranks (No. 15) under the head of " Attribue a Jean Semling" and of which a minutely detailed account is given. The Birth of St. John ; the Bap- tism of Christ ; the Portrait of a Man, supposed by KiJgler to be that of the artist, (Nos. 16, 17, 18,) also range under the head " Attribue." Lastly, St. Christopher, (No. 19,) is said to be "of the school of Hemling." This arrangement shows a desire not to mislead by following in the track of those who had, with less knowledge, affirmed them all to be by Hemling. No doubt several of them are worthy of his pencil; but "there were great men before Agamemnon." Speaking of the portable, or, as it is called, the travelling Altar-piece of the Emperor Charles V., Mr. Nieuwenhuys remarks ; " Cette oeuvre a ete generalement attribue k Hemling, et a ete decrite comme telle. Cependant, plus j'Wudie le tableau, plus son caractere liistorique me semble plus severe, et- d'un style plus ancien que les ouvrages d'Hemling. D'aprSs les minutieuses re- cherches que j'ai faits sur les diverses ecoles du moyen age, et d'apres des eclaircissements qui me sont venus a I'appui de ces recherches, je suis par- venu k m'assurer que cette oeuvre, dont on fait non- neur a Hemling, est r6ellement due au pinceau de son maitre, le celfebre Moger de ■ Bruges, tant vante dans I'histoire de I'art, et dont 6n n'avait pu jusqu'a ce jour retrouver les ouvrages, EUe fut donnee par le pape Martin V. au roi Jean II., et lui servit d'oratoire particulier. En 1445, ce prince en fit don au monast^re appele Certosa di Mirajhres, situe k une demi-lieux de Burgos. Don Antonio Conca dit, dans sa description de I'Espagne, {Des- crizione odeporica della Spagna, Parma, 1/93,) tom. i. page 33, que dans les archives du monastere, on lit, en langue latin, I'article suivant : ' En 1445, le roi susdit (Don Jean) fit don d'un oratoire precieux ayant trois tableaux : la nativite de Jesus-Christ, la descente de croix, et I'apparition a Marie aprfis la resurrection. Cet oratoire fut peint par maitre Moger (le nom est ecrit ici Hogel) grand et fameux peintre flamand.' Ce chef d'oeuvre, connu sous le nom de I'autel portatif de Charles Quint, fut tene- ment venere par ce monarque qu'il le faisait transporter a sa suite dans toutes ses expeditions guerrieres. C'est dans sa tente et devant cette petite chapelle que I'illustre souverain s'est mainte- fois agenouiUe, addressant ses pridres a Dieu, avant de livrer les combats memorables qui ont illustre son regne. Des faits aussi importants, et qui se rat- tachent k ce precieux tableau le rendent encore plus intere^sant. Apres la mort de Charles Quint, jl oma de nouveau le monastere, la Certosa di Mira- 320 Jhres, ou il fut conserve jusqu'a I'epoque de I'inva- sion des armees F^angaises sous >lapoleon. C'est pendant I'occupation de la Peninsule par ses armees, que le hasard le fit tomber en la possession du ge- neral d'Armagnac, au moment ou il allait perir dans un de ces terribles incendies, ou tant de choses pre- cieuses ont disparu sans retour. II fut achete de la famille d'Armagnac par M. Nieuwenhuys, de CLui sa Majeste le roi des Pays-Bas en a fait I'acquisi- tion. Cet objet d'art est dans un 6tat extremement remarquable de conservation ; il semble avoir defie le temps, qui a detruit un si grand nombre d'autres monuments moins exposes peutetre a ses ravages que celui ci ne I'avait ete. La botte meme, ou I'enca- drement de ces peintures, est reste dans son etat primitif; la serrure seule est moderne." In cor- roboration, Mr. Nieuwenhuys refers to the work published by Mr. D. F. Campe, under the title Reliquien von Albrecht Durer seinen verehrern ge- weiht, being some interesting notices riven by Albert Durer of the journey he made in the Low Countries in 1520 ; wherein, among other particulars, he says, "Pendant mon sejour a Bruges, on me conduisit dans la residence de I'empereur, que est d'une grande magnificence, la je vis la chapelle par Roger" (The name Roger is written Rvdiger in German.) This is, no doubt, the chapel in question, as Charles the Fifth carried it with him in all his expeditions, and he was in the Low Countries at this period in his route to Aix-la-Chapelle, there to receive the impe- rial crown. With regard to the birth-place and name of the artist, which have been subjects of dis- pute, (and which dispute is not yet terminated,) Mr. Nieuwenhuys adduces proofs in support of Bruges and Hemling, that will strongly fortify the par- tisans in their favour. He observes, "Descamps, qui a ecrit avec beaucoup de legerete, affiime que Carel van Mander se trompe lorsqu'il dit que Hem- ling est ne h, Bruges, mais il ne donne aucune preuve k I'appui de sa refutation; il pretend que ce peintre naquit dans la petite viUe de Damme; or, il me semble que, quand on nie des faits, il faut au moins pouvoir presenter quelque bonne raison pour justifier son assertion, et c'est ce que IJescamps n'a pas fait ; en outre, il se trompe encore lorsqu'il pre- tend avoir lu sur la bordure d?un de ses tableaux que se trouve a I'hopital de Bruges, opus johannis HEMMELiNCK. M.cccc.Lxxix. Sa description du ta- bleau est aussi incorrecte que celle de rinscription, puisqu'il dit que le tableau auquel il se reporte est la naissance de Notre Seigneur, et les Bergers en adoration. II n'y a point de tableau a I'hopital Saint Jean que represente I'adoration des Bergers; mais nous voyons, par ce qu'il dit de volets, qu'il veut parler du tableau de I'Adoration des Mages, peint par Hemling, dans lequel il a introduit le por- trait du donateur Jean Floreins, age de 36 ans. On dit que le peintre s'y est peint lui-meme dans la personne qui regarde par la fenetre a droite ; mais u ne porte pas la robe des malades, ainsi que le dit M. Descamps, dont I'ouvrage fourmille d'erreurs." Of this picture Mr. Nieuwenhuys gives a full de- scription, which he closes with an exact copy of the inscription thereon; with the date and authentic signature of the master : anno ■ mcccclxxix. OPUS • JOHANIS • JjEMLING. In the same year he finished, for the same establishment, one of the most important of his works. It is 65 inches high and 64 wide. The principal subject is a Holy Family, or the Marriage of Saint Catherine ; on the right wing is St. John writing the Apocalypse in the m hemm] PAINTERS AND ENGRAVERS. [hemm Isle of Patmos ; on the left, St. John the Baptist. It is remarkable for the execution and finish. On the exteriors of the wings are the portraits of the donors of the picture, accompanied by their patrons and patronesses ; in the interior of the picture, at the lower border, HemUng has distinctly traced, OPUS- JOHANNIS • HEMLING • anno . m.cccc.lxxix. 1479. **^fc*> the H in Johannis and in Hemling being exactly of the same form, thus ^fj.. Mr. Nieuwenhuys remarks, " Ces inscriptions etant lisi- blement ecrites, il est certain qu'on ne pent prendre la premiere lettre du nom d'Hemling pour un M au lieu d'un H ; d'autant mieux que I'artiste s'est servi de la meme letter JJ dans le mot Johannis, sur lequel on ne pent se tromper. Independamment de cette preuve evidente, tons les M sont tellement distinct qu'ils n'ont rien de commun avec les \j\ " He adds, " J'ai consciencieusement copie ces inscrip- tions sans en alterer la moindre lettre ; car ce n'est que par la parfeite exactitude que I'on peut eclairer le lec- teur." This is bringing the question in the fairest and clearest manner before the reader. That there are instances of the letter H being substituted for M is well known ; but whether it was owing to ca- price, ignorance, or a dialect, it is not easy to deter- mine. Instances may be found on a medal of the Emperor Maximilian; and an inscription on the nimbus surrounding the head of the Virgin by Gen- tile da Pabriano, given by jRosini in the third vo- lume of his Storia delta Pittura Italiana. That Hemling resided at the hospital of St. John at Bruges is quite certain ; and it is an immemorial tradition, with the religious tenants of that estab- lishment, that he was a soldier when he first pre- sented himself there ; that he was received, carefully attended, and remained long enough there to paint the pictures which are still preserved ; but that he was a dissolute character is not in proof. Mr. Nieu- wenhuys very justly observes, " D'apres la noblesse et I'elevation de pensees qu' HemUng a deployees dans ses oeuvres, on peut, on doit meme attribuer ses infortunes a des causes plus honorables. Le quinzieme siScle ofirait un vaste champ aux imagin- ations chevaleresques ; la gloire des armes enflam- mait alors tons les esprits. On pourrait conjecturer avec vraisemblance qu' Hemling s'enrola sous le drapeau de Charles le Temeraire, soit dans la guerre de 1474, enterprise pour replacer I'Eveque de Co- logne sur son siege, soit dans la fatale campagne corttre les Suisses, campagne si funeste aux Pla- mands et ou Charles le Temeraire resta sur la champ de battaille, pris de Nanci, le 5 Fevrier 1477. On sait qu'apres cette defaite, les debris de I'armee rentrferent en Flandre dans I'etat le plus deplorable. Cet ev^nement offre plus de rapport avec I'anecdote qui concerne Hemling ; et ce qui viendrait encore confirmer cette opinion, ce sont les dates des ouvrages que nous venons de decrire." Works of such exqui- site beauty, and holiness of character, are not the productions of a dissolute mind. Descamps must, therefore, have been in error, when he reported that ." Hemhng s'enrola par libertinage en qualite de simple soldat, et que le dereglement de sa con- duite I'avait mene dans la plus'grande misSre." Mr. Nieuw^enhuys observes, " If the life of Hemling is . not so weU known to us as we could desire, we have at least the satisfaction of knowing a great number of his authentic works, which are the guides to a just appreciation of his fine talents. His pictures are the most beautiful pages of his history. It is to be regretted that many other artists of great ability, contemporaries with Hemling, have not signed their works; such as the celebrated Roger de Bru- ges, Hugo Vander Goes, Dirck Van Haerlem, Van- der Meire de Gand, and others, whose pictures are so rarely known, that when they are discovered they are attributed, for the most part, to Van Eyck, or to Hemling; and it is because their works bear a resemblance' to those two better known great mas- ters that the mistake arises," and it continues be- cause the possessors are content to rest in the belief that they are the productions of artists of such re- nown. Mr. Nieuwenhuys concludes his remarks on the works oftHemling with the following observa- tions : " Dans mes refutations, je n'ai cherche qu'a constater des faits qui, pour moi, sont averes. L'experience m'a appris a me defier des opinions hasardees, et de toutes ces theories imaginaires que les ecrivains repfetent les uns apres les autres, et qui tombent devant.la realite, des qu'on a sous les yeux les monuments euxmemes, dont tant de critiques parlent sans les avoir vus, ou sans les avoir com- pris." The reader may feel' obliged by these ex- tracts, taken, by permission, from a book that, is not in commerce, and, therefore, not easily obtained. It is due, also, to the inquirer, and no less so to the author of " I'Histoire de la Peinture Flamande et Hol- landaise," M. Alfred Michiels, to direct attention to the numerous particulars that are given in that valu- able and interesting work. It is true that M . Michiels is an enthusiast in art, and writes in a very poetical style on the beauties and excellencies of the ancient Flemish and Dutch painters; but his enthusiasm is tempered with judgment, and his poetical lan- guage harmonizes with the subjects he describes. With regard to John Hemling and his works, his opinions agree in the main with those of Mr. Nieu- wenhuys ; some of his descriptions are more diffuse, and he enriches his accounts of the pictures with a relation of the legends from which they are taken, and with anecdotes and reflections that show his whole heart is interested in the matter. His rela^ tion of the tastes and temper of Charles le Temeraire, and of Hemling's connexion wdth that despotic po- tentate, disprove the aspersion on the character of the latter, that he was of dissolute habits. His ac- count of Hemling's introduction to the hospital of St. John, divested of some of its poetical embellish- ments, has an air of probability ; and that of his labours there, is supported by facts. He describes about one hundred pictures, to be found in various places, attributed to John Hemling, and gives a minute account of the miniatures m the famous manuscript in the librEiry of St. Mark at Venice, pointing out those that he conceives to belong in- dubitably to that master ; also of others in the libraries at Oxford, the Hague, and Munich. He is not willing to allow that John Hemling ever worked at the Carthusian Monastery at Miraflores in Spain, though he admits the genuineness of his pictures there. As he mentions Juan Flamenco, and conjectures that under that name John Hemling is intended, if he had referred to Cean Bermudez, he would have found that he resided in the said Car- thusian monastery at Miraflores for three years, and that he received, in addition to his maintenance, the sum of 53,545 maravedis for his labours there. (See the articles Jvan Flameneo and Juan de FUnden. in this Dictionary.) The following extract from M. Michiels is interesting, both as it regards the 321 hemm] A DICTIONARY OF [hend spelling of the name, and the year of John Hem- ling's birth ; though he will not admit the inference that the Germans would draw from it. " En 1822, M. Von Lassberg, demeurant i Eppishausen, pres de Constance, acheta dans la derniere Ville un ma- nuscrit du quatorzieme siecle. II renfermait la chronique ^alsacienne de Konigshoven, redigee en 1386. La genealogie d^ un Sans Hemling occupe la fin du livre, et les caracteres annoncent une epoque assez rapprochce de la date qu'on vient de lire. On avait alors I'habitude de consigner des notices de ce genre dans les Bibles et au- tres ouvrages precieux, que se leguaient comme un bien patrimonial. La list? ne remonte pas plus haut que le grand-pere, Radin Hemling, ne en 1342, mort en 1414 ; viennent en suite le pS;-e, Conrad, n6 en 1394, mort en 1448; la m^re. Marguerite Bruschin, decedee en 1447, et leurs six enfants, dont I'avant-dernier, Hans Hem- ling, avait vu le jour en 1439. Quelques details sur I'histoire de la famille sent joints a cette nomencla- ture; ils vont jusqu'a I'annee 1490, oii une des soBurs fut raise au tombeau." If the manuscript be correctly transcribed, the name is, unequivocally, Hemung; and the date ofhis birth coincides vpith the events and labours of his life. Zani, in his In- dex, writes the name Hemmelinck, with the date 1479, probably from Descamps, and he adds, " non MeraegUno, nS Memelin, ne MemiUno, n^ Memme- linck." Under the head of the Mamminqhi he places Maestro Giovanni, detto Giovanni de JFlandes, Operava 1496 and 1509. These dates cori'espond with those given in Cean Bermudez to Juan Fla- menco and Juan de Fldndes, as before mentioned, and there is little doubt the three names indicate one artist, namely, John Hemling. Thus, as far as the limits of a dictionary will allow, an endeavour has been made to bring under the notice of the in- quirer the best information respecting this admirable artist, by quoting from those authorities that appear to vmte from tacts. The orthographical dispute will not soon terminate; it is a fine subject for tourists who are anxious to display their knowledge, or their ignorance, in acquainting the public with the discoveries they have made in their travels ; and there are plenty of materials to keep up the contest. But the discriminating Dr. Kiigler, the enthusiastic and earnest Michiels, and the thoroughly learned and practical connoissem- in Flemish and Dutch paintings, Mr. J. C. Nieuwenhuys, form a trium- virate of champions on the one side, strong enough to maintain the battle with the numerous light in- fantry that fight on the other.] HEMMESSEN, John van. This painter was a native of Flanders, and flourished about the year 1550. He studied in Italy, and appears to have formed his style by an imitation of the works of Lionardo da Vinci: his pictures, particularly his children, have been frequently attributed to that master. In th^ collection of Dusseldorp, is a pic- ture by him, representing an Ecce Homo, dated 1544; and in the gallery of the Louvre another, of Tobit restoring Sight to his Father. [In the Mu- seum at Brussels tnere is a Descent from the Cross, by him : Balkema Writes his name Hemmisten.] ■ HEMRICH, C. H. From the name of this en- graver he was probably of Germany. He resided in London about the beginning of the last century. We have by him a set of butterflies and insects, after Hoesel, neatly executed. HEMSKERK, Martin van Veen, called Mar- tin. The family name of this painter was Van 322 Veen ; he was the son of James William van Veen, born at Hemskirk, a village near Haerlem, in 1498. His father, yielding to his desire of becoming a painter, placed him under the care of John Lucas, of Delft, where he studied some time. The reputa- tion of John Schoorel was at that time the most dis- tinguished of the artists of his country, and' Hems- keric quitted his first master, and went to Utrecht, where he entered the school of Schoorel. His pro- gress under that able master was such, as to excite the jealousy of his instructor, who dismissed him from his academy. One of his first public works was a picture of St. Luke painting tne Virgin, for the chapel of the painters at Haerlem,so entirely in the manner of Sciioorel, that it was generally sup- posed to be by him. At the age of thirty-four he went to Italy, and passed three years at Rome, where the beauties of antiquity, and the works of Michael Angelo. Buonaroti, were the particular ob- jects of his study. On his return to Holland he painted several pictures for the public edifices at Amsterdam, particularly an altar-piece of the Cruci- fixion, for the old church, with two folding-doors, representing subjects of the Passion of our Saviour. The compositions of Martin Hemskerk, though co- pious, are without judgment or taste ; and in at- tempting to imitate the great style of Buonaroti, his design is frequently overcharged and preposterous. His draperies are clumsy, witn a confusion of folds, and the expression of his heads is neither marked with grace or beauty. With all these defects, he enjoyed the ' reputation of a distinguished artist at the time, and in the country in which he lived. We have a few etchings by Martin van Veen, or Martin Hemskerk, which are more esteemed for their scarcity than the beauty of their execution, or the correctness of the design. He usually marked them with the cipher ^^ . The following are by him : Judah and Thamar. The Annunciation of the Virgin. The Wise and the FooUsh Virgins. Industry and Commerce. He died in 1573. HEMSKERK, Egbert, the elder, a Dutch painter, born at Haerlem about the year 1610. He painted the interiors of Dutch alehouses, with boors regaling or quarrelling. These subjects he treated with some abiUty; but he has been so infinitely surpassed by Brower and Teniers, that his pictures are of very inferior consideration. HEMSKERK, Egbert, the younger, was pro- bably the son of the preceding painter, bora at Haerlem in 1645, and is said to have been a scholar of Peter Grebber ; but from the great similarity of his style, and the subjects he painted, to those of the elder Hemskerk, it is most probable that he was in- structed by him. He visited England in the reign of King William, and was much patronized by Lord Rochester. He painted drunken scenes and drolls with considerable humour, and sometimes incantar tions, spectres, and similar eccentricities, in which he showed a ready invention and some ingenuity, but his colouring is cold and heavy. He died in London in 1704. [HENDRIKS, Wtbrand, was born at Amster- dam in 1744, but resided chiefly at Haerlem. He painted landscapes, portraits, interiors ; but the pic- tures by him which are most prized, are flower- pieces, and subjects of dead game, in the manner of Weeninx. He was, however, good in every de- partment, and his works are beginning to assume heng] PAINTERS AND ENGRAVERS. [herr their place in some of the finest collections. There is a view of Haerlem hy him in the Museum at Amsterdam. He died in 1830.] [HENGEL, H. P. van, a native of Nimeguen, studied under Heroman Vander Myn, and pamted landscapes and conversations of a cabinet size. Either the public disregarded his works, or he was so enamoured of them as not to part from them, that he retained them, as a collection, to the time of his death, when they were sold with the pictures of other master^ belonging to him. He died at Utrecht in 1785.] ' HENRIET, Israel. This artist was bom at Nancy about the year 1607. He was the son of Claude Henriet, a painter little known, who taught him the rudiments of design, and sent him to Rome for improvement, where he studied some time under Antonio Tempesta. He returned to Prance, and estabUshed hunself at Paris as a printseller, and published some of his own plates, as well as those of Callot, Delia Bella, and Israel Sylvestre, who were all employed by him. He engraved a few plates of views and small subjects, in which he imi- tated the style of Callot. He died at Paris in 1661. HENRIQUEZ, Blaise Louis, a French en- graver, born at Paris in 1732. He was a pupil of N. G. Dupuis, and was admitted into the Academy in 1779. We have by him some plates of portraits, and other subjects, executed with the graver, in a neat style ; among which are the following : PORTRAITS. Lonis XVI. King of France ; after J. Boz6. Denis Diderot ; after Fanloo. John d' Alembert ; after Jollain. Francis Maria Arouet de Voltaire ; after Ba/rat. SUBJECTS AFTER VARIOUS MASTERS. Minerva driTing away the God of War ; after Rubem. Mercury and Argus ; after G. van Eeckhout. Honours paid to the Constahle du Guesclin; after HENSHAW, W. Mr. Strutt mentions this name as affixed to a private etching of the portrait of Mr. Gray, the poet. [HENSTENBURGH, Herman, was born at Hoorn in 1667. He excelled in painting birds and flowers, in water colours, which are still in estim- ation.] [HERCK, Jacob Melchior van, a Flemish painter of flowers, was hving in 1720. He was son- in-law to P. G. Verbruggen, whose works he copied.] HERISSET, A., an mdifierent French engraver, who flourished about the year 1740. He engraved part of the plates for the folio pubhcation of Views of Versailles, and also some plates of fortification ; EubUshed in 1757. We have also some prints by im, after J. P. de Troy. [HERLIN, Frederic, a painter of Nordlingen, who flourished from the middle to the latter part of the flfteenth century. He was a close imitator of the manner of Van Eyck. There are pictures by him at the church of S. George, at Nordhngen, re- presenting a Crucifixion, and the Virgin with the Infant, and Saints attending, with the dates 1462 and 1488. There is also a grand TripUqiie, very beautiful, and which ornaments the choir of the cathedral of Meissen, attributed to him. Unfor- tunately this has bfeen shamefully injured by some dauber, under the pretence of restoration. It resem- bles, in a surprising manner, the works of Van Eyck, in the composition, and in the naked figures ; only the latter are not so well treated. The draperies do not exhibit so distinctly as in Jan Van Eyck the y 2 particular stuffs, but they are more nobly cast, and resemble the manner of his brother Hubert. There were several other painters of the same name and period, but the records are very defective. Disco- veries, however, may be expected from the prevail- ing interest in the works of the old German and Flemish masters.] HERREGOUTS, Henry. This painter was born at Mechlin about the year 1666. It is not known by whom he was instructed; but he was a very reputable historical painter. There are several of his works in the churches at Antwerp, Louvaine, and Bruges. His pictures are composed in a grand style, and his design is correct. He possessed an uncommon freedom of hand, and his colouring is chaste and clear, resembling that of Vandyck. The airs of his heads are graceful and expressive, and his di-aperies are simple and well cast. In the ca- thedral at Antwerp, is a fine picture by Herregouts of the Martyrdom of St. Matthew. At Bruges, in the church of St. Anne, is his most capital perform-, ance, representing the Last Judgment, an immense work, the figures larger than life, grandly com- posed, and in a bold style of design. [Died at Ant- werp 1724.] HERREGOUTS, John Baptist, was the son and the disciple of the foregoing artist, born at Bruges about the year 1700. He painted histoiy in the style of his father, and though he is inferior to him in some respects, his works possess considerable merit. The following are his most esteemed per- formances : in the church of St. Anne, at Bruges, the Virgin and Infant in the Clouds, with a Glory of Angels ; in the church of the Caimelites, the Pre- sentation in the Temple ; and at the principal altar, the Virgin and several Saints kneeling before Christ, considered his best production. We have a few etchings by this artist, executed in a free, slight style J among which, is a St. Cecilia surrounded with Angels, signed J. Sapiista Herregouts, f. et in- vent, a Brugge. [HERREGOUTS, Maximilian, an artist of whom Uttle is known. A picture with his name, and the date 1674, represents a Kitchen with a Woman making Pancakes.] HERRERA, Francisco de, the elder, a Span- ish painter and architect, born at Seville in 1576. He was a scholar of Luis Fernandez, and was one of the earliest artists of his country who attempted to reform the dry and tasteless style that had pre- vailed before him. His colouring was bold and clear, and he gave great relief to his figures. Among his most considerable works are his picture of the Last Judgment, in the parochial church of San Bernardo at Seville; and his fresco paintings in the cupola of San Buena Ventura. He visited Madrid when he was upwards of sixty years of age, where he painted several pictures of the life of San Ramon, in the cloister de la Merced Calzada. He also ex- celled in painting fairs, markets, and merry-makings, which were much admired. Herrera etched several plates from his own compositions, particularly his pictures in the cupola of S. Buena Ventura.* He died in 1656. HERRERA, Francisco, the younoer, was the son and disciple of the foregoing artist, born at Se- ville in 1622. After passing some time under his father, he visited Rome, and appUed himself with great assiduity in studying the beauties of anti- * Don Diego Velasquez, the most illustrious painter of Spain, was educated in the school of Herrera the Elder. 323 IlERS] A DICTIONARY OF [hewi quit)', and the woris of the most eminent masters. A residence of six years in Italy rendered him one of the most accomplished artists of his country, and some time after his return to Seville he was ap- pointed subidirector of the Academy at its institu- tion in 1660, of which Murillo was president. Not brooking this inferiority, he went to Madrid, where his talents soon brought him into public estimation. He was appointed painter to Charles II. of Spain, and supenntendent of the royal works. His prin- cipal performances at Madrid are, the great altar- piece of the Barefooted Cannelites, representing San Hermendildo ; the cupola of the convent of Nues- tra Sennora de Atocha, where he painted the As- sumption of the Virgin; and in the convent of Corpus Christi, St. Anne teaching the Virgin to read. Herrerathe Younger also excelled in paint- ing still-life, flowers, and fish, and for his peculiar talent in the last was called by the Italians il Spag- nuolo degli Pesci. He died in 1685. HERS, or HERTZ, John Daniel, a German engraver, nientioned by Basan. He was born at Nuremberg in 1599. He etched several plates after his own designs, and from the works of Rotten- hammer, and other masters. We have, among others, a large etching of St. Paul preaching at Athens, from a composition of his own. He died in 1635. [HERSENT, Louis, a French historical and portrait painter, was bom at Paris in 1777, and was a scholar of Regnault. He painted many interest- ing subjects from the poets, and passages of French history, which are to be found in some of the best collections in Prance. Portraits by him of distin- guished persons are numerous. Several of his pic- tures have been engraved by Adam, Laugier, Tar- dieu, and others. He was a member of the French Institute, the Royal Academy^of Berlin, and an officer of the Legion of Honour. His wife, Madame Hersent, whose maiden name was Mauduit, has also distinguished herself as an historical and por- trait painter. Some of her pictures are in the gal- leries of the Luxembourg and Fontainbleau, and have been engraved by Tardieu. She was bom in 1784, but whether she be living is not ascertained.] HERTOCKS, A., an English engra^ver, who flourished about the year 1660. He was princi- pally employed by the booksellers in portraits and frontispieces. His plates are executed with the graver, in a stifii tasteless style, though neat. His portraits are his best prints, and they are more var lued for their rarity than their merit as engravings. Among others, we have the following by him : PORTRAITS. Charles I. kneeling, holding a Crown of Thorns ; ajier P. Fruytiers. Charles II., when Prince of Wales. Sir Edward Nicholas, Secretary of State ; after Hanne- Tntzn, Sir Francis Wortley, Bart. Henry Rolle, Juris-consul. ; prefixed to his Abridgment. Robert Rawdon, a Governor of St. Thomas's Hospital. William Chamberlaine, M. D. and poet; prefixed to his Pharonnida. Hugh Crompton, poet. ' Alexander Brome, poet. Gideon Harvey, M. D. Edward Waterhouse, Juris-con. and antiquary. He engraved a frontispiece to the Icon Basilike, and anomer to the complete collection of the King's works ; also that for Mr. Evelyn's Scu^tura. HEUDELOT, J., a modem French engraver, of no great celebrity, who resided at Paris about the 324 year 1760. We have by him a few plates aftei* Adrian van Ostade and Lingelhflch; also the por- trait of Margaret van Goyen, after a picture by Jan Steen, her husband. HEUMAN, George Daniel, a German en- graver, who resided at Nuremberg about the year 1724. He engi-aved a set of architectural views of the churches, &c. at Vienna, published by John Andrew Peeffel, at Augsbourg, in 1724. They are neatly executed. He also engraved several por- traits of German characters. HEUSCH, William de. This painter was born at Utrecht in 1633. After receiving some in- struction in his native city, he visited Rome, where he became a scholar of John Both. He painted landscapes in the charming style of that master, and sometimes approached so near to him, that his pictures have frequently been mistaken for those of Both. His landscapes exhibit the most pleasing scenery, and evince more of the Italian taste than that of his country. They are embellished with figures and cattle, neatly drawn, and touched with great spirit. His subjects are frequently taken from sites in the vicinity of Rome ; and they sometimes represent views of the Rhine, and waterfalls. Though inferior to Both, this artist holds a respect- able rank among the able landscape painters of the Dutch school. We have a set of twelve spirited etchings of landscapes with figures, by William de Heusch, after his own designs, which are become extremely rare. HEUSCH, Jacob de, was the nephew of Wil- liam de Heusch, born at Utrecht in 1657, and was instructed in the art by his uncle, whose style he at first adopted. Having made considerable pro- ficiency under so able an instructor, he was recom- mended to visit Italy, where he passed several years. He met with very flattering encouragement at Rome, his pictures being much admired. He pai^- ticularly attached himself to the study of the works of Salvator Rosa, whose picturesque style he imi- tated with considerable success. His pictures repre- sent the most select views in the environs of Rome, enriched with gi'oups of charming figures, correctly drawn and vigorously touched. We have a few etchings by this painter of landscapes, from his own designs, executed in a neat, slight style. He died in 1701. HEUSCH, Abraham de. This painter was probably a relative of the two preceding artists. He was bora at Utrecht in 1650, and was instructed in the mdiments of the art by an obscure painter, call- ed Christian Striep. He excelled in paitting plants, insects, and reptiles ; which he designed and painted with surprising patience and labour. His pictures of that description do not yield to the highly wrought productions of Gerard Dou or Miens, in the delicate polish of their finishing. There are a few etchings of landscapes by Abraham de Heusch, from his own designs. [HEUVELE, Antony. Vanden, a scholar of Gaspar de Grayer, was bom at Ghent at the com- mencement of the seventeenth century. He was for some years in Italy. On his return to Ghent he painted many good pictures, which are in the churches and pnvate collections there, and in other cities in Belgium. The Museum at Ghent possesses his best ; the Museum at Bmssels has his Martyr- dom of S. Aureha.] [HEWICK, Gaspar, was bom at Oudenarde in 1550. He went to Itfily and studied under Lorenzo Costa, and produced some good pictures, on a large heyd] PAINTERS AND ENGRAVERS. [hill He scale, for churches and other public buildings, died in 1611.] [HEYDEN, John Vander, a Flemish portrait painter, who was for some time in London, where ne died about 1686.] HEYDEN, John Vander. This celebrated paint- er was born at Gorcum in 1637. His only instruction in the art was a few lessons in drawing he received ftoia an unknown glass-painter ; but his natural ge- nius soon discovered itself in the production of some designs of iniins and buildings, finished in a manner so correct and precise, that they were the admiration of the artists of his time. He next attempted to re- present similar subjects in oil, which he carried to a perfection that is unexampled. The pictures of Vander Heyden represent the most picturesque views of the different towns in Holland, and the ad- jacent countries, pariticularly the principal parts of Amsterdam, in which he has introduced the most minute objects with a neatness and precision, that are wonderful. Although he goes into the detail of each individual brick or stone in the buildings, there is nothing hard or dry in his pictures ; his touch is dexterous and light, and there is a mellow- ness in his colouring and pencil that takes away all appearance of drudgery or labour. He thoroughly understood the best principles of the chiarq-scuro, and the arrangement of his masses is masterly, pro- ducing the finest effect. He was a perfect master of perspective; and in the linear diminution of every object its rules are strictly observed. The pictures of this extraordinary artist are generally embelhshed with admirable figures by Adrian Van- den Velde, which contribute in no small degree to their beauty and value. After the death of Adrian, the figures in the pictm-es by Vander Heyden were usually painted by Lingelbach. We have a few etchings of views by this painter fi-om his own de- signs. He died in 1712. [His name was Vander Heyde, for so he signed it. He travelled into Ger- many, Belgium, ana England. At Cologne, Brus- sels, London, and other places, he took interesting views of their remarkable monuments, and country seats. Vander Heyde had also a secret of printing pictures in oil colours, which he afterwards retouch- ed with the pencil. Several of them, done on parchment, were afterwards fixed on panel so inge- niously as to deceive the unpractised eye.] HEYLEN, Gonzales van. This artist was a native of Antwerp, and flourished about the year 1694. According to Papillon, he engi-aved on wood, in a free, spirited style. He engraved sevez'al fron- tispieces, and other book cuts. HTBBART, William, an English artist, who re- sided at Bath about the year 1760. We have a few portraits etched by him, in a style which renders it probable that he was a painter. They resemble the manner of Worlidge. The following portraits are by him : Anthony Wattean, painter. Laurence Delvaux, sculptor. Samuel DeiTick, of Bath. HIDALGO, Don Joseph Garcia, a Spanish painter, bom in 1656. He was probably a native of Murcia, as he studied in that city, under Mateo Gilarte, and Nicolas de Villacis. After passing some years under those masters he went to Italy, and at Rome became a scholar of Giacinto Brandi, under whose tuition he made considerable progi'ess. The chmate of Italy proving obnoxious to his health, he returned to Spain, and in 1674 w;ent to Madrid, and was employed by Charles II. in a series of twenty-four pictures for the cloisters of San Fe- lipe el Real, which occupied him, with other com- missions from the king, for seventeen years. In 1691 he pubhshed a work on art, entitled Princvpios para estwdia* el NoUliasimo Arte de la Pintiira. The year of his death is not known. HIGHMORE, Joseph, an eminent Enghsh painter, born in London in 1692. He was- the son of a coal-merchant, and showing art early inclina- tion for the art) it was his father's iptentien to have Permitted him to gratify his propensity, by placing im under the care of his uncle, who was serjeant- painter to King WiUiam, under whom Sir James Thornhill studied ; but for some reasons he changed his purpose, and he was articled to an attorney in 1707, but so much against his inclination, that in about three years he began to form a resolution of indulging his natural disposition to his favourite art, and employed all his leisure hours in drawing, and in the study of geometry and perspective, without any instruction T)ut books. To make himself ac- quainted with anatomy, he attended the lectures of Mr. Cheselden ; at the same time he frequented the painter's academy, then held in Great Queen Street, under the direction of Sir Godfrey Kneller, who noticed him particularly, and distinguished him by the name of the young lawyer, i On the termination of his clerkship, instead of fi'equenting the courts, he commenced painting as a profession, and settled in the city, where he met with employment. His reputation and business increasing, he took a more conspicuous station, by removing to a house in Lincoln's Inn Fields in 1723. An opportunity soon offered of introducing himself advantageously to persons of distinction, on his being engaged by Mr. Pine to make the drawings for his prints of the Knights of the Bath, on the renewal of that order in 1725. He painted the portraits of several of the order, particularly a fine picture of the Duke of Richmond, attended by his three esquires, with a perspective view of Henry VII.'s chapel. He was soon afterwards sent for to St. James's, by George I., to paint the portrait of the Duke of Cumberland, which has been engraved in mezzotinto by Smith. In 1732 Mr. Highmore visited the continent, in company with Doctor Pemberton and other friends, chiefly for the purpose of viewing the Dusseldorp collection of pictures. At Antwerp he had the satisfaction of contemplating several of the finest works of Rubens, his favourite painter- In 1742 he painted the Prince and Princess of Wales, for the Duke of Saxe Gotha. The publication of Pamela gave birth to a series of pictures by Highmore, which were engraved and published by subscrip- tion, in 1745. Of his historical pictures, the prin- cipal were, Hagar and Ishmael, a present to the Foundling Hospital ; the Good Samaritan ; the finding of Moses; and the Graces unveiling Na- ture. Mr. Highmore was the author of several literaiy works ; among which were " A critical Ex- amination of the Paintings by Rubens on the Ceiling of the Banqueting-house, in which Architecture is inti'oduced, as far as relates to Perspective," and " The Practice of Perspective, on the Principles of Dr. Brook Taylor, &c." He died in 1780. HIGMORE, . This artist was probably a native of France. His name is affixed to some large portraits ; among which is that of Le Sage, the au- thor of Gil Bias. They are very indiflferently executed. [HILLEGAARD, Paul van, a good historical painter, was a native of Holland. He painted battles, skirmishes, and drunken brawls. Tliere is 325 hill] A DICTIONARY OF [hoar a picture by him in the Museum at Amsterdam, it represents Prince Maurice dismissing the trained bands in I6I8.] HILLIARD, Nicholas. This artist was born at Exeter in 1547. He was the younger son of Richard Billiard, who served the office of high sheriff of the county of Devonshire in 1560. He was brought up to the business of a goldsmith and jeweller, to which his inclination added that of painting in miniature. He studied the works of Hans Holbein, as the best models he could follow, and acquired something of the neatness of his finish- ing, though greatly inferior to him in the clearness and vigour of his colouring. He was appointed foldsmith, carver, and portrait painter to Queen llizabeth, and painted her portrait several times. That his works were greatly admired at the time, appears from his being celebrated by Dr. Donne, in his poeip of the Storm, in which he says : " An hand or eye, By Hilliard drawn, is worth a historye By a worse painter made." He continued in vogue during this feign, and painted several persons of the court, especially la^ dies. He was not less favoured by James I., who appointed him, by patent, his principal drawer of small portraits, and embosser of medals in gold. Hilliard died in I6I9. [HILTON, William, a distinguished English historical and poetical painter, was born at Lincoln in 1786. He received lessons from his father, who was a portrait painter; and was a pupil of J.-R. Smith, the crayon painter and mezzotinto engraver. He.also attended the schools of the Royal Academy, studied anatomy, and made himself complete master of the human figure. Among many pictures of great excellence may be named, his Triumphal En- trance of the Duke of Welhngton into Madrid; Comus; Jupiter and Europa; Sir Calepine rescu- ing Serena (in the National Gallery) ; Edith and the Monks finding the Body of Harold; Venus seeking Cupid at the bath of Diana (in the posses- sion of Lord Charles Townshend) ; Nature blowing Bubbles for her Children, a truly poetical concep- tion ; Rebecca at the Well ; The Infant Warrior ; Murder of the Innocents ; The Magdalene washing the Feet of Christ ; The Crucifixion, which is in a church at Liverpool ; The Crowning with Thorns, at St. Peter's chujch, Pimlico ; The Angel delivering Peter; the Lazarus, at Newark; and Una and the Satyrs. That he was embued with a truly poetic feeling, is evinced by his choice of subjects ; and he selected such as would permit the exhibition of the most beautiful human forms : The Rapes of Proser-" Eine, of Ganymede, Europa, Amphitrite ; Hebe, !omus, and others, as described by Milton and Spenser, his favourite authors. It has been re- marked that fewer of Hilton's pictures have been engraved than of most artists of celebrity ; one en- graving, however, which is very common, Una and , the Lion in the Cottage of Corecea, neither does credit to the artists, nor to the Association that put it forth. There are many minor productions of his, in his earlier time, for publications of the day, that abound with beautiful forms and graceful action. He was a member of the Royal Academy, and suc- ceeded Fuseli as keeper. His manners were singu- larly mild and amiable ; and he was much beloved by the young students of that establishment. He died on the 30th of December, 1839. He will stand as a bright star among English historical and po- etical painters.J 326 HINDE, T., an indifferent English engraver, who flourished about the year 1645. We have by him a few portraits, among which are the following : Charles II. when Prince of Wales. Prince Kupert. Eobert, Earl of Warwick. Thomas Fairfax, Lord Fairfax, HIRE, Lawrence de la, a French painter, bom at Paris in 1606. He was the son of Stephen de la Hire, an historical painter, who had acquired some reputatioij in Poland, by whom he was instructed. . The circumstance most desei-ving of notice respect- ing this painter is, that he was the only artist of his time in Paris that did not follow the style of Simon Vouet ; but it cannot be added to this observation, that he adopted a better. In aiming at softness, he sunk into insipidity, and in endeavouring to be cor- rect, he became a cold and a timid mannerist. Two of his best pictures are Christ's Entry into Jerusa- lem, and his Apparition to the Marys, in the chm-ch of the Carmelites at Paris. Lawrence de la Hire has etched several plates from his own designs, some of which he has assisted with the graver. They are executed in a slight, free style, but the drawing is generally incorrect. We have, among others, the following prints by him : The Holy Family with St. John kissing the foot of the infant Jesus ; L. de la Hire in, et fee. The Holy Family reposing, surrounded hy Angels. The Bepose in Egypt. The Crucifixion, with the Virgin, Magdalene, and St. John. 1639. The Conversion of St, Paul. The Judgment of Paris. Venus and Adonis. Different sets of Children playing, in the form of friezes. Several Landscapes, of various sizes. He died in 1656. HIRE, Philip de la, was the grandson of the foregoing artist, bom at Paris in 16/7. He was first instructed in the principles of design ; but he after- wards studied physic, and was of some eminence in the profession. In his moments of leisure he painted several pictures in the style of Watteau, which were very respectable performances. He died in 1719. HIRSCHFOGEL, Augustine, a German painter in enamel, and engraver, bora at Nuremberg about the year 1506. He was the son of Viet Hirschfogel, a glass-painter, who instructed him in the rudiments of design. We have several etchings by this artist, which possess considerable merit, particularly his landscapes, which ai-e executed in a masterly style. His drawing of the figure is incorrect. He usually marked his plates with the cipher ;^p, with the date. The following are his principal prints : A set of six Mountainous Landscapes, with castles. 1546. A Landscape, with a Canal and a Stone Bridge. 1526. A View of a Village, by the side of a River, with a Wooden Bridge. 1546. A Landscape, with a^ figure representing the Death of Cleopatra. 1547. Two Views of Sea-ports, with Shipping. 1549. Part of the Murder of the Innocents: after a sketch by Raffaelle, different from that by Marc Antonio. 1545, A Vase, with goldsmith's ornaments. 1543. A Sword, the handle ornamented with eagles' heads, and the scabbard with goldsmith's ornaments. HOARB, William, an English portrait painter, who resided at Bath about the year 1770. He etched a few plates for his amusement; among which aie the following portraits : Maria W^pole, Duchess of Gloucester ; after ReynolcU. William Warburton, Bishop of Gloucester. hobb] PAINTERS AND ENGRAVERS. [hobb Sir Isaac Newton. Balph Allen, of Bath, signed Ad vivum, Will, Hoare. [William Hoare was born at Eye, in Suffolk, about 1707. He received a liberal education, and was placed under Grisoni, an Italian painter residing in London. He afterwards went to Rome and attend- ed the school of Francesco Imperiale, the disciple of Carlo Maratti, and associatedgnuch with Pompeo Batoni. He remained abroad tor nine years, and then returned to London with many copies and studies of the works of the best masters. Finding no encouragement for historical painting, he hadv recourse to porti'aiture, which he practised at Bath with considerable success. He painted a picture, Christ bearing his Cross, for the church of St. Michael there ; and another, the Pool of Bethesda, for the octagon chapel. He was eminent as a painter in crayons, and produced many elegant figures in that manner. On . the formation of the Royal Academy he was chosen one of the members, and was a constant exhibiter for many years. He died in 1792. His son, the well-known Prince Hoare, was also a painter, and foreign correspondent 'for the Royal Academy ; he did not practise the art as a profession, but merely as an amateur. He wrote " The Epochs of Art in England," " Arethu- sa, " and other amusing works.] HOBBEMA, MiNDERHOUT. This captivating painter is supposed by Mr. Pilkington to have been bom at Antwerp about the year 1611. This con- jecture becomes however extremely disputable, when we consider the style of his pictures; and the scenery they represent. It is much more probahle that he was a native of Haerlem, or that he resided there, as his landscapes are faithful transcripts of the views in Haerlem wood, and the environs of that place. His pictures in no way partake , of the Flemish style, such as it is exhibited in the landscapes of Rubens, Wildens, Van Uden, Artois, or Teniers ; but they perfectly assimilate with the works of Ruysdael, and other painters of the Dutch school. Though the subjects of his pictures are fre- quently confined to a cottage embosomed in a clump of trees, with a sandy road leading through a, wood, and a brook or pond, he has represented these hum- ble scenes with the most fascinating naweU and sim- plicity. Hobbema has not been surpassed ty any painter of his country, in the pure and chaste tint- ing of his colour, in the full and flowing richness of his pencil, and his intelligent conduct of the chiaro- scuro. In some of his larger pictures he has in- troduced, with the happiest eifect; the brilliancy of the sunbeam bursting through the gloom of the forest, and illuminating the centre of his picture with a magical efiect of light and shadow, that astonishes and charms. His skies are light and floating; and there is a dewy brightness in his ver- dure that is admirable. The pictm-es of Hobbema were for a long time unnoticed and neglected, while those of Breughel or Savery were bought at higji prices ; but such has been the improvement in our taste, that they are now among the most coveted and highly esteemed productions of the Dutch school. [Mr. C. J. Nieuwenhuys, in his " Review of the Lives and Works of some of the most eminent Paintei-s," observes that " Houbraken makes no mention of Ho bbema ; neither is anything positively known of his private life ; we must therefore avail ourselves of the information his works have enabled us to collect. Erroneous reports have been given of him by the Rev. Mr. Pilkington, who is generally correct in his translations from the best authors j but he states, in his Dictionary of Painters, that Hobbema is supposed to have been born in 16 11, at Antwerp, and that most of his pictures were sup- plied with figures by Ostade and Teniers. I may, without hesitation, contradict this assertion, being convinced there are no such joint productions. On what ground he supposed him to have been born at Antwerp I cannot conjecture : after every considera- tion, I conceive that this must be a mistake ; for there does not exist the slightest doubt that he was a Dutchman, and not a Fleming. I have known many well-informed Dutch amateurs and painters, many of them of advanced age, who have assured me that in their youth they were told by old people, that Hobbema was bom at Coeverden ; and such is the general behef in Holland. Still nothing posi- tive can be asserted ; for some have said that he was a native of Vriesland ; others, that he was a Noord Hollander. These remarks were suggested by many of his productions having been found in those provinces ; but this is not conclusive, as for- merly -there were many collectors among the nobil- ity who adorned their country-seats with objects of art ; besides whom there were many amatem-s living at Groningen, Leeuwarden, Harlingen, Alkmaar, Hoorn, and more -particularly at Enkhuisen ; this latter place, a century ago, being one of the most important in Holland for its trade and wealth. Many persons have thought Hobbema to be a pupil of Jacob Ruisdael : it is certain that these two great men were upon friendly terms, and there is not the slightest doubt they travelled together over picturesque countries, in order to sketch and paint the scenery most adapted tp their studies. In con- sequence of this circumstance, the same subjects are often repeated by these two- great painters, and they even frequently delighted) in imitating each othei-'s style. We have seen productions of Ruis- dael that remind us forcibly of Hobbema ; but, not- withstanding, there is always a perceptible differ- ence : the pencil of Ruisdael and the touch of his fohage are more defined by his triangular handling : Hobbema is richer in colour, and his style of execu- tion more magically harmonious. It appears evi- dent from the subjects of all the pictures I have seen of Hobbema, that he did not proceed farther than the borders of Westphalia to study scenes for his landscapes ; but he particularly selected the interior of Holland, where nature seemed suf- ficiently adapted to his views for giving those re- presentations which are so truly and beautifully depicted by him. It is to be traced in Hobbema's works that he was on friendly terms with Jacob Ruisdael ; and it appears certain that the two painters were already finished artists when they ' made each other's acquaintance, which probably took place at Amsterdam, where Hobbema resided. He reckoned also as his friends several other emi- nent painters of his time ; among whom were Nico- ' . las Berchem, Adrian Vande Velde, John Lingelbach, ■ Wyntrank, and others, who adorned his beautiful landscapes with figures and animals. This proves that his talents were appreciated by his contempo- raries, although it is true that the paintings of Ruisdael were preferred to his ; and this continued for a considerable time, until the Enghsh amateurs showed a decided preference for the works of Hob- bema, and by becoming buyers, considerably in- creased their value." -His pictures \are numerous in England, and fine specimens obtain the highest prices ; as much as £3000 Stirling have been paid for one. To enumerate them and descant on their 327 hock] A DICTIONARY OP [hoet beauties would fill a yolume. They are dated from 1657 to 1669 ; perhaps he omitted the date on his earlier pictures. There is one, however, in the col- lection of Sir Robert Peel, and a very extraordinary one it is, which has the date 1689 ; whether the figure of 8 be a substitution for a 6, obliterated in cleaning, must be left to conjecture. There is no doubt of the genuineness of the pictui-e, but it is re- corded that " when it was brought, to London it was much improved hy cleaning." For a full account of Hobbema's pictures, see Smith's Caialogtie rai- sonne, vol. vi. and Supplement.] HOCKNER, John Gaspar, a German engraver, who resided at Dresden about the year 1655. He' was chiefly employed by the booksellers, for whom he en- graved a number of portraits, which are executed with suflicient neatness, but in a stiff", tasteless style. [HODGES, Charles Howard, an Englishman by birth, who spent the greater part of his life in Holland. He painted portraits, which were con- sidered excellent likenesses, with a firm and broad pencil, and a beautiful tone of colour. Many of the great men of that day sat to him. He engraved in mezzotinto after Van Dyck, Metsu, and Rem- brandt. The Shipbuilder and his Wife, in the Royal Collection of England, said to be by Rem- brandt, was engraved by him. He died at Amster- dam in 1837, at the age of 63.] HODGES, William, an English landscape paint- er, born in London in 1744. He was a scholar or the admirable Wilson ; and on leaving his instruct- or, was engaged as a designer to accompany Cap- tain Cook in his second voyage round the world, during which he drew many interesting views of the countries discovered or visited by that intrepid and persevering circumnavigator. On his return he painted some pictures for the Admiralty of views in Otaheite, and the other islands in the Pacific Ocean. A few years afterwards he went to India, where he resided till 1784, and returned with a com- petent fortune. Mr. Hodges continued the exercise of his talents in London for a few years after his re- turn, but soon after 1 790 he engaged in some commer- cial concern in the west of England. He died in 1797. HOECK, John van, a Flemish painter, bom- at Antwerp in 1600. His parents were in easy cir- cumstances, and he received the advantage of a li- beral education. Having shown a decided disposi- tion for painting, he was placed in the school of Rubens, of whom he became one of the most dis- tinguished disciples, and may be said to have ap- proached ftearer to the style of his great instructor than any of his numerous scholars. On leaving the acadejiy of Rubens he visited Italy, and passed some years at RomeJ studying after the best mo- dels. He painted several pictures for the nobility, which gained him great reputation. On his return to Flanders, he was invited to Vienna by the Em- peror Ferdinand II., where he was employed in painting the portraits of the principal personages of the court, and some historical pictures for the churches and public places. He accompanied the Archduke Leopold, who was then governor of the Low Countries, in his return to the Netherlands, who employed him in several important works, and appointed him his principal painter. The works of Van Hoeck are finely composed, and designed with correctness and finesse. His colouring and touch resemble Rubens' so nearly, that his pictures have' sometimes been taken for those of that master, even in his own country. In his portraits he is little in- ferior to Vandyck. Such are the pictures of Albert 328 and Isabella, formerly in the collection of Prince Charles of Lorraine. Of his historical works in the Low Countries, one of the most esteemed is in the collegial church of Our Lady, at Mechlin, repre- senting the dead Christ taken dovra from the Cross, with the Virgin, Mary Magdalene, and St. John. He died in 1650. HOECK, Robert van. This painter was bopi at Antwerp in 1609. It is not mentioned by whom he was instructed ; but he excelled in painting bat- tles, encampments, and skirmishes, in which he in- troduced an infinite number of small figures, neatly drawn, and touched with surprising spirit. His compositions remind us of the ingenious Callot. He also painted historical subjects, of which there are twelve pictures in the Abbey of Berg St. Vinox, near Dunkirk, representing the Twelve Apostles; at the bottom of each he has represented the Mar- tyrdom of the Saint. HOEPNAGEL, George, was bom at Antwerp in 1546, the son of a diamond merchant, who in- tended to bring him up to the same business, but a decided genius and inclination for the art, induced his father to permit him to follow the bent of his disposition. Having made some progress in design, he travelled to Italy, where he made drawings after the ancient monuments and objects worthy his at- tention ; and on his return to Flanders published a volume of plates, engraved from the designs he had made during his journey. He afterwards applied himself to painting animals, plants, and insects, which he finished in a beautiful and correct manner. When Antwerp was plundered by the Spaniards, this artist and his father were pillaged of eveiy thing they had, and he took refuge in Bavaria, where he exercised his talent for subsistence. The elector, having seen some of his pictures, took him into his protection, and he remained some years at Munich. He was afterwards employed by the Emperor Ro- dolphus, who settled on him a considerable pen- sion, and he passed the remainder of his life in his service. George Hoefnagel also claims our notice as an en- graver. He engraved views, and maps for books. He executed a map, or plan, of Bristol. In con- junction with Francis Hogenberg and Simone No- vellani, he engraved the plates for Braun's Civitates Orhis Terr arum, published at Cologne in 1572; and some of the plates for the Theatrum Orhis Terrarum, by Abraham OrteUus. He died in 1600, HOEFNAGEL, James, was the son of George Hoefnagel, bom at Francfort in 1575. He en- graved a set of about fifty plates of beasts, birds, flowers, insects, &c., from the designs of his father, begun in 1592, when he was seventeen years of age. He also executed some plates from his own compo- sitions, and from other masters. [HOEKGEEST, or HOGEEST, G. (i. e. Gio- VACHiMO, or Joachim,) a painter of interiors of churches, in the manner of De Wit, lived in the 17th century. In the Museum at the Hague are two pictures by him, representing the new church at Delft, with the monuments of the princes of the House of Orange ; one bears date 1651. His cabinet pictures are not uncommon.] HOET, Gerard. This painter was bora at Bommel in 1648. He was the son of a glass-painter, and for some time assisted his father in his profes- sion, but was afterwards placed under the tuition of Warnar van Rysen, who had been a scholar of Cor- nelius Poelemburg< and was in considerable reputa^ tion. He had not the advantage of this master's ■ ,'/'" ^ iioey] PAINTERS AND ENGRAVERS. [hoga instruction longer than a year, when the death of his father obliged him to relinquish his studies for a time, and employ himself in finishing the glass- paintings left imperfect by his father, and which were the only resource of his family. In this em- ployment he continued until the year 1672, when the French having taken possession of Bommel, he was obliged to take refuge at the Hague, where he ■was employed in ornamenting the saloons, and painting ceilings in some of the principal hotels. He also painted cabinet pictures of historical and fabulous subjects, which were much admired. He afterwards visited Amsterdam, where he met with equal encouragement ; and after passing some time in that city, he was invited to Utrecht, by M. van Zuylen, one of the most zealous patrons of the art of his time, for whom he painted some of his best pictures. Always intent on the promotion of the art, Gerard Hoet was the means of establishing at Utrecht a school of design or academy, of which he was appointed director ; and he conducted it with great credit to himself and advantage to the students for several years. The pictures of G. Hoet are in considerable estimation. He was perfectly acquaint- ed with history and the fable. His compositions are ingenious and appropriate ; and in the design of his small figures, he is more than usually correct. His colouring, without much force, is clear and agreeable. He died in 1733. [HOEY, or HOO Y Jan van, a painter, and sup- posed engraver, born at Ley den in 1545. When young he went to Prance, where he studied the art of painting, and settled at Paris. He was superin- tendent of the royal collection of pictures, and valet of the bed-chamber to Henry IV. He painted his- torical pictures; and several engravings of land- scapes have been attributed to him, as also portraits, and a Virgin and Child in the Clouds. But there is great uncertainty in the matter. He died in 1615.] HOFFMAN, Francis. This artist was proba- bly a native of Germany, but he resided in England about the year 1711. He engraved a plate repre- senting the portraits of the Right Honourable Henry St. John, one of the principal Secretaries of State ; the Right Honourable William Bromley, Speaker of the House of Commons ; and the Right Honour- able Robert Harley, Chancellor of the Exchequer. Underneath is a printed account of the ti-ansactions of the House of Commons for the year 1711. It is etched in a coarse, tasteless style, and inscribed Pranaia Hoffman, fedtaqva forte. In Mr. Gulstone's collection was a portrait of Francis Hofiman, drawn and engraved by himself, in which he is styled the inventor of ships with three bottoms. [HOPLAND, Thomas Christopher, an English landscape painter, was bom at Worksop, in Notting- hamshire, on Christmas-day, 1 777. He received a ht- tle instruction in the art from Rathbone, who was then considered a good landscape painter. After spend- ing some years at Derby as a teacher of drawing, he visited London for the purpose of copying pictures at the British Gallery, in which he was very suc- cessful. Finding that his copies sold well, he de- termined on settUng in London, which he did in 1814. In this year the governors of the institution awarded him one hundred guineas for the best land^ scape, A Storm ofi" the Coast of Scarborough, which was purchased by the Marquis of Stafford. He made many copies of Claude, Poussin, Wilson, and Gainsborough, and painted lake scenery which was considered excellent. He was employed for some time at White Knights by the Duke of Marlborough, to paint a series of pictures to illustrate a description of that place ; but it appears that the result was ^eatly injurious to the artist, and dishonourable to the peer. In his 63rd year he visited Italy, under the patronage of the Earl of Egremont, and made many sketches of the beautiful sceneiy of Naples, Castellamare, Pompeii, Rome, Tivoli, and Florence. Here he was attacked by fever, which obliged him, after five months' absence, to return to England ; and, though he rallied for a time, disease had laid such, hold on him as to add twenty years to his ap- pearance. After about two years of severe suffering, he died at Leamington in 1843. He was one of the originators of " The General Benevolent Society of Artists;" and also, in conjunction with Linton, Glover, Holmes, and others, pi-ojected and carried into effect the building of the Gallery in Suffolk Street.] ■ HOFMAN, Samuel, was a native of the canton of Zurich in Switzerland in 1589, and learned the elements of design under Gotthard Ringgli. The celebrity of the school of Rubens induced him to visit Antwerp, where he entered the academy of that distinguished painter. Such was his progi'ess under so able an instructor, that he became eminent as a painter of history and portrait, at Antwerp, even at a period when that city was the residence of so many reputable artists. On his return to Switzer- land he met with extensive employment, particu- larly in portraits, in which he united grandeur of style and dignity of character to fidelity of resem- blance. He also painted fruit, game, and still-life, He died in 1648. [Balkema says he was born in 1598, and Nagler, that he was 56 when he died.] HOGARTH, William. For the particulars of the life faf this extraordinary genius we are princi- pally indebted to Mr. Nifchols's Biographical i Anec- dotes of Hogarth, published in 1782. He was the son of a schoolmaster, born in 1697 or 1698, in the parish of St. Martin's, Ludgate. Having shown some disposition for drawing, he was bound an ap- prentice to an eminent silversmith and plateworker, to learn the branch of engraving arms and ciphers on plate ; but before his time was expired, he felt the impulse of genius, and that it directed him to painting. During his apprenticeship, he set out with some of his companions on a Sunday's excur- sion to Highgate. 'The weather being hot, they went into a public-house to refresh themselves, where they had not been long, before a quarrel arose between some persons who were in the sa7ne room with them. One of the combatants struck his antagonist on the head with a quart pot, and cut him severely. The blood running down the man's face, together with the agony of the wound, which had distorted his features into a hideous grin, pre- sented Hogarth with too laughable a subject to be overlooked. He drew out his pencil, and imme- diately produced one of the most ludicrous figures that ever was seen, an exact likeness of the man, and the caricature resemblance of the persons that surrounded him. On the expiration of his appren- ticeship, he entered the Academy in St. Mai-tin's Lane, and studied drawing after the model, though vidthout ever attaining to any" great excellence in the design of the figure. The first piroduction in which he distinguished himself as a painter, is sup- posed to have been a representation of Wanstead Assembly. The figures in it were portraits, without any circumstances of burlesque, and are said to have been extremely like ; the colouring perhaps bet- 329 hoga} A DICTIONARY OF [hoga ter than in some of his later and more finished per- formances. It appears from the date of the earliest plate that can be ascertained to be the work of Ho- farth, that he began the business of an engraver on is own account as early as 1720; and was chiefly employed at that time in engi-aving arms and shop- bills. We find him soon after engaged in designing and executing plates for the booksellers, the first of which appear to have been twelve folio prints for Aubry de la Motraye's Travels, signed with his name, in 1723. In the following year, seven smaller prints for Apuleius's Golden Ass. In 1725, among others, fifteen head-pieces for Beaver's Military Punishments of the Antients ; and five frontispieces for the five volumes of the Translation of Cassan- dra. In 1726, seventeen prints for a duodecimo edition of Hudibras,'with a head of Butler ; and a variety of others between 1726 and 1733. He was at this time much employed in portrait painting; the most ill-suited employment imaginable to a man whose turn was certainly not flattery, nor his talent adapted to look on vanity without a sneer. Yet his facility in catching a likeness, and a novel mode he adopted of painting family pieces in the style of- conversations, brought him prodigious business for some time. It did not however last, either from his applying to the real bent of his disposition, or from his customers apprehending that a satirist was too formidable a confessor for the devotees of self-love. What the price of his portraits were, Mr. Nichols strove in vain to discover; but it is suspected that they were originally very low. Lord Orford has re- marked, that if our artist " indulged his spirit of ridicule in personalities, it never proceeded beyond sketches and drawings ; that his prints touched the folly, but spared the person ; and that he never deli- vered the very features of any identical person." But this distinguished writer, who may be said to have received his education in a court, was perhaps little acq^uainted with the low popular characters with which Hogarth occasionally peopled his pictures. It has been unquestionably ascertained, that almost all the personages in "The Rake's Levee-room," were undoubtedly portraits; and that in "South- wark Fair," and the "Modern Midnight Con- versation," as many more were discoverable. In the year 1730, Hogarth married the only daughter of Sir James Thornhill. This union was a stolen one, and consequently without the appro- bation of Sir James, who, considering the youth of his daughter, then barely eighteen, and the slender finances of her husband, as yet an obscure artist, was not easily reconciled to the match. Soon after his marriage, he began his celebrated series of " The Harlot's Progress;" and was advised by Lady Thorn- hill to have some of the pictures placed in the way of his father-in-law. Accordingly, Mrs. Hogarth contrived to have some of them conveyed into his dining-room. Sir James inquired from whence they came, and being told by whom they were introduced, he said, " it was very well, the man who can pro- duce such representations as these, can maintam a wife without a portion." He soon after, however, became both reconciled and generous to the young people. This admirable performance was followed by " The Rake's Progress," which, though perhaps superior, had not so much success, from want of no- velty. The Abbe du Bos has complained that no history painter of his time had gone through a se- ries of actions, and thus, like an historian, painted the successive fortune of his hero from the cradle to the grave. What Du Bos wished to see done, 330 Hogarth accompUshed. He launches his young ad- venturer, a simple girl of the town, and conducts her through all the vicissitudes of wretchedness to a premature death. This was painting to the under- standing and to the heart. In 1745, he accjuired additional reputation by his much-admired suite of the " Marriage a-la-Mode. " He had projected a set of a " Happy Marriage," as a counterpart to it, and had made some sketches of the subjects. In the year of the peace of Aix-la- Chapelle, he went to France, but was preventfed from proceeding further than Calais by a whim- sical circumstance. While he was making a draw- ing of the gate of the town, he was taken into cus- tody, and carried before the governor as a spy. After a very strict examination, he was committed to the care of his host, on condition that Hogarth should not go out of his house till he was on the point of embarking for England. He has ridiculed this event in his print of " O the Roast Beef of Old England!" Hogarth now appeared to the world in the character of an author, by publishing his Analysis of Beauty, written with a view of fixing the fluctuating ideas of Taste, in a quarto volume, in 1753, in which he attempted to show, by a variety of examples, that a curve is the line of beauty ; the leading idea of which was hieroglyphically thrown out in a frontispiece to his works in 1745. In this undertaking, he acknowledges himself indebted to his friends for assistance, particularly to one gentleman, for his corrections and amendments of at least a third part of the " wording." This friend was Dr. Benjamin Hoadley, the physician, who carried it on to the third part; and he was lastly assisted by Dr. Mo- rell. It is observed of Hogarth, that all his powers of delighting were restrained to his pencil. Having rarely been introduced into polite circles, none of his sharp corners had been rubbed off", and he con- tinued to the last a gi-oss, uncultivated man. He had one failing in common with persons who attain wealth and eminence without the aid of a Hberal education. He affected to despise every kind of knowledge which he did not possess. About the year 1757, his brother-in-law, Mr. Thornhill, re- signed the place of king's serjeant-painter in favour of Mr. Hogarth. ■The last memorable event of our artist's life. Lord Orford observes, was his quarrel with Mr. Wilkes, in which, if Hogarth did not commence direct hos- tilities, he at least gave the first offence, by an oblique attack on the friends and party of that gen- tleman. In September, 1762, Hogarth pubhshed his print of " the Times." It was answered by Mr. Wilkes in a severe North Briton. On this, the painter exhibited the caricature of the writer. Churchill, the poet, then engaged in the war, and wrote his Epistle to Hogarth, with the motto " Ut Pictura Poesis." In revenge for this Epistle, Ho- garth caricatured Churchill, under the form of a canonical bear, with a club and a pot of porter, et liituld tu dignus et ^tc— Never did two angry men of their abilities throw mud with less dexterity. At the time when these virulent and disgraceful proceedings were carrying on, Mr. Hogarth was vi- sibly dechning in his health; and on the 26th of October, 1764, he died of a dropsy in the chest, at his house in Leicester Fields. We cannot dismiss this article without adding to the above account an abstract from the admirable character of Hogarth, by the late Lord Orford. " I consider that great and original genius," says that elegant biographer, " rather as a writer of comedy hoga] PAINTERS AND ENGRAVERS. [hog A with a pencil, than as a painter. If catching the manners and follies of an age, ' living as they rise ;' if general satire on vices and ridicules, familiarized by strokes of nature, and heightened by wit, and the whole animated by proper and just expressions of the passions, be comedy j Hogarth composed come- dies as much as MoUere. In his Maniage a-la- Mode, there is even an intrigue carried on through- out the piece. He is more true to character than Congreve ; each personage is distinct from the rest, acts in his sphere, and cannot be confounded with any other of the dramatis personse. The alderman's foot-boy, in the last print of the set ^ ^^f^ mentioned, is an ignorant rustic ; aad if wit is struck out of the characters in which it is not expected, it is from their acting conformably to their situation, and from the mode of their passions, not from their having the wit of fine gentlemen. Thus there is wit in the figure of the alderman, who, when his daughter is expiring in the agonies of poison, wears a face of solicitude, but it is to save her gold ring, which he is drawing gently oflF her finger. The thought is parallel to Moliere's, where the miser puts put one of the candles as he is talking. MoUere, inimitable as he has proved, brought a rude theatre to perfec- tion. Hogarth had no model to follow and improve upon. He created his art, and used colours instead of language. He resembled Butler, but his sub- jects are more universal ; and anridst all his pleas- antry, he observes the true end of comedy, reform- ation; there is always a moral to his pictures. Sometimes he rose to tragedy, not in the catastrophe of kings and heroes, but in marking how vice con- ducts, insensibly and incidentally, to misery and shame. He warns against encouraging cruelty and idleness in young minds ; and discerns how the dif- ferent vices of the great and the vulgar lead, by various paths, to the same unhappiness. The fine lady in Marriage i-la-Mode, and Tom Nero in the Four Stages of Cruelty, terminate their story in blood ; she occasions the murder of her husband j he assassinates his mistress. How delicate and su- perior too is his satire, when he intimates, in the College of Physicians and Surgeons that preside at a dissection, how the legal habitude of viewing shock- ing scenes, hardens the human mind and renders it unfeeling. The president maintains the dignity of insensibuity over an executed corpse, and considers it but as the subject of a lecture. In the print of the Sleeping Judges, this habitual indifference only excites our laughter. He drew all his stores from nature, and the force of his own genius, and was in. debted neither to models nor books for his style, thoughts, or hints j and was never successful when he designed for the works of other men. He could not bend his talents to think after any body else. He could think like a great genius rather than after one. I have a sketch in oil, that he gave me, which he intended to engrave. It was done at the time when the House of Commons appointed a com- mittee to inquire into the cruelties exercised on pri- soners in the Fleet, to extort money from them. The scene is the committee ; on the table are the instni- ments of torture. A prisoner in rags, half starved, appears before them; the poor man has a good countenance, that adds to the interest. On the other hand is the inhuman gaoler. It is the very figure that Salvator Rosa would have drawn for lago, in the moment of detection. Villany, fear, and conscience are mixed in yellow and Uvid on his coun- tenance ; his lips are contracted by ti-emor ; his face advances as eager to lie; his legs step back, as think- ing to make his escape ; one hand is thrust pre- cipitately into his bosom, the fingers of the other are catching uncertainly at his button-holes. If this was a portrait, it is the most speaking that ever was drawn ; if it was not, it is still finer. It is sel- dom his figures do not express the character he intended to give them. When they wanted an illustration that colours could not bestow, collateral circumstances, full of wit, supply notes. The noble- man in Marriage a-la-Mode has a great air; the coronet on his crutches, and his pedigree issuing out of the bowels of William the Conqueror, add to his character. In the Breakfast, the old steward reflects for the Spectator. Sometimes a short label is an epigram, and is never introduced without im- proving the subject. The Scenes of Bedlam and the Gaming-house, are inimitable representations of our serious follies and unavoidable woes ; and the concern shown by the Lord Mayor, when the com- panion of his childhood is brought before him as a criminal, is a touching picture, and big with human admonition and reflection. Another instance of this author's genius is his not condescending to explain his moral lessons by the trite poverty of allegory. If he had an emblematical thought, he expressed it with wit, rather than by symbol. His Southwark Fair is full of humour ; his March to Finchley, of nature ; the Enraged Musician tends to farce. The Pour Parts of the Day, except the last, are inferior to few of his works. The Sleeping Congregation, the Lecture on the Vacuum, the Laughing Audi- ence, the Consultation of Physicians, as a coat of arms, and the Cockpit, are perfect in their several kinds. The prints of Industry and Idleness have more merit in the intention than execution. To- wards his latter end he now and then repeated him- self, but seldomer than most great authors who executed so much. It may appear singular, that of an author whom I call comic, and who is so cele- brated for his humour, I should speak in general in so serious a style ; but it would be suppressing the merits of his heart, to consider him only as a pro- moter of laughter. I think I have shown that his views were more generous and extensive. Mirth coloured 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 folUes. When his topics were harmless, all his touches were marked with pleasantry and fun. He never laughed, Uke Rabelais, at nonsense that he imposed for wit ; but, like Swift, combined incidents that divert one from their unexpected en- counter, and illustrate the tale he means to tell. The manners or costume are more than observed in every one of his works. The very furniture of his rooms describe the characters of the persons to whom they belong, a lesson that might be of use to comic authors. It was reserved to Hogarth to write a scene of furniture. The Rake's Levee-room, the Nobleman's Dining-room, the Apartments of Hus- band and Wife in Marriage a-la-Mode, the Alder- man's Parlour, the Poet's Bed-chamber, and many others, are the history of the manners of the age. Not content with shining in a path untrodden be- fore, he was ambitious of distinguishing himself as a painter of history. But not only his drawing and colouring rendered him unequal to the task; the genius that had entered so feelingly into the calami- ties and crimes of private life, deserted him in a walk that called for dignity and grace. The bur- lesque turn of his mind mixed itself with the most serious subjects. In his Danae, the old nurse tries 331 hoga] A DICTIONARY OF [hoge a coin of the golden shower with her teeth, to see if it is true gold; in the Pool of Bethesda, a servant of a rich ulcerated lady beats back a poor man that sought the same celestial remedy. Both circum- stances are justly thought, but rather too ludicrous. It is a much more capital fault that Danae herself is a mere nymph of Drury. He seems to have con- ceived no higher idea of beauty. So little had he eyes to his own deficiencies, that he believed he had discovered the principle of grace. With the en- thusiasm of a discoverer, he cried Eureka! This was his famous line of beauty, the groundwork of his Analysis, a book that has many sensible hints and observations, but that did not carry the convic- tion, nor meet the universal acquiescence he ex- pected. As he treated his contempoi'aries with scorn, they triumphed over this publication, and imitated him to expose him. He determined to rival the ancients, and, unfortunately, chose one of the finest pictures in England as the object of his competition. This was the celebrated Sigismonda, in the possession of the Duke of Newcastle, said to be painted by Coreggio, but no matter by whom. It is impossible to see the picture, or read Dryden's inimitable tale, and not feel .that the same soul animated both. After many essays, Hogarth at last produced his Sigismonda, but no more like Sigis- monda than I to Hercules. Not to mention the wretchedness of the colouring, it was the represent- ation of a maudlin strumpet, just turned out of keep- ing, and with her eyes red with rage and usque- baugh, tearing off the ornaments her keeper had given her. To add to the disgust raised by such vulgar expression, her fingers were blooded by her lover's heart, that lay before her. None of the sober grief, no dignity of suppressed anguish, no in- voluntary tear, no settled meditation on the fate she meant to meet, no amorous warmth turned holy by despair ; in short, all was wanting that should have been there, all was there that such a story should have banished from a mind capable of conceiving such complicated woe ; woe so sternly felt, and yet so tenderly. Hogarth's performance was more ri- diculous than any thing he had ever ridiculed. He set the price of four hundred pounds on it, and had it returned on his hands by the person for whom it was painted. He took subscriptions for a plate of it, but had the sense at last to suppress it. I make no more apology for this account, than for the en- comiums I have bestowed on him. Both are dic- tated by truth, and are the history of a great man's excellencies and errors. Milton, it is said, preferred his Paradise Regained to his immortal poem." The following is as ample a list of the designs and prints of Mr. Hogarth, as our limit will allow, and comprises nearly all those engraved by himself. It has been judged most desirable to arrange them according to their dates. The Portrait of William Hogarth, with two figures and two Cupids. 1720. An emblematical print on the South-sea Buhhle ; W. Hogarth, inv. et sculp. 1721. Thirteen prints for Aubrey de la Motraye's Travels, in 1723. Seven small prints for Apuleius's Golden Ass ; in 1724. Fifteen head-pieces for Beaver's Military Punishments of the Ancients. A Burlesque on Kent's Altar-piece in St. Clement's. 1725. A Masquerade, invented for the use of ladies and gentle- men by the ingenious Mr. Heidegger. 1725. A Just View of the British Stage. 1725. Twelve prints for Hudibras ; the large set. 1726. The small set, containing seventeen, with Butler's head. [The head engraved for Butler, is that of J. B. Mo- ■ 332 neyer, the flower-painter, lOf which there is a mezzo- tinto.] Mary Tofts, the rabbit woman of Godalmln. 1726. Rich's Glory, or his triumphant entry into Covent Gar- den. 1728.- Sarah Malcolm, executed in 1732, for murder. W. Ho- qwrth, ad mvum pinxit et sculpait. This woman sat to him for her picture two days before her execution. A Midnight Modem Conversation. 1733. Southwark Fair. 1734. The Harlot's Progress ; in six plates. 1733, 1734. The Rake's Progress ; in eight plates. 1735. The Sleepy Congregation. 1736. The Distressed Poet. 1736. The Lecture ; datur vacuum. 1736. The Four Times of the Day. 1738. Strolling Actresses in a Bam; 1738. The Enraged Musician. 1741. Marriage a-la-Mode; engra^d under his direction by Scotm, Bavenet, and Baron. 1745. The Portrait of Martin Folkes, Esq. 1745. 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. The Effects of Industry and Idleness ; in twelve plates. 1747. The Gate of Calais, " the RoastBeef of Old England!" ■ by Hogarth and Mosely. The March to Finchley ; L. Sulivan, sc. W. Hogarth, dir. 1748. The Portrait of Hogarth, with a pug dog. 1749. The Stages. of Cruelty ; four prints. 1761. Paul before Fehx'; scratched in the maimer of Rem- brandt. 1751. Paul before Felix ; after the picture in Lincoln's Inn Hall, Moses brought to Pharaoh's daughter ; by Hogarth and Sulivan. Columbus breaking the Egg. 1755. The ticket to tile Analysis. Four prints of an Election. 1755 ; by Hogarth, Grig- nion, la Cave, and Aveline. .The 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 the life, and etched by W. HogaHh. 1763. The Bruiser, C. Churchill, in the character of a Russian Hercules. 1763. The Good Samaritan. The Pool of Bethesda. Sigismonda. The Analysis of Beauty ; two plates. HOGEN, J., an obscure engraver, by whom we have the portrait of Damianus Agoess, neatly exe- cuted with the graver. It is signed lo. IIoqen,fec, HOGBNBERG, Remigius. From the'name of this old engraver, we may conclude that he was a native of Germany. He was in England as early as 1573, in which year he engraved the portrait of Matthew Parker, Archbishop of Canterbury, in whose service he appears to have been retained. This portrait was supposed, by Vertue, to have been the first that was executed in England ; but this is rendered very disputable, by the e:flstence of a por- trait of Mary I. by Francis Hogenberg, dated 1555, unless we are to conclude that this plate was not engraved in England ; or that the date alludes to the era of her reign, rather than the time of the en- graver. Remigius Hogenberg worked entirely with the gi-aver ; and the few prints that are known of him are more sought after for their extreme rarily than their merit. We have by him. The Portrait of Archbishop Parker, seated at a table, with a book open, and a bell by the side of it, a coat of arms at each of the four comers. 1573. Another Portrait of the Archbishop. He also engraved a large genealogy of the kings hoge] PAINTERS AND ENGRAVERS. [holb of England, from the Conquest to Queen Elizabeth. It is inscribed, Remigius Hogenhergius servus D. Matt. Archiep. Cant, sculpsit, 1574. HOGENBERG, Francis, was the brother of Remigius; but it is not known whe};her he was older or younger. It has been conjectured by some, that he came to this country before his brother, from his having engraved the portrait of Maiy ; but that is not precisely ascertained. He was employed, however, by English publishers. The following engravings are by him : The Portrait of Mary I., Queen of England; 1555 ; in- scrilied Veritas temporis jilia. The Maps of Gjiul and Belgium, in Saxtan's Atlas. Part of the yiews in Braun's Civitates Orbis Terramm ; printed at Cologna in 1572 ; engraved in conjunction Tvith Simone Novelani'scai George Hoefiiagel. The pompous Funeral of Frederick II., King of Den- mark ; dated 1592 ; engraved in conjunction with Si- mone JVbcefoni; in twenty-one plates. An emhlematical print of Charity ; inscrihed Franciseus Hogeniergus, sculpsit. Jacobus Christiamis, excudit. Engraved in a poor dry style. HOGENBERGi Abraham, is supposed to have been the younger brother of the two preceding art- ists. He assisted Francis Hogenberg in the plates he engraved for the Theatrum Orbis Terrarum, by Abraham Ortelius. His plates are worked with the graver, in a neat, stiff style, and his drawing -is very incorrect. He engraved some frontispieces for the booksellers ; among others, one for a UommentaTy on the Book of Kings, published at Cologne in 1635. We have also by him. The Portrait of Wolfgang WiUiam, Duke of Bavaria, on horsehack ; Geldorp, pinx. Abr. Hogenberg, fee. HOGENBERG, John. This engraver was a re- lation of the foregoing artist, and flourished at Co- logne about the year 1600. He engraved several portraits, and some historical subjects, executed in a clear, neat style, resembling that of Crispin de Passe, though infinitely inferior. Among others, we have the following by him : PORTKAITS. John Adams, Electoral Prince, Archbishop of Mentz; J. Hogenberg, sod. Lotharius, Electoral Archbishop of Treves ; the same. George, Cardinal Radzivil, Bishop of Cracow ; the same. The Scourging of Christ ; after M. de Vos. HOI, or HOY, Nicholas van, a Flemish en- graver of no great note : in conjunction with J. van Ossenbeck, and Francis Vandersteen, with others, he engraved part of the plates, after the pictures in the collection of the Archduke Leopold, called the Gallery of Teniers, published at Antwerp in 1660. It consists of two hundred and forty-three prints. HOLBEIN, Hans, or John. In recording the life of this distinguished artist, whose memoir's and whose works are so interesting to our country, we are reheved from the painful duty of representing genius and talent suffering under neglect, indigence, and obscurity, too often the mortifying fate of the most illustrious followers of the art. Indeed it has been the lot of few, to have their merit so munifi- cently rewarded, or to whose fame posterity has paid the tribute of more honourable testimony. Hans Holbein has generally been said to have been bom at Basle in 1498 ; but M. Huber thinks it more pro- bable that he was a native of Augsbourg, in which . city his father resided at the time of his birth, as appears from an inscription on his picture of St. Paul ; ITiis work teas completed hy John Holbein, a citizen of Augsbourg, in 1499. However this may be, his father soon afterwards settled at Basle, where he resided the remainder of his life. The young Holbein was instructed in the art by his father, and at the early age of fourteen gave proof of uncom- mon capacity in the portraits he painted of his father and himself, in 1512, which are engraved in Saildrart's Academia, and which, if they have not been greatly improved by the engraver, must have been very extraordinary performances^ for a boy. He had acquired considerable celebrity, particularly in portraits, when an English nobleman, (supposed to have been the Earl of Surrey,) travelling through Switzerland to Italy, was so struck with the beauty of his pictures, that he sat to him, and invited him to visit England, where his talent would be esteemed and rewarded, and promised him a favourable re- ception from Henry VIII. Holbein did not, how- ever, at that time listen to the proposal. A few years after, Erasmus, visiting Basle, for the purpose of superintending the publication of some of his works, formed an intimacy with Holbein, who paint- ed his portrait. Erasmus used every persuasion to induce him to visit England, and at length pre- vailed. He presented him with a letter of intrdduc- tion to Sir Thomas More, to whom he sent the por- trait he had just . painted, as a specimen of his ability. On his arrival in England, in 1526, Sir Thomas received him with all possible kindness, and accommodated him with apartments in his house at Chelsea, where he employed him for some time in painting the portraits of himself, his family, and friends, with other considerable works. Whilst he was living with the chancellor, he happened to mention the circumstance of his having been in- vited to visit England by a nobleman, previous to his being advised to do so by Erasmus, and Sir Thomas was extremely solicitous to know who it was. Holbein replied, that he had forgot the title, but he remembered his features so well, that he thought he could draw his likeness from memory ; which he did so exactly, that it was immediately recognised. The chancellor having richly deco- rated his apartments with Holbein's pictures, was desirous of introducing him to his royal master, in the manner most likely to secure him the favour and protection of Henry VIII. He accordingly arranged the pictures in the most advantageous or- der in the great hall, and invited his Majesty to an entertainment. On the king's entrance, he was prodigiously struck with the beauty of the paint- ings, and ejcpressed his admiration of them in such terms, that Sir Thomas requested his Majesty would deign to accept of whatever he most liked ; but the king inquiring anxiously after the artist, the chan- cellor introduced Holbein to him, who received him in the most gracious manner, observing, " that now he had got the painter. Sir Thomas might keep his pictures." Henry immediately took him into his service, ordered apartments to be allotted him in the palace, with a liberal salary, besides the price he was to he paid for his pictures. Holbein painted the king several times, and the portraits of the prin- cipal persons of the court. On the death of Jane Seymour, Holbein was sent to Flanders to draw the portrait of Christiana, Duchess dowager of Milan, widow of Francis Sforza, whom Charles V. had re- commended to Henry for a fourth wife ; but changing his humour, the marriage did not take place. Among the Harleian MSS. is a letter from Sir Thomas Wyat to the king, congratulating him on his escape, as the duchess's chastity was a little equivocal. " If it was so," observes the noble author of the Anec- dotes, " considering Henry's temper, I am apt to 333 hole] A DICTIONARY OF [holb think the duchess had the greater escape." That princess is said to have sent word to the king, that she had but one head ; if she had two, one of them should have been at his Majesty's service. The works of Holbein are extremely numerous ; and, besides those that are genuine, a number of wretch- ed productions are attributed to him, which are to- tally unworthy of him^ Of Holbein's historical works little is known in England, where he was chiefly employed in portraits, or in what may be called historical portraits. The two emblematical subjects of Riches and Poverty, formerly in the hall of the company of the Steelyard, are ex- tremely doubtful. Of his public works in England, the most considerable is the celebrated picture in Surgeons' Hall, of Henry VIII. granting the char- ter to the Company of Surgeons ; the character of the king is admirably represented, and all the heads are finely drawn. Another large picture by Hol- bein is in the hall of Bridewell, representing Ed- ward VI. delivering to the Lord Mayor the royal charter, by which he gave up his palace of Bride- well to be converted into an hospital and work- house. There are many genuine portraits by him in the mansions of the nobility. At Basle, in the town-house, are eight pictures of the Passion of our Saviour; and in the Ubrary of the University, a Dead Christ, painted on panel, in 1521. Some doubts have been entertained respecting the cele- brated Dance of Death having been originally de- signed by Holbein ; but these nave been occasion- ed by confounding the set of prints of the Dance of Death, engraved by Matthew Merian, after a much older master than Holbein, with the wooden cuts, by that master, after his own designs, the ori- ginals of which are preserved in the public library at Basle. Holbein painted in oil, distemper, and sometimes in miniature; which last he is said to have learned in England, from Lucas Comelii, and carried it to the highest perfection. The portraits of Holbein are distinguished by a pure and simple design, peculiarly characteristic' of his model; his carnations are tender and clear, and his heads, with- out much shadow, have a surprising relief. In the reign of George II., Queen Caroline discovered, in a Jbureau, an invaluable collection of Holbein's drawings, of the portraits of the most illustrious personages of the court of Henry VIII. They had formerly belonged to Charles I. They remain in the royal collection ; there are about ninety of them, some of which are extremely fine. Several of them have been admirably engraved, ii;i the style of the original drawings, by TVIr. Bartolozzi. As an engraver on wood, Holbein deserves par- ticular notice. He is said to have begun to practise that art as early as 1511, when he was thirteen years of age, and, before his departure from Switzer- land, had executed a great number of wooden cuts. In these he was employed by the most celebrated publishers of his time, at Basle, Zurich, Lyons, and at Leyden. Of his productions as an engraver, the most remarkable are the following : a set of wooden cuts known by the name of Death s Dance, engraved from his own designs'; when complete, it Gonsists of fifty-three prints, though it is seldom to be met with above forty-six. They are small upright prints, surrounded by a border. The first impression of them is said to have been made in 1530; but there are later publications of them, particularly one at Lyons, entitled Simolachri Historie, e fisv^e della Morte, in Lyone oppresso Qiov. Frelloni mdxlix. They have been copied on wood by an old artist, but 334 in a manner very inferior to the originals. We have also by him a set of ninety small cuts of subjects from the Old Testament, executed in a bold, mas- terly style, yet with great delicacy. The best im- pression of these was published at Lyons in 1539, by Melchior and Gaspar Treschel. There is a later impression of them, with two Latin verses, in praise of Holbein. This set was copied by Hans Brosamer in a poor style. He also engraved a variety of vig- nettes, frontispieces, and ornaments, for goldsmiths. He usually marked his prints with the ciphers JB °^ ^ff ' °'^ ^^Sned them HANS. HOLB. Holbein died of the plague in London in 1554. " Holbein painted in oil, in distemper, and water colours. He had never practised the last till he came to England, where he learned it of Lucas Comelii, and carried it to the highest perfection. His miniatures have all the strength of oil colours joined to the most finished delicacy. He generally painted on a green ground; in his small pictures often on a deep blue. There is a tradition that he painted with his left hand, but this is contradicted by one of his own portraits that was in the Arunde- lian collection, and came to Lord Stafford, in which he holds his pencil in the right hand." [The following list of pictures, attributed to Hans Holbein, is taken from " Walpole's Anecdotes of Painting in England," edited by the Rev. James Dallaway. Since the publication of the original work many of them have changed their situation, and bthers have been discovered that may reason- ably be considered as by him. On the other hand, numerous pretenders have appeared that have no claim to their assumed paternity, though supported by the partiality of their possessors, or the interest- ed assurance of dealers who have supplied them. Nagler mentions several that are not enumerated here ; and Professor Waagen, in his account of Pictures in England, while he refuses assent to the fenuineness of some that occupy high places, and ave, therefore, been considered as indisputable, points out others that have juster claims. It is mat- ter for regret that one so well qualified, in this par- ticular, had not leisure, and the necessary facilities, to examine critically the numerous works in Eng- land that bear the name of Holbein. The obstacles he had to encounter, and the cursory view he was obliged to take, would not allow him to pronounce decidedly ; but his passing remarks prove his acu- men, and will be admitted, by every disinterested connoisseur, to be just. Mr. J. C. Nieuwenhuys de- scribes two pictures by Holbein in his Cataloguei of the King of Holland's Collection ; The Death of the Virgin, and a portrait of Sir Thomas More. The first is not spoken of elsewhere, but, in the opinion of this eminent judge, is a genuine picture ; that of Sir Thomas More will be found in the list. As every thing relating to Hans Holbein is interesting to the lovers of the art, a list of publications of his works, real and presumed, is added from Nagler's Kunstler-Lexicon.] It is impossible to give a complete catalogue of his works ; they were extremely numerous ; and as I have said, that number is increased by copies, by doubtful or by pretended pieces. Many have pro- bably not come to my knowledge; those I shall mention were of his hand, as far as I can judge. From his drawings for the Moriae Encomium there have been prints to many editions, and yet they are by no means the most meritorious of his performances. hole] PAINTERS AND ENGRAVERS. [holb At Basil in the town-house are eight pieces of the history of Christ's Passion and Crucifixion. Maximilian, Duke of Bavaria, oifered a great sum for thefli. Three of the walls in the upper part of the same edifice are adorned with histories by him. In the library of the University there is a dead Christ painted on board in the year 1521. In the same place the Lord's Supper, much damaged. Another there on the same subject, drawn by Holbein when very young. Christ scourged; in the same place, but not very well painted. Ibidem, A board painted on both sides ; a school- master teaching boys. It is supposed to have been a.sign to some private school, 1516. Ibidem, a profile of Erasmus writing his Com- mentary on St. Matthew. Ibidem, The same in an oval ; smaller.' Ibidem, The porti-ait of Amerbach. Ibidem, A woman sitting with a girl in her arms, and stroking a httle boy. These are said to be Holbein's wife and children. This has been en- graved by Joseph [John ?] Wirtz. Ibidem, A lady of Alsace, with a boy. Ibidem, A beautiful woman, inscribed Lais Co- rinthiaca 1526. Ibidem, Adam and Eve, half figures, 1517. Ibidem, two pictures in chiaro-scuro, of Christ crowned with thorns, and the Virgin praying. 'Ibidem, One hundred and three sketches on paper, collected by Amerbach ; who has written on them Hans Holbein genuina. They are chiefly designs for the Life of Christ, and some for the family of Sir Thomas More. . Many of them are thought to have been patterns for glass painters. I have heard that at Basil there are paintings on glass both by Holbein himself and his father. Ibidem, Two death's heads near a^grate. Ibidem, The portrait of John Holbein (I do not know whether' father or son) in a red hat, and a white habit trimmed with black. The portrait of James Mejer, Consul or Burgo- master of Basil, and his wife, 1516, tvith the sketches for both pictm-es. In the museum of Feschius. Erasmus, in the same place. In the street called Eissengassen, is a whole house painted by him on the outside, with buildings and history. For this he received sixty florins. The Emperor Charles V. Le Blond, a Dutch painter, gave an hundred crowns for this at Lyons in 1633, for the Duke of Buckingham. Another portrait of Erasmus, bought at Basil by the same Le Blond for an hundred ducats. This was engraved in Holland by Vischer. It is men- tioned in the catalogue of the duke's pictures, p. 17, No. 6. To this was joined the portrait of Frobe- nius. Both pictures are now at Kensington ; but the architecture in the latter was added afterwards by Steenwyck. But the Erasmus is thought a copy : the true one King Charles gave to Mohs. de Lien- court. See catal. p. 18. The Frobenius was given to the King by the Duke of Buckingham, just before he went to the Isle of Bhee. A large picture, containing the portraits of the Consul Mejer and his sons on one side, and of his wife and daughters on the other, all praying before an altar. This was sold at Basil for an hundred piecps of gold ; the same Le Blond-in 1633 gave a thousand rix-dollars for it, and sold it for three times that sum to Mary de Medici, then in Holland. Another portrait of Erasmus ; at Vienna. Another there, supposed the father of Sir Thomas More, works. This was reckoned one of his capital Two pieces about five feet high, representing monks digging up the bones of some saint, and carrying them in procession ; at Vienna. A picture about four feet square, of dancing, hunting, tilting, and other sports; in the public library at Zurich. The inside of a church, the virgin, and apostles ; angels singing above; in the collection of Mr. Werdmyller at Zurich. The portrait of an English nobleman in the same cabinet. The portrait of Conrad PelUcan, professor of Theology and Hebrew at Zurich ; in flie .house of Mr. Martyn Werdmyller, senator of Basil. Christ in his cradle, the Virgin and Joseph : Shepherds at a distance; in the church of the Augustines at Lucern. "The Adoration of the Wise men. ibidem. Christ taken from the cross, ibidem. The Sancta Veronica, ibidem. Christ teaching in the temple, ibidem. Christ on the cross ; the Virgin and St. John ; with inscriptions in Hebrew, Greek, and Latin. All the Prophets in nine pieces, each a yard long ; painted in distemper. These were carried to Hol- land by Barthol. Saibruck a painter, who made copies of them, preserved in the Feschian museum. The picture of Queen Mary ; Dr. Patin had it, and the following ; , An old man with a red forked beard, supposed to be a grand master of Rhodes. The Dance of Death in the churchyard of the Predicants of the suburbs of- St. John at Basil-is always ascribed to Holbein, and is shown to stran- gers through a grate. And yet, as Vertue observed, our painter had undoubtedly no hand in it Pope Eugenius IV. appointed the council of Basil in 1431, and it sat there 15 years, during which time a plague raged that carried off all degrees of people. On the cessation of it, the work in ques- tion was immediately painted as a memorial of that calamity. Holbein could not be the original painter, for he was not bom till 1498 ; nor had any hand in the part that was added in 1529, at which time he had left Basil. Even if he had been there when it was done (which was about the time of his short return thither) it is not probable that mention of him would have been omitted in the inscription which the magistrates caused to be placed under those paintings, especially when the name of one Hugo Klauber, a painter who repaired them in 1569, is carefully recorded. But there is a stronger proof of their not being the work of Holbein, and at the same time an evidence of his taste. 'The paintings at Basil are a dull series of figures, of a pope, emperor, king, queen, &c., each seized by a figure* of Death ; but in the prints which Hollar has given of Holbein's drawings of Death's Dance, a design he borrowed from the work at Basil, there are groups of figures, and a richness of fancy and invention pecuUar to himself. Every subject is varied, and adorned with buildings and habits of the times, which he had the singular art of making picturesque. At Amsterdam in the Warmoes-street was a fine picture of a Queen of England in silver tissue. Two portraits of himself, one, a small round, was in the cabinet of James Razet ; the other as big as the palm of a hand ; in the collection of Barth. Ferrers. Sandi-art had drawings by Holbein of Christ's 335 hole] A DICTIONARY OF [holb passion, in folio ; two of them were wanting ; in his book he offers 200 florins to whoever will pro- duce and sell them to him, p. 241. In the king of France's collection are the fol- lowing: 1. Archbishop Warham, aet. suae 70. 1527. There is another of these at Lambeth. Archbishop Parker entailed this and another of Erasmus on his successors ; they were stolen in the civil war, but Juxon repurchased the former. , 2. The portrait of Nicholas Cratzer, Astronomer to Henry VIIL This maii after long residence in England had scarce learned to speak the language. The king asking him how that happened, he replied, " I beseech your highness to pardon me ; what can a man learn in only thirty years ? " These two last pictures were in the collection of Andrew de Loo, a great virtuoso, who bought all the works of Hol- bein he could procure ; among others a portrait of Erasmus, which king Charles afterwards exchanged for a picture of Leonardo da Vinci. A drawing of Cratzer is among the heads by Holbein at Kensmg- ton. Among others' in de Loo's collection was the fine Cromwell Earl of Essex, now at Mr. South- well's, and engraved among the illustrious heads. 3. Anne of Cleve. 4. Holbein's own portrait. 5. Erasmus writing ; a smaller picture. , 6. An old man, with a gold chain. 7. Sir Thomas More, less than life. 8. An old man with beads and a death's head. In the collection of the Duke of Orleans were four heads ; Another Cromwell Earl of Essex. There is a small head of him at Devonshire-house with this date, aet. 15, 1515. Sir Thomas More. A Lady. George Gysein. But the greatest and best of his works were done in England, many of which still remain here. Some were Tost or destroyed in the civil war ; some sold abroad at that time ; [in the Florence Gallery, were small portraits of H. Earl of Surrey, and Richard Southwell, both purloined during its occupation by the French, in 1800 jl and some, particularly of his miniatures, were, I believe, consumed when Whitehall was burned. Thee perished the large picture of Henry VII.* and of Elizabeth of York, of Henry VIIL and Jane Seymour; it was painted on the wall in the privy chamber. The copy which Remee made of it for Charles II. in small, and for which he received £150, hangs in the king's bed- chamber below stairs at Kensington ; from that Vertue engraved his print. Holbein's original draw- ing of the two kings IS in the collection of the Duke of Devonshire. It is in black chalk, heightened, and large as life ; now at Chatsworth. The archi- tecture of this picture is very rich, and parts of it in a good style. In the chapel at Whitehall he painted Joseph of Arimathea, and in that at St. James's, Lazarus ris- ing from the dead — both now destroyed. That he often drew the king is indubitable ; se- veral pictures extimt of Henry are ascribed to him — I would not warrant many of them. There is one at Trinity college Cambridge, (it has f-p * The portraits of Henry VII. aud Elizabeth must have been taken from older originals; Holbein more thai^ once copied the picture of tliis queen, ^nd of the king's gran- dame (as she was called) Margaret, Countess of JS^i^mond. 336 . •> Fecit upOn it, and was probably a copy by Lucas de Heere,) another at Lord Torrington's at White- hall, both whole lengths, and another in the gallery of royal portraits at Kensington, which, whoever painted.it, is execrable; oiTe at Petwoi'th, and an- other in the gallery at Windsor. But there is one head of that king at Kensington, not only genuine, but perhaps the most perfect of his works. It hangs by the chimney in the second room, leading to the great drawing-room ; and would alone account for the judgment of Depiles, who in his scale of pic- turesque merit, allows 16 degrees for colouring to Holbein, when he had allotted but 12 to Raphael. I conclude that it was in the same light that Fre- deric Zucchero considered our artist, when he told GoltziuR that in some respects he preferred him to Raphael. ' Both Zucchero and Depiles understood the science too well to make any comparison, ex- cept in that one particular of colouring, between the greatest genius, in his way, that has appeared, and a man who excelled but in one, and that an inferior branch of his art. The texture of a rose is more delicate than that of an oak ; I do not say that it grows so lofty or casts so extensive a shade. Opposite to this picture hangs another, but much inferior, called in the catalogue Lord Arundel, or Howard ; the latter name is a confusion, occasioned by the title of Arundel passing into the family of Howard. The portrait in question, 1 suppose, is of H. Fitzalan, Earl of Arundel, and probably the very person who first persuaded Holbein to come into England. The fine original of Thomas Howard, Duke of Norfolk, with the staves of Earl Marshal and Lord Treasurer, from whence the print is taken, is at Leicester-house. [The original is now -at Norfolk-house.] In Ihe state bed-chamber is a portrait of Edward VI. It was originally a half-length; but has been very badly converted into a whole figure since the time of Holbein. Considering how long he lived in the service of the crown, it is surprising that so few of his works should -have remained in the royal collection; Charles I. appears by his catalogue to have possess- ed but about a dozen. All the rest were dispersed but those 1 have mentioned (unless the whole length of the unfortunate Earl of Surrey, in a red habit, in the lower apartment at Windsor, is so, as 1 be- lieve it is,) and a fine little picture of a man, and woman, said to be his own and wife's portraits, which hangs in an obscure closet in the gallery at Windsor ; and the portrait of a man opening a let- ter with a knife, in the standard-closet in the same palace. But at present an invaluable treasure of the works of this master is preserved in one of our palaces. Soon after the accession of the late king. Queen Caroline found in a bureau at Kensington a noble collection of Holbein's original drawings for the portraits of some of the chief personages of the court of Henry VIll. How they came there is quite unknown. They did belong to Charles I., who changed them with William Earl of Pembroke for a, St. George by Raphael, now at Paris. Lord Pembroke gave them to the Earl of Arundel, and at the dispersion of that collection, they might be bought by or for the king. There are eighty-nine JACOBSZ, Hubert,, called Grimani, a Dutch portrait painter, born at Delft in 1599. Having learned the rudiments of art in his own country, he went to Venice, where he studied with attention the works of Titian, and became an excellent colourist. His talents recommended him to the patronage of the Doge Grimani, in whose employment he passed nine years, and was usually called by the name of Grimani. He afterwards returned to Holland; where 355 JACO] A DICTIONARY OF [JANS he followed his profession with gi-eat reputation. He died at the Briel in 1628 or 1629. JACOBSZ, JuRiAEN. This painter was born at Hamburg in 1610. He visited Antwerp when young, where he entered the school of Francis Sny- ders. Like his celebrated master, he excelled in painting huntings and combats of animals, which were designed and painted with all the fire and spirit which those subjects require ; and, according to Descamps, his pictures of that description are little inferior to those of Snyders. He was also a very respectable painter of history and portraits. His works are principally at Amsterdam, where he resided several years, and was greatly respected. He died in 1664. JACOBUS, an old German engraver on wood, who flourished as early as the year 1480. His prin- cipal works were sixteen or eighteen cuts of the Life of Christ, some of which are signed with his name, fflpus Sscobi. Papillon mentions a large upright engraving by this artist ; he says it belonged to a set of prints representing the history of Rome, in allegorical figures, and adds, that it was well ex- ecuted. JACONE. This painter was a native of Flo- rence, and flourished about the year 1525. He was a friend and coadjutor of Andrea del Sarto, and as- sisted that master in some of his works. Vasari describes him as a bold, but a fantastical designer, and extravagant and outrageous in his attitudes. His best works were imitations of the style of del Sarto, and some pictures in the churches at Cortona. He died in 1555. JACOPSEN, H., a Flemish engraver, who lived about the year 1620. He engraved a set of plates, chiefly portraits, for a History of the Netherlands, published in that year. JACQUART, Antoine de. . This artist was probably a native of France ; he is said by F. le Comte to have engraved small vignettes, with figures and grotesque ornaments, which he usually marked with the letters A. D. I. F. [JAGER, Gerard de, a native of Dort, flourish- ed about 1646. He painted marine subjeqts, and was particularly excellent in the representation of still water.] JAGER, R., an obscure engraver, from his name probably a Dutchman, by whom we have an indifierent etching, representing the Fleets of Spain and Holland, without a date. JAMESONE, George. This eminent' painter was styled the Vandyck of Scotland, to which honourable title he had a double pretension, not only for having . surpassed all his countiymen as a portrait painter, but from his pictures being sometimes attributed to that master. George Jamesone was the son of Andrew Jamesone, an architect, bom at Aberdeen in 1586. It is not known at what time he went abroad, nor how long he remained on the continent ; but he resided some time at Antwerp, where he had the advantage of studying in the school of Rubens, at the time when Vandyck was also his disciple. On his return to Scotland he was much employed in painting por- traits, both in oil and in miniature ; and occasionally painted both history and landscape. His largest portraits were generally somewhat less than life. The excellence of Jamesone consisted in delicacy and softness, a clear and brilliant colouring, with- out much shadow ; principles he acqtiired in the great school in which he w£is "educated. When Charles I. visited Scotland in 1633, the magistrates 356 of Edinburgh employed Jamesone to make designs of the Scottish monarchs, with which the king was so much pleased, that inquiring for the artist, he sat to him, and presented him with a diamond ring from his finger. There are many of the works of Jamesone in the mansions of the nobility of Scot- land; but the greatest collection of them is at Tay- mouth, in the possession of the Earl of Breadalbane. The portrait of Jamesone, by himself, is in the Florentine gallery of painters. Thougl^ the works of this estimable painter are little known in Eng- land, his merit is highly and justly esteemed in his own country. Arthur Johnston, the poet, addressed to him an elegant epigram on his picture of the Marchioness of Huntley ; and after his death, which happened in 1644, at Edinburgh, a Latin elegy was published by David Wedderburne. JAMITZER, or JAMNITZER, Bartholomew, a German engraver, who, according to Professor Christ, resided at Nuremberg, and fiourished about the year 1547. He is said by that author to have engraved some plates, which he marked with his initials, and the date, but he has not specified the subjects. [Zani says that he worked in 1571.] JAMITZER, or JAMNITZER, Christopher, was probably of the same family, born at Nurem- berg about the year 1560. He pubhshed a set of grotesque subjects in 1600, etched with lightness and spirit. We have also by him the following. His mark is Q^, His own Portrait, studying perspective. A set of twelve plates of the Sports of Children. A set of twelve, of Children mounted on Sea Monsters. Four plates of Children, with the Wings of a Bat. A Dance of four Children round a Tree. A set of six Grotesque subjects. [There are prints by him with the date 1610.] JAMPICOLI. See Giampicoli. JAN, Langen. See Bockhorst. [JANET, Francois, who is also known by the name of Clouet, a French portrait painter of the time of Francis the First, Henry the Second, Francis the Second, Charles the Ninth, ajid Henry the Third of France, drew and painted numerous portraits of the most eminent persons of the courts of those monarchs. Many of them are in England, particu- larly at Castle Howard, where there are no less than eighty-eight executed in black and white chalk, in the manner of Holbein. His pictures in oil are very elaborately finished ; copies of several have been multiplied of late years in London, so skilfully executed as to deceive the unwary.] JANOTA, John George. This artist was a native of Bohemia in 1747. When young, he was taken under the i)rotection of the Prince of Lichten- stein, who sent him to study in Italy. Soon after his return he was admitted a member of the Imperial Academy of Vienna. He engraved some portraits, and several plates, from the pictures in the Lich- tenstein gallery. Among others the following : portraits. The Emperor Joseph II. The Archduke Maximilian. SUBJECTS. Bust of a young Man ; after Remlyrcmdt. Christ bearihg his Cross ; after Leonardo da Vinei. St. Catherine of Siena praying ; after Alleaf- AUori. The Funeral Pomp of Joseph Wenceslas, Prince of Lich- tenstein. JANSON, Jacob, a Dutch painter, who flourish- ed about the year 1785. He resided at Ley den, and painted landscapes and cattle, in which he JANs] PAINTERS AND ENGRAVERS. [jANS imitated the finished style of Paul Potter. He etched a few plates from his own designs ; among which is a landscape with a cow and two sheep, executed with neatness and spirit. [His pictures are very pleasing ; but they resemble Paul Potter only in the subjects. He copied one or two of Pot- ter's very well.] [J ANSON, John Christian, son of Jacob Jan- son, was born in 1763. He was instructed in paint- ing by his father, but preferring a military life, he entered the service in 1/95, and made several cam- paigns in Germany ; he there made many studies after nature ; and on the union of Holland with France, left the army (in which he had arrived at the ^ade of captain of Artillery) and settled at the Hague. He painted landscapes with cattle and figures, winter scenes, and various other subjects. His pictures were held in estimation, and are occa- sionally found in good collections.] [JANSON, Peter, brother of the preceding, born in 1768, also followed for a time the military profession, but being seriously wounded he retired, with the pension of a Major, and settled at Amheim, where he occupied himself in painting, after nature, landscapes and cattle, that were in great favour with the amateurs of his time, and are really very pleasing.] JANSSEN, CoRNEtius, improperly called John- son. This eminent portrait painter was bom at Amsterdam in or about the year 1590. He had already reached considerable celebrity in his own country, when he visited England in 1618. He met with very flattering encouragement, and was taken into the service of James I., whose portrait he painted several times. His pictures are dis- tinguished by a neat finish, and a clear style of colouring. They are generally painted on board, are featured, by a fair character of nature, and somewhat stiff' and formal, are remarkable for a truth and tranquillity in the countenances, which is peculiar to him. One of his finest ^portraits was that of Sir George Villiers, father of the famous Duke of Buckingham, one of his hands resting on a^ greyhound, painted with as much spirit as the animals of Snyders. Janssen was less employed after the arrival of Vandyck; although he remained in England until 1648, as appears by his passport, recorded in the Journals of the House of Commons, dated lOth October, 1648. He returned to Holland, and died at Amsterdam in 1665. [The portrait of John Milton that belonged to Thomas HoUis, and of which there is an engraving by Cipriani, was by Janssen. It was painted when Milton was only ten years old, consequently in the first year of Janssen's arrival in England.] JANSSENS, Abraham, an eminent Flemish painter, bom at Antwerp in 1569. He was en- dowed with an extraordinary genius ; his first efforts surpassed those of every competitor, and he became one of the most celebrated painters of his time. He painted several distinguished historical pictures for the churches in Flanders, which justly entitle him to an elevated rank among the able artists of the ■ Flemish school. His compositions and his design possess the judgment and the fire of the greatest masters, supported by an admirable colour, and an intelligent conduct of the chiaro-scuro. With such powers he had acquired a brilliant re- Eutation, when the extraordinary talents of Rubens egan to display themselves, and the trancendency of nis success is said to have excited in Janssens a disgust, which threw him into dissipation anj^ex- cesses that impaired his fortune and injured his reputation. Confident in his own ability, but not suflJciently appreciating that of his rival, he had the imprudence to send a defiance to Rubens to paint a picture in opposition to him, when he was jn the very zenith of his fame. Rubens declined the challenge in the most dignified manner, observ- ing, that he would readily accept the proposal, when Janssens had proved himself worthy of becoming his competitor, and that in the mean time, the, pub- lic was sure to do ample justice to them both. There are many finepictures by Abraham Janssens in the churches in Flanders. At Antwerp, in the church of the Carmelites, is an alfar-piece by him of the Entombing of Christ, and another of the Virgin and Child, with St. Catherine, St. Cecilia, and other Saints. In the cathedral at Ghent, an Ecce Homo, and a Descent from the Cross, finely composed, and of the grandest effect. In the gal- lery of the Elector Palatine, is one of his most capital works, representing the Raising of Lazams. [The time of his death is not exactly known ; some place it in 1631, others in 1650.] JANSSENS, H., a Flemish engraver, by whom we have some plates of ornaments for goldsmiths and jewellers, enriched with figures and other em- bellishments, executed in a neat and delicate style. Some of his prints are from his own designs, and others after JS. Tangers and other masters. JANSSENS, J. Alexander, a Flemish engraver, who was probably related to Victor Honorius Jans- sens, the painter mentioned in a following article. We have by him a set of plates of subjects from the life of Achilles, after pictures by that artist, finely composed, with a commanding effect of light and shadow ; they are etched in a neat, free style. JANSSENS, Peter, a Dutch painter on glass, born at Amsterdam in 1612. He was a scholar of John van Bronckhorst, a celebrated artist in that branch. He executed several windows in the churches of Holland, from his own compositions,, which were greatly admired. His compositions are ingenious, and he was a correct designer. He died in 1672. According to Le Comte, he engraved some plates of devotional subjects, and images of the Virgin. JANSSENS, Victor Honorius. This painter was bom at Brussels in 1664. He was the son of a tailor, who intended to bring him up to his own business, but showing a disposition for the a*t, his father was induced to place him under the care of an indifferent painter, named Volders, under whom he studied seven years, and even with this subor- dinate instruction, he made a progress that surpass- ed all his contemporaries. On leaving his master, he discovered an ability which recommended him to the notice of the Duke of Holstein, who invited him to his court, and appointed him his painter, with a considerable salary. After passing four years in the employment of that prince, he solicited and obtained his permission to visit Italy ; and the li- berality of his patron supplied him with the means of undertaking the journey. He prosecuted his studies at Rome with great assiduity, and soon dis- tinguished himself as a ready and correct designer. He formed an intimacy with Tempesta, and fre- quently painted the figures in his landscapes. The desire of revisiting his native country induced him to leave Rome, where he was in full employment and reputation, and he returned to Brussels. He had hitherto confined himself to small or easel pic- tures: but h^was now called upon to exert his ta- 357 JANS] A DICTIONARY OF [IBBE lents on a larger scale, being commissioned to paint several altar-pieces for the churches at Brussels, and the other cities of Brabant. In 1718 he was invited to Vienna, and was made painter to the Em- peror of Germany. After a residence of three years at Vienna, M. Descamps informs us that he visited London; but no mention is made of him in the Anecdotes. Among the most esteemed of his large pictures are, St. Eoch curing the Diseased, in the church of St. Nicholas, at Brussels; and St. Charles Borromeus interceding with the Virgin for the per- sons infected with the plague, in the church of the Carmehtes. Janssens possessed a ready and in- ventive genius ; his design is tolg-ably correct, and there is a melting tenderness in his tones that ap- proaches the best colourists of his country. The expression of his heads is graceful and expressive, particularly in his easel pictures, which are prefer- able to his larger works. He died in 1739. [He excelled in the representation of gay assemblages of belles and heaux, in the cumbrous paraphernalia of the time, dancing, or employed in amatory conversa- tion. His cavaliers and damsels act by the card, and sustain the airs of persons of quality. It is by such pictures he is best -^ known in England, and they are really lively and pleasing compositions, not so polished as those of Watteau, but having more the appearance of real life and manners.] JANSZ, Egbert, a German engraver, who flour- ished about the year 1660. We have by him a set of small prints, entitled, Icones venantum species va- rias, ^c, 1663, after Antonia Tempesta. He worked chiefly with the graver, in a style somewhat resem- bhng that of Crispin de Passe. JARDIN, or JARDYN, Karel du. This charm- ing painter was born at Amsterdam in 1640. He was a disciple of Nicholas Berghem, and was un- questionably the ablest scholar of that celebrated master. With the advantage of such instruction, his progress was extraordinary ; and to perfect him- self he travelled to Italy when he was yet very young. On his arrival at Rome he was received with distinction into the Bentevogel society, where they confeiTed on him the title of Barhe de Bouc. His studies were as assiduous and constant as his attendance on the convivialities of the society ; and his pictures rose into great estimation at Rome, where they were admired beyond those of any artist of his country. After a residence of several years at Rome he returned to Holland, where his pictures were not less admired than they had been in Italy, and he met with great employment. Notwithstand- ing this flattering encouragement, his desire of re- visiting Italy prevailed, and he embarked for Venice, where he died soon after his arrival, in the thirty- eighth year of his age. The pictures of Du Jardin are more conformable to the taste of Italy than that of Holland, and they generally exhibit a warmth and brilliancy of atmosphere, which are entirely Italian. His skies are clear and sparkling, and his landscapes are always of the most pleasing scenery. They are decorated with charming figures and ani- mals, in which, to the truth and finish of Paul Pot- ter, he unites a taste which is not found in the works of that celebrated cattle painter. As he died young, and his pictures are highly wrought up, they are scarce, and are very valuable. Karel du Jardin has left us about fifty-two admirable etchings of landscapes, figures, and animals. They are exe- cuted with uncommon taste and spirit ; his point is extremely playful, yet determined, and manifests the hand of the great painter. They are sometimes 358 signed with his name at length, and sometimes with the initials K. D. I. or K. D. V. I. fee, with the date. As these interesting prints are not very rare, a parti- cular detail of them is not judged necessary. [His pictures obtain extraordinary high prices ; one call- ed " Le Passage du Gue," or Passing the Ford, sold in Count Perregaux's sale for 26,500 francs ; and others in England for sums that may be considered enormous. Several of his pictures may be seen in the museums at the Hague and at Amsterdam. For descriptions of 150 pictures by him, see Smith's Catalogue raisonne, vol. v. and Supplement.] JARDINIER, Claude Donat, a French en- graver, born at Paris in 1726. He was first instruct- ed by Nicholas Dupuis, but was afterwards a pupil of Lawrence Car's. His plates are executed with the graver in a firm and agi'eeable style. We have the following, among others, by him : The Virgin and Child; after the picture by C. Maratti; in the Dresden collection. The Genius of Glory and Honour, represented by a figure in the air, holding a crown, surrounded by Cherubs; after An. Caracci. A Mother, with three Children ; after -Greuze. A Girl sleeping ; after the same. Two Soldiers playing at Cards ; after Valentin. [JARENUS, ■ , a painter who flourished at "Soest, in Westphalia, aboiit the latter part of the 15th century. His pictures partake of the manner of Van Eyck. There are three in the Museum at Berlin, forming one large altar-piece, painted on a gold ground. The middle picture represents scenes from the Passion ; the right wing contains, in four compartments, the Resurrection, the Ascension, the Pouring out of the Holy Spirit, and the Last Judg- ment. The left wing consists also of four compart ments ; the Annunciation, the Birth of Christ, th6 Adoration of the Magi, and the Presentation in the Temple. The figures of the Virgin are simple and gracefully drawn ; beautiful German heads with light hair hanging down. Another little picture, with the artist's name, is in the Earl of Pembroke's collection at Wilton ; it represents the dead body of Christ mourned by his friends and followers. The execution is remarkably good.] [JARVIS, John Weslet, a nephew of the great John Wesley, the founder of Methodism, was bom at South Shields in 1780. He was protected by his uncle until he was five years old, when he was sent to his father, who had emigrated to Philadelphia, in America. Dunlap, in his account of the American painters, describes him as an artist of astonishing Eowers, but unfortunately of the most depraved abit,s. His skill, as a painter, lay in portraiture ; but his biographer deals too much in generals, and comparisons with other American painters, to enable Europeans to judge of the real extent of his talents. He delights too in dwelling on his depravities, until the account becomes disgusting ; and the attempts at wit, both of the writer and his subject, excite contempt. As far as can be collected from Dunlap's account, Jarvis died, or ceased in his artistic career, in 1834.] - [IBBETSON, Julius C^sar, an English land- scape painter, was a native of Masham, in York- shire. At theperiod in which he flourished he was considered a good artist, and his pictures were in re- quest. His landscapes are fair representations of English scenery, enlivened with cattle and figures, and generally of a moderate size. Benjamin West, P. R. A., called him "The Berchem of England;'* no compUment to the country, and sAficient to JEAU] PAINTERS AND ENGRAVERS. [jERy .throw ridicule on the artist, who, as such, was very respectable. He died in 1817.] JEAURAT, Edme, an eminent French engi-aver, born at Paris about the year 1680. He was a pupil of Bernard Picart. This artist possessed the talent of expressing in his prints the peculiar style of the painter from whose work he engraved. His draw- ing is tolerably correct, and his execution is bold and free, with a fine effect of light and shadow. The following are his principal plates : The Portrait of Peter Puget, called the Michael Angolo of France ; cMer Puget the ymmger. The Meeting of David and Abigail ; after N. Yleughel. The Resurrection ; after the same. Thetis plunging Achilles into the Styx ; after the same. Telemachus in the Island of Calypso ; after the same. The Triumph of Mordecai ; after le Clerc. Christ among the Doctors ; after the same. Achilles discovered among the Daughters of Lycomedes ; after the same. St. John Baptist baptizing the Jews ; after N. Poussin. Pan and Syrinx ; (^er P. Mignard. The dead Christ on the knees of the Virgin ; after le Brun. The Interview between Jacob and Rachel ; after P. F. Mola ; for the Crozat collection ; very fine. The Repose in Egypt ; after the same ; for the same col- lection. The Finding of Moses; after P. Veronese; for the same; fine. JEAURAT, Etienne. Mr. Strutt has been led. into an error in respect to this artist, by the mistake of Basan. He states him to have been an engraver, and attributes' to him three plates which are well known to have been executed by Edme Jeaurat, mentioned in the preceding article. Etienne Jeaurat was a painter, and became a member of the French Academy in 1743. He painted history and domestic subjects; but I beUeve he never engraved. He made the designs for a set of plates for Fontaine's Fables, which were engraved by Edme Jeaurat about the year 1736. JEFFERIES, James. This artist was born at Maidstone, in Kent, about the year 1757- He was the son of a coach painter, who sent him to London, where he was placed under the tuition of Mr. Wool- let, the engraver, but he afterwards applied himself to painting, and became a student of the Royal Academy. In 1773 he obtained the gold medal given annually, at that time, for the best historical picture ; and in 1775 was sent to Rome, on the pen- sion of that establishment. After a residence of four years in Italy he re- turned to England, and in 1783 exhibited a J)icture, representing the destruction of the Floating Bat- teries before Gibraltar, which was much admired, and was engraved by Mr. WooUet. This promising artist died of a deep decline, in 1784; JEGHER, Christopher, a German engraver on wood, born about the year 1590. He resided chiefly at Antwerp, where his merit recommended him to the particular notice of Rubens, who employed hira to execute several wooden cuts from his designs, which he intended to publish. They are cut in a bold, free style, with spirited strokes, in imitation of the cross hatchings with a pen, and produce a very powerful effect. After the death of Rubens, Jegher purchased the greater part of the blocks, and repub- lished the prints on his own account. He also worked after the designs of other masters; and among others, a Crucifixion ; after F. Frank ; dated 1637. The following are all after Rubens ; the best impressions are with the name of Rubens as the publisher, those with the name of Jegher substi- tuted ar#the second, and less valuable. The Bust of a Man, with a thick beard ; in chiaro-scuro; Susanua and the Elders. The Repose in Egypt. The infant Jesus and St. John playing with a Lamb. The Coronation of the Virgin. Christ tempted hj Satan. Hercules destroying Fury and Discord. Silenus drunk, supported by two Satyrs ; the same subf ject is engraved by Bolswert. Lovers in a Garden, called the Garden of Love. JEHNER, J., an English mezzotinto engraver, by whom we have, among others, the following prints-: The Portrait of "William Henry Cavendish Beutinck, Marquis of Titchfield; after Reynolds. The Earl of Barrymore, as Cupid ; after Cosway. The Four Seasoift ; after Breughel. [JELGERHUIS, John Rienksz, bom at Leeu- warde in 1770, was both a painter and an actor. He painted landscapes, interiors of churches, ma- rine subjects, and market-places. He died in 1836, at Amsterdam, and was bmied at Haerlem.] [JELGERSMA, Tako Hajo, an excellent paint- er of marine subjects, was born at Harlingen in 1702, and was a scholar of Vitringa. He settled at Haerlem, where he painted portraits, of which he executed a great number. It is to be regretted that he did not devote more of his time to marine paint- ing, as the pictures he has left of that kind are real ehefs-cCKuvre. He died at Haerlem in 1795.] JENICHEN, or JENCKEL, Balthazar, an engraver of httle note. He was apparently a Ger- man, and executed with the graver some small plates, in a style somewhat resembling that of Hans Sebald Beham, but greatly inferior in every respect. We have by him a set of small plates of the Labours of Hercules, dated 1568, and a battle-piece. He usually marked his plates with his initials, enclosed in a small square, with the date. JENNER, Thomas, an Enghsh engi-aver and Erintseller, who flourished about the year 1650. We ave the following portraits by him, but indifferent- ly executed: Oliver Cromwell. Francis Manners, Earl of Rutland. Sir William Wadd, or Waad, Lieutenant of the Tower. He also etched a plate of a large ship, called the Soverayne of the Seas; dated 1653. JERVAS, Charles. This painter was a native of Ireland, and was for a short time a pupil of Sir Godfrey Kneller. According to Lord Orford, " Nor- ris, frame-maker and keeper of the pictures to King William and Queen Anfie, wS»--his first patron, and pennitted him to copy what he pleased in the royal collection." He is said' to have instructed Pope to draw and paint, who has celebrated him with more enthusiasm than felicity. Perhaps some of the least happy lines in the works of that great poet are in his short Epistle to Jervas. Speaking of the families of some ladies," he says ; " Oh, lasting as thy colours, may they shine, 'i Free as thy stroke, yet faultless as thy line ; New graces yearly, like thy works, display. Soft without weakness, without glai'ing gay. Led by some rule, that guides, but not constriiins, And finished more through happiness than pains." Posterity has appreciated more justly the excel- lenee at whose shrine this incense is lavished. With pretensions almost too contemptible to be noticed, such was " the badness of the age's taste, (says Lord Orford,) and the dearth of good masters, that Jervas sat at the head of his profession, and his own vanity thought no encomium disproportionate to his merit. Yet ne was defective in drawing, colouring, and. 359 IGON] A DICTIONARY OF [INGL composition ; and even in that most necessary, and ■ perhaps most easy, talent of a portrait painter, like- ness. In general, his pictures are a light, flimsy kind of fan painting, as large as life." A generally- known anecdote of this artist exhibits, in a very whimsical light, the conceit and vanity of Jervas. Having, as he thought, succeeded in copying, and in his own mind surpassing, a picture by Titian, he looked first at the one, then at the other, exclaim- ing with parental complacency, "Poor little Tit! Kow he would stare." He died in 1739. IGONET, Mary Magdalen. According to Ba- san, this lady was a native of Genoa, but resided at Paris in 1767, when he published his Dictionaire des Oraveurs. She engraved some prints after Mieris and other masters. IMBERT, Joseph Gabriel, a French painter, bom at Marseilles in 1666. He was a scholar of Charles le Brun, and afterwards of A. F. Vander Meulen ; but he did not follow the style of either of those masters. He had acquired considerable re- putation as a painter of history, when he became a monk of the order of St. Bruno, at the Carthusians of Villeneuve d' Avignon, in the thirty-fourth year of his age. He was afterwards chiefly employed in painting altar-pieces for the churches of his order, particularly that of his own monastery. His most esteemed work is the great altar-piece of the Car- thusians at Marseilles, which is highly spoken of by M. Watelet. He died in 1749. IMOLA, Innocenzio FRANCuccr, called da. This painter was a native of Imola, though he prin- cipally resided at Bologna. In 1506 he entered the school of Francesco Francia, but, according to Mal- vasia, he afterwards passed some years at Florence, under Mariotto Albertinelli. His style partakes of that of il Frate and Andrea del Sarto, whose works he appears to have studied attentively. His pic- tm-es are numerous in the churches at Bologna ; and in some of them he approaches so near to the beauty and simplicity of Baffaelle, that they appear to have been painted from his designs. Such are his fine frescos in the chapter of S. Michele in Bosco, representing the Pour Evangelists, the An- nunciation, the Death of the Virgin, and the As- sumption. The principal altar-piece in the same church may be ranked among his most admired productions ; it represents the Virgin and Infant in the Clouds, and below St. Michael, St. Peter, and St. Benedict. It is designed entirely in the taste of Raflfaelle. Some of his altar-pieces have small pic- tures under them, which are extremely beautiful ; as in the ^church of S. Giacomo, under his large painting of the Marriage of St. Catherine, there is an exquisite httle picture of the Nativity. In S. Matteo, is an altar-piece of the Virgin and Infant, with several Saints ; and below five small pictures, representing Christ appearing to Magdalene in the Garden ; the Presentation in the Temple ; St. Pe- ter Martyr j the Nativity; and Christ Disputing with the Doctors. That he was well skilled in architecture he has shown, in his immense fresco work in the dome at Faenza, and at the Osservanti at Pesaro, in which his landscape and perspective are compared by Lanzi to Leonardo da Vinci. He usually avoided those subjects which called for crowded compositions, or violence of attitudes, as ill suited to his cast of mind, which was remarkable for meekness and placidity. According to Malvasia, he died of a pestilential fever, at the age of 56. [His pictures are all of a devout and sacred character ; the known dates are 1527, 1536, and 1549. If he 360 died in the last year, at the age of 56, he could have been only 13 when he entered the school of Francia. BrulUot is in error, or it is a misprint, when he says that he died at the age of 46.] IMPARATO, Francesco, a Neapolitan painter, who flourished about the year 1565. He was first a disciple of Giovanni Fihppo Criscuolo, but after- wards had the advantage of studying under Titian, at Venice. On his return to Naples, he proved how much he had profited by that great master's instruction, by the picture he painted for S. Maria la Nuova, of the Martyrdom of St. Andrew. His most esteemed work was his picture of St. Peter Martyr, in the church dedicated to that Saint. In S. Severino is another fine picture of the Annun- ciation. IMPARATO, GiROLAMO, was the son of the pre- ceding artist, and flourished at Naples about the year 1620. Having been instructed in the rudi- ments of the art by his father, he went to Venice, where he passed some time, and afterwards travelled through Lombardy, and studied the works of Co- reggio at Parma. He was a respectable painter of history, though inferior to his father. His most esteemed performance is his picture of La Madonna del Rosario, with several saints, and a glory of an- gels, in the church of S. Tommaso d' Aquino at Na- ples ; which, according to Dominici, is finely com- posed, and designed with great beauty and taste. IMPERIAL!, GiROLAMO. This artist was a native of Genoa, and flourished about the year 1640. He first applied himself to the study of painting, but quitted that pursuit to learn engiaving, under Giulio Berisi. We nave several etchings by Mm, especially portraits. INDIA, TuLLio. This painter was a native of Verona, and flourished about the year 1530. Ac- cording to Vasari, he distinguished himself by several works in fresco, and excelled in portrait painting. INDIA, Bernardino, was the son of TuUio India, bom at Verona about the year 1535. There are several of his pictures in the churches and in the private collections at Verona. They are dated from 1568 till 1584. His works are distinguished by strength of character, and a tasteful design, in which he seems to have imitated the great style of Giulio Romano. INGEGNO, L'. SeeAssisi. INGHEN, William van, a Dutch painter, bom at Utrecht, according to Houbraken, in 1651. Wey- ermans says, in 1 650. After learning the rudiments of design in his native city, he was placed under the tuition of Peter Grebber, at Haerlem, and studied under that master until he was twenty years of age, when he travelled to Rome, where he entered the school of Carlo Maratti, but did not continue longer than a year under that master. He afters' wards went to Venice, where the charm of Venetian colouring seems to have seduced him from an attention to design, in which he is very deficient. On his return to Holland, he settled at Amsterdam, and painted history and portraits with considerable success. He died at Amsterdam, but the year of his death is not mentioned. [INGLES, (called il maestro Giorgio by the Italian, and el maestro Jorge by the Spanish writers,) an artist of whom there is no account except that in the year 1455 the Marquis de Santil- lana, being at Grenada, ordered this professor to paint the sides of the great altar of the church of the hos- pital at Buitrago, which he had founded. The great INGO] PAINTERS AND ENGRAVERS, [JODE altar is composed of two parts ; on the right side Master George placed the Marquis de Santillana, larger than life, in the act of prayer, and on the left he placed the Marchioness in the samejposture. To these were added certain accessories. Tht por- traits were some time back removed to Madrid, to be engraved by order of the Duke de 1' Infantado. The reason of inti-oducing this article is that it may lead to further inquiry. Who is Master George ? — In the second volume of Rosini's work, now in the course of publication, at page 206, there is a print representing two personages in the attitudes de- scribed, evidently at the foot of an altar, on which is inscribed Mr. Georgj me pinxit, in letters partly Gothic and partly Roman, the R being placed over the M, in the abbreviation of Master, or Messer. This picture Rosini attributes to a Maestro Giu- seppe of the school of Milan, who is mentioned with others of the latter part of the fourteenth century. How it can belong to a Maestro Giuseppe when a Maestro Giorgio had placed his name there, is the question ; and as George and Ingles are both English names, perhaps neither Italy nor Spain can legiti- mately claim the artist. It is also said that he was a great architect.] INGOLI, Matteo. This painter was born at Ravenna in 1587. He went young to Venice, where he became a scholar of Luigi del Friso. Bos- chini asserts, that he adopted as models the works of Palma and Paolo Veronese ; but Lanzi thinks he aspired to a style less vague and more solid, as ap- pears in his picture of the Last Supper, in S. Apol- linare, and other works, which are characterized by correctness and taste. This estimable artist, in the prime of life, fell a victim to the plague, which visited the Venetian states in the year 1631. INGOUF, Peter Charles, a modern French engraver, born at Paris in 1746. He was a pupil of John James Flipart, and has engraved several plates in the neat, finished style of that artist, which pos- sess considerable merit. Among others, we have the following by him : The Portrait of John George Wille ; after a drawing by his son. Four Heads, of various characters ; after Greuze. La Paix du Manage ; after Greuze ; etched by Moreau, and finished with the graver by P. C. Ingouf. ■ La bonne Education ; e^ter the same ; by the same, A Girl caressing a Dog; after the same. The contented Mother ; after P. A. Wille. The discontented Mother ; after the same. [Died in 1800.] INGOUF, Francis Robert, was the younger brother of the foregoing artist, bom at Paris in 1747, and was also instructed in engraving by John James Flipart. We have several plates by him of portraits, and various subjects, executed in a finished and agreeable style, very creditable to his talent ; among which are the following : PORTRAITS. John James Flipart, engraver ; a medallion. Simon, printer. Bust of John James Bousseau ; from a model in wax. Gerard Douw, playing on a violin to his bird ; after a picture by himself. Armand Jerome Biguon, master of the ceremonies ; after Drouais. VARIOUS SUBJECTS. A Boy presenting a Bird to a Cat ; after A. Vanderwerf. The Winter Evening ; after Freiidenberg. The Soldier on Furlough j after the same. The Ambiilating Merchant ; after the same. The Return of the Labourer ; after Betiazeeh. [He died at Paris in 1812. He engraved a Nativity after Saphael, and another after Rihera for le Musee Francais, and some popular subjects after Benezech and Le Barhier. He executed a great number of vig- nettes for the booksellers, and some of the subjects for " le Voyage en Egypt."] INGRAM, John, an English engraver, who flourished about the year 1760. After learning the first principles of engraving in his native country, he went to Pai-is, in 1755, where he greatly improved his style, and engraved in a neat manner several vignettes, and other ornaments of books, and some plates after Bradley, Boucher, and others. . He was afterwards employed in engraving for the Academy of Sciences, at the time when Basan published his Dictionary of Engravers in 1767. JOANES. See Juanes. JOANSUINI, GiAcoMO. This artist appears to have been a painter as well as an engraver. His name is affixed to an etching representing the Pre- sentation in the Temple, very indifferently executed. It is inscribed Jacohu Joansuinus pictor et incisor. JODE, Gerardde, a Flemish engraver and print- seller, bom at Antwerp in 1541. This respectable artist was the head of a family greatly distinguished in the art of engraving. He engraved several plates of historical and geographical subjects, in" which his style appears to have been an humble imitation of that of Cornelius de Cort. The following are [a part of] his principal prints : A set of twenty-nine Portraits of the Popes. 1585. A Roman Triumph, in twelve sheets ; after M. Hems- kerk. The Crucifixion ; a large print, in three sheets ; marked G. de Jode; after Michael Angela Bitonaroti; with- out the name of the painter. [There is an eri-or in the date of his birth ; it should be 1521 : he died in 1591.] JODE, Peter [de], the elder, was the son of the preceding artist, born at Antwerp in 1570. After being taught the rudiments of design by his father, he was instructed in the art of engi-aving by Henry Goltzius. He afterwards went to Italy for improve- ment, particularly in drawing, and engraved several plates from the works of the great masters. About the year 1601 he returned to Antwerp, where he distinguished himself by various prints, after the principal Flemish painters. His drawing is very correct ; and though his command of the graver is less daring and bold than that of his instructor, he is also less mannered and extravagant. We have several portraits by him, as well as historical sub- jects, of which the following are the principal : portraits. Erycius Futeanus, or Henry du Puy, a learned Hol- lander ; in a circle formed by a serpent ; Pfit. de Jode, sculp. J. Meytens, exc. , Joannes Bocatius ; Titian, pinx. Pet. de Jode, fecit. Ferdinand Count Palatine of the Bhine; oval; after Rubens. Philip III. King of Spain ; oval; after the same. Francis de MeUo, Count d'Azumar ; P. de Jode, fee. Ambrose Spinola ; the same. various subjects. The Five Senses ; apparently^ow, his own designs. The Life and Miracles of St. Catherine of Siena ; twelve plates ; after Francesco Varnni. 1606. The Life of Christ ; in thirty-six plates ; without the painter's name. The Virgin and Child ; after Titian. The Marri^e of St. Catherine ; after the same. The large Holy Family ; after the same. The Adoration of the Shepherds ; after Ad. van Oort. Christ, with Nicodemus ; after the same. 361 jode] A DICTIONARY OF [JONC The Decollation of St. John; after Rvhens ; oval ; scarce. Christ giving the Keys to St, Peter ; after the same; fine ; the hest impressions are before tie address of Vanden Enden. The crowning of St. Catherine ; after the same. The Last Judgment ; after John Cousin; on twelve plates ; one of the largest prints known, Peter de Jode, the elder, died in 1634. JODE, Peter [de], the younger, was the son of the preceding artist, born at Antwerp in 1606, and was instructed by his father, whom he surpassed in the taste and facility with which he handled the graver. His plates are very unequal, and Basan says of him, that " in some of his prints he has equalled the best engravers, and in others, he has sunk below himself." Perhaps his best perform- ances are his portraits, several of which he engraved from Vandyck. He will ever be esteemed a very reputable artist, though inferior to his coiitempora- ries, the Bolswerts, Pontius, and Vostermans. The following are his most esteemed prints : PORTRAITS AFTER VAIJDTCK. Charles I. Henrietta Maria, his Queen. Thomas 'Wentworthj Earl of Strafford. Prince Rupert. Catherine, Countess of Newburgh. Peter de Jode, junior ; se ipse scvZ. Jacob Jordaens, painter, of Antwerp. Cornelius Polemburgh, painter, of Utrecht. John Snelhncks, painter, of Antwerp. Daniel Mytens, painter. Adam de Coster, painter, of Mechlin. Andrew Colyns de Nole, sculptor, of Antwerp. Henry Liberti, organist. Albert, Duke of Friedland, Count of Wallenstein. Genevieve d'Urphe, Duchess de Croye. Jane de Blois. John Tzerilaes, Count de Tilly. Diodorus van Tulden, professor at Louvaine. Anthony Trieste, Bishop of Ghent. PORTRAITS AFTER VARIOUS MASTERS. Charles Heniy, Baron de Metternich; after A. van Hulle. Augustus Adolphus, Baron de Trantorf ; after the same. Thomas Ricciardi ; after Simon Vouet. Ernest, Count d'lsembourg; after J. WilUborts Bos- chaert. Petrus de Francavilla, sculptor and architect ; after Bunel. SUBJECTS AFTER VARIOUS MASTERS. St. Augustine, bishop, crowned by Religion ; P. de Jode, fee. St. Francis kneeling before a Crucifix ; after Baroccio. The Holy Family, with St. Elisabeth, St. John, and Za- chary; after Titian. The Visitation of the Virgin to St. Elisabeth : after Ru- bens y fine and scarce. The Three Graces ; after the same ; fine. Venus rising from the Sea, surrounded with Nymphs and Tritons ; after the same. St. Francis and St. Clara adoring the infant Jesus ; after Gerard Segers. Christ with Nicodemus ; after the same. The Nativity ; after J. Jordaens ; fine. St. Martin de Tours, working a Miracle ; after the same ; fine. Folly and Ignorance ; after the same. St. Augustine supported by Angels ; after Vandyck. Rinaldo and Arraida ; after the same. The Holy Family, with St. Anne ; after A. Diepenbeek. An Allegorical Subject on Peace ; after the same. St. John in the Desert ; after P. van Mol. [For an ample list of his works see Nader's Kunstler- Lexicon. The exact time of his death is uncertain ; the latest authentic date on his prints is 1659. Nagler mentions one with the date 1699 ; but this is probably a misprint.] JODE, Arnold de. This artist was the son of Peter de Jode, the younger, bom at Antwerp in 1636. He was instructed in engraving by his father, 362 though he never rose above mediocrity. It appears from the inscription on one of his plates, that he was in England in 1666, the year of the fire in Lon- don. His best prints are his portraits, though they are very indifferent. Among others, we have the following by him : PORTRAITS. Cardinal Palavicini ; after Titian. Sir Peter Lely ; from a picture by himself Alexander Browne ; prefixed to Ittis Ars Pictoria ; after Hvysmans. VARIOUS SUBJECTS. Mercury educating Cupid ; after Coreggio. [1667.1 Magdalene ; a half-length, circular ; after Vandyck. The infant Christ embracing St. John ; after the same ; inscribed Amoldus de Jode, sculp. Londini, tempore irwendii maximi. A Landscape; after L. de Vadder ; Arnold de Jode, sculp. 1658. JOHNSON, Cornelius. See Janssen. JOHNSON, Lawrence, an obscure Enghsh en- graver, who lived about the year 1603. He executed with the graver some heads for the General History of the Turks, published in 1603; they are very indif- ferently engraved. JOHNSON, C. Another Enghsh engraver, of little note. He engraved some portraits; among which is the Queen of James I. JOHNSON, T., an English mezzotinto engraver, by whom we have several portraits, and a few other subjects, executed in a style which does him no great credit. Among others, are the following : portraits. Edward Hyde, Earl of Clarendon ; after G. Zoust. John Churchill, Duke of Marlborough. Marquis of Granby. Wilham, Lord Cowper. Lord Anson. Sir John Willis, Chief Justice of the Common Pleas. Bullock, the comedian ; T. Johnson ad vivum pinx. et sculp. Thomas Britton, the musical small-coal man. various subjects. Four plates of the Seasons ; Johnson, fee. The Holy Family returning from Egypt ; after Rubens. Adam and Eve ; a small plate. JOHNSTON, Andrew. By this artist, who was apparently an Englishman, we have a few portraits in mezzotinto ; among which is that of Henry Sacheverel, D. D. ; after Gibson. JOLI, Antonio. This artist was bom at Modena in 1700. He went when young to Rome, where he became a scholar of Gio. Paolo Pannini, and proved an eminent painter of perspective and architectural views, in the style of that master. He is said by Lanzi to have distinguished himself as a painter of theatrical decorations in England, Spain, and Ger- many; and was painter to Charles III., king of Naples, and his son. He died in 1777. [IJe paint- ed a great number of landscape and sea views in the vicinity of Naples, of an oblong form, to serve as decorations over interior doors : they are very pleasing pictures.] JOLLAT, a French engraver on wood, who, ac- cording to Papillon, flourished about the year 1510. He executed the cuts of ornamental borders, figures, &c., for a missal, in octavo, printed at Paris in 1490; also those for an anatomical work by Carolus Ste- phano, M. D., which bear dates from 1530 to 1532. Though not well drawn, they are very neatly cut. JONCKHEER, J. This artist, from his name, was probably a native' of Holland. He flourished from 1650 to 1660, and engraved a set of small JONG] PAINTERS AND ENGRAVERS. [JORD plates, lengthways, representing dogs, and other domestic animals, etched in a free, spirited style, which appear to be the work of a painter. He har- monized the etching with the graver, in the manner of Rembrandt. JONG, LuDOLPH DE. This painter was born at Overschie, a village near Rotterdam, in 1616. He was the son of a snoemaker, who intended bringing him up to the same business, but having shown an inclination for painting, he wsis placed under Cor- nelius Sachtleven, with whom he passed two years. He afterwards successively studied under Anthony Palamedes of Delft, find John Bylaert of Utrecht. On leaving the last-mentioned master he travelled to France, and passed seven years at Paris, where he met with encouragement as a portrait painter, in which branch of the art he chiefly excelled. He also painted easel pictiu-es of huntings and battles, which are ingeniously composed and touched with spirit and vigour. On his return to Holland he set- tled at Rotterdam, where he was much employed. His most considerable work is a large picture in the SaUe des Princes in that city, representing the por- traits of the officers of the company of burghers. He died in 1697. JONG, or JONGE, J. M. de. This artist was a native of Holland, and was probably related to Lu- dolph de Jong. He was apparently a paintej-, from the style of a set of etchings of battles we have by him, which are executed with great fire and spirit, in a very masterly manner. we have also by him several etchings of horses, equally creditable to his talent. He usually marked his plates with the initials of his name, I. M. D. I. [His name was Jan Martss, or Marssen, and dejonge (the younger) was added to distinguish him from another of the same name, probably his father, as is common.] JONGELINEX, Anthony. This artist was probably a Fleming ; he resided in England in 1762, in which year he engraved some plates of fishes, after Arnold van Achen. JONGELINX, J. B., a Flemish engraver, by whom we have some portraits, executed in a very indifferent style. To that of Valerius Andreas Des- selius, he has affixed his name, J. B. Jongelinx, with the letters Ant, perhaps for AntuferpiiB, to denote that he was a native of Antwerp. [JORDAANS, Hans, born at Antwerp in 1539, was a scholar of Martin van Cleef. He painted his- tory, landscapes, corps-de-gardes, village festivals, conflagrations, and moonh^ts. He died at Delft in 1599.] JORDAENS, Jacob. This eminent painter was bom at Antwerp in 1594. He was a scholar of Adam van Oort, an able artist, but of a character so outrageous and depraved, that his conduct disgusted all his disciples, among which was Rubens. Jordaens was the only student who continued under him for any length of time, and was prevailed on to endure the brutality of his master, by his sensibility to the charms and amiabihty of his daughter, Catherine van Oort, to whom he was tenderly attached, and whom he afterwards married. This union taking place when he was very young, prevented him fi-om carrying into effect a project he had formed of visiting Italy. Thus deprived of the advantage of cultivatmg his natural disposition by studying the works of the great Italian masters in their own country; he seized with avidity every opportunity of copying such of their pictures as he could meet with in Flanders, parti- cularly those of Titian and Paolo Veronese. How- ever, as a young artist is naturally led to follow the examples which he has constantly before his eyes, the beauties he discovered in the works of Rubens became the objects of his imitation, and he ever afterwards followed the style of that great painter, though with less elevation and dignity of character. It is very probable, from the apparent bent of his genius, that if circumstances had permitted him to travel, he would still have retained the taste of his country, even in the bosom of Italy. Such has been the case with many of the ablest of the Flsmish artists, without excepting the head of their school. The growing talent of Jordaens soon caught the dis- cerning eye of Rubens, who, with a liberality Which always distinguished him, took every opportunity of rendering him service. The King of Spain had ap- plied to Rubens for a series of cartoons to be exe- cuted in tapestry, who engaged Jordaens to paint them from his designs, and aided him with his as- sistance and advice ; affording him, in this under- .taking, a mark of distinction which could not fail of being very advantageous to a young artist. San- drart, with more malevolence than veracity, charges Rubens with having employed Jordaens in this enter- Erise, from a jealousy of his promise as a colourist ; oping, that by painting these great woiis in dis- temper, he might insensibly lose the vigour and brilliancy which he had already discovered in his oil pictures ; and very inconsiderately asserts, that the colouring of Jordaens, after painting the car- toons, became feeble and cold. Fortunately for the purposes of truth, and in justice to the well-known beneficence of Rubens, this calumny is refuted by facts, of which that writer was either ignorant or in- sensible. The cartoons were painted when Jordaens was young ; and so far from his colouring having been deteriorated by that operation, it became from thence infinitely more rich and harmonious, as is evident in the pictures he afterwards painted, on which his reputation is principally founded, and which are in no way inferior, in respect to colour, to the best works of Rubens. Although Jordaens was never so munificently remunerated for his works as Rubens, his extraordinary facility enabled him to acquire both opulence and celebrity. The numerous works of Jordaens are to be found in almost every church or pubUc edifice in Flanders and Brabant ; among which are particularly admired his picture of the Martyrdom of St. ApoUonia, in the church of the Augustines at Antwerp ; and Christ disputing with the Doctors, in that of St. Walbiurg at Fumes; the last mentioned has frequently been mistaken for a production of Rubens. One of his most con- siderable performances is a large picture in the Palace in the Wood, near the Hague, representing the triumphal entry of Prince Frederick Henry of Nassau, in a car, drawn by four white horses, in which the horses are admirable. In the gallery at Dusseldorp was his celebrated picture of the Merry- making, esteemed one of his best works, in which there is an admirable glow of harmonious colouring, and the heads are full of the most appropriate and jovial expression. The powers of Jordaens were better adapted to the representation of fabulous sub- jects, satyrs, and animals, or the festive scenes of tumultuous revelry, than the grave and decorous arrangement of sacred subjects, or the dignified de- lineation of histoiy, which require graceful expres- sion and elevation of character. He lived to the ad- vanced age of 84, and died at Antwerp in 1678. We have a few spirited etchings by Jacob Jordaens; which, though executed in a hasty, sUght style, evince the hand of the master. They are as follow i 363 jord] A DICTIONARY OF [iRAC The Flight into Egypt ; dated 1652. Christ driving the Merchandizers from the Temple. The Descent from the Cross. 1652. Mercury and Argus. Jupiter and lo. 1652. The Infancy of Jupiter. A Peasant stopping an Ox by the tail, with several spec- tators. There is an etching very generally attributed to Jordaens, representing Saturn devouring one of his children; very rare. [In 1638 Jordaens painted for the king of Spain (probably at the recommendation of Rubens) the fine landscape, vrith the story of Vertumnus and Pomona, which, with the Numa PompiUus, or rather Pythagoras, by Rubens, was abstracted by Joseph Buonaparte, on his abdication of the throne of Spain. Both pictures are in Eng- land: the Pythagoras, by Rubens, has been pur- chased by Prince Albert ; the Vertumnus and Po- mona is in some private collection. Most of the tourists have attributed the latter to Rubens.] JORDAENS, John, [or Hans,] a Dutch painter, born at Delft in 1616. He went to Italy when young, and passed the greater part of his life at Venice, Naples, and Rome. His merit was highly esteemed by the Italians. He composed with a facility, and painted with a promptitude, which astonished his contemporaries. He painted history in the style of Rothenhamer. On his return to Hol- land he established himself at the Hague, and was much employed. He died at Voorburg, a village in the vicinity of the Hague, but the year of his death is not known. [His style of painting is a mixture of Rothenhamer and old Francks; but nearer to the latter than the former.] JORDAN, Gregory. This artist was a native of Venice. In 1622 he published a set of prints, entitled Prophetice seu Vaticinia, XIIII. tabellis ex- pressa, representing the woes which are to befall the world at the subversion of the Mahometan super- stition, with explanations of the designs. They are slightly etched, with little effect, and the figures are incorrectly drawn. [JORDAN, Salvador, is classed among the Spanish painters, though the name would indicate that he was a Fleming. He painted the portrait of the celebrated Quevedo de Villegas, which was engraved at Madrid, by D. F. Gazan, in 1636 j the design, and the striking likeness of this portrait, obtained a great reputation at the time for the artist : little else is known of him, as he has the honour of having his portraits attributed frequently to Velasquez.] JORDANO, LucA. See Giordano. JORIS, Augustine, a Dutch painter, born at Delft in 1525. He was instructed in the first prin- ciples of design by James Mondt, a painter of little celebrity, under whom he remained three years. He afterwards visited France, and resided some time at Paris. On his return to Holland he was employed in painting some historical subjects at Delft, par- ticularly a picture of the Infancy of the Virgin, which estabfished his reputation, and he promised to become one of the ablest artists of his time, when he uiifortunately fell into a canal, and was drowned, in 1552. JOSSE, Abraham, an engraver, mentioned by Florent le Comte, who asserts that his prints are exceedingly numerous, amounting to near six hun- dred. He has not however specified any of their subjects, [nor has any other writer.] JOULLAIN, James, a French engraver of little eminence, by whom we have several frontispieces 364 and other book-plates, executed in a formal, stiff" style, and very incorrectly drawn. JOULLAIN, Francis [Francois]. This artist was probably a relation of the preceding engraver. He was an eminent printseller, as well as an en- graver, and flourished at Paris in 1750. We have several plates by him, executed in the style of Law- rence Cars, which, though inferior to that master, possess considerable merit. The following are his principal plates : The Flaying of Marsyas; after P. Veronese; for the Crozat collection. Mercury and Herse ; after the same ; for the same. The Ecoe Homo ; after Charles Coypell. The Annunciation ; after the same. The Boar-hunting ; after N. Desportes. The Wolfchunting ; after the same. The Portrait of N. Desportes ; after a picture by himself. The Rural Kecreation ; after N. Laneret. JOUVENET, John, [Jean,] an eminent painter of the French school, born at Rouen in 1644. He was the son of Laurent Jouvenet, a painter, who instructed him in the rudiments of the art; and without any other instruction, he went to Paris, when he was seventeen years of age, where he soon distinguished himself by the vivacity of his genius. In his twenty-eighth year he painted his celebrated picture of Christ curing the Paralytic, in the church of Notre Dame ; a noble and a grand composition. In 1665, Charles le Brun presented him as a candi- date for the honours of the Academy, and he was received with distinction. His picture of reception was Esther before Ahasuerus, which is one of the finest works in the hall of the Academy. It was about this time that he painted his four admired pictures for the church of St. Martin aux Oiamps, representing Mary Magdalene at the feet of our Saviour, in the house of Simon the Pharisee ; Christ diiving the Money-changers from the Temple ; the miraculous Draught of Fishes ; and the Raising of Lazarus. In the church of the Invahds, between the windows of the dome, he painted the Twelve Apostles, with angels, and different attributes, de- signed in a gi-and style, and considerably larger than life. The most capital performance of Jouvenet is his much-extolled Deposition from the Cross, painted for the church of the Capucines at Paris, but now in the gallery of the Louvre. It is un- questionably a grand and impressive picture, though we may attribute a fair portion of the eulogium conferred on it, by M. Watelet, (an intelligent critic,) to a pardonable partiality to his ingenious countryman. "In, this picture," says that writer, "Guercino is united to Caracci, or rather, it is Jouvenet breathing defiance to all the great masters. If this picture had been painted at Rome, and if Poussin could have seen it there, he would have ranked it as the fourth of the chef d'osuvres in that emporium of art." Having lost the use of his right hand at the age of sixty-nine, by a stroke of the palsy, he attempted to paint with his left, and suc- ceeded, to the astonishment of every one. In this manner he painted his picture of the Magnificat, in the choir of Notre Dame. He possessed great fa- cility and energy of handling, and was a coiTCct de- signer, but, like most of his countrymen, he was less successful as a colourist. He died at Paris in 1717. [He had a brother of the name of Francois, who was a good portrait painter: the latter died in 1749.] IRACE, Severo. According to Dominici, this painter was a Neapolitan, and flourished about the ihel] PAINTERS AND ENGRAVERS. [JUNE vear 1534. He was a disciple of Marco Cardisco, called il Calabrese, and painted history with some reputation. In the church of the Nunziata at Na- ples, is an altar-j)iece, painted by this master, repre- senting the Virgin with the Infant in the clouds, with a glory of angels, and below St. Peter and St. Paul. It is signed with his name, and dated 1534. IRELAND, Samuel,- an English amateur artist, who, about the year 1785, etched several plates from the designs of Mortimer, Hogarth, &c., and also some views, from drawings by nimself. IRIARTE, Ignacio de. This Spanish artist was a Biscayan, born in 1620, but went early in his life to SeviUe, where he became a scholar of Francisco de Herrera the elder. His genius leading him to land- scape painting, he left that master, and studied from nature. Palomino speaks in high terms of the land- scapes of this painter, which are found in the best collections at Seville. He died in 1685. [Murillo was a great admirer of Iriarte's landscapes, and painted the figures in some of them. The land- scapes so ornamented are exceeding valuable.] ISAACS, Petek, a Dutch painter, born at Hel- vezor in 1569. He was a scholar of Cornelius Ketel at Amsterdam, but afterwards studied under John van Achen, and travelled with that master through Germany and Italy. Though he occasionally paint- ed historical subjects, he was more employed as a Sortrait painter. He resided the gi-eater part of his fe at Amsterdam, where there are many of his por- traits. His heads are fiill of hfe and character, and he drew the hands with the greatest correctness. ISAC, Jasper, a Dutch engraver, who flourished from about the year 1620 to 1633. He chiefly re- sided at Paris, where he was principally employed in engraving frontispieces and portraits for the book- sellers. They are executed with the graver in a neat, but tasteless style. Among his pcvrtraits are- those of Charles L'Oyseau and Stephen Paschasius. ISSELBURG, Peter, a German engraver, born at Cologne about the year 1585i He lived the greater part of his hfe at Nuremberg, where he was much employed for the booksellers. He also' en- graved some plates from Rubens, and a few por- traits. We have by him, The Portrait of James I. Christ, and the Twelve Apostles ; thirteen plates ; after [For a list of about 200 attributed to him, see Nag- ler, Kuntsler-Lexicon.] JUANES, Juan Bautista. This distinguished Spanish painter, whose works are onljr known in his own country, was born at Valencia in 1523. Palomino incorrectly states him to have been a scholar of Rafiaelle, who died before he was born. He certainly studied at Rome, and after his return from Italy, resided the remainder of his life in his native city. The Spanish biographers do not scru- ple to rank him with the greatest artists of the age of Leo X. Unfortunately for his fame, his works are immured in the convents of Valencia, which, if they could be deUvered from their confinement, and placed in the observation of taste and judgment, would secure their author that celebrity to which their uncommon excellence entitles him. Pacheco, in his treatise, bestows on him the highest enco- miums ; and Palomino Velasco does not hesitate to prefer him to Morales, and even to Raffaelle him- self. Much of this may be ascribed to national par- tiaUty ; but it may fairly be presumed, that the art- ist on whom such general and distinguished praise has been conferred, must have possessed transcend- ent abihty. Juanes, Uke the divine Morales, con- fined his subjects to sacred history; his pictures are grandly composed, and coloured with great truth and beauty ; though they are finished with extra- ordinary minuteness, it does not impair their force, nor impoverish their general effect. In the sacristy of the church of San Pedro, is a picture of a dead Christ, which is greatly admired. In the chapel of St. Thomas de Villanueva, belonging to the Augus- tine monks, are three grand compositions by him, representing the Nativity, the Martyrdom of St. Ines, and the Burial of a devout Monk of that order. His principal work is in the cathedral at Valencia; it represents the Baptism of Christ by St. John, with several figures. The composition of this fine picture is in the style of Raffaelle, the heads are admirable, the expression just and na- tural, and the whole is finished with the most deli- cate execution. This eminent artist died at Bocair- ente, near Valencia, in 1579. [Bermudez calls this highly extolled painter Vicente Jodnes, and gives an account of the public buildings in which his pictures, real and supposed, are to be found.] [JUKES, Francis, an aquatint engraver, born in 1750, flourished till near the end of the 18th cen- tury. He engraved Walmesley's Views in Ireland, Nicholson's in England, and numerous other pro- ductions by artists of the time. Most of his land- scapes and sea-pieces are washed with colour so as to resemble drawings.] JULLIENNE, John de, a French gentleman, well known for the celebrated collection of pictures he formed, most of which were engraved. He amused himself with etching a few plates after Te- niers, Watteau, and other masters. [JUNCOSA, called Fra Joachim, a Spanish painter of, sacred and profane subjects, was born at CornudeUa, in the diocese of Tarragona. When young he painted fabulous subjects, which gained him great reputation. In 1660 he retired to the Carthusian monastery of Scala Dei, and painted several pictures there, as weU as the portraits of the most meritorious members of the brotherhood. He afterwards painted at the Carthusian monastery at Monte- Alegre the Birth and Coronation of the Vir- gin, and thirty-six of an immense size, which were placed around the cornice of the church. He next visited Italy, and returned much improved. In 1680 he was employed, in conjunction with his cou- sin Dr. Juncosa, to paint the major chapel of the hermitage De Ruis, in which he represented various circumstances in the hfe of the Virgin. His works are numerous, and are celebrated throughout Spain for correctness of design, freedom of style, beautiful colour, and a good understanding of the tints and demi-tints. On the whole he is considered a distin- guished painter of the Spanish school. It is related that, at the latter part of his life, the superiors of the monastery were no gi'eat amateurs of painting, and compelled Juncosa to take his share of the duties of the establishment ; this so irritated him, that he fled to Rome and laid his case before the pope, who pardoned his disobedience, and permitted him to reside in a hermitage, without the walls of Rome, with orders that he should not be tormented any more with the sound of the bell at the hours of of- fice. He died in this retreat in 1708.] JUNE, J., an English engraver, who flourished about the year 1760. He was of no great eminence, and was chiefly employed in book-plates. We have a few portraits by him, among which are, Richard Nash, master of the ceremonies at Bath. < 365 just} A DICTIONARY OF [kalr Fanny Mnnay. James Relly, the Antinomian preacher; after Shelly. JUSTEB, Joseph. This artist was a native of Prance, though he chiefly resided at Venice, where he engraved a great number of plates for the books published there from 1691 to 1700. His plates are etched, and coarsely finished with the graver, in a very indiiferent style. In conjunction with N. Cochin, H. Toumheyser, and H. Vincent, he engraved part of the collection of prints from select pictures, published at Venice in 1691, by Catherine Patin. These are his best performances. [JUSTUS OF GHENT, orGiusTO de Alemag- NA, flourished from the middle to the last quarter of the fifteenth century. He was probably a scholar of the Van Eycks. The celebrated picture of The Last Judgment, in the church of St. Mary at Dantzig, which was long supposed to be by Jan van Eyck, is now ascribed, by competent judges, to Justus of Ghent. For a very elaborate description of this famous picture see Kiigler's Hand-book of - Painting, vol. ii. of the Enghsh translation. He painted the Communion in the church of St. Agatha at Urbino ; and there is a small picture in the collec- tion of M..van Huyvetter of Ghent, representing the Finding of the true Cross, and its verification by raising a dead woman to life, attributed to him. See Alemagno, Giusto.] JUVANI, Francesco. According to Basan, this artist Wcis a native of Rome, and a scholar of Carlo Maratti. Of his works as a painterj little is known. He etched some plates from the designs of his master, among which is the Adoration of the Shepherds. JUVARRA, FiLippo, an Italian architect, who designed and etched a set of ornamental shields, published at Rome in 1722. They are executed in a bold, free manner, and possess great merit. He styles himself Cfli). D. Filippo Juvarra, Architetto e Academico de S. Luca. [JUVENEL, Paul, was the son of Nikolaus Juvenel, a painter of perspectives, who died in 1597, and a scholar of Adam Elsheimer. He painted in- teriors of churches, and was a skilful copyist of the works of the older German and Flemish masters, particularly of Albert Durer. He painted at Nurem- berg, Vienna, and Presburg, and died in 1643, in the 64th year of his age.] ' [JUWEEL, Nicolas, a painter of Rotterdam, living in 1690, imitated the manner of Chevalier Vander Werf, without arriving at the peculiar merit of that master.] K KABEL. See Cabel. KAGER, Matthew. This painter was born at Munich in 1566. He travelled to Rome while he was yet young, where during a long residence, passed in the assiduous study of the best masters, he became one of the most eminent artists of his country. Soon after his return from Italy, the Duke of Bavaria appointed him his principal paint- er, vrith a considerable pension. The churches at Munich, and the palaces of that prince, attest the talents of Kager. Towards the latter part of his life he resided at Augsbourg, where he painted his most celebrated work, the Last Judgment, in the hall of the Senate, in that city. The works of Kager are only known out of his own country by the prints engraved from them by the Sadelers, the Kilians, and others, amounting to upwards of sixty. 366 M. Kager etched some plates from his own designs, which ne finished with the graver j among which are the following : The Adoration of the Shepherds ; M. Kager, irm. et ae. 1610. The Baptism of Christ by St. John ; the same inscription. The Holy Famay ; M. Kager, fecit. 1605. St. Francis surrounded bjr the Monks of his order, and the Virgin and Child in the clouds ; after P. Hems. Bozzulo, He died at Augsbourg in 1634, aged 78. [Balkema erroneously states that Kager was born at Augs- bourg in 1598, and that he died there in 1657. All the authorities are against him. The date on one of his prints, 1605, is sufficient to show him in error, as regards the time of Kager's birth. Bryan was out in his arithmetic when he calculated the artist's age : he was only 68, according to the dates he has given. His names were Johann Mathias.] KALCAR. See Calcar. KALF, William, a Dutch painter of still-life, born at Amsterdam in 1630. He was a scholar of Hendrick Pot, a painter of history, and for some time applied himself to the same pursuit, but not succeeding to his expectation, he commenced paint- ing flowers, fruit, and still-life. These objects, little interesting in themselves, are only rendered pic- turesque by the truth and fidelity with which they are represented. Kalf particularly excelled in paint- ing vases, and other ornamental works in gold and silver, which he imitated with a delicacy and pre- cision that approach to deception. His pictures are very highly wrought up ; his touch is neat and spi- rited, his colouring clear and sparkling, and in the general effect he shows a perfect intelligence of the chiaro-scuro. The works of this painter are highly esteemed in Holland, where they find a place in the choicest collections. He died at Amsterdam in 1693. [It should be added, that in painting brass pots and earthen pans, and other utensils of a Dutch boor's establishment, he was admirable.] KALLE, Albert C, a German engraver, who flourished about the year 1648, and resided at Stras- burg. He was principally employed by the book- sellers, and worked with the graver in a stifii formal style. He engraved some frontispieces and portraits, among which is a frontispiece to Chemnitz's Bellum Stteco-Germanicum, dated 1648, with the portrait of Gustavus Adolphus. KALRAAT, Abraham van. This painter was born at Dort in 1643. He was the son of a sculp- tor, who instructed him in his art for some time, but on the death of his father he applied himself to painting fiowers and fruit, in which he excelled. [Died 1699.] KALRAAT, Bernard van, was the younger brother of the preceding artist, born at Dort in 1650, and was instructed in the rudiments of design by his brother. He afterwards became a scholar of Albert Cuyp; and for some time following the charming style of that master, he painted figures and cattle on the banks of the Maes, halts of tra^ vellers, and sportsmen going to the chase. But not being able to equal his able instructor in those sub- jects, he had recourse to an imitation of the works of Herman Sachtleven, and, like him, painted cabinet pictures of Views of the Rhine, with boats and figures, which are highly finished, and touched with precision and neatness, though inferior to Sachtle- ven. He died in 1721. [Balkema, very strangely, says he died in 1757, making him thereby 107 years of age, according to his own account of the artist's birth.] KAMP] PAINTERS AND ENGRAVERS. [kaup KAMPEN, Jacob van, a Dutch painter and architect, born at Haerlem in 1658. He travelled to Italy when he was young, and on his return to Holland painted a few historical pictures ; but he abandoned painting for architecture, in which he was much employed. [KAMPER, G , supposed to have been a native of Leyden, lived, in the beginning of the eighteenth century. He painted similar subjects to those of Vanderneer, and imitated his manner, but did not arrive at his excellence. His colouring is darker, colder, and less transparent ; but his pic- tures have frequently been mistaken for works of Vanderneer, and sold as such.] KAMPHUYSEN. See Camphuysen. KARTARIUS, Marius. This artist was pro- bably a German, but he resided at Rome about the year 1567. We have by him some plates coarsely etched, and finished with the graver. He also co- pied some of the prints of Albert Darer in a neat, precise manner. His plates are usually marked with the cipher ^vt' "^^^ following are by him : The Adoration of the Shepherds ; neatly executed with the graver. Christ crowned with Thorns ; the same. Diana and Acteon ; a large plate. Christ praying in lie Garden ; after A. Durer, Bomce. 1567, St. Jerome seated in a chamber; after the famous print by the same. Christ descending into Hell ; roughly copied from An- drea Mantegna. The last Judgment ; after Michael Angeh. £The name should be written Kartarus. It is supposed that he was a printseller as well as an en- graver,' and that he put his name, or mark, to the works of others, which will account for the di- versity of style that appears in those bearing his monogi-am.] KAUFFMAN, Maria Angelica. Although this celebrated paintress changed her name to that of Zucchi, by an ill-advised marriage, she is gener- ally remembered in the world of art by that of An- gelica Kaufiinan. She was the daughter of Joseph Kaufiman, a Swiss portrait painter, resident at Coire, the capital of the Orisons, where she was born, in 1742. At a very early age she discovered a marked disposition for painting and music, and was taught by her father the elements of design, who also procured her the instruction of the best music-masters of the country. She appeared at first to pay more attention to music than drawing.' Her advancement in both was extraordinary, and sufii- ciently flattering to her father to induce him to ac- company her to Italy, for the advantage of improve- ment. In 1757 he conducted her to Milan, where she applied herself assiduously in designing, and in copying the works of the best masters. She went to Naples in 1763, and in the following year to Rome, where her talents, joined to the charms of an elegant person, excited a more than usual de- gree of interest and admiration. She appears to have confined herself to portraits. Among her many admirers was the celebrated Abbe Winkel- man, who, in a letter to his friend Franck, written in 1764, speaks of her accomphshments in the most flattering terms. " I have just been painted," says he, " by a stranger, a young person of a rare merit. She is very eminent in portraits in oil, mine is a half-length, and she has made an etching of it, as a present to me.> She speaks Italian as well as Ger- man, and expresses herself with the same facility in French and EngUsh, on which account she paints all the English who visit Rome. She sings with a taste which ranks her among our greatest virtmse. Her name is Angelica Kaufiman." In 1765 she came to England, whither a very brilliant reputation had already preceded her. Her history, whilst in this country, is so universally and so precisely known, that it -will not be thought necessary to no- tice it here in detail. During a residence of seven- teen years, her talents were recompensed with every honour, distinction, and reward that the most exi- gent ambition or cupidity could desire. In 1769 she received the honours of the Royal Academy, was high in the royal favour, and in the pubhc esti- mation, affluent, respected, and admired, when she poisoned all these enjoyments by an unhappy ma- trimonial connexion, which is said to have imbit- tered the remainder of her life. Angelica left Eng- land in 1782, and returned to Rome, where the exercise of her talents was not less distinguishedly rewarded, which she continued with undiminished reputation till her death, in 1807, at the age of 67 [65]. The merit of Angelica has been so highly rated by the zeal of . her eulogists, and perhaps so severely judged before the stern tribunal of cri- ticism, that it is probable a just and candid estimate of her faculties will best be formed by steering a temperate course between both. That her powers were considerable, none will deny j that they were transcendent, few of the intelhgent will be disposed to acknowledge. In her historical pictures, in which the figures are generally much smaller than life, her compositions are ingenious and poetical; her de- sign is neither incorrect nor ungraceful; and her colouring, at least, as mellow and harmonious as the best painters oif the modern Itahan school. She was not unacquainted with the beauties of the an- tique, nor did she neglect them, especially in her female forms.' Her pictures are distinguished by an air of mild and virginal dignity ; but there is a total want of variety in her foims, of impassioned and characteristic expression in her heads, and of energy in her attitudes. Her figures, both male and fe- male, are cast in the same mould, and appear to have been drawn from an ideal model she had formed of what she conceived to be perfect ; hence she could not avoid falling into the foibles of a mannerist. Her Hector, in his departure from An- dromache, is not a hero of Homer, but a girl in dis- guise. We have several etchings by this ingenious lady, executed with taste and spirit, of which the following are the principal : The Portrait of John 'Winkelman ; Ang. K. fee. 1764. The Marriage of St. Catherine ; after Ciyreggio. The 'Virgin and Child ; from her oien design. A Girl reading. A Youth in meditation. Bust of an old Man, with a beard. Bust of an old Man reading. Bust of an Artist, with a crayon in his hand. Two Philosophers, with a book. Hope ; a half-length. A young Female embracing an TTm. L' Allegro. II Penseroso. KAUPERZ, John Virns, a modern German en- graver, bom atGratz, in Stiria, in 1741. He was a pupil of James Schmutzer, of Vienna, in which city he chiefly resided, and was a member of the Imperial Academy. He engraved ■with the burin, and also in mezzotinto, and executed several plates of portraits, and various subjects, of which the fol- lowing are the principal: 367 kawe] A DICTIONARY OF [kess PORTRAITS WITH THE GRAVER. Maria Theresa, Empress of Germany. Minerva holding the Portrait of the Empress. VARIOUS SUBJECTS IN MEZZOTINTO. The Flute-player ; after Gerard Dov/w. A Peasant smoking ; after Teniers, Mary Magdalene ; after Guido. Artemisa ; after A. D. Therhusek. Venus asleep, watched hy a Satyr ; after Weisskircher. KAWENBERG. See Cowenberg. KAY, or KEY, William. This painter was born at Breda in 1520, but he resided the greater part of his life at Antwerp. He was a fellow student with Francis Floris, under Lambert Lombard, and was a reputable painter of history and portrait. His historical subjects are well composed ; and though his subjects exhibit less spirit and fire than those of Francis Floris, they are tempered with more judgment, and designed with more correct- ness. As a portrait painter, he was one of the ablest artists of his time. His portraits have been compared to those of Sir Anthony More, to which they are certainly little inferior. He was admitted into the Academy at Antwerp in 1540, and died in that city in 1568. [The name is Kev, not Kay.] KEISAR, William de. This artist was a na- tive of Antwerp about the year 1647. He was bred a jeweller, in which profession he became very emi- nent, but having been well educated, and taught to draw, he had a strong inclination for painting, and employed all his leisure hours in practising minia- ture, enamel, and oil-colours, both in large and small. According to Vertue, he fixed at last wholly on the former. Having painted some altar-pieces at Antwerp, his business called him to Dunkirk, where he drew a picture for the chapel of the Eng- lish nuns. They were so pleased with it, that they persuaded de Keisar to go to England, and gave him letters of recommendation to Lord Melfort, then in favour with James II. The enthusiastic painter could not resist the proposal ; he embarked on board an English vessel, and without acquaint- ing his wife or family, sailed for England. His re^ ception was equal to his wishes. He was intro- duced to the king, who promised to countenance him, and several persons of rank, who had known him at Antwerp, encouraged him in his new voca- tion. Transported with this prospect he sent for his wife, ordering her to dismiss his workmen, and convert his eifects into money. Within half a year the bubble burst ; the revolution happened, de Kei- sar's friends could no longer be his protectors, his business decreased, and the pursuit 6f the philoso- pher's stone, to which he had recourse in his de- spair, completed 'his ruin. He died at the age of forty-five, four or five years after the revolution. He left a daughter, whom he had taken great pains to instruct, and with success. She painted small portraits in oil, and copied well. She had several pictures by her father's hand, particularly a St. Catheiine, painted for the queen dowager's chapel at Somerset-house, and his own portrait in water colours. [KELDERMAN, Jan, an amateur painter of flowers, fruit, and birds, was a native of Dort in 1741. He was a scholar of Wouter Dam, and was assisted by several other artists of reputation. He has left several pictures of fruit and flowers, richly composed, in good taste, and of masterly execution. He died at Dort in 1820.] KELERTHALER, John, a German engraver, born at Dresden about the year 1530. He engraved 368 some plates from the desims of John Nosseni, a sculptor, who flourished at Dresden in 1575 ; among which are the following : The Building of the Tower of Babel; J. Nosseni, inv. Kelerthal^s, scu^>. The Destruction of Babylon ; the same. The Roman Empire, with the Death of Caesar in the back-ground. The Pope receiving the Homage of Charlemagne. [Others write his names Johann Kellerdaller.] KELLER, George, an indifferent German en- graver, who resided at Frankfort about the year 1605. His plates are chiefly confined to book orna- ments, and nave no great merit to recommend them. They are slightly etched, and sometimes retouched with the graver. He also engraved some views of towns, and camps with soldiers skirmishing, dated in 1605. [Many of his prints bear a considerably later date. It is said that he was born in 1576, and died in 1640.] [KERKHOFF, D , was born at Amster- dam in 1766. He was a scholar of Barbier Pietersz. His subjects were landscapes, views of cities, and waterfalls. His countrymen speak highly of his productions, and think him deserving to be placed in the first rank. He died in 1821.] KERKHOVE, Joseph vander. This painter was born at Bruges in 1669, and studied at Antwerp, under Erasmus Quelhnus, the younger. Mr. Pilking- ton says the elder, who died when Kerkhove was nine years of age. Under that master his progress was so rapid, that it surprised his instructor. On leaving the school of Quellinus he set out with an intention of travelling through France to Italy, but meeting with encouragement at Paris, he resided there some years, and abandoned his project of visit- ing Italy. On his return to Bruges, the number of commissions he received was such that he could with difliculty execute them. He was first employed in a series of fifteen pictures of the Life of our Saviour, for the church of the Dominicans at Bruges. In the collegiate church of St. Saviour, are four of the works of Mercy by him, and a fine picture of the Resurrection. At Ostend, he painted in fresco the ceiling of the town-house, representing an Assembly of the Gods, an ingenious composi- tion, correctly designed and well coloured. He died at Bruges in 1724. [Balkema places his birth in 1664; but the better authorities differ from him, and place it either in 1669 or 1670.] KERVER, James, a German engraver on wood, who, according to Le Comte, resided at Frankfort about the year 1540. To him are attributed a set of wooden cuts of grotesque figures, standard-bearers, &c., in the old German taste, pubHshed at Frank- fort in 1540, and the heads and small historical sub- jects for a folio volume, entitled Catabgus Annorum, ^c, published at Berne the same year. He usually marked his cuts vrith the cipher | which was also used by an engraver on wood much more ancient than this artist. KLOCKER, David. This painter was bom at Hamburg in 1629, and was a scholar of George Jacob, a Dutch artist, resident in that city. He afterwards visited Italy, and studied some years at Venice and Rome. On his retam from Italy he was invited to the court of Sweden, where he painted the Royal Family, and the principal nobility, and executed many historical works, as well as portraits. The pictures of this master are chiefly confined to Sweden, where he passed the greater part of his life, and died there in 1698. 373 klom] A DICTIONARY OF [knip [KLOMP, Albert, painted landscapes and cattle in the manner of P. Potter, as far as regards the subjects. He was a respectable artist, and some of his pictures have considerable merit. His works bear date from 1602 to 1622; consequently he could not have been a pupil, nor an imitator of Paul Pot- ter, as most of the writers who have noticed him have stated.] KLUPFFEL, J. C, an engraver of little note, who was apparently a native of Germany. He en- graved several small plates of the Cries of Rome, copied from the prints by Villamena. They are neatly executed, but in a stiff, formal style. [KLUYT, Pierre Thierry, a native of Delft, was one of the best scholars of Mireveldt.] KNAPTON, George, an English painter and engraver, born in 1698. He was a scholar of Jona- than Richardson, and was chiefly occupied in paint- ing portraits in crayons. In conjunction with Arthur Pond, he engraved and published a set of prints from the drawings of the most celebrated painters. The work consists of ninety-five plates, sixty-eight of which were engraved by Pond, and twenty-seven by Knapton; they are chiefly land- scapes, after Guercino, and are faithfully copied in a very creditable manner. He was also concerned in the publication of the heads of illustrious per- sons, engraved by Houbraken, and other works. In 1765, Knapton was painter to the Dilettanti Society, and on the death of Slaughter, was appointed sur- veyor and keeper of the King's pictures. He died at Kensington in 1788. KNBLLER, Sir Godfrey. This distinguished painter was born at Lubeck in 1648. He was the son of an architect, who destined him'to a military life, and with that view sent him to Leyden, to study mathematics and fortification. But his genius leading him strongly to painting, his father indulged his propensity, and sent him to Amsterdam, where he entered the school of Rembrandt, and afterwards studied under Ferdinand Bol. When he was seven- teen years of age he went to Rome, and became a disciple of Carlo Maratti and Bernini; when he began to acquire some fame as a painter of history, and had made considerable progress in the study of architecture. He afterwards visited Venice, where he received great civilities from the principal no- bility, particularly the Donati and Gartoni, for whom he painted several family pictures, and other portraits, particularly the Cardinal Bassadonna. These marks of distinction could not however de- tain him in Italy; by the importunity of some friends, he was prevailed on to come to England, where he arrived with his brother, John Zachary Kneller, in 1674. They were recommended to a Hamburg merchant resident in London, for whom he painted a family picture, which was much ad- mired. Mr. Vernon, secretary to the Duke of Mon- mouth, having seen it, sat to Kneller, and the por- trait being shown to the duke, he was so much pleased with it, that he introduced the painter to Charles II., and engaged the king to sit to him, at a time when the Duke of York had been promised a picture of the king by Sir Peter Lely. Charles, unwilling to undergo the ceremony of a double sit- ting, proposed that both the artists should paint him at the same time. Lely, as an established master, chose the light he hked ; the stranger was to paint the picture as he could, and performed it with such facility and expedition, that his picture was in a manner finished, when Lely's was only dead coloured. The novelty pleased, and this suc- 374 cess fixed Kneller here. The j)rodigious number of his portraits prove the continuance of his reputation. Charles II. sent him to Paris, to draw Louis XIV., but the king died during his absence. James II. was equally fevourable to him ; and was sitting for his picture to him when he received the news that the Prince of Orange was landed. King William distinguished Kneller still more ; for that prince he painted the Beauties at Hampton-court, and was knighted by him in 1692. His works in the Gal- lery of Admirals were done in the same reign, and several of them are worthy so noble a memorial. The portraits of the Kit-cat club were the last of Kneller's works in that reign, and the last of his public works. He lived to paint George I., was made a baronet by him, and continued to paint during the greater part of his reign. In 1722, Sir Godfrey was seized with a violent fever, from the immediate danger of which he was rescued by Dr. Meade ; he remained however in a languishing con- dition, and died in 1723. It has been justly observed of Sir Godfrey Knel- ler, that he lessened his own reputation, as he chose to make it subservient to his fortune. Had he lived in a country where his merit had been rewarded ac- cording to the worth of his productions, instead of the number, he might have shone in the roll of the greatest masters ; but he united the highest vanity with the most consummate negligence of character; at least, where he offered one picture to fame, he sacrificed twenty to lucre; and he met with cus- tomers of so little judgment, that they were fond of being painted by a man, who would have gladly disowned his works the moment they were paid for. It is, however, allowed that he was a correct and graceful designer of a head ; the hair is admirably disposed, and if the locks seem unnaturally ele- vated, it must be considered as an instance of the painter's art. He lived in an age when the women erected edifices of three stories on their heads : had he represented them in such a preposterous attire, in half a century his works would have been ridi- culous. To lower their dress to a natural level, when the eye was accustomed to pyramids, would have shocked their prejudices, aljd diminished the resemblance. He took a middle way, and weighed out ornament to them of more natural materials. Still it must be owned, there is too great a sameness in his'airs, and little imagination in his compositions : see but a head, it interests' you ; uncover the rest of the canvass, you wonder faces so expressive could be employed so insipidly. [Notwithstanding this censure, there are numerous portraits by Knellei;, painted in a very masterly manner : among them are those of Newton and Dryden ; but that on which he most prided himself, was the Converted Chinese, at Windsor Castle.] KNELLER, John Zachary, was the elder bro- ther of Sir Godfrey Kneller, born at Lubeck in 1635. After travelling through Italy, he accom- panied his brother to England, in 1674. He paint- ed architecture and still-life, in fresco and in oil, and copied some of Sir Godfrey's pictures in watcr- colom's. John Zachary Kneller died in London in 1702. [KNIP, Nicholas Frederic, a landscape, fruit, and flower painter, was born at Nimeguen in 1742. Until the age of thirty he led a wandering life, working at gentlemen's country-seats wherever he could obtain employment; he then married, and settled at Tilbourg, where he painted landscape, fruit, and flower pieces, of small dimensions, gener- KNIP] PAINTERS AND ENGRAVERS. [KOBE ally from twelve to eighteen inches, for which his price was from fifty to sixty florins. At the age of 53 he lost his sight, and lived in a state of bhnd- ness for nearly fourteen years. He died at the age of 67. His pictures, being painted after nature, have great merit, and his di-awings, of which he left many, are thought to equal, in composition, those of the best artists of his class.] [KNIP, Henriette Gertrude, born at Til- bourg in 1783, distinguished herself as a painter of fruit and flo'wers. She was the daughter of Ni- cholas Frederic Knip, a flower painter, who unfor- tunately lost his sight before her birth. She re- ceived lessons from Van Spaendonck, and painted in water colours from compositions made by her father previous to his misfortune. In 1824 she took lessons from the celebrated Van Dael, and com- menced painting in oil. She produced numerous pictures, which were exhibited in Prance, Germany, Flanders, Amsterdam, and the Hague, and sold for good prices. She died at Haerlem in 1842.] KNIPBERGEN, N., a Dutch artist, of whom nothing more is known, than that he painted land- scapes in the style of Paul Brill. His sites are ge- nerally taken from the romantic scenery of Switzer- land and Germany. He is said to have possessed an extraordinary facility of handling, witnout the appearance of negUgence ; but there is a want of taste in the arrangement of his forms, and in the disposition of his figures. He was little acquainted" with aerial perspective, and his distances' do not re- cede with due degradation. KNORR, G. W., a German engraver, who flour- ished at Nuremberg about the year 1626. He ex- ecuted some portraits and book-plates in a very indifierent style ; among others, he engraved, con- jointly with a A.C. Pleischman, the plates for a work entitled Jcones Bibliopolarum et Typographo- rum, pubhshed at Nuremberg in 1626. ■ KNUFBR, or KNUPFER, Nicholas. This painter was born at Leipsic, in Saxony, in 1603. Having shown an early inclination for the art, he was placed under an obscm-e painter, named Ema- nuel Nysens, by whose instruction he was so httle benefited, that he did not remain vidth him more than two years. He afterw^ards visited Magdeburg, where he studied under another indifferent artist, until 1630, when he Went to Utrecht, and became a scholar of Abraham Bloemaert. Under that master he became a very respectable painter of historical subjects of a small size. He was commissioned by the King of Denmark to paint some pictures 'of bat- tles, which gained him great reputation. He re- sided some time at the Hague, where he met with considerable encouragement. One of his most ad- mired pictures was formerly in the collection of the Greflier Fagel, representing an Assembly of the Gods. He died in 1660. KOBEL, James, a German engraver on wood, to whom are attributed the cuts for a work, entitled Jttapen Ires Ijegligen Stomtec^en Ktcitijis, consisting of single figures of soldiers holding banners, with the arms of all the provinces and cities of the Ger- man empire. They are executed in a very spirited manner, and are generally marked with the initials I. K. He flourished about the year 1520. KOBELL, Ferdinand, a modern German paint- er and engraver, born at Manheim in 1740. He distinguished liimself at an early age by some views in the neighbourhood Of his native city, and was ap- pointed landscape painter to the Elector of Bavaria. We have several etchings by this artist, executed with taste and spirit ; among which are the follow- ing: Four middle-sized Landscapes ; dated 1767 : F. Kobell fee. A set of six small plates of the Sports of Children • F Kobell, 1769, aq. forti. Four Landscapes, with ruins: F. Kobell, Manheim 1770. Four mountainous Landscapes ; F. Kobell. 1772. [He was an excellent landscape painter; and his etchings amount to upwards of 230, of which the Baron de Stengel has given a catalogue raisonne. He died at Munich in 1799.] KOBELL, William, is the son of the preceding artist, born at Manheim about the year 1766, and was instructed in landscape painting and engraving by his father. He has etched some charming plates, after the works of the principal landscape painters of the Dutch school, in which he has been uncom- monly successful in representing the particular style of each master. The following is a list of some of his interesting productions : A Landscape, with Travellers, and Horses loaded ; after W. Romeyn. Two Landscapes, with Figures and Cattle ; after Berg- hem. Cayaliers and Horses at the door of an inn ; after Wow- erman. A pair of Landscapes, with Cattle ; after John Henry Boos. A Landscape, with a Woman caiTying a Lamb, with an Ox and some Sheep ; after J. le Ducq. A Shepherdess, with a Cow and some Sheep ; after Th. van Bergen. A Landscape, with a Waterfall ; after J. Both. A View in Holland; after J. Wynants. A Landscape, with a Shepherd playing on his Pipe, and several Animals ; after A. vande Velde. Figures going a hawMng ; after Karel du Jardin. [He painted battles, and landscapes with rural sub- jects, in which he endeavoured to imitate the man- ner of Wouwerman. His etchings and aquatint en- gravings, after the best of the Dutch masters, are numerous, and are highly esteemed. He was living in 1834. See Nagler for a list of his etchings.] [KOBELL, Franz, a landscape and architectural designer, for he can scarcely be called painter, was born at Manheim in 1749, and died at Munich in 1822. From a strong predilection for the art of painting he ^declined &ade, and joined his brother Ferdinand, who was secretary to the electoral court of Manheim, and with his assistance arrived at such a proficiency as attracted the notice of the elector, Charles Theodore, who appointed him his principal painter. By the elector's bounty he was enabled to visit Italy, where he remained about nine years, studying the classical scenery and architecture of Ihe country : of each he made numerous sketches. On his return to his native place he disdained, says his biographer, the use of the brush, and confined himself to the use of the pen in sketching and draw- ing landscapes and buildings, of which it is said he made above ten thousand. His oil pictures are, consequently, rare. This notice is intended to dis- tinguish him from his brother Ferdinand, who signed his works generally F. Kobell, as an engraver and painter.] [KOBELL, Hendrik, or Henri, (sometimes called junior,) a marine and landscape painter, was bom at Rotterdam in 1751. His father was a mer- chant, and intended his son for the same pursuit ; but as he was instructed in drawing, probably a part of the education of the day, he showed his predilection by sketching the shipping in the port of his native town, and river scenery. He was sent to England, 375 KOBE] A DICTIONARY OF [koec while a youth, on commercial matters, and remained some time in London, a place congenial to him, as it gave him opportunities of improving himself in his favourite art. On his return home he abandoned trade altogether. He went to Amsterdam, where, in two years, he made such progress that the Academy of that city received him as a member, and reckoned him among the best. His next excursion was to the Rhine and the Meuse, and he painted landscapes and, river scenes analogous to those of Zaftleyen. On his return, he settled in Rotterdam, and con- tinued to enrich the portfolios of amateurs with his beautiful drawings ; among which, there are some of naval engagements that are considered excellent. These drawings are generally with the pen, height- ened with Indian ink, or water colour. He did not, however, confine himself to drawing, but painted marine subjects in oil, which were highly esteemed. His touch is bold and spirited ; his colouring some- what .too gi'een, and his water vapoury; but he shows taste and judgment in the selection and ar- rangement of his subject. He died in 1782. It is supposed that there are some etchings of marine subjects by him ; one is mentioned by BruUiot with the early date of 1767.] [KOBELL, Jan, an eminent landscape and ani- mal painter, and engraver, the son of Hendrik Ko- bell, the marine painter, was born at Utrecht in 1782. As his father died in the same year, and Ms mother shortly afterwards, he was placed in the Orphan Asylum. When he grew up it was decided by his relatives that he should be an artist, and he was put under the tuition of W. R. Vander "Wal, the landscape and animal painter, who paid great atten- tion to his studies, obliging him to design after na- ture, and to make Paul Potter his model. He made rapid progress, and produced various landscapes and animal subjects, which were received with great approbation, and were admitted into the most im- portant collections. This approbation continued to increase until the time of his death, which oc- curred in 1814. His pictures, for the truth of the representations, skilful arrangement, and beautiful colouring, axe worthy rivals of the works of Paul Potter. They are highly appreciated, not only in his own country, but in every other where there is a love of nature and art. His countrymen are justly proud of them, and consider that they uphold the celebrity of the old Netherland school of painters ; and his example has not been lost on the present artists of Holland, who seem determined to rival, and, if possible, to surpass their illustrious prede- cessors. Though he obtained liberal prices for his works, the commercial value has more than quad- rupled since his death. There are a few etchings by him which, as well as his beautiful drawings, are highly esteemed : the latter are very valuable.] [KOBELL, Jan, junior, was the son of Jan Kobell, an engraver, the younger brother of Hen- drik Kobell, consequently cousm to the preceding. He was bom at Rotterdam in 1800, or 1802 (for authorities differ). He obtained a great reputation as a landscape and cattle painter. He died in 1838. An opinion may be formed of the estimation in whicKhis works are held in Holland by the prices at which they were publicly sold within one year after his decease, namely, his pictures from 1000 to 2800 florins, and his drawings from 300 to 400 florins.] ' , KOCK, Matthew. See Cock. KOCK, M. This artist was a native of Holland, and flourished about the year 1695. Among other 376 prints, he engraved a large plate, representing the Procession of William III., which took place the 5th of February, 1691. KOEBERGER, Wenceslaus, a Flemish painter and architect, born at Antwerp in 1554. He studied painting under Martin de Vos, and on leaving that master went to Italy. He remained some years at Rome, where he made designs of the finest monu- ments of art in that city and vicinity. He after- wards went to Naples, and established himself there, where he formed an intimacy with a Flemish paint- er, named Franco, whose daughter he married. This union fixed him at Naples for several years, during which time he received many invitations to return to his native country, and was commissioned to paint a picture for the confraternity of St. Sebastian, representing the Martyrdom of that Saint, which was placed in their chapel in the cathedral of Notre Dame at Antwerp ; and was considered a popular and interesting work of art, even in that rich as- semblage of the best productions of the Flemish school. At the solicitation of the Archduke Albert, Koeberger quitted Italy with regret, and returned to Antwerp. He soon after settled at Brussels, where he was appointed painter and principal arcljitect to the Archduke. He painted several altar-pieces for the churches of Brabant and Flanders; and for several years had the superintendence of the public edifices. Vandyck painted the portrait of Koeberger, which is finely engraved by Lucas Vosterman. He died in 1634,* aged 70. [If he was bom in 1554, and died in 1634, he must have been 80. Balkema says he was born in 1560, and died in 1630, which would make him 70.] KOECK, or COECK, Peteh. This artist was a painter, an architect, and an engraver on wood. He was bom at Alost in 1500, and educated under Bernard van Orley at Brussels. He afterwards visited Italy, where he principally applied himself to the study of architecture. On his return to Bmssels, he was engaged by a company of specula- tors to paint the cartoons for a manufactory of tapestry they intended to establish in Turkey ; on which occasion Koeck visited Constantinople, and made designs of whatever he thought remarkable in the manners and customs of the Turks. The project not succeeding, after a year's absence he returned to Brussels, where he painted several pictures for the churches, and portraits, and died painter to the Emperor Charles V., in 1550. He engraved the designs he had made in Turkey in seven large wooden cuts, which, when joined together, form a very long print, resembling a frieze. They represent, in seven compartments. The March of the Grand Signior with his Janizaries. The Suite of the Grand Signior in his Promenade. A Turkish Marriage, with their Dances. Their Ceremonies in Burying the Dead. Their Festivals at the New Moon. Their Customs at their Bepasts. Their mode of Travelling and making War. The whole forms a very curious work, containing a great number of figures, habited in their particular modes, and very carefully executed. On a tablet in the first cut is the following inscription, in bad old French, " Les moeurs etfachom de faire des Turcz, avecq les Regimis y appartenantes, ont est au vif con- trefaicetz par Pierre Coeck d' Alost, lui estant en Turgue, 'an de Jesu Christ MDXXXIII. le quel * Mr. PiMngton has dated his death in 1601 This cannot be correct, as Vandyck was then only five years old. koed] PAINTERS AND ENGRAVERS. [koni aussy de sa main propre a pour traict ses Jigures duysantes a. Fimpression d^y celhs." The last of the cuts is inscribed, "Marie ver Huht, vejve du diet Pierre d'Ahst, trespasae en Pan MDL. a faict im- primer ks diet Jigures, souhz grace et privilege de Vlm- periale majeste en Vau MCCCCCLIII. KOEDYCK, D., a Dutch mezzotinto engraver, who flourished about the year 1730, by whom we have a few prints, after Metzu, and other masters, and a portrait of Michael Musscher, painter. [KOEDYK, Nicholas, a Dutch painter, born at Zaandam in 1681, was honoured with the favours of Peter the Great of Russia, from which it might be supposed that he was a painter of shipping : this, however, is not stated. Balkema says that there is now no doubt that Koedyk painted the renawned picture called L'Escalier Tournant, (the Winding Stair,) which was purchased in Holland to be sent to Russia. This picture, together with La Chambre de I'Aceouchee, by Gerard Dou, and a large herd of cattle by Paul Potter, also intended for the royal collection, never reached its destination; they -were all lost in a dreadful storm on their passage. The portrait of Admiral Pieter Pieterz Hein, in the Museum at Amsterdam, is by Koedyk.] [KOEKKOEK, Jan Hermann, a marine painter of Holland, born in 1778, was the father of the celebrated Koekkoeks of the present day. The re- putation of the sons has thrown that of the father into the shade, but his pictures are still esteemed, and are to be found in good collections. He was living at Amsterdam in 1844.] [KOEKKOEK, Jan, son of the preceding, was bom at Middlebourg in 1811. He painted the same subjects, as his father, and was an artist of, great promise, but died at the early age of 20, in 1831. Three of his brothers are still hvmg, and hold yery distinguished ranks among the present very excel- lent painters of Holland : their names are Bernard Cornelius, Marinus Adrien, and Herman ; their sub- jects are marine views, and landscapes with figures and cattle, all which are treated by them in a supe- rior style.] KOENE, Isaac. This painter was a native of Holland, and is mentioned by Descamps as a scholar of Jacob Ruysdael. He painted landscapes and waterfalls in the style of that master, in w^h the figures are frequently introduced by BarSteGaal. [He was born at Haerlem in 1650, and am. there m 1713. His name is not erased from all his pic- tures ; it is still sometimes found on them.] KOENIG, Anthony Balthasar, a Prussian en- graver, bom at BerUn about the year 1676. He engraved several portraits and other subjects, which are neatly executed with the graver. Among others, we have the following by him : PORTRAITS. Frederick William, King of Prussia; after Weidemanm. Frederick, Baron of Derfflinger, General of Cavalry. Charles Gottfried Schrader, Aulic-coiinsellor to the King. Alexander Hermann, Count of Wartensleben. 1716. The Monument of Charles Gottfried Schrader. [KOENRAAT, , born at the Hague in 1678, was a scholar of Constantine Netscher ; and painted flower-pieces with a good tone of colour and a light pencil. He died in 1747.] KOETS, RoELOF. This painter was bom at ZwoU in 1655, and was instructed in the rudiments of design by his father, an obscure artist, who after- wards placed him under the tuition of Gerard Ter- burg, with whom he remained until he was eighteen years of age. He devoted himself almost entirely to portrait painting, in which he was much employed at the court of Henry Casimir, Stadtholder of Fries- land; and afterwards by William III., whose por- trait he painted, and those of the principal English nobility who attended the king at Loo. He died in 1725. [It is said that he painted^oe thousand por- traits with his own hand, all of which were well finished, and without assistance from other artists. Where are they to be found ?] KOHL, Andrew, an obscure German engraver, who resided at Nuremberg about the year 1609. Among other things, he engraved an ornamental frontispiece to a folio book of Architecture, marked A. K. 1609. It is executed on copper, in imitation of a wooden cut, in a free, masterly style, resembling a drawing with a pen. KOHL, Clement, a modem Gei-man engraver, born at Prague in 1752. He was a pupil of J. Schmutzer, at Vienna, in which city he chiefly re- sided. We have several plates by him of portraits, and a few historical subjects, executed with great neatness and deUcacy. Among others, we have the following by him : PORTRAITS. Frederick William, Prince of Hohenlohe ; after J. Kretd- ziTiger. Serges, Prince of Gagarin ; L, Posch p. CI. Kohl, ac. Vienna; fine. The Princess of Gagarin ; tlie same ; fine. Charles William Ferdinand, Duke of Brunswick ; Ant. Graff, pinx. Ferdinand, Duke of Brunswick and Lunebourg ; after Ziesenis. SUBJECTS. Jacob's Blessing ; after L. Kohl. 1775. An Astrologer explaining the Sphere ; after the same. A Professor instructing his Students ; (^ter the same. [He died in 1807.] [KOK, Jan Matthew, born at Amsterdam in 1720, was a scholar of Nicolas Verkolje, and would have been an eminent artist if he had confined himself to a particular class of painting. But he loved variety, and painted landscapes and cattle, views of chateaux, sea-pieces, and figures adorned with accessories. The date of his death is not men- tioned, but his collection of pictures was sold in 1771.] KONINCK, David de. This painter was born at Antwerp in 1636. He was a scholar of John Fyt, and painted similar subjects of huntings and animals, and particularly excelled in designing all kinds of birds. Having reached a proficiency which is said to have excited the jealousy of his in- stractor, he went to Italy, and resided some years at Rome, where his pictures pleased. Although the works of De Koninck are greatly inferior to the ad- mirable productions of John Fyt, they possess con- siderable merit. He died in 1687. [Lanzi notices a " Giovanni Fayt di Anversa^ who resided at Ve- nice, and "painted fruit and animals, alive and dead, in a very polished, natural, and novel man- ner." As no other writer, it is believed, has men- tioned that John Fyt ever was in Italy, it is pro- bable that the pictures now attributed to him there were painted by David de Koningh, who, all agree, passed much of his time in Italy. There is no ne- cessity to ascribe to jealousy on the part of Fyt, the departure of De Koningh ; for the latter seems to have been fond of travelling, and not only visited Italy, but France and Germany also.] KONINCK, Solomon. See Coninck. KONING, Cornelius. See Coninck. 377 KONi] A DICTIONARY OP [keau K0NIN6, James. This painter was born at Amsterdam in 1650, and was a scholar of Adrian Vande Velde. Under so able an instructor he be- came an eminent artist, and painted landscapes, with figures and cattle, in thjs beautiful style of his master, which were much esteemed by the artists and collectors of his country. He also painted his- torical subjects, of a small size, which possessed considerable merit. He was invited to the court of Denmark, where he probably died. KONING, Philip de. This painter was born at Amsterdam in 1619, and was one of the ablest scho- lars of Rembrandt. He painted historical subjects and portraits, but was particularly eminent in the latter, in which he was one of the most distinguish- ed artists of his time. His colouring, though rich and harmonious, is clearer than that of Rembrandt, and partakes of the chaste and tender tinting of Vandyck. There is an uncommon appearance of truth and nature in his heads, with a more tasteful ar- rangement of his attitudes and habiliments than is usual in the portraiture of the artists of his country. There is a fine portrait of himself in the painter's gal- lery at Florence. He died in 1689. [It is surprising that so little notice should be taken by writers of the landscapes by P. (h Koningh ; they are among the finest of the Dutch school, blending the styles of Rembrandt and Muisdael. They are bird's-eye views of the country, and represent space, and variable- ness of aspect, with wonderful success. They can- not be too highly appreciated. If it be lawful, a doubt might be hazarded, that some portraits attri- buted to Rembrandt are by P. de Koningh.] KONING, William, a very indiflferent engraver, and a printseller, who resided at Amsterdam. He engraved a set of sixteen prints, representing tlie building, use, and destruction of ships, with which, though wretched performances, he appears to have been perfectly satisfied, as he has signed his name to them. KOOGEN, Leonard vander, a Dutch painter, born at Haerlem in 1610. His parents were in af- fluent circumstances ; and on his discovering an in- clination for the art, sent him to Antwerp, vraere he became a scholar of Jacob Jordaens. On his return to Holland, his first efforts were historical subjects, but becoming acquainted with Cornelius Bega, he quitted that line, and painted conversations, and boors regaling, in the style of Bega. The pictures of Vander Koogen are ingeniously composed ; his figures are correctly and spiritedly designed, and his colouring is clear and transparent. His works are little known out of his own country, where they are deservedly esteemed. He died in 1681. We have several masterly etchings by Vander Koogen, some of which are in the style of Salvator Rosa. Among others, the following are by him : A set of six prints of Soldiers ; dated 1664, 1665, and 1666. A set of four, representing Apollo and the Muses ; the Battle of the Giants ; a Sacrifice near a Tomb ; a Standard-hearer, with Soldiers. Another set of four ; a Female Head, 1664 ; an Ecce Homo, 1664 ; St. Sebastian, 1665 ; and two Men play- ing at Trictrac. [KOOI, GuiLLAUME, or William, Bahtel Van- der, bom at Augustinusga, in Friesland, in 1768. In 1808, he obtained the prize of 2000 francs at the Exhibition at Amsterdam, for his picture of a Lady receiving a letter from her 'Pomestic. In 1823, he exhibited at Ghent, The Flute Player, a picture admirable for its execution. Indeed all his pictures 378 were received with approbation by the public. He died at Leeuwarde in 1836.] KOORNHERT. See Cuernhert. KOOTWYCK, or COOTWYCK, Jurian. This artist was bom at Amsterdam in 1714. He en- graved several plates, in imitation of the drawings of the Dutch masters, in aquatinta and the crayon manner, as well as subjects from his own designs. Among others, we have the following by him : SUBJECTS after VARIOUS MASTERS. A Sea-piece ; after Lud. Backhuysen ; scarce. A Landscape, with figures and animals ; after Berghem. Three Landscapes, with cattle ; after P. van Bloemen. SUBJECTS SUPPOSED TO BE FROM HIS OWN DESIGNS. A Shepherd playing on the Flute to a Shepherdess. An old Woman sitting, holding a Paper. A Man Holding his Hat on his Knee. Three Landscapes. An Ox and a Cow. An Ass with Panniers. [KOUWBNHOVEN, Jacob, a painter of land- scapes and cattle, was born at Rotterdam in 1777. He was a scholar of Ommeganck, at Antweip. Many of his pictures are to be found in English col- lections. He died at Rotterdam in 1825.] KOWENBERG, Christian van. This painter was bom at Delft in 1604, and was instructed in the rudiments of the art by John van Es, an obscure painter. He afterwards travelled to Italy, where he studied several years, and became an eminent painter of history. On his return to Holland, he was em- ployed by the Prince of Orange in several consider- able works in the chateau of Ryswiqk, and the Palace in the Wood. He composed in a great style, and his design is more tasteful and correct than is usual in the historical productions of the Dutch school. He died in 1667. KRAFFT, James Louis, a Flemish engraver, who flourished at Brussels about the year 1735. He engraved several plates after JRubens, and other masters, in a coarse, tasteless style ; among which are the following : subjects AFTER HUBBNS. Job tempted by his Wife. Christ giving the Keys to St. Peter. Christ with Nicodemus. Jupiter and Danae ; after a drawing by Rubens from Tit'' Venus and Cupid ; after the same ; from Giorgione. He also engraved a portrait of J. Wiggers ; dated KRANACH. SeeCiiANACH. KRAUS, Jane Sibyl. See Kussel. KRAUS, George Melchior, a modern German painter and engraver, born at Franckfort in 1727- He was a pupil of J. H. Tischbein, at Cassel, and afterwards went to Paris, where he became a scholar of J. B. Greuze. He painted landscapes with figures, which were esteemed, and procured him the patron- age of the Duke of Weimar. He has etched several landscapes from his own designs, chiefly views in the vicinity of Weimar, which are neatly executed. We have, among others, the following by him : A set of six Landscapes, Views near Weimar. A set of six Views of Chateaux in the Duchy of Weimar. [KRAUS, John Ulrich, a designer and en- graver, was born at Augsbourg in 1645, and died in the same city in 1719. He imitated the manner of J. Le Clerc; and copied several of the prints of Albert Durer and Lucas van Leyden. He also en- graved landscapes and perspective views ; and many KRAU] PAINTERS AND ENGRAVERS. [kuig biblical subjects for the booksellers. Nagler has g^ven a list of his principal works.] PORTRAITS. Ohristophorus Schultaius, Pastor Memel. ; afierFisoher. John DoUe, physician ; after C, Labert. SUBJECTS. The History of the Old and New Testament, in quarto, four subjects in each plate ; intended to be bound in octavo, so as to have two subjects on a leaf; the num- ber of leaves would then amount to one hundred and eighty-eight, and they are so numbered. The Life of Christ, in thirty plates, two compositions on each plate ; published at Augsbourg in 1705. A set of six pleasing Views of Gardens. A set of six Landscapes. Thirteen plates of the most interesting Views in Nurem- berg ; after the designs of J. A. Graff. A View of St. Peter's at Home ; after the same ; fine. KRAUSE, Francis. This painter was born at Augsbourg in 1706. He went at an early period of his life to V enice, where he studied some time under Gio. Batista Piazzetta, whose dark and dingy hues he adopted. On leaving that master he visited Paris, where he met with so httle success, that he was under the necessity of quitting that capital, and perambulating the provinces in the south of Prance in search of employment, and' was at length obliged to condescend to paint portraits in crayons for sub- sistence. When he reached Lyons, however, he met with employment more worthy of his talents, which, though not brilUant, were respectable. He was engaged to paint some pictures for the church de la Sainte Croix, and a series of works for that of our Lady, which occupied him for the remainder of his life. His di-awing is not incorrect, and his colour- ing is occasionally forcible ; but from a too power- ful opposition in his light and shadow, the effect in his pictures is heavy and imharmonious. He died in 1754. KRIEGER, Charles Frederick, an obscure German engraver, who resided at Nuremberg, where he engraved some of the heads for a book containing the portraits of learned men, entitled Icones Virorum omnium Ordinum, Eruditione, &c. KRUG, or KRUGEN, Lucas, [or rather Lud- wiG,] an old German artist, who flourished about the year 1516. He followed the profession of a foldsmith, and was also a painter and engraver, 'rom the few prints which we have by him, which are extremely rare, he appears to have imitated the style of Lucas of Leyden. His drawing is tolerably correct, for the time in which he hved, and he handled the graver with great dehcacy. He is some- times called the master of the pitcher, from his having usually marked his plates with an L. and a K., with a small pitcher between them. We have the following prints by him : The Nativity. 1516. The Adoration of the Magi ; the same date. The Virgin suckling the Infant Jesus. An Ecce Homo, with the Instraments of the Scourpng. St. John the Evangelist writing, with the Virgin in the Clouds, and below, the Devil emptying his Inkhom. Two naked Women holding a SkuU, with an Hour-glass upon it. A naked Female seated, with her back towards the Spectator. [It is supposed that he died in 1535. There is a dis- pute respecting the mark; .Brulliot and others think that it is that of Lucas Kornelisz, called the Cook. As Krug signifies a jug, or pitcher, it is very likely that an artist of the name would adopt it as his sign. Why an artist who had the soubriquet of Kdk, or Cook, should adopt it, admits of question.] KRUGER, or CRUGER, Theodore, a German engraver, bom at Munich about the year 1576. He went, when very young, to Italy, and passed the gi-eater mrt of his hfe at Rome. He imitated the style of Francesco Villamena, and, like that artist, handled the graver with more vigour thg,n taste. There is also a want of harmony in his light and shadow. He marked his plates with the cipher ^. The following are his principal prints : The Life of St. John Baptist ; from a series of paintings by AnArea del Sarto, in the vestibule of the Confra- ternity del Scalza, at Florence ; T. Cruger, so. 1618. The Last Supper ; after the same. The Return if om Egypt ; after Francia Bigio. The infant Jesus, with St. John ; after the same. KRUGER, or CRUGER, Matthias. This art- ist was the brother to the engraver mentioned in the preceding article. He is said by Florent le Comte to have engraved some plates after the de- signs of the CavaUere Borghese, Guido, and other masters, as well as from his own compositions. He used the cipher KRUGER, Andrew Louis, a modem German engraver, who resided at Potsdam about the year 1760. He engraved several of the plates for the Dresden Gallery. [KRYNS, Everard, born at the Hague in 1568, studied under Karl van Mander, and afterwards at Rome. He painted history and portraits, and died in Holland in 1627.] [KUICK, Jan van, was born at Dort in 1530. He was an eminent painter on glass as well as in oil colours. Having given some offence to the Je- suits, they accused him of heresy, and got him im- prisoned. He was kept in irons a long time, though John Van Boudewinze endeavoured to procure his enlargement. In gratitude for these endeavours, Kmck painted a picture of the Judgment of Solo- mon, in which he introduced the likeness of his benefactor as the principal figure. This gave new offence to the Jesuits, who contrived means to in- crease the misery of his imprisonment, 'and never rested till they extorted a final sentence of death, which was immediately executed, and he was burn- ed alive in 1572, at Dort.] [IfULGELGEN, Gerhard and Carl Von, twin brothers, were bom at Bacharach, on the Rhine, in 1772. Their father was exchequer coun- cillor in the service of the Elector of Cologne, who, in 1791, sent the twins to complete their studies at Rome. Gerhard painted history and portrait, and Carl, landscape. Gerhard was induced to try his fortune at Petersburg, whither he was soon followed by Carl : they both met with great success, and maiTied two sisters of a noble family of Curland ; but Gerhard, after a few years, removed in 1804 to Dresden. Carl remained at Petersburg, where he was appointed court painter. Gerhard had estab- lished himself, and obtained a high reputation at Dresden, where he held the appointment of Profess- or of Painting at the Academy, when his career was suddenly cut off in a most melancholy manner; he was murdered on the road from Pillnitz to Dres- den, in 1820. It was a common highway robbery by a private soldier, who had no knowledge of his victim. His works are of a very unpretending cha- racter : in most of them an abstract religious senti- ment prevails : in execution they are careful, deli- ' ■ J 379 KUNS] A DICTIONARY OF [kyte cate, and somewhat formal, yet pleasing and im- pressive. His compositions nave but few figures ; two or three at most. Carl painted many land- scapes, and executed numerous drawings of the scenery of Russia, both in the northern and south- ern provinces. The greater portion of these works are confined in Russia, as they were done by order of the Emperors Paul and Alexander. It is record- ed that he painted 171 pictures, and made 200 fin- ished drawings. He died at Revol in 1832.] [KUNST, Cornelius, born at Leyden in 1493, was instructed by CorneUus Engelbrechtsen, who is called his father by some writers, and his father-in-law by others. He painted history, por- traits, and views of cities. His design was good, his expression strong, and his colouring warm. He died in 1944.] KUPETZKI, John. This painter was bom at Porsina in Bohemia in 1667. He was the son of a weaver, who intended to bring him up to his trade, at which he worked until he was fifteen years old, when he left his father's house, and bein^ destitute of every resource, his necessities obliged him to so- licit charity at the gate of a German nobleman, who took compassion on his youth, and permitted him to take refuge in his castle, where a Swiss painter, named Glaus, was employed in ornamenting some of the apartments. The young Kupetzki regarded the progress of the painter with admiration and de- light ; and in his absence sketched some of the ob- jects he had been painting with such exactness, that it excited the utmost surprise in his protector, who questioning him who had instructed him in design, and finding he had no other assistance than his na- tural inclination, engaged Glaus to take him under his tuition. He accompanied that artist to Vienna, and was soon able to assist him in his works. After studying under Claus for three years, he went to Venice, with letters of introduction to Cavahere Li- beri. He afterwards visited Rome, where he was taken into the patronage of Prince Stanislaus Sobi- eski, who employed him for two years, and reward- ed him with such liberality, that he was enabled to indulge his desire of visiting Lombardy, to study the works of Coreggio and the Caracci. After a re- sidence of twenty-two years in Italy, Kupetzki re- turned to Germany, and settled at Vienna, where he was made painter to the Emperor Joseph. On the death of that sovereign, he would have been continued in the same capacity by Charles III. of Spain, who succeeded to the imperial throne ; but he declined that honour, being desirous of visiting the different courts of the empire. He passed some time at those of the Elector of Mentz, the Duke of Saxe Gotha, and the Margrave of Anspach, whose portraits he successively painted. He is said by Descamps to have been invited to England by George II., when that monarch visited Hanover, and mat he dechned the proposal on account of his age, and the infirm statfe of his health. He died in 1740. The German and Swiss biographers are loud in their praise of the talents of Kupetzki, and com- pare him,'as a colourist, to Rembrandt and Van- dyck. His powers, however, were almost confined to portraiture, in which he appears to have possess- ed the faculties requisite to form a distinguished artist. [It is said that Peter the Great wished Ku- petzki to enter his service, and accompany him to Petersburg ; but the painter was too fond of liberty, and declined the honour. His patron, Joseph I., could not protect him from the attacks of religious bigotry; he was accused of heresy, and to escape 380 the tender mercies of the Holy Inquisition, he with- drew secretly from Vienna and settled at Nurem- berg, where he died.] KUSELL, Matthew, [or Matthias,] a German designer and engi'aver, born at Augsbourg in 1622, and died in the same city in 1682. He engraved several plates of portraits and other subjects, both with the point and the graver, executed in a style that does him great credit. Among others, we have the following by him : portraits. Christophorus Bender, Praetor ReipuM. Francofurtensis. Carolus Sulzer, Patricius Augustamis, &c. ; after Ulric Maya. Adolphus Zobelius, Patricius Augustanus; J.Beyschlag, pinx. Andreas Winkler, Lipsiensis. Johannes Michael Dilherrus Theologus, &c. ; with an octagon border of Sixteen Medallions of Theologians ; after Ulric Mayr ; fine and scarce. Leonardus Weissius ; Joh. Werner, pinx. ; fine. SUBJECTS. The Virgin and Child. A set of forty-two etchings of the Scenes and Decora- tions of an Opera ; Lodovico Bwnaeini, inv. Mat. Ku- sell. 1668. [The date of his birth Ij. LEDERSBASCH, Christopher. By this art- ist, who was apparently a German, we have some slight, incorrect etchings, among which there is a large upright print, arched at the top, representing Samuel presented in the Temple ; after MomaneUi. LEDBSMA, Josef de. According to Palomino, this Spanish artist was a native of Old Castile in 1630, where he learned the first rudiments of the art, but he afterwards studied at Madrid, under Don Juan Carenno, and became a correct designer, and an excellent colourist. There are some pictures by him in the church of the Colegio de San Thomas ; but his most admired performance is the Deposition from the Cross, with the Virgin, Mary Magdalene, and St. John, in the church of the Augustinos Re- coletos, which his biographer asserts is alone suffi- cient to immortalize nis reputation. He died at Madrid in 1670. LEEPE, John Anthony [Vander]. This painter was of an honourable and opulent family, originally of Brussels, which city his parents left on account of the troubles then prevalent in Brabant, and settled at Bruges, where our artist was born in 1664. Among other accomplishments, he was in- structed in drawing, and showed so marked a genius, and so strong an incUnatioh for the art, that his parents permitted him to indulge his desire of be- coming a painter. Indefatigable in his studies after nature, he was constantly in the fields, and forests, or on the sea/-shore, designing every object that at- tracted his attention, with a truth and precision which appear in all his works. He particularly ex- celled in the representation of sea-pieces, both when that element is agitated by storms, or in the tran- quilUty of a calm ; subjects which he treated with surprising fidelity. Vander Leepe was also an emi- nent landscape painter, in which he imitated the grand style of Gaspar Poussin. His pencil is light and flowing, and his colouring is agreeable, though occasionally too cold. As he was not successftd in the design of the figure, his pictures are generally decorated with those of his townsmen, Duvenende and Kerckhove. He died in 1720. lees] PAINTERS AND ENGRAVERS. [lEGN LEEST, Antonius van. This artist is mentioned by Papillon, who states him to have been an en- graver on wood of some talent, and executed, among others, four cuts of the Four Evangelists, which, according to that author, possess considerable merit. LEEUW, Gabriel vander. This painter was born at Dolt in 1643. He was the son of Sebastian Vander Leeuw, a painter of landscapes and ani- mals, who had been a scholar of Jacob Gerritz Cuyp, from whom he received his first instruction in the art. In a short time he greatly surpassed his fa- ther, when he went to Amsterdam, where he form- ed an intimate acquaintance with David vander Plaas, with whom he formed the project of visiting Italy. In his journey through France he, passed ~ four years at Paris, and two at Lyons, in both which cities he was induced to make some stay, by the flattering encouragement he met with. On his arrival at Rome, he improved his style, by studying the works of Benedetto Castiglione, and Rosa da Tivoli. He painted landscapes with cattle, which were ingeniously composed, the animals well drawn, and touched with a fire and spirit rarely found in the painters of the Dutch school. After a residence of ten years at Rome and Naples, he returned to Holland, where his pictures were at first ardently sought after; but such was his facility and despatch, that they became too numerous for the pubUc cu- riosity, and the demand for them decreasing, he conceived the plan of returning to Italy, where his works were still in great repute. The bold and masterly handling of his pencil was less acceptable to his countrymen than flie patient precision and laborious finish of the generality of their painters. With the intention of travelling through France to revisit Italy, he went to Dort, for the arrangement of some family affairs, where he died suddenly in 1688. [Gabriel vander Leeuw etched several plates of animals in the style of CastigUone and H. Roos. When in Italy, he signed these G. Leone, (Leone having the same signification in Italian as Leeuw in Dutch,) which has given rise to a mistake that the prints so signed are by a GuiUaume, or William, Leone, and the Italians write him as such, born at Parma in 1664!] LEEUW, Peter vander. This artist was the younger brother of Gabriel vander Leeuw, born at Dort in 1644, and was also instructed by his father. Finding that the bold style of Gabriel was not agreeable to the taste of his countrymen, he adopted one more finished and minute. The charming pic- tures of Adrian van de Velde were then deservedly in the highest repute, and he devoted himself to so close and exact an imitation of them, that no painter has so nearly approached the exquisite fouch of his pencil, and the tenderness and suavity of his colour. His animals, without the precious finishing and characteristic correctness of Adrian, are not ill drawn, and his figures are neatly and spiritedly touched. His skies are clear and sunny, and his distances are agreeably degraded. The pictures of Peter vander Leeuw may easily be confounded with the early productions of his fascinating model. LEEUW, John de, a Dutch engraver, bom at the Hague about the year 1660. In conjunction with John Lamsvelt, he engraved the portraits for Le Vassor's History of Louis XIII. We have also by him the following portraits : Carolus Niellius, D. Theol. J. de Leeuw, se. James William Imhof, Senator of Nuremberg ; D. Leeuw, fee. Joseph Justus Scaliger. John, Duke of Marlborough ; veni, vidi, vici. Abraham Cowley, poet ; for the edition qt his works, published in 1700. LEEUW, Thomas de. See Leu. LEEUW, William de, a Flemish engraver, born at Antwerp in 1610. He was a disciple of Peter Soutman, but instead of following the neat, finished style of that artist, his etching is bold and free. There is a coarseness and want of harmony in his prints, though his manner is well adapted to some of the subjects he engraved, particularly his huntings, after Bvhens. 'Hie follpwing are his most esteemed prints, which are sometimes signed with his name, and sometimes marked with the cipher ^^^« Lot and his Daughters ; after Rvbens. The first im- pressions are before the name of C. DcmJtertz. Daniel in the Lions' Den ; after the same. The first im- pressions of this plate are also before the name of Dan- kertz. The Virgin, supported by Angels, called Mater Dolorosa ; after the same ; scarce. The Martyrdom of St. Catherine ; after the same ; fine and scarce. Four large plates of Huntings; after the same. The same subjects are engraved by P. Soutman, viz. the Lion-hunt, the Boar-hunt, hunting the Wolf, and the Crocodile and Hippopotamus. Tobit and his Wife ; mter Rembrandt. David playing on the Harp before Saul ; after the same. The Portrait of Kembrandt's Wife ; after the same. A Female with a Veil ; half-length ; after the same; in- scribed MarianTie, St. Francis in Meditation ; after J. Lievins. A set of four large Landscapes ; after Adrian Nieulant. These prints are in a more &ushed style than is usual with him ; they are scarce. [By different writers his birth is placed in 1600, 1602, 1603, and 1610. He died about 1665.] LEFEBURE, . See Fevre. LE6AT, Francis. If this artist was not a' na- tive of England, he resided in London about the year 1780. He engraved several plates in a very finished style, in which he appears to have imitated the finp manner adopted by Sir Robert Strange; though his prints cannot boast of that power and brilUancy of effect which distinguish the works of that distinguished engraver. Among others, we have the following plates by him, which were en- graved for Mr. Boydell : Mary, Queen of Scots, resigning her Crown; after Gavin Hamilton. The Continence of Soipio ; after N. Poussin. The King, Queen, and Laertes, in Hamlet ; after West. [Also a Scene in Bichard the Third, after Northcote ; and another Scene in King Lear, after Barry.] LEGNANI, Stefano, called Legnanino. Ac- cording to Lanzi, this painter was born at Milan in 1660. He was called Legnanino to distinguish him from his father,- Cristoforo Legnani, a portrait painter, by whom he was instructed in the first rudi- ments of design. He afterwards studied at Bologna under Carlo Cignani, and at Rome under Carlo Maratti. In bom those cities, he proved himself a creditable scholar of those masters. His composi- tions are sedate and judicious, and there is an im- pasto and a lucidity in his colouring, not usual in the school of Maratti. He distinguished himself as a fresco painter, particularly in S. Angiolo at Milan, where he has represented a battle gained under the protection of St. James, which is treated with a fire and capacity equal to the most diflicult subjects in the art. Many of his works are at Genoa, Turin, and in the Piedmontese. The cupola of S. Gau- 395 lego] A DICTIONARY OF [lely denzio at Novara, is esteemed one of his most ac- complished works. He died in 1715. [LEGOTE, Pablo, a Spanish historical painter, estabhshed at Seville about the middle of the seven- teenth century. He must have been an artist of considerable talent, as his pictures have been at- tributed by travellers, supposed to be competent judges, to Alonzo Cano and the elder Herrera: among others, that of the great altar-piece of Santa Maria de Lebrixa, and the Apostles, half-lengths, in the church of la Misericordia, at Seville; of which there are documents that prove the payment to Legote for the work. He was patronized by Car- dinal Spinola, Archbishop of Seville, for whom he painted the Apostles, full-lengths and life-size, in the archiepiscopal palace. In these pictures will be found those qualities that constitute a great painter; nature, truth, good design, and beautiful colour. He was living at Cadiz m the year 1662, as appears by payments made to him there for painting standards for the naval armaments to the Indies.] [LEJEUNE, Louis Francois, Baron, and formerly aide-de-camp to General Berthier, was born at Strasbourg in 1775. He claims a place here as the painter of many of the battles in which he was engaged, and the French had the honour of victory; arfiong them are those of Marengo, Lodi, Aboukir, (on land,) Mount Tabor, the Pyramids, the Passage of the Rhine by Jourdan, the Battle of Moskowa, and several others, all designed at the several ac- tions, and afterwards transferred to canvass. He was a chevaher of the order of St. Louis, and com- mander of the Legion of Honour in 1831. Some of the battles have been engraved by, Coiny and Bovinet] LEIGEL, GoDEFR^Y. This artist was a native of Switzerland, and flourished from the year 1530 to 1550. He engi-aved a set of wooden cuts of figures for the Bible, which are marked with a ci- pher composed of his initials ^j. [The engraver who used this mark, and a similar one on a tablet, (if it be one artist,) must have flourished from 1527 to 1560. See Bartsch and BrulKot.] LEIPOLDT, J. The name of this engraver is affixed to a small oval portrait of Mary, Queen of Scots, with a Crucifix in her right hand and the axe in her left. At the corners are the arms of England, Scotland, Ireland, and France. It is ra^ ther scarce. LEISMAN, John Anthony, a German painter, born in 1604. Without the help of a master he had acquired some ability in design, by copying the prints and pictures to which he had access, when he resolved to visit Italy in search of improvement, and went to Venice, where he contemplated with admiration the works of the best masters of that school. His natural talent, assisted by the study of such models, soon distinguished itself ; and his pic- tures attracted the attention of the principal ad- mirers of the art in that city. Although he painted historical subjects and portraits, he was more cele- brated for his landscapes and sea-ports, which he embellished with architecture, in a fine style. He died in 1698. [The name of this painter was Jo- hann^nton Eismann, not Leisman. His landscapes are of a romantic character, with waterfalls and buildings, somewhat in the manner of Salvator Rosa.] [LELIB, Adrien de, born at Tilbourg in 1755, was a scholar of Quertenmond at Antwerp. He 396 made copies of many of the portraits by Rubens and Van Dyck, at Dusseldorif, and also of historical pictures by Italian and Dutch masters. By the ad- vice of Professor Camper, he established himself at Amsterdam, where he painted a great number of portraits and cabinet pictures ; among the latter is one of the celebrated amateur Joan Gildemeester showing his collection to a party of ladies and gen- tlemen, in which the principal pictures are readily recognised. In the Museum at Amsterdam there is a picture by him of an interior with a peasant fill- ing his pipe, and a woman with an infant ; and one of a young student at his lesson, which obtained great applause, was in the possession of Madame Van den Berghe, of Ghent. His pictures are highly esteemed in Holland and Germany, and are to be met with in the best modern collections. He died at Amsterdam in 1820.] [LELIENBERG, (Christian?) a painter of dead game, and subjects of the chace, in the manner of Weeninx, fiourished about 1663, according to the date on some of his pictures. No particulars of him are recorded by the Dutch writers.] LELLI, Ercole. This artist was a native of Bologna, and a scholar of Gio. Pietro Zanotti. He appears to have applied himself more to the study of the anatomy of the human body than to paint- ing; and is more celebrated for his anatomical pre- parations in wax, at the Bolognese Institute, than for his works as a painter. The only paintings mentioned of him are his picture of the Virgin and Infant, with S. Antonio di Padoua, and S. Chiara, in the church of S. Andrea delle Scuole, at Bologna; and a S. Fedele, at the Cappuccini, at Piacenza. He was an eminent teacher of design, and had many pupils. He died in 1766. LELLI, Giovanni Antonio. According to Bag- lioni, this painter was born at Rome in 1591, and was a disciple of Lodovico Cardi, called Cigoli. Although he was more employed in easel pictures fornrivate collections, there are some of his works in the churches at Rome, which entitle him to the rank of a respectable historical painter. In S. Matteo in Merulano, is an admired picture by him of the Annunciation ; and in the cloister della Mi- nerva, his most celebrated work of the Visitation of the Virgin to St. Elisabeth. He died in 1640. LELY, Sir Peter. This eminent painter was bom at Soest in WestphaUa, in 1617, where his fa- ther, a captain of infantry, was in garrison. His family name was Vander Faes ; but his father ac- quired the name of Lely, on account of his being lodged at a house of which the front was ornament- ed with a lily. Finding that his son's disposition led him rather to the cultivation of art than the pursuit of arms, he placed him under the care of Peter Grebber, at Haerlem, where he did not remain more thaii two years, when his master acknowledged that his instruction could no longer be useful to him; and when he was little more than twenty years of age, he had acquired a considerable reput- ation as a painter of landscapes and portraits. On the death of Vandyck, 1640, he determined to visit England, where he arrived the following year. He first painted landscapes, with historical figures ; but on seeing the works of Vandyck, and finding that portrait painting was more encouraged than any other branch of the art, he devoted himself entirely to it, in which he imitated the style of his illustrious predecessor, and soon surpassed all his contempo- raries. On the arrival of WilUam, Prince of Orange, in 1643, when he came to England to be united to leme] PAINTERS AND ENGRAVERS. [lemp the Princess Mary, Lely was, under his auspices, introduced to the notice of Charles I., whose por- trait hepainted, and those of William and the Prin- cess. The ti-agical events which followed, though generally fatal to the arts, did not occasion Lely to leave England. He remained to paint the rising, as well as the setting sun. It is related on the au- thority of Captain Winde, who assured the Duke of Buckingham of the fact, that Cromwell sat to him, and whilst he was painting his portrait, said to him, with his characteristic bluntness, " Mr. Lely, I de- sire yon will use all your skill to paint my picture truly like me, and not flatter me at all ; but remark aU these roughnesses, pimples, warts, and every thing as you see me, otherwise I will never pay you a farthing for it." At the Restoration, Lely's busi- ness and reputation increased. He was in great fa- vour with Charles II., who appointed him his prin- cipal painter, and conferred on him the order of knighthood. It would be in vain to attempt a re- capitulation of the works of this master. They are generally portraits to the knees, and a great ma- jority of them of ladies. Of his historical pictures, few are known; the following are mentioned by Lord Orford. " At Windsor is a Magdalene, lyith a sleeping Venus ; the Duke of Devonshire has the story of Jupiter and Europa; Lord Pomfret had that of Cimon and Iphigenia ; and at Burleigh is Susanna and the Elders." Compared with the por- traits of Vandyck, those of Lely will be found defi- cient in the simplicity of his design, and in the purity of his colouring. If those of the former are occasionally tame, they are always natural, and his draperies are properly and tastefully thrown. Lely endeavoured to supply the want of taste with ideal finery ; and there is something of affectation in the airs of his heads, and in the capricious arrangement of his habiliments. It must, however, be allowed, that his female portraits are sometimes more beau- tiful than those of Vandyck ; but in those of men, he is every way his inferior. Sir Peter Lely died in 1680, and was buried in Covent Garden, where there is a monument with his bust by Gibbon, and a Latin epitaph by Thomas Flatman. Sir Peter Lely etched a plate of a Shepherd and Shepherdess. [Peter Lely was really a fine portrait painter, su- perior to any court painter in England since his time. His colouring is beautiful and permanent; there is a graceful air about his females that marks them as persons of high rank and breeding, and not as put on merely \mile they sat for their por- traits ; it becomes them. If his draperies sit loosely, it should be remembered that it was the fashion of the period. As far as regards costume Van Dyck was more fortunate. " The sleepy eye that spoke the melting soul," was perhaps an affectation of the ladies of a voluptuous court; the court-painter therefore adopted it. It is one of the distinguishing characteristics of the beauties that fluttered around the dissolute Charles. It has been remarked that his ladies have all beautiful hands. He knew how to paint them ; and it was not left to the engraver to mend what the painter had marred. The back- grounds to his portraits were generally painted by others, especially where landscape was required.] LEMENS, Balthasar van. This painter was born at Antwerp in 1637, and was one of the first artists who visited England after the Restoration, which held out a prospect of a revival of the en- couragement of the art, but his expectations were disappointed. He painted small historical subjects, in which he displayed a fi'uitful invention, and a neat and ready execution. But the fashion of the time was confined to portrait-painting, and he was under the necessity of finishing the draperies and back-grounds for other artists. He died in 1704. [LEMIRE, Noel, born at Rouen in 1723, was a scholar of Lebas. He made numerous illustrative engravings for books; particularly for les Contes de la Fontaine ; les Metamorphoses d'Ovide, pub- lished by him and Basan in i770 ; also an edition of the Temple de Guide, for which he made all the engravings. Independent of these he engraved for other works a great number of subjects, after Co- chin, Eisen, and Moreau. There are also by him portraits of La Payette and Washington ; and sub- jects from Teniers, Caracci, A. del Sarto, and other Italian and Dutch masters. Le Gateau des Rois, a satirical representation of the partition of Poland, by Moreau, was seized and th^ plate de- stroyed. Lemire died in 1801.] LEMPEREUR, John Dennis, a French amateur engraver, born at Paris in 1710. He possessed an extensive collection of pictures and drawings. For his amusement he etched a variety of plates after Pietro da Cortona, Benedetto CastigUone, Vandyck, and others. LEMPEREUR, John Baptist Dennis. This gentleman was the son of John Dennis Lempereur, born at Paris in 1740, and inherited the taste ahd talent of his father. He etched several plates after various masters, as well as from his own designs. Among others, we have by him the following : The Angels announcing to the Shepherds the Nativity of Christ ; after BoucMr. The Murder of the Innocents ; after Pierre. Two Landscapes ; after Stiysdael. LEMPEREUR, Louis Simon, a French en- OTaver, bom in Paris in 1725. He was a pupil of Peter Aveline, and followed the style of his in- structor. We have several prints by this able artist, which prove him to have possessed very emi- nent talents. He was a member of the French Academy. The following are his principal plates : PORTRAITS. E. Jeanrat, Painter to the King ; after Roslin; engraved for his reception into the Academy in 1775. F. L. B. de Belloy, a dramatic poet ; an emblematical portrait. 1765. Philip Cayeux, sculptor ; after Cochin. Claude Henry Watelet; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Bathers ; after C. VarUoo. The Triumph of Silenns ; after the same. Aurora and Tithon ; after Pierre. A Sacrifice to Pan ; ajfier the same. Bacchus and Ariadne ; after the same. The Forge of Vulcan ; after the same. The Rape of Europa ; (yier the same. Pyramus and Thishe ; after J. B. Cazes. The Garden of Love ; cy/ier Rvhens ; the same subject is engraved by Clouet and C. Jegher. A Spanish Festival ; after Palamedes, A pair, Flemish Merry-maMngs ; after Teniers. The Kape of Proserpine ; after La Fosse. LEMPEREUR, Catherine Elizabeth. This ingenious lady was the wife of the preceding artist, bom at Paris in 1726. She was instmcted in en- graving by L. Cars and Fessard. We have several prints by her, executed in a neat, pleasing mapner, among which are the following : Two Views of Architecture ; after Pannini. The Milkmaid; after Teniers. The Dangerous Forest ; after Wowermans. The Rural Labours ; after the same. ■' 397 LENCl A DICTIONARY OF [LEON The Departure of Jacob ; after Boucher. A set of six Marine Subjects and Sea-ports ; after Ver- net. I LENGKER, Hans John, a German engraver of little note. He lived about the year 1623, and en- graved a frontispiece to a book on perspective, pub- lished at Nuremberg in that year. [Hans Lencker was an engraver of greater eminence than Bryan seems to have been aware of. There has been much inquiry and discussion respecting his identity. The mark attributed to him resemUes, in some cases, that supposed to have been used by Heinrich Lau- tensach ; and works really executed by Lautensach have been ascribed to Lencker from that circum- stance. But Brulliot gives other monograms, with dates annexed, that sufficiently distinguish the two artists. He says that Hans Lencker was a gold- smith an^ engraver, and flourished at Nuremberg in 1573. He cites two prints, one of Pyramus and Thisbe, the other of Birds on the Branches of Trees and the Stalks of Flowers, among which is an owl seated on a mouse, which have the monogram JjJ^ . He.further observes, that these prints ought to be attributed to Lencker, because we are acquainted with works in the same style engraved and enamelled in silver, which have the mark composed of the let- ters HL and N, (that is to say, Hans Lencker Nu- remburgensis,) and the year 1573. It is found on arabesques enlivened with small figures, birds, and quadrupeds, engraved in silver and enamelled in colours. The royal library at Munich contains a book of prayers ornamented with beautiful minia- tures, the covers of which are executed in the man- ner above described ; they bear also the mark, his name, and the year 1573. There are other works attributed to this artist, which the curious wiU find described in Brulliot, Dictionnaire des Mono- grammes, &c.] LENFANT, John, [Jean,] a French engraver, born at Abbeville in 1615, [and died at Paris in 1674.] He was a pupil of Claude Mellan, and fol- lowed the first style of that master, in which he used the cross strokes. His plates are neatly exe- cuted with the graver, but in a cold, stiff style. The greater part of his prints are portraits, which are the best of his works. Among others, we have the following by him : PORTRAITS. The Count de Brienne ; after Le Brun. Jacobus de Souvre ; after Mignwrd. Franciscus du Tillet ; Lenfant ad vivum faciebat. 1664. Nicholas Blasset, architect and sculptor. 1658. Franciscus de Harlay, Biothomagenis Archiepiscopus ; after Champagne. Ludovicus Boucheiat, D. de Compons. 1670. SUBJECTS. The Bust of our Saviour; oval ; after Raffaelle. The Virgin suckling the Infant; circular ; after An. Cay racci. The Virgin adoring the Infant; oval; after Guido. [LENS, Andre Corneille, born at Antwerp in 1739, was a scholar of Eyekens, and Balthasar Bes- chey. In the church of the Alexiens at Lierre there are several pictures by him, the subjects taken from the New Testament ; at the church of St. Michel at Ghent, an Annunciation ; at the Madeleine at LiUe, the history of that Saint in several of a large size ; in the hotel of a M. Stevens, at Brussels, the principal events in the fabulous account of Bacchus ; and at the Museum of the same city, Dalila cutting the locks of Samson. He died in 1822.] LENS, Bernard, the elder. This artist was 398 the son of a painter of the same name, of little note. He was a mezzotinto engraver, and also etched a few plates. His prints are but indifferently executed. Among others, we have the following by him : David, with the Head of Goliah ; after Dom. Feti. The Judgment of Paris ; after Sir Peter Lely. Bacchus, Venus, and Ceres ; after F. Badens, Three Landscapes, with Figures and Cattle ; after Berg- hem. Kinaldo andArmida; after J. Vandervaart; [and about twenty more enumerated by Nagler.] He died in 1725, aged 66. LENS, Bernard, the younger, was the son of the preceding artist, and became very celebrated for his fine copies, in water colours, from Rubens, Vandyck, and other masters. He was also an emi- nent miniature painter and drawing-master, in which capacity he had the honour of instructing the Duke of Cumberland. He etched a few portraits, and two or three drawing-books of landscapes and views, which he pubhshed for th(j use of his pupils. He died at Knightsbridge in 1741. [He also engraved in mezzotint ; an account of 23 is given by Nagler.] [LENZEN, J. F., bom at Antwerp in 1790, and died there in 1840, is known chiefly by his success- ful copies of the works of Ommeganck.] [LEON, Felipe de, a Spanish historical painter, who imitated and nearly approached the style of MuriUo; he also copied the works of that master; many of these were formerly at Seville, and were held in great esteem by the amateurs. He died in that city in 1728, after producing several pictures of his own composition; among others, the Prophet Elijah ascending to Heaven in a Chariot of Fire.] LEONARD, John Francis, a Flemish engraver, who flourished about the year 1670. He engraved the portraits of Merstraten, Syndic of Brussels, and his wife, after Vandyck ; and a part of the portraits for the History of the Emperor, published at Vienna in 1674. [He was born at Dunkirk in 1633, and died at Nuremberg in 1687.] LEONARDIS, Giovanni, an Italian engraver, bom at Venice in 1712. He was instructed in design by G. B. Tiepolo; but preferred engraving to paint- ing, and has etched several plates after the pictures of various Italian masters; among which are the following : Cupids at Play ; after Giulio Carpioni. The Triumph of Silenus ; after the sa/me. Neptune and^hetis ; after Seb. Conca. 1765. The Bape of Europa ; after the same. ""wo subjeo' Tiepolo. Two subjects of the Amusements of the Carnival ; after The Golden Calf; after Tintoretto. 1768. The Last Judgment ; after the same. 1768. LEONARDO, Pray Augustin. According to Palomino, this artist was born at Madrid in 1580. He was a monk of the convent of Nuestra Sennora de la Merced, and painted several altar-pieces for the churches of his order. His portraits are also said to have great merit. Of his historical works, the most considerable is the Miracle of the Loaves and Fishes, in the refectory of the Convent de la Merced at To- ledo, of which his biographer speaks in very favour- able terms. He died at Madrid in 1640. [Accord- ing to better authorities he was a native of Valentia, and died there. He was of the order of St. Philip. He painted a battle between the Moors and Span- iards, in which St. George is introduced assisting the latter. What right he had to interfere it is dif- ficult to say; but the wonder is that a Spaniard should have the honesty to acknowledge assistance from an English soldier, though a Saint.] [LEONARDO, Jusepe, a Spanish painter of LEON] PAINTERS AND ENGRAVERS. [lerp battles, was a distinguished scholar of Pedro de las Cuevas. Palomino says he was bom at Madrid in 1616, but Martinez assures us that it was in Cata^ Ionia. He died at the age of 40, of poison, supposed to have been administered to him by some who were jealous of his merits. He was painter to the king, and has left at the Retiro works worthy of celebrity : among them the Marquis of Spinola, and Leganes at the Siege of Breda ; a March of Soldiers, in which the Duke de Frias is seen cpnversing with an offi- cer ; this is a picture of large dimensions and great merit. There is also a portrait of Alaric the Goth, which is not the least ornament of the royal col- lection.] LEONARDONI, Francesco. This painter was a Venetian, born in 1654. He went young to Spain, and settled at Madrid in 1680. Palomino mentions him as an eminent portrait painter, in which he particularly, excelled, although he painted several pictures for the churches, in which he evinced a frand manner of designing, a frank and spirited andling, and an intelligent acquaintance with the chiaro-scuro. In the church of the Colegio de Atocha at Madrid, are two pictures of the death of S, Joseph, and his burial; and in the church of San Geronimo el Real, a large altar-piece of the In- carnation. He died at Madrid in 1711. LEONCINI, Francesco. This artist is men- tioned by Mr. Strutt as the engraver of a plate re- presenting the Fhght into Egypt ; it is etched in a shght manner, but in the style of a painter, and signed Francesco Leondnidi S. Geminiano,f. etinv. LEONE, or LEEUW. See Leebw. LEONI, or LIONI, Cavaliere Ottavio. This artist was born at Rome about the year 1585. Ac- cording to BagUoni, he was the son of a painter, and flourished during the pontificate of Urban VIII. He was esteemed one of the ablest portrait painters of his time, and drew the popes, cardinals, and prin- cipal nobility of the period at which he Uved. His talents were not, however, confined to portraiture ; he painted several altar-pieces for the churches at Rome. In S. Eustachio is a picture by him of the Annunciation ; in S. Maria della Minerva, the Vir- gin and Infant, with S. Giacinto; and in S. Urbano, S. Carlo, S. Francesco, and S. Niccolo. He was made principal of the Academy of St. Luke, and a knight of the order of Christ, on which occasion he painted for the church of the Academy the Martyr- dom of St. Martina. Ottavio Leoni was the en- graver of a set of heads of painters, executed in a singular manner, but pi'oducing a very pleasing ef- fect. The hair and draperies are engraved with strokes ; the faces dehcately dotted ; and the sha- dows assisted with strokes. The heads are finely di'awn, and the plates highly finished. They con- sist of about twenty, among which are the following, which are signed, Eques Ottqv. Leonus, Somanus picfor, fecit. portraits. Ludo-ricus Leonus, Piotor et Sculptor Celebris. 1625. Eques. Ottav. Leonus, se ipse fee. 1625. Joannes Franciscus Barbieri, Centinus pictor. 1623. Marcellus ProTenzalis, Centensis. 1623. Eques Christophor. Ronchalis de Fomeranciis, pictor. 1623. Eques Joseph. Cssar Arpinas, pictor. 1621. Antonius Tempesta, pictor Florentinus. 1621. Thomas. Salinus, Bomailus, pictor. 1625. Fr. D. Antonius Barberinus. 1625. [He was also called Padovinano, and 11 Cav. Pado- vano. Zani says he was bom in 1606, and died in 1651. Nagler and others, with greater probabiUty, say he was born in 1574, and died in 1628. The latest date on his prints is 1627. Bartsch and Nag- ler describe about forty.] LEPICIE, Bernard, a French engraver, born at Paris in 1699. He was probably a pupil of John Audran, whose style he adopted vnth success. His prints, though not very correctly drawn, are not without considerable merit. He was invited to England by Claude du Bosc, to assist him in en- graving the Cartoons of Raffeelle, for the print- sellers, on a smaller scale than those of Dorigny ; but the talents of this artist ought not to be esti- mated from those unfavourable specimens. On his return to Paris, he engraved several plates, which gained him great reputation. He was received into the Academy, of which he was appointed the secre- tary and historiographer ; and in that capacity pub- lished two works, entitled, Za Description des Tab- leaux du Soi, ^ind Les Vies des premiers Peintres du Roi, depuis Charles Le Brun, jusqu'a Franqois le Maine. The following are his principal prints : PORTRAITS. Nicholas Bertin, Painter to the King ; after Lien ; en- graved for his reception into the Academy in 1740. Louis de Boulongne, first Painter to the King ; after Ri- gaiid. , Pnilibert Orry, Minister of Finance ; after Rigartd. Peter Grassin, Director of the Mint ; after La/rgilliere. Charles Capperonnier, Librarian to the King; after ved. Frances d'Aubigne, Marchioness de Maintenon ; after John Baptist Moliere ; after Charles Coypel. SUBJECTS AFTER VARIOUS MASTERS. The Circumcision; after Giulio 'Romano ; for the Cro- zat collection. Jupiter and lo ; after Vie same ; for the same. Jupiter and Juno ; after the same ; for the same. St. John preaching in the Wilderness ; after Badcdo ; for the same. Vei-tumnus and Pomona ; o/Jer SerfArandt. Two Subjects ; after Tenters. The Chess-players ; after C. de Moor. The Players at Piquet ; after G. Netscher. Town Love and Village Love ; after Charles Coypel. The Pacha having his Mistress's picture painted ; after C. Vanloo; fine. Charles I. taking leave of his Chiidren ; after Raoux. He died at Paris in 1755. LEPICIE, Renee [Marie] Elizabeth. This ingenious artist was the wife of the preceding artist, by whom we have the following neatly engraved prints, among others : Saying Grace, and the Industrious Mother ; a pair ; after Chardin. The Flemish Cook ; afteir Teniers. [She enCTaved after Raphael, Boucher, Vanloo, Chardin, Rigaud, and other French painters. She died in 1752.] , [LEPRINCE, A. Xavier, a French artist, painted landscapes, village fairs, carnivals, corps de garde, and a great variety of other subjects, which are to be found in some of the best collections. He died in 1826, leaving some excellent compositions in progress, which were afterwards finished by M. M. Potdevin and Renou.] LERCH, J. M. an indifferent German engraver, who flourished at Vienna about the year 1670. He engraved some of the portraits for Priorata's History of the Emperor Leopold ; and in conjunction with Sbffman executed a large print, in three sheets, of the Siege of Brandenburg. LERPINIERE, Daniel de. This artist, ap- 399 lete] A DICTIONARY OF [LEUn parently, from his name, of French extraction, re- sided in England, and is supposed to have been a pupil of F. Vivares. He engraved several plates of landscapes and views, which possess great merit. Among others are the following: A Landscape, with the Flight into Egypt ; after Claude Lorraine. The Companion, with St. George and the Dragon ; after the same. A grand Landscape, with the Israelites worshipping the Golden Calf ; after the same. A Sea-piece, a Calm ; after Vemet. The Companion ; a Storm ; after the same. Two Italian Landscapes ; after the designs of John Taylor. Two Landscapes, with Cattle ; ^er Cuyp. A Landscape, Evening ; after Pynaker. Six Views of Sea-fighta, d Angels in the Clouds ; on a wing of the pic- ture, St. HippoUto and St. Afra ; M. Lievers- berg, at Cologne. 64. Peter and Jolm curing the Lame Man at the Gate of the Temple ; in the gallery at Salzdar- lum. 65. St. Paul struck with Blindness, and led to Dar mascus ; formerly in the Crozat collection. 66. St. Paul led to Damascus; formerly in the 2 D 2 Lormier collection, at the Hague, and in that of M. Winckler, at Leipsic. 67. St. Paul led to Damascus ; formerly in the ca- binet of M. Stein, at Berlin. 68. The Last Judgment; (much injured by re- painting;) formerly in the church of St. Peter, but now in the Town-house at Leyden. 69. The Blessed ; a wing of the preceding. 70. The Damned; another wing of the same pic- ture. HOLT PERSONS, 71. St. Andrew and his sister Ursula; in the gal- lery at Mayence.^ 72. The Hermits, St. Anthony and St. Paul. An authentic picture, formerly belonging to Rubens, and is probably that in the Lichtenstein gallery at Vienna. 73. St. Christina and St. James the Less ; the right wing of a picture : in the Pinacothek. 74. St. John the Evangelist and St. Marguerite; the left wing, in the Pinacothek. 75. Temptation of St. Anthony ; at Dresden. 76. The same subject ; in the Escurial. 17. St. Anthony of Padua maintaining the dogma of the real presence in the Eucharist ; in the Escurial. 78. St. Jerome ; formerly belonging to Charles I. of England. 79. Vision of St. Jerome ; cover, of a picture; in the Museum at the Hague. 80. History of S. Hubert; mentioned by Karel van Mander. 81. Marriage of St. Katharine ; in the Museum at Strasbourg. 82. The same subject ; in the Museum at Venice. 83. The Apostle Paul, exterior of a picture ; for- merly at Leyden, and mentioned by Karel van Mander. 84. The Apostle Peter, the other leaf; — ditto. 85. Three Events in the History of St. Sebastian ; formerly in the collection of Charles I. of Eng- land. PORTRAITS. 86. Philip the Good, Duke of Burgundy ; at Am- sterdam. 87. Erasmus ; formerly belonging to Rubens. 88. Lucas van Leyden; (probably by himself;) at Florence. * 89. The Emperor Maximilian ; an authentic work, but much injured ; in the gallery at Vienna. 90. A pen drawing for the famous engraved por- trait of the Emperor Maximilian, in the col- lection of Samuel Rogers (the poet). This is a perfect work of the master. 91. Ferdinand, Archduke of Austria and Infant of Spain ; in the Uffizj gallery at Florence. 92. An unknown Portrait ; in the Brignole palace at Genoa. 93. Another; in the Colonna palace at Rome. 94 Portrait of a young Knight ; in the landscape back-ground St. Hubert is seen with the stag bearing the crucifix between his horns. This is considered to be one of the highest finished pictures of the master. It was formerly in the Grifiier Fagel's collection, and is now in the Liveroool Institution. 95. A Philosopher ; in the Cambiaso palace, at Genoa. 96. Nine Heads of Females ; a drawing belonging to the Prince de Ligne. 97. Six small Heads, each in a separate compart- 403 leys] A DICTIONARY OF [llBE ment ; a drawing in the collection of the Arch- duke Charles, at Vienna. 98. Bust of a Female reading a Book ; in the same collection. FANCY PICTURES. 99. A Priest celebrating Mass ; in the Escurial. 100. Women presenting a Child to a Bishop; a drawing. 101. A party of Men and Women round a table at play ; at Wilton House. 102. The Chess Players, fifteen figures ; formerly in Charles I.'s collection. 103. A Man standing armed with a Sword; a drawing; Archduke Charles, Vienna. 104. A Man holding a Sword and a Flag; a draw- ing ; in the same collection. 105. A Quack Doctor drawing a Countryman's Tooth ; an authentic picture ; in the collection of the Duke of Devonshire. 106. A Surgeon performing an Operation on the Ear of a Countryman : an authentic picture ; in the Ducal gallery at Gotha. 107. An Operation ? — ^mentioned as in the Museum at Copenhagen. 108. A Cavalier giving Money to Shepherds; a drawing ; lithographed by Strixner. 109. A Man holding a Spade, and a Woman a Sack ; a drawing ; in the Archduke's collection at Vienna. 1 10. Women on Horseback ; a circular drawing ; in the same collection. The foregoing is a tolerably correct list of the pic- tures attributed to Lucas van Leyden ; but it is probable that many of them are by contemporary artists, who availed themselves of his prints and drawings in the imitation of his style. It is de- sirable, but hopeless, to discover the real painters. It is the fate of all imitators to have their best works attributed to their prototype ; the possessor seldom has any doubt of their originality. Such in the list as are unquestionable are indicated ; of the rest, every one wiU determine according to his knowledge.] LEYSEBETTEN. See Lisebetius. LEYSSENS, Nicolas. This painter was born at Antwerp in 1661, and was a scholar of Peter Eyckens. On leaving that master, he went to Rome, where he passed some time, and would have prolonged his studies in that metropolis of art, had he not been under the necessity of returning to his native city for the laudable purpose of succouring an aged parent in his last illness. Leyssens had ac- quired in Italy a correct and tasteful design, parti- cularly of women and children, and was much em- ployed in ornamenting the saloons and ceilings of the principal mansions at Antwerp, in which he was assisted by Boschaert and Verbruggen, &c., who painted the flowers and other accessories. [He was surnamed Cassenoix, for what reason is not stated ; it will bear- the interpretation of a nut-cracker, a magpie, or a blackbird. He died in 1710.] [LEYTO, Andres, a painter of historical sub- jects and interiors, who resided at Madrid in 1680. He painted, in conjunction with Josef de Sarabia, the pictures of the cloister of the convent of S. Francis at Segovia; but his chief excellence lay in painting interiors, in which he had few equals among the Spanish artists of his time.] LIANO, Phelipe. This Spanish artist was born at Madrid in 1575, and was a scholar of Alonzo Sanchez Cgello. He particularly excelled in paints ing portraits of a small size, which he executed with 404 such fidelity of resemblance, and beauty of colour- ing, that he acquired the title of M Titiano Pequino. He died at Madrid in 1625. [Cean Bermudez ob- serves, in his notice of Felipe de Liano, that it may be suspected that he had been in Italy, if the prints representing persons in various costumes, signed Teodoro Fihppo da Liagno, are by him. The title of the work alluded to runs thus : " Caprici e habiti militari de Ph. de Liagno Napolitano, novamente dati in luce da G. Rossi in Roma 1635." Zani mentions him under the various appellations of Llanos, il picolo Tiziano, il Napolitano, Teodoro Fihppo de Liagno ; classes him as a Spaniard, and places his death in 1625. In the next article he says,. "Llanos Teodoro Filippo de ;" classes him as a Neapolitan, a designer and engraver, who work- ed about 1635. Do these varied accounts allude to one or two artists ? It would be presumptuous to accuse Zani of inattention; but the title of the work bearing date 1635, says, "novamente dati in luce da G. JRossi in Soma." It may therefore signify a new publication by Rossi in Rome, of a work previously published elsewhere. On the other hand, Bermudez may have been led by the similarity of names to form his conjecture, though he writes doubtingly. It is said that in 1584 he painted the portrait of Don Alvaro de Bazan ; if so he could have been only nine years old, as all accounts agree that he was bom in 1575.] LIART, Matthew. This artist was born at Paris in 1736, but came to England when very young, where he was employed in engraving some plates for Mr. Boydell's collection. Among others, we have the following prints by him : The Sacrifice of Abraham, [of Noah ?] after Andrea Sacchi. The Convention between Jacob and Laban ; after P. da Cortona. The Jovial Companions ; after Ostade. Venus lamenting the Death of Adonis ; after West, Cephalis and Procris ; after the same, LIBERAL, Giorgio, an Italian painter, and en- graver on wood. In conjunction with M. Wolfgang Miererpeck, he executed the large cuts of the ani- mals and plants for Matthiolus's Commentaries on Dioscorides, published at Venice in 1548. He is styled by that writer. Homo Artis pingendi pere- tissimus. LIBERALE da Verona. This painter was bom at Verona in 1451, and was first a scholar of Vincenzio di Stefano, but was afterwards a disciple, or rather an imitator, of Jacopo Bellini. There ap- pears, in the Descent of the Holy Ghost, which he painted in the dome at Verona, something of the taste of Andrea Mantegna^ in the glory of angels, and in the folding of the draperies. His vicinity to Mantua certainly might facilitate his studies after Mantegna, whose style is discernible in several of the Veronese painters of his time. His colouring is ex- cellent, and there is a graceful expression in his heads. For the extraordinary finish and precision which distinguish his works, he was probably in- debted to his being much employed in illuminating missals and books with miniatures. He died in 1536. LIBERI, Cavaliere Pietro. According to Za- netti, this painter was born at Padua in 1605. He was a scholar of Alessandro Varotari, called il Pa- duanino, and is considered one of the ablest de- signers of the Venetian school. His studies at Rome, after Rafiaelle and Michael Angelo Buona- roti, at Parma, after Coreggio and Parmegiano, and libe] PAINTERS AND ENGRAVERS. [lici the most distinguished of the Venetian painters, led him to a style which may be said to partake of every school. Few artists have discovered a greater variety of character in their works than P. Liberi. He was used to say, that when employed for the in- telligent, his pencil was frank and expeditious, without the appearance of labour or finish; but when working for the less experienced, his pictures were painted with the utmost minuteness, in which every object, even to each hair, was precisely attend- ed to. In his works for the churches he exhibits a frandeur which is not to be found in his other pro- uctions. Such are the Murder of the Innocents, at Venice ; Noah leaving the Ark, and the Destruc- tioif of Pharaoh's Host, at Vicenza ; and the Deluge, and Moses striking the Rock, at Bergamo; in which we find a bold and robust design, an admirable va- riety of expression in the heads and in the atti- tudes, with a grand delineation of the naked, resem- bling the Caracci rather than Buonaroti. He was more einployed in subjects of the fable, which he treated with elegance and gi-ace, in the style of Ti- tian ; but sometimes with a freedom which procured him the title of Libertino. His colouring is distin- guished by tenderness and suavity, though occa- sionally too red, and his touch is free and masterly. He died in 1687. LIBERI, Marco, was the son of the preced- ing artist, bom at Venice about the year 1650, and was educated under his father, whose style he imitated without much success, and with little claim to originality. He copied his father's works almost to illusion, and painted easel pictures of fabulous subjects, some of which are in the Palazzo Ercolani, at Bologna. LIBRI, GitioLAMO DA. This painter was born at Verona in 1474. He was the son of a miniature painter, and illuminator of books, on which account he acquired the name of dai' Libri. He was in- structed in the rudiments of design by his father ; and Vasari reports, that at the age of sixteen he painted a picture of the taking down from the Cross, for the church of S. Maria in Organo, at Ve- rona, which excited universal surprise and admir- ation. At a more advanced period he painted, in 1529, a-picture of the Virgin and Infant, with two Saints, for the church of S. Giorgio, which was ad- mired for the fine expression of the heads, and . a finished style, without diminishing the efiect. He died in 1555. [Several works of this excellent, but elsewhere little Known artist, are to be met with in Verona. His earher style inclines decidedly to the manner of Andrea Mantegna. An altar-picture in St. Anastasia, a Madonna enthroned, with Saints and donors, contains, for example, strong reminis- cences of Mantegna's altar-picture in S. Zeno. A Nativity, with St. Jerome and St. John the Baptist, likewise in the Palazzo del Consiglio, is severe in general treatment, but of a pleasing mild character, and already exhibits considerable softness in the painting. Some later pictures of Girolamo possess these qualities in a much higher degree, and he ap- proaches much nearer the BeUini school. The last- named gallery possesses several of these later pic- tures ; one, of the year 1530, representing a Ma- donna enthroned, surrounded by various Saints, with Tobias and the Angel, is particularly deserving of attention. Dr. Franz Kiigler.'] LICINIO, Giovanni Antonio, called il Por- DENONE. The family name of this eminent painter was Licinio, which he afterwards changed for that of Regillio ; but he is generally called II Pordenone, the name of a small town in Friuh, where he was born in 1484. He discovered an early propensity for the art, and was sent to Udina, where he studied the works of Pellegrino di San Daniello. Having arrived at a respectable proficiency, he went to Venice, where he formed an intimacy with Gior- gione, of whom he became the friend, rather than the disciple, as has been asserted. With less pro- bability can he be supposed to have been a fellow stu- dent with Titian, under Giovanni Bellini, as stated by Conte Rinaldis in his Pittura Friulana. The other followers of the style of Giorgione acquired something of his manner ; but Pordenone appears to have adopted his mind, and the grandeur of his ' conceptions ; than which it would be difficult to produce any thing more elevated, bold, and original, in the Venetian school. After a residence of some years at Venice, he returned to his native town, where he painted, in 1515, for la CoUegiata, his pic- ture of the Holy Family, with St. Christopher; and soon afterwards, for the church of S. Pietro Mar- tyre, at Udina, the Annunciation, an admirable pic- ture, which has since been considerably damaged and retouched. He returned to Venice, where he painted his celebrated work of S. Lorenzo Giustini- ani, with S. Agostino and S. Giovanni Batista, one of his finest pictures in oil. The celebrity of this performance, and others, brought his talents into comparison with those of Titian, who is said to have conceived some apprehension at his success, and to have expressed no httle indignation at being put in competition with Pordenone. This jealousy was considerably aggravated by his being commis- sioned by the Convent degli Angeli, at Murano, to paint a picture of the Annunciation, instead of one by Titian, which had been rejected, on account of the exorbitant price demanded for it. These ani- mosities pr6ceeded,to such a length, that Pordenone thought it prudent.to guard himself against violence ; and he is said to have painted his frescoes, in the cloister of S. Stefano, with his sword by his side. This state of open hostiUty, little congenial with the disposition of Pordenone, occasioned him to quit Venice, and he visited Mantua, where he painted the facade of the Palazzo de Cesarei. From thence he went to Piacenza, where he was employed to paint a picture of St. Augustine, in the .tribune of S. Maria di Campagna, and two chapels in fresco, in one of which he represented the History of St. Catherine ; and in the other the Nativity, and the Adoration of the Magi. Cremona, Trevigi, and Parma, successively occupied his talents. At length he returned to Venice, where he was immediately engaged to paint the Cupola of S. Rocco, one of his most considerable undertakings, where he repre- sented the Pour Evangelists, and the Pour Doctors of the church. In the great niche over the altar, the Transfiguration, with the Prophets and Apos- tles. The reputation • of Pordenone reached Ger- many, whither he was invited by Charles V., who employed him to paint the gi'and saloon at Prague, and some emblematical subjects, representing the Cardinal Virtues. These performances were highly esteemed by the emperor, who remunerated him with great liberality, and conferred on him the honour of knighthood. His last works were his Cartoons, designed for a series of tapestry, for Ercole II., Duke of Ferrara, representing the La- bours of Hercules. Pordenone, though unequal to Titian, holds an elevated rank among the paint- ers of his country. Less tender in his tones, and less seductive in his contours, than the head of the 405 LICl] A DICTIONARY OP [liev Venetian school, he at least rivals him in the energy of his style, and in the boldness of his execution. His fresco works are preferable to those in oil, though he arrived at great excellence in both. To a gi-and character of design, he added the rich and glowing colouring of Giorgione. He was more suc- cessful in the robust and muscular dehneation of men, than in the softness and delicacy of female forms. In every thing he exhibits a daring and vigorous mind, capable of encountering the most arduous difficulties of the art. In his works at Venice he seems to have surpassed himself. The rivalship, or rather the enmity, which existed be- tween him and Titian, appears to have acted as a spur, which contributed to the excellency of both, like the competition between Buonaroti and Raf- faelle, to which it bears a further similarity, as one is distinguished by energy and force, and the other by elegance and grace. To have contended with Titian for the prize of fame, is no ordinary claim to glory ; and it will be considered highly honourable to his reputation, that he is entitled to the second rank in the Venetian school, at a period when it was so fertile in able artists. He died at Mantua in 1540, and was strongly suspected to have been poisoned. [There are paintings by Pordenotie with the foUdwing inscriptions : Joh. Antonius CorticelUs P. 1520. — Lycinius P. — Joh. Antonius Regilliis P. 1535. In the marriage contract of his daughter with Pomponio Amalteo, he is styled D. (Domino) Jo. Antonio Sacchiense. See note to Licinio in Zani, Enciclopedia delle belle Arti. There are many of his pictures in England, among which are some at- tributed to Titian.] LICINIO, Bernardino, da Pordenone, was apparently a relation of the preceding artist; and from the resemblance of their style, discernible in his pictures at the Conventuali at Venice, may be presumed to have been his scholar. He was an eminent painter of portraits, which so nearly ap- proach to those of il Pordenone, as to be frequently attributed to that master. [He flourished about 1541 ; the time of his death is not accurately known.] LICINIO, GiDLio, da Pordenone. This artist was the nephew and scholar of Gio. Antonio Licinio, born at Pordenone in 1520. He distinguished him- self as an historical painter, particularly in fresco. He resided great part of his life in Germany, where he left many proofs of his ability, especially at Augsbourg. He etched some plates from his uncle's designs. [He died about 1561.] [LIEFRINCK, Hans. See Hans Lenckee.] LIEMAEKER, Nicholas, called Rose. This painter was bom at Ghent in 1575, and was first a scholar of Mark Guerards ; but after the death of that master became a disciple of Ottovenius, at the time when Rubens studied under that master. The school of Ottovenius was then the most eminent in the Low Countries, and the emulation that existed among the students contributed to the production of several artists of the greatest celebrity. On leav- ing that master, he was invited to the court of the Prince of Paderbom, where he met with very hberal encouragement ; but the cUmate not agreeing with his health, he was obliged to return to his native city, where he continued to exercise his talent with great reputation for the remainder of his life. The name of Rose was given him when a boy, and was the appellation he was generally known by. It is reported by Descamps, that Rubens being applied to by the confraternity of St. Michael, at Ghent, to paint them an altar-piece for their chapel, he de- 406 clined their commission, in the handsomest and most liberal manner, in favour of his friend and fellow student ; observing, " that possessing so fine a- Rose, they might well dispense with flowers of foreign growth." ' He was certainly one of the emi- nent painters of the Flemish school, arid he operated with such facihty, that a number of his pictures are to be seen in every town of the Low Countries. In the church of St. Nicholas, at Ghent, there are two Eictures by this master, one of which is regarded as is most capital work ; it represents the Fall of the Rebel Angels ; the other is the Merciful Samaritan. In the church of St. James are several pictures by Liemaecker, one of which is a grand composition, representing the Last Judgment. He died at Ghent in 1647. LIENARD, John Baptist, a French engraver, born at Lisle about the year 1750. He was a pupil of James Philip le Bas, and has engi'aved, in a neat style, several views and landscapes. He executed some of the plates for the Voyage des Royaumes de Naples et de Sidle, by the Abbe de St. Non. We have also by him the following : The Delights of Summer ; after J. B. le Prince. A View of some of the principal Mouiiments at Home ; after Robert. [LIENDER, Pierre van, born at Utrecht in 1727, painted landscapes and views of cities : many of his subjects are scenes on the borders of the Rhine. He died at Utrecht in 1797.] LIEVENS, John, an eminent Dutch painter and engraver, born at Leyden in 1607. He was in- structed in the first rudiments of design by George van Schooten, and at ten years of age was placed under Peter Lastman, with whom he did not con- tinue longer than two years, and it dofes not appear that he had any further instruction. When he was only twelve years old, he copied the pictures of De- mocritus and Heraclitus, by Cornelius van Haerlem, with an exactness which made it difficult to dis- tinguish them from the originals. Before he was eighteen, he had established his reputation as a por- trait painter, and is said by Descamps to have visited England in 1630, where he was favourably received, and painted the portraits of Charles I. and his queen, with several of the nobility. He is not, how- ever, mentioned by Lord Orford in the Anecdotes. On leaving England, he established himself at Antwerp, and painted several altar-pieces for the churches of the Low Countries. At Brussels, in the church formerly belonging to the Jesuits, was a picture by him of the Visitation of the Virgin to St. Elisabeth ; and in the church of St. James at Ant- werp, is a fine picture of the Holy Family. In 1641 he returned to Holland, where he painted his two celebrated pictures of David and Bathsheba; the Sacrifice of Abraham ; and the Continence of Scipio, in the Town-house at Leyden, one of his finest works. John Lievens distinguished himself not less as an engraver than a painter. His plates are partly etched, and finished with the graver in a manner resembling that of Rembrandt, and little inferior to the admirable engravings of that master, either in the picturesque style in \mich they are ex- ■ ecuted, or the charming effect of the chiaro-scuro. His celebrated print of the Raising of Lazarus, is superior to that by Rembrandt of the same subject, in composition, and is in no respect unequal to it in execution. His prints amount to about sixty, and are usually signed with his name, which is some- times spelled Lyvyns, and sometimes with the initials I. L. The following are his most esteemed prints : liga] PAINTERS AND ENGRAVERS. [lino PORTRAITS AND HEADS. Ephiaim Bonus, seated in a chair ; Joannes Lyvyns, fecit. Joost Vondel, Dutch poet. Daniel Heiusius, Professor of History at Leyden ; very fine. Jaoohus Gouters, musician ; very fine. The Bust of an old Man, bald, vrith a long beard. Bust of a Man with a furred cap ; (^er Rembrandt ; fine. Several Busts and Studies of Heads, &c. VARIOUS SUBJECTS. The Holy Family, Avith figiires kneeling. The Virgin presenting a Pear to the infant Jesus ; fine and scarce. The Raising of Lazarus ; a grand composition ; fine and scarce. St. John the Evangelist. St. Jerome in a Cell, holding a Cruciiix. St. Francis holding a Skull. St. Anthony ; one of his early plates ; scarce. Mercury and Argus. An Oriental Figure, \vith a furred cloak and cap. Another Oriental Figure, ivith a gold chain. The half-length of a Man, witti long hair over his shoulders ; a wooden cut ; rare. A Landscape, with three trees ; a wooden cut ; fine and scarce. [The date of his death is uncertain ; Nagler says in 1663.] LIGARIO, PiETHO. This artist was born at Sondrio, in the Valteline, in 1686, and having learned the first rudiments of the art in his native country, went to Italy, and resided some years at Rome, where he improved his design by frequenting the school of Lazzaro Baldi, and afterwards visited Venice, where he studied the works of the most eminent masters of that distinguished school of colouring. On his return to his native town in 1727, he was employed in painting some historical pictures for the churches and private collections; which are correctly drawn, and very agreeably and harmoniously coloured. He died in 1748. [His names were Giovanni Pietro ; some say he died in 1752.] LIGHTBODY, John, an obscure Enghsh en- graver, by whom there are a few smaU etchings of beggars, very indifferently executed. LIGHTFOOT, "William, an English painter, engraver, and architect. He excelled in painting landscapes and perspective views j and, as an archi- tect, was employed at the building of the Royal Exchange. In the Sculptura, by Evelyn, he is mentioned as an engraver, in the following terms : " Lightfoot hath a very curious graver, and special talent for the neatness of his stroke, httle inferior to Wierix ; and has published two or three Madonnas, with much applause. He died about 1671." LIGN Y, Francis de, a French engraver of little note. He engraved two landscapes after Gaspar Poussin, in a poor, tasteless style. LIGORIO, Piero. This painter was born at Naples in 1493. He went early in his life to Rome, where he became a scholar of Giuho Romano. He appUed himself more to architecture than painting, and was employed in that capacity by Paul IV. and Piiis IV. He executed some fresco works at Rome, of which the principal is the Feast of Herod, in the oratory of the Compagnia della Misericordia. ' He also painted several friezes and ornaments in the . public edifices. He died in 1573. [This is very uncertain ; Zani places his death ten years later.] LIGOZZI, Jacopo, [or Giacomo.] This painter was born at Verona in 1543, and, according to Baldinucci, was a disciple of Paolo Veronese. His principal residence was at Florence, where he was made painter to the Grand Duke Ferdinand II., I and superintendent of the Ducal gallery, a distinc- tion honourable to his talents, as it was conferred on him in preference to the many able Florentine painters of the time. His fresco paintings in the cloister of the Ognisanti are particularly admired, in which he displays an abundant invention, an un- common freedom of hand, an ornamental style, and something more graceful and pleasing than is usual in the Florentine school. His design, originally tolerably correct, was strengthened by Tuscan ri- gidity, and though his colouring is not equal to that of Paolo Veronese, it is neither wanting in vigour or truth. There are several of his oil pictures in the churches •at Florence. In S. Maria Novella, is a grand picture of S. Raimondo resuscitating a Child; but his most celebrated work is his Martyrdom of S. Dorotea, at the Conventuali at Pescia; described by Lanzi as an admirable and impressive perform- ance, in which is recognised a distinguished follower of Paolo Veronese. Some of his works have been engraved by Agostino Caracci, and other artists. He engraved some prints, both on copper and on wood, from his own Resigns. He died in 1627. [Zani denies that he ever engraved on wood.] LILIO, Andrea. See Ancona. LIMBURG, Henry van, a Dutch painter, born at Rotterdam about the year 1675 [or 1680.] He was a scholar of Adrian Vanderwerf, and painted small historical subjects and portraits in the polish- ed and highly finished style of that master, tnough greatly inferior to him. One of his best pictures, representing the Holy Family, is placed in the gal- lery of the Louvre. [His name was Limborgh, or Limborch ; he died in 1758.] [LIN, Hans van, called Stillheid, or de SUlle, flourished from 1667 to 1675, according to dates on his pictures. He painted battles and hunting pieces, and his works were highly esteemed. Zani calls him Giovanni van Lint; this is no doubt a mistake, as all other writers concur in calling him Hans, or Jan, van Lin. His pictures are marked H. V. L.] LINCK, Hans, or John von. This artist is mentioned as an engraver by Professor Christ, who says he marked his prints with the monogram _£J'. His works are not specified. LINGELBACH, John. This eminent painter was bom at Franckfort on the Maine in 1625. It is not mentioned by whom he was instructed ; but the ability of the master may be presumed from the talents of the pupil. He went to Amsterdam when very young; and in 1642, when he was seventeen years of age, he visited Paris. A residence of two years in that city, where his works, at that early age, met with admirers, supplied him with the means of prosecuting his original project of visiting Italy. He passed six years at Rome, assiduously employed in designing the most remarkable objects in and near that capital. In 1650 he returned to Amsterdam, with the studies he had accumulated during his residence in Italy, of which he made an ample use in the composition of his pictures. His works frequently represent Italian sea-ports, in which he introduced an infinite number of small figures, habited according to their different nations, touched with great spirit, and of a character as ex- pressive as varied. His pictures are embellished with architecture, and the ruins of ancient monu- ments and statues, introduced with the happiest ef- fect. He was equally successful in his representa- tion of fairs, Italian markets, and the amusements 407 LINS] A DICTIONARY OF [lipp of the Carnival, with appropriate figures, ingenious- ly grouped, of quack doctors, surrounded by a crowd of spectators, and similar assemblages. His ani- njals and cattle are correctly drawn, and painted with a neatness of pencil, which is peculiar to him. The skies and distances are treated with an exact attention to aerial perspective, and his colouring is clear and agreeable. His ability in painting small figures and animals induced several of the landscape painters of his time to have recourse to him to de- corate their pictures, particularly Wynants and Ruysdael. We have by John Lingelbach a few slight,- but spirited etchings of landscapes, sea-ports, &c., after his own designs. He died in 1687- LINSCHOOTEN, Adrian van, a Dutch painter of history, born at Delft in 1590. As soon as ne had learned the rudiments of the art, he went to Borne, where he attached himself to the study of the works of Michael Angelo Caravaggio, whose vigorous style he followed with some success. On his return to Holland, he painted some historical subjects with considerable reputation ; but being of a very dissi- pated conduct, his employers could with difficulty get their pictures out of his hands. Two of his most esteemed works were at the Hague, representing St. Peter denying Christ, and the Repentance of that Apostle. He died in 1678. LINSEN, John, a Flemish painter of little cele- brity, who, after learning the elements of the art in his own country, went to Italy, where he resided some years. He painted marines and sea-fights ; of which the most remarkable was the representation of an engagement of which he had himself been an eye-witness, and was taken by an African corsair. He is said to, have been killed in a quarrel with a gamester. LINT, Peter van. This painter was born at Antwerp in 1609. After being instructed in his na- tive city by an unknown master, until he was seventeen years of age, he went to Italy, and passed several years at Rome. Soon after his arrival, his talents attracted the notice of Cardinal Gevasi, Bishop of Ostia, who employed him in several con- siderable works for his cathedral, and in the chapel of La Santa Croce, in S. Maria del Popolo, at Rome. After an absence of nine years he returned to Ant- werp, and was immediately employed in some altar- pieces for the churches, as well as pictures of a smaller size for private collections. Of his large historical works, the principal are the Virgin and Child, with several Saints, in the church of St. James, at Antwerp ; and a fine picture in the church of the Carmelites, representing the Virgin present- ing to some Monks the Order of their community, painted in the style of Vandyck, and not very in- ferior to that master. He also painted portraits with great reputation, many of which are highly esteem- ed in the Low Countries. [He was living in 1675.] LINT, Henry van, called Studio, was the son of the preceding artist, who instructed him in the first principles of the art, and sent him when young to Rome, where he passed the greater part of his life. He was unusually assiduous in designing the most picturesque views in the vicinity of that city, from which he formed the subjects of his landscapes, which are painted in a grand style, resembling that of J. F. van Bloemen, called Orizonti. He acquired the name of Studio from the society of Flemish painters at Rome, from his exemplary application to his studies. He etched a few plates of land- scapes, some of which are dated in 1680. [Lanzi complicates this artist with his father. He calls 408 him Francesco Wallint, surnamed M. Studio ; ani says that he painted small landscapes and sea views, ornamented with very beautiful figures, and that he imitated Claude; all of which is true as regards Henry ; but Lanzi adds, " Wallint the younger at- tached himself to the same manner, but did not equal his father." Lanzi is the only writer that mentions Francesco Wallint, all others write Peter and Henry van Lint.] [LINTHORST, J , an excellent painter of fruit and flowers, was born at Amsterdam in 1755, and died there in 1815. Two fine specimens are in the Museum of his native city ; and his works are received in the best collections.] LINTMEYER, or LINDMEYER, Daniel. This artist was born at Schaffhausen about the year 1540. He was chiefly known as a painter on glass, in which his works were admired loi the in- genuity of his compositions, and the lustre and brilliancy of his colouring. LIONI, Cavaliere Ottavio. See Leoni. LIOTARD, John Stephen, called the Turk. This artist was born at Geneva in 1702, and was intended by his father for mercantile pursuits, but having succeeded in copying a miniature by Petitot, he was permitted to follow his inclination for paint- ing. He went to Paris in 1725, and soon got into practice in painting portraits in crayons, miniature, and enamel. In 1733, he accompanied the Marquis de Puisieux to Rome, where he became acquainted with two English noblemen, who engaged him to accompany them to Constantinople. In his journey to the Levant, he put on the Turkish habit, which he wore, with a long beard. At Constantinople he received some civilities from the English ambassa- dor, who persuaded him to come to England, where he continued to wear his Eastern dress, and was called the Turk. He met v/ith considerable em- ployment, for which he was probably more indebted to the notoriety of his masquerade, than his talents as a painter. In 1776 he returned to Switzerland. We have a few etchings by this artist; 8.mong which are the following : The Empress Maria Theresa, in a Turkish dress. The Archduchess Maria Christina ; the same. Ren^ Herault, Lieutenant-General of police. The Portrait of John Stephen Liotard, with a long board. The Sick Cat, with some French verses. LIOTARD, John Michael. This artist was the younger brother of John Stephen Liotard, and learned engraving at Paris, under Benoit Audran. He afterwards went to Venice, where he engraved the following prints : Five large plates ; from the Cartoons ; painted in fresco, in the Palace of the Duke of Parma ; by Carh Cig- nani; representing Venus in her Chariot. Apollo rising from the Waves. Bacchus and Ariadne. Pan and Syrinx. The Rape of Europa. A set of prints of subjects from the Bible ; after Sebaa- tiano Ricei. LIPPO, Fka. Filippo. According to Baldi- nucci, this old Florentine painter was bom about the year 1400. When a boy, he was received into the monastery of the Carmelites at Florence, and appears to have had no further assistance in the art, than the opportunity of copying and studying the works of Masaccio, of whicn there are several in the church of that community ; which has led Vasari to suppose that he was his disciple. Such was the exactness with which he imitated the style of that master, that he was called the " Spirit of LIPP] PAINTERS AND ENGRAVERS. [litt Masaccio." His success induced him to quit the monastic hfe when he was seventeen years of age, and to devote himself to painting. Some of his first performances, on leaving the convent, were some small pictures painted for the sacristy of S. Spirito, and a picture of the Virgin and Infant, with a choir of angels, in the church of S. Ambrogio,an which the expression of the heads is more pleasing and graceful than any thing that had preceded him. In a voyage he made by sea to Ancona, he was taken by a Barbary corsair, and carried into captivity, in which situation he had remained eighteen months, when he drew on the wall the portrait of his mas- ter, who was so surprised at the performance, that he considered him as something preternatural, and restored him to liberty. In the parochial church of Prato, he painted in fresco the Martyrdom of St. Stephen, and the Decollation of St. John, the figures larger than life, which are considered by Vasari as his most capital works. He is said to have been of an immoral and depraved character, and is supposed to have been poisoned in 1469, whilst painting the Dome at Spoleto, at the instigation of a family which he had dishonoured by seducing one of their rela- tives from a convent [The name should be written Lippi, not Lippo. He was born in 1412. He ex- celled'in invention, drawing, colouring, and chiaro- scuro, and, for his time, was certainly a painter of extraordinary merit. He may, even without refer- ence to time, be accounted among the gi'eatest of the Italian painters, from MaSaccio to Raphael, both inclusive. It is said that he was poisoned at the instigation of a family which he had dishonoured by seducing one of their relatives from a convent. This may be doubted. Lucrezia Buti, the lady in question, was abducted by him from the convent of Santa Margherita in 1459, and his son Filippino, by her, was in his tenth year when his father died. Lucrezia's relations could do her no service by poi- soning a man she evidently loved, and the father of her child, with whom she had lived for nearly ele- ven years. If it was from a mere spirit of revenge, they were very tardy, and their time was ill-chosen, as he was then in the zenith of his reputation. He was buried in the cathedral of Spoleto, where, a marble monument to his memory, executed by his son, was erected by the order and at the expense of Lorenzo de' Medici. A print in Rosini's work, (plate 73,) of the Death and Coronation of the Vir- gin, exhibits Pra Fihppo's style of composition.] LIPPI, Filippino, was the natural son of Fi- lippo Lippi, bom at Florence in 1460, and, accord- ing to Vasari, was a disciple of Sandro Boticelli. He excelled in painting grotesque ornaments, tro- phies, and antiquities, for which he was more cele- brated than for the design of the figure. In his picture of S. Bernardo, in the Abbey of that name at Florence ; his Adoration of the Magi, in the Flo- rentine gallery; and his two pictures of St. John and St. Philip, in S. Maria Novella ; he is more ad- mired for the ornamental accessories by which they are accompanied, than the figures themselves. He was invited to Rome, to paint a chapel in S. Maria della Minerva, where he represented the Assump- tion, and some subjects from the Life of St. Thomas d'Aquinas, in which he was more successful in his design. He died in 1505. LIPPI, Lorenzo. This artist was born at Flo- rence in 1606. Lorenzo Lippi, like his friend Sal- vator Rosa, divided his attention and his time be- tween painting and poetry. His poem of // Mai- mantile raquistato, though perhaps less read than the Satires of Salvator, is more elegant, and is one of the most admired productions in the Tuscan lan- guage. In choosing a prototype worthy of his imi- tation in painting, his taste and feeling directed him to Santo di Titi. To the correct design of that master, he added a more vigorous colouring, and in the taste of his draperies, followed the style of Fe- derigo Baroccio. The beauty and softness of his pencil, the good taste and harmony which preside in his works, evince an attention to nature and cha- racter, superior to his contemporaries. Matteo Roselli, a celebrated painter of his time, on seeing his works, with a liberality which, Lanzi observes, is not often met in the history of the art, openly acknow- ledged his superiority. His pictures are not very scarce in Florence, though he passed several years at Inspruch, where he was painter to the court. One of his finest pictures, representing the Cruci- fixion, is in the Florentine gallery. Baldinucci highly applauds his Triumph of David, painted for the saloon of Angiolo Galli. He died at Florence in 1664. • [LIPS, JoHANN Heinhich, a designer and en- gi-aver, born at Kloten, near Zurich, in 1758, has distinguished himself by his engravings after the old masters, both Italian and Flemish, and also by numerous portraits and book illustrations, executed in a very masterly manner. He was living in 1817. A list of his principal plates will be found in Nagler.] [LIPS, JoHANN Jakob, son of the preceding, was born at Zurich in 1790. He studied at Mu- nich. He was an engraver of ability, and his sub- jects are various in history, portraits, and after the works of preceding artists. He died about 1835.] [LIS, Jan van, born at Oldenburg, in Germany, in 1569 or 70, was a scholar of Henri Goltzius, but travelled in France and Italy, and became so emi- nent that he was compared with Rubens and Van Dyck. His compositions are spirited ; his drawing fine ; and his colouring remarkably pleasing. He died at Vetiice in 1629.] LIS, John. See Lvs. LISEBETTEN, or LEYSEBETTEN, Peter VAN, an indifierent Flemish engraver, born at Brus- sels about the year 1610. In conjunction with John van Troyen, he engraved part of the plates for the gallery of Teniers ; they are executed in a coarse, tasteless style, and very incorrectly drawn. Among others are the following : The Portrait of David Teniers, the elder ; after P. van Mol. Jupiter and Danae ; after Titian. The Marriage of St. Catherine ; after P. Veronese. The Visitation of the Virgin to St. Elisaheth; after Palma. The Virgin, with the infant Jesus and St. John ; after Palma. Cupid presenting Fruit to Venus ; after Paris Bordone. Diana and Endymion ; after the same. LITTRET, Claude Anthony, a French en- graver, bom at Paris in 1735. He engraved several plates of portraits, and other subjects, which are executed vi^ith the graver in a neat, clear style, and possess considerable merit. This artist visited Eng- land about the year 1768, but not meeting with much encouragement he returned to France, and died at Rouen in 1775. Among others, we have the following prints by him : PORTRAITS. Madame de Pompadour ; after Schenau. Mademoiselle Clairon, celebrated actress ; after the sam^. J. J. Rousseau ; after la Tour. 409 live] A DICTIONARY OF [lodg p. L. de Belloy. M. de la Sartine, Lieutenant-General of police ;. after Viger. Antoine de Malvin, Archbishop of Lyons ; after Vanloo. VARIOUS SUBJECTS. Venus sleeping ; after St. Quinfin. Diana reposing ; after the sajne. liOTe conducted by Fidelity ; <^ier Schenau. - LoTe distributing his Gifts ; after the same. Two Views of the Rhine ; after Weirotter. The Concert of the Grand Sultan ; after C. Vanloo. LIVE, Ange Laurent de la, a French amateur engraver, who etched several subjects after Boucher and Oreuze ; a set of caricatures, after Salis ; and several portraits. LIVENS. See Lievens. [LIVERSEEGE, Henry, an English painter of familiar subjects, viras born at Manchester in 1803. From his birth he vias vireak, and deformed in his person, and being neglected by his father, he owed his education to a kind uncle, who watched him with great care and tenderness. It is not said by whom he was instructed in art, but his first afc^ tempts were in portraiture : his tetchy sensibility, it is said, prevented success in that Une, which re- quires more than ordinary courtesy as well as talent. Being enamoured of the works of Shakspeare and Walter Scott, he turned from the real to embody the ideal characters in the writings of those great poets : he produced a series of pictures of the dra- matic kind, which brought him both money and high reputation. Among these personifications of imaginary characters were Adam Woodcock, from Scott's romance of the Abbot, in which he happily depicted the ridiculous part in that good-humoured worthy; then followed Isabella and the Recluse, from the Black Dwarf; The Inquiry, a scene of quiet humour, representing a simple country lad with a leash of moor-game in hi^ hand, inquiring his way from a burly-looking porter, swollen with his own importance, at the door of a mansion. The Cobbler is of the same stamp ; he is reading Cob- bett's Register, and spelling his way with a look of pondering sagacity. Percie Shafton and Mysie Happer is another of his happy delineations. As the greater number of his subjects are engraved and well known to the public, it is unnecessaiy to par- ticularize further ; it is sufficient to say that he be- came a great favourite, and his productions found ready purchasers, and continue to be sought for with avidity. The weakness of, his frame sunk under the activity of his imagination ; his life -was a continued disease, and it was scarcely a surprise to his friends when he expired suddenly on the morn- ing of the 13th of January, in the year 1832. As an artist his power lay in delineation of character ; and he has left it doubtful whether he was most successful in the serious or the humorous : he is ex- cellent in both.] LLORENTE, Don Bernardo German, a Span- ish painter, born at Seville in 1685. He was the son of an obscure painter, by whom he was in- structed in the first principles of design, and, with- out the advantage of better instniction, arrived at such ability, that when Philip V. visited Seville, he was made choice of to paint the portrait of the in- fant Don Philip, which gave so much satisfaction, that he became the favourite painter of the court. This flattering and honourable patronage he aban- doned, in the prime of hfe, to pass the remainder of his life in the solitary seclusion of a hermitage. He still, however, continued to exercise his art in 410 painting pictures of the Virgin represented as a Shepherdess, in the midst of her flocks, which par- take of the sweet and simple style of Murillo. He died in 1757- LOCA, Batista. According to Dominici, this painter was a Neapolitan, and flourished about the year 1540. He was first a scholar of Gio. Antonio d'Amato, il Vecchio, but afterwards studied the works of Andrea da Salerno, and became an histori- cal painter of some reputation. In the church of II Spirito Santo, at Naples, is an admired picture by this master, representing the Conversion of St. Paul, painted in 1543. LOCATELLI. See Lucatelli. LOCHOM, Michael van, a Dutch engraver, who resfded at Paris about the year 1635. Accord- ing to Basan, he engraved several plates for Crispin de Passe, whose style he attempted to imitate, but with little success. He appears to have been chiefly employed by the booksellers, and worked entirely • with the graver, in a poor, stiff' style. One of his best prints is a frontispiece to the Life of Zouts XIII. with a portrait of that monarch on horse- back, with several small figures. He engraved several portraits for the Works of Hippocrates, pub- lished at Paris in 1639 ; and others, after Ferdinand Elle. [He also engraved the plates for " Les Pein- tures sacrees de la Bible," published, in folio, at Paris, in 1656.] LOCHOM, or LOCHON, B. V., a Dutch en- graver, by whom we have a set of plates of orna- ments for goldsmiths, after Tangen, engraved con- jointly with H. Janssen, in a neat style. He also engraved a set of small plates of Huntings of various kinds, which, from their shape, appear to have been intended for fans. LOCHON, Rene, a French engraver, born at Poisy about the year 1630. He resided at Paris, where he engraved some historical subjects, and several portraits, in which he seems to have imitated the fine style of Nanteuil, though very inferior to him. We have, among others, the following by him ; PORTRAITS. Charles de Bourbon, Bishop of Soisou. 1657. Eustaehe de Lesseville, Bishop of Coutances. 1661j Felix Vialart, Bishop of Chalon. B. PheUpeaux de la VrilUere. 1667. Jerome Bignon. Louis de Marilla, Doctor of Sorbonne. Hardouin de Perefix, Archbishop of Paris ; after Cham- pagne. Antoine Amauld, Priest of the Oratory ; after the same. SUBJECTS. Christ bearing his Cross ; after Caracci. The Virgin and Infant, with St. John ; after N. Coypel. LOCKLEY, David, an English engraver, who flourished about the year 1719. Among other prints, he engraved a large plate, representing a view of the New Church in the Strand ; and his name is affixed to a portrait of Michael Malard. LODER, a German painter, who, according to Basan, etched several plates after his own composi- tions. He lived about 1760. LODGE, William. This artist was bom at Leeds in 1649. He was the son of a merchant, who left him a handsome patrimony. From school he was sent to Jesus College, Cambridge, and was afterwards a student of law of Lincoln's Inn ; but more pleasurable studies suiting his genius, he at- tended Lord Bellasyse, afterwards Viscount Fal- conberg, in his embassy to Venice, where meeting vrith Giacomo Barri's Viagijio Pittoresco, in which LODl] PAINTERS AND ENGRAVERS. [loir are particularized the principal pictures in Italy, and an account of the celebrated collection of the Canone Settala at Milan ; he translated it into Eng- Ush, and published it in 1679, with heads -of the most eminent painters, and a Map of Italy, etched by himself. During his travels, he drew various views, which he afterwards etched. On his return to England, he assisted Doctor Lister in drawing rare shells and fossils, which were transmitted to the Royal Society, and are inserted in their Trans- actions. Mr. Lodge's works, besides those above mentioned, are : The Pont du Gaxd, in Languedoc; with cipher ^^^, A View of Gaeta, with the Mole and Flancus's Tomb. Pozzuolo, Caracaila's Mole, Baia, &c. Ruins of the Amphitheatre and Aqueduct at Mintumum. Promontory of Circe, Temple of the Sun, &o. Lamheth Palace, from the Thames. Westminster Hajl and the Abbey. The Monument. Sheriff Hutton Castle. Clifford's Tower. View of York. Leeds, with a View of KirkstaU and Fountain Abbeys. The Portrait of Oliver Cromwell, and his Page. The Portrait of Samuel Malines ; after Claret. He died at Leeds in 1689. [According to others, in 1699 : the date of his birth is also questioned.] LODI, Callisto Piazza da. See Piazza. LOEMANS, Arnold, a Flemish engraver and printseUer, who resided at Antwerp about the year 1690. He engraved a few plates after the Flemish masters, and some portraits, among which is that of J. Callot. [LOFVERS, Peter, born at Groningen in 1710, was a scholar of J. A. Wassenburg, and painted sea views with great abiUty. His pictures were for- merly in great request in England, France, and Hamburg. He died in 1788.] [LOFVERS, Henri, son of the preceding, born in 1739, was instructed by his father, and painted marine subjects, fruit, and flowers, which had con- siderable merit. He died at Groningen in 1805.] LOGGAN, David. This artist was born at Dantzic about the year 1630. He is said to have received his instruction in engraving from Simon de Passe, in Denmark, and afterwards passing through Holland, he studied under Hondius, and came to England before the Restoration. He was first employed in engraving views of the public build- ings of the University of Oxford, [which were pub- lished collectively in 1675, in a foUo volume, under the title of Oxonia Illustrata, and comprised 40 plates. He also engraved and published a similar volume for Cambridge, in 1688, comprising 30 plates.] ' He executed also a set of eleven plates, entitled. Habitus AcAdemicorum OxonicB a Doctore ad Sermentem, [which form a distinct series from the plates of costumes engraved in the Oxonia Antigua.'] - We have also a great number of portraits, which are esteemed his best works. They are generally executed with the graver in a neat but formal style,: the following are the principal : Charles I. on horseback ; scarce. Henrietta Maria, his Queen. Charles II. ; four plates, Catherine, his Queen. James, Duke of York. George, Duke of Albemarle ; fine. Sir Edward Coke, Chief Justice. Edward Hyde, Earl of Clarendon ; fine. James Stanley, Earl of Derby; rare. Lord-keeper (Juilford ; fine. James, Duke of Monmouth; fine. James, Duke of Ormond. Crew, Bishop of Durham. Bancroft, Archbishop of Canterbury. Sir Henry Pope Blount. Pearson, Bishop of Chester. Sir George Wharton. George, Prince of Denmark. Mother Louse, of Louse-Hall ; one of his earliest prints. LOIR, Nicholas, a French painter, born at Paris in 1624. He was the son of a goldsmith, who, perceiving his inchnation for painting, placed hira under the tuition of Sebastian Bourdon, with whom he studied until ha was twenty-three years of age, when he travelled to Rome. In that city he passed two years, and as his easy circumstances rdieved him from the necessity of painting for subsistence, he occupied his time in contemplating, rather than in copying, the works of the principal masters ; and he possessed so retentive a memory, that on return- ing to his apartment, he could trace sketches of the pictures which had most attracted his attention. The works of Niccolo Poussin were the objects of his particular admiration, and his best pictures are those of an easel size, painted in the style of that master. On his return to Paris he met with imme- diate employment, and was engaged in several con- siderable works for Louis XIV., in the palace of the Tuilleries and at Versailles. In 1663 he was made a member of the Academy at Paris, and painted for his picture of reception the Progress of Painting and Sculpture. In the church of St. Bar- tholomew is one of his best public works, repre- senting the Marriage of St. Catherine. Nicholas Loir possessed a ready invention, and an un- usual facility of handling. He is accused of neg- ligence in his compositions, of a want of elevation in his conceptions and of dignity in his forms, al- though he is not without grace in his female figures and children. He died at Paris in 1679. We have by this artist a great number of etchings from his own designs ; they are slightly, but spiritedly exe- cuted, in the style of a painter. They amount to nearly one hundred and fifty ; among which are the following : Set of Twelve, subjects, Virgin and Holy Families. The infant Jesus embracing the Cross. The Judgment of Paris. Apollo and Daphne. Cleobis and Biton drawing the Chariot of their Mother to the Temple of Juno. Two large Landscapes. [See Dumesna, P. G. Franf ais, tom. iii., for a description of 113 prints by Nicolas Loir. He conjectures that the number mentioned in the text is an exaggeration by D*Ar- genville, who probably included some of the anonymous pieces, which were executed by his brother Alexis.'\ LOIR, Alexis. This artist was the younger brother of Nicholas Loir, born at Paris in 1630. He was brought up to his father's profession of a goldsmith, to which he added that of an engraver, m which he became eminent. His drawing is cor- rect, and he handled the point and the graver with great spirit and facility. The particular style of the master he engraved from is well preserved in his prints, which possess considerable merit. The following are esteemed his best plates : The Education of Mary de Medicis ; after the picture by Subens in the Luoeembourq gallery. Time discovering Truth; after the same. The Fall of the Rebel Angels; after Le Brun; fine. The Massacre of the Iimocents; after the same; fine. The Dead Christ in the lap of the Virgin ; after Mignard. The Finding of Moses ; after N. Poussin. Venus giving the Arms to JEneas ; crfter the same. The Presentation in the Temple ; after Jouvenet. The Descent from the Cross; after Jouvenet; fine. The Vii'gin with the Infant sleeping ; after N. Loir. 411 LOIS] A DICTIONARY OF [lomb The Holy Family ; after tlie same. Mary Magdalene praying; after the same; fine. He also etched several plates from his brother's de- signs. [The greater number of writers agree that he was born in 1640, and died in 1713.] LOISEL, an obscure French engraver, who re- sided at Paris about the year 1645. He executed part of the plates for the folio volume of Plans and V lews published by Beaulieu. LOISI, or LOISY. This artist was a native of Burgundy, and flourished about the year 1620. He engraved some portraits, among which is that of Bonaventura Comes Abuquois. [This is supposed to be Jean de Loisi, born at Besan9on about 1603, who engraved " Portraits de S. S. vertus de la Vierge contemplees par feue S. A. M. Isabelle Claire Eu- genie, infante d'Espagne," published in 1635. There are three other engravers of the same name, but neither of distinction : their names are, Peter the elder, Peter the younger, and Claude. They all lived in the 17th century.] LOLI, Lorenzo. This painter and engraver was born at Bologna about the year 1612. He is some- times called Lorenzino del Sig. Guido Reni, from his being a favourite disciple of that master. He painted some pictures for the churches at Bologna, of which the most admired is his S. Antonio di Pa- doua, in S. Caterina di Strada Maggiore. We have by this artist several etchings after Guido and Si- rani, as well as from his own designs. They are ex- ecuted in a slight, but spirited manner, in imitation of the style of Guido, but very inferior. He some- times signed his prints with his name, and some- times L. LL. F. or Lo. P. or Laur Lot. The fol- lowing are his best prints : The Flight into Egypt ; after Giddo. There is a fine print by Poilly of this subject. The Holy Family, with St. John, in which St. Joseph is leaning on a Pedestal ; after the same. The Holjr Family, with St._ Elisabeth and St. John; after Sirani. The Virgin with the Infant sleeping; afler Elis. Sirani. The Virgin, with the Infant, to whom an Angel presents a Basket of Flowers ; after Sirani. The Assumption of the Virgin; after the same; fine and scarce. St. Jerome ; ^ after the same. Mary Magdalene, with a Crucifix ; after his men design. The Virgin appearing to St. Francis and St. Augustine ; after tlie same. Fame flying over a Globe ; after Sirani. Perseus and Andromeda ; after the same. Cupid breaking his Bow ; after his own design. Infant Bacchanalians ; after the same. A similar subject ; after the same. LOMAZZO, Giovanni Paolo. This painter and writer on art was born at Milan in 1538, and was a scholar of Giovanni Batista della Cerva. Of his works as a painter little is known ; and it is pro- bable he did not paint much, as he became blind when he was thirty-three years old, and was chiefly occupied as an author on various subjects. In 1584 was published at Milan his Trattato dell arte della Pittura, &c. ; and in 1590 his Idea del Tempio della Pittura, &c. LOMBARD, Lambert. Considerable confusion for some time existed respecting this artist, from Sandrart's having erroneously asserted that Lam- bert Lombard and Lambert Suavius were one and the same artist, although the more respectable au- thority of Van Mander mentions them as two dis- tinct persons. All doubt on the subject has, how- ever, been removed by M. Heineken, who has proved that Lambert Suavius, an engraver as well as a painter, was a disciple of Lombard, and engraved 412 several plates after his master's designs, which are inscribed Lambert Lomhard, invenit. L. S. fee. L. Lombard never engraved. He was born at Liege in 1500, and having received some instruction m his native city, he travelled to Italy, where he studied some time at Florence, under Andrea del Sarto. During his residence in Italy, he applied himself as much to the study of architecture as painting; and on his return to Liege, was the means of introducing a better taste in both than had prevailed before him. His academy became the most celebrated of his time in that country, and he has the credit of having been the in- structor of some of the most eminent artists of that period. Francis Floris, Hiibert Goltzius, Wil- liam Key, and others, were among his disciples. Several of his works have been engraved by L. Suavius, particularly a Charity, and the Raising of Lazarus, which give a respectable idea of his ta- lents. He died in 1560. [According to the account given by Lampsonius, the intimate friend of Lam- bert Lombard, he was born in 1506. His parents were poor, and could not afibrd him much school education. When he grew up they placed him with a painter, not with the expectation of making him an artist, but merely to obtain a livelihood. By some means, it is not said how or when, he be- came a disciple of Arnold Beer and of Jan Gossart (Mabuse). It was not till he arrived at the age of 32 that he went to Italy, which he did in the suite of Cardinal Pole, at the recommendation of Erard de la Marck, bishop of Liege. With a mind fitted for the reception of knowledge, and a persevering disposition to acquire it, he, no doubt, availed him- self of the opportunity to investigate the beauties of Raphael, Andrea Mantegna, and Titian ; but as he evinced as strong a predilection for architecture as for painting, he contemplated with equal atten- tion the stupendous works of Michelangiolo and other architects of that period. The stay that he made in Italy was too short to enable him to acquire more than a mind gifted like his could seize almost by inspection ; it is doubtful, therefore, whether he did in a strict sense study under any particular master there. The death of his patron Erard de la Marck obliged him to return to Liege, where he continued in favour with three succeeding bishops, but it seems he did not profit by their liberality. His biographer, Lampsonius, describes him as a man possessed of uncommon knowledge in antiqui- ties and literature, self acquired, and as an artist one of the most consummate in design. He had SO lofty an opinion of his art, that he would not degrade it for mercenary considerations, nor solicit employment, though he was straitened in his cir- cumstances. He expected his country to require him to perform some great public work, for which he felt himself qualified, but this, without disturbing his equanimity, never occurred. Allowing for the embellishments of a friendly and admiring biogra- pher, Lambert Lombardmust have been, in the truest sense, a great man. As a painter, it is said, he was so rapid with his pencil that he could produce in a short time more works, and better finished, than others could by long-continued application ; and that he availed himself of this facility to copy promptly the beautiful creations of the best Italian mas- ters. The artists of Italy, always chary in their praise of foreigners, were compelled to acknowledge his ability ; Salviati, among others, candidly ex- pressed his admiration at the celerity of his per- formances and the perfection they displayed. Being lomb] PAINTERS AND ENGRAVERS. [lomm thus imbued with a love of Italian art, he made him- self master of the style in a manner so astonishing, that several of his pictures passed as the productions of Correggio. Whether the works now ascribed to him be his is doubted by some acute connoisseurs, on account of their manner not corresponding with the statements of Lampsonius. The king of Hol- land possesses three, which Mr. C. J. Nieuwenhuys has fully described in his excellent catalogue of His Majesty's collection. Remarking on the " Allegori- cal Vision," he says, that " in attentively examining this work one would be tempted to believe that Lambert Lombard had studied under Bernard van Orley ; at least a great resemblance to the manner of painting of the latter may be observed in it." This is saying a great deal in confirmation of Lampsonius. What renders it difficult to decide on the merits attributed to him as a painter is, that Henry Maximilien of Bavaria removed the most beautiful pictures by Lambert Lombard from Liege to ornament his palace at Bonn, where they fell a prey to the flames on the bombardment of that city. There is some uncertainty about the date of his death. It is singular that Lampsonius, who has made us acquainted with so many circumstances of the early part of his life, should not have mentioned any of the concluding part, nor when he died. Perhaps it was from delicacy that he did not record his having taken refuge in the hospital of Mont Cornillon in his latter days, as is related by an his- torian of Liege. The account written by Lamp- sonius was printed at Bruges in 1565, by Hubert Goltzius, who had been a pupil of Lombard in the study of Numismatics, and probably well acquaint- ed with the matters related : it, therefore, can hardly be supposed that the date of his death would have been omitted, had he been dead at the time of pub- lication. This strengthens Zani's statement that he was living in 1565. On the other hand, the. print of his portrait, engraved by Theodore Galle, bears the following inscription : Floruit et obiit apud Leodienses, anno 1560. This, however, is not con- clusive, as Theodore Galle flourished about 1600. The date of his birth is stated by Lampsonius, and the portrait prefixed to his account has this inscrip- tion ; Lamhertits Lombardiis pictor eburonensis, anno net. XLV., MDLL, corresponding with that date.] LOMBARD, or LOMBART, Peter, a French designer and engraver, born at Paris about the year 1612. He is said to have learned the principles of design under Simon Vouet, but it is not knovni who instructed him in engraving. After acquiring some reputation at Paris he came to England, some time before the Restoration, as he engraved a portrait of the Protector ; a frontispiece to Ogilby's Virgil, pub- lished in 1654; a title to a small octavo, in 1658; and Sir Robert Stapleton's portrait for his Juvenal, before 1660. During his stay in this country, he was chiefly employed by the booksellers, for whom he executed a great number of subjects, as well as portraits. They are generally executed with the graver, in a neat, laboured style, but without much taste. His portraits, however, which are the best of his works, possess considerable merit. The follow- ing are his principal plates : PORTRAITS. A set of twelve plates, half-length, two of the Earl of Arundel and Earl of Pembroke, and ten of Ladies, called the Countesses ; lifter Vandyck. Charles I. on horseback ; from the same. ■ After the death of that monarch, the head of' Cromwell was sub- stituted for that of the King. Oliver Cromwell, with his Page ; after Walker. Walker, the Painter ; after a picture by himself; oval. Sir Samuel Morland ; after Lely. Anne Hyde, Duchess of York ; after the same. Brian Walton, Bishop of Chester ; scarce. Jeremy Taylor, Bishop of Downe. De la Fond, Gazetteer of Holland. 1667 ; scarce. Samuel Malines. Sir Henry Wootton. Dr. Charlton. VARIOUS SUBJECTS. St. Michael vanquishing the Demon ; after Raffaelle. The Virgin and infant Jesus ; after Ann. Caracci. The Nativity, or Adoration of the Shepherds ; after N". Poussin. The Last Supper ; after N. Poussin. The Angel appearing to St. Joseph ; after Ph. de Cham- The Crucifixion ; after the same. The Holy Family ; after C. le Fevre. LOMBARDELLI. See Marca. LOMBARDI, Giovanni Domenico. This paint- er was bom at Lucca in 1682, and was a scholar of Pietro Paolini, whose style he followed and im- proved, by studying the works of the best Venetian colourists, and the great style of design of the Ca- racci. Lanzi speaks of the talents of this artist in the most favourable terms. His ingenious and taste- ful compositions, the grand and resolute character of his design, rank him among the ablest artists of his time. Such are his two laterals in the choir of the Olivetani representing S. Bernardo succouring the persons afllicted with the plague. There are two other pictures by him in S. Romano, painted with such force of colour and relief, that they ap- proach the best style of Guercino. His reputation would have stood higher, if he had always painted with equal care, and had not degraded his talents by painting pictures at all prices. He died in 1752. LOMMELIN, Adrian. This artist was born at Amiens about the year 1636, and was instructed in engraving at Antwerp, where he passed the greater part of his hfe. It would have been unfortunate for the fame of Rubens, if his ability was to be ap- preciated by the prints executed by this indifferent Ijurinist, by whom some of his most distinguished works have been engraved ; and though it is neces- sary to notice his prints at some length, it is more on account of the interesting subjects he has select- ed, than the merit of their execution. The por- traits he engraved, after Vandycl<, however, are not without merit. The foUowdng are his principal plates : PORTRAITS AFTER VANDTCK. Charles I. Ferdinand of Austria, Governor of the Low Countries. Jacob le Roi, Seigneur of Herbaix. J. C. de la Faille, Jesuit. Alex, de la Faille, Senator of Antwerp. Zegher van Houtsnm, Canon of Antwerp, r Adrian Stevens, Ecclesiastic. J, Malderus, Bishop of Antwerp. . John de Wael, painter of Antwerp. John Baptist de Bisthoven, Jesuit ; one of his best prints. SUBJECTS AFTER RUBENS. Abigail appeasing David with her presents. The Adoration of the Magi. The Circumcision. The Baptism of Christ. Christ washing the Feet of his Apostles. Christ appearing to Magdalene. The Triumph of Charity. Time discovering Truth. The Assumption of the Virgin. St. Cecilia. The Judgment of Paris. 413 LOMi] A DIOTIONARY OF [long Christ taken in the Garden ; afier Vcmdyck. The Virgin and Infant, with the fonr Doctors of the Church ; after Diepenbeck. LOMI, AuRELio. This painter was bom at Pisa in 1556, and was first a disciple of Bronzino, but af- terwards studied under Lodovico Cardi, called Ci- goli, and is considered as the head of the Pisanese school. His fresco works in the Dome at Pisa par- take of the style of both those masters, though, compared with that of Cigoli, he appears more minute, and less harmonious. His object appears to have been to surprise by a splendour of colour, and an ostentatious display of ornaments and drapery, attractive to the multitude, and, with these preten- sions to celebrity, acquired many admirers at Rome, Florence, and, above all, at Genoa; where his works were preferred to those of Pietro Sorri, though pre- viously held in the highest estimation. Of his nu- merous works in that city, the most worthy of notice are, his picture of S. Antonio di Padoua, at the Franciscans ; and his Last Judgment, in the church of S. Maria di Carignano ; the former distinguished by grace, and the modest tranquillity of its tones ; the latter, by a robust and daring design, and the most vigorous colouring. Less strikingly effective, but esteemfed by the Pisanese as his chef d'oeuvre, is his S. Girolamo, in the church of il Santo Campo at Pisa, which is marked with his initials, and the date 1595. [He died in 1622.] LOMI, Orazio. See Gentileschi. LONDBRSELL, [or LONDBRSEEL,] Aha- suERUs VAN. This artist is supposed to have been a native of Germany. He was an engraver on wood, and flourished from the year 1576 till 1599. He executed several small wooden cuts in a very neat style, resembling that of Virgilius Sohs. We have some Bible cuts by this artist, and some small prints for an Herbal, by Matthias de Label. He also executed the cuts for The Travels of Nicolas de Ni- colay into Turkey, published at Antwerp in 1576. He usually marked ms prints with one of these mono- grams 3i^Li.-^fflE^ [He was born at Amster- dam in 1548, and was living in 1594.] LONDERSBLL, [or LONDBRSEEL,] John VAN, a Flemish engraver, born at Bruges about the year 1590. We have by this artist several plates of landscapes, and other subjects, engraved in a stifl", formal style, resinbling that of Nicholas de Bruyn, of whom he is supposed to have been a pupil. His prints are executed with the graver, and some of them possess considerable merit. He usually signed them with his name abbreviated, J. Land, or J. Londer, fee. Among others we have the following by him : Faith, Hope, and Charity ; represented by allegorical figures ; from his own designs. The Five Senses, emblematically represented ; the same. A set of Landscapes, with figures ; after J. Savory. Four Landscapes, with biblical subjects ; after G. Hon- decooter. Four Landscapes, with the same ; after G. Coninxloo. Nine Landscapes, with the same ; after D. finc/cen- booms. A View of the interior of St. John of Lateran ; after Hendrick Arts. [He was born at Bruges in 1582 : the date of his death is not recorded.] LONDON 10, Francesco, an Italian painter and engraver, born at Milan in 1723. He at first attempted historical painting, but abandoned that branch for landscapes, with animals, in which he was much more successful. His pastoral subjects are highly esteemed at Milan, Genoa, and Naples, where 414 they are found in the best collections. F. Londonio etched about seventy plates of landscapes, with fi- gures and cattle, from his own designs. They are executed in a spirited and agreeable style. He died in 1783. [Nagler enumerates 94 pieces by him. Some years ago a great number of his studies in oil, on paper, were brought to England; they were chiefly of goats and horned cattle.] LONGEUIL, Joseph de, a modem French en- graver, born at Lisle in 1736. He engraved in a neat style several vignettes for the Henriade, by Voltaire, and the Contes de la Fontaine. His ta- lents were not confined to book-plates ; he executed some subjects after various masters, which are not- without merit ; among which are the following : Two Allegorical Subjects ; after Cochin. Heroic Fidelity ; after Moreau. Two Kural Subjects ; after Lepieii and Avbrey. A pair of Dutch Merry-makings ; after Ostade. The Fishermen ; after Vemet. A View of the Environs of Naples ; after Mettai. A Sea-storm ; after the same. LONGHI, Alessandro, a modern Venetian painter and engraver, born at Venice in 1733, and was a scholar of Giuseppe Nogari. He is chiefly known as a portrait painter. In 1763 he published a volume of the Lives of the modern Venetian Art- ists, with portraits etched by himself. He etched several other plates of various subjects. Among others, we have the following prints by him : PORTRAITS OP PAINTERS. Giacomo Amieoni. Antonio Balestra. Sebastiano Ricci. Gio. Batista Piazetta. Gio. Batista Tiepolo. SUBJECTS. A Venetian Masquerade. A Gondolier dancing with a Lady. A Quack Doctor on his stage. A Moor beating a Drum. The Philosopher Pythagoras. [He died in 1813.] [LONGHI, Giuseppe, an Italian painter, and one of the most distinguished engravers of the 19th centuiy, was bom at Monza in 1766. His father was a silk mercer, and intended his son for the church, but, through his own determination, Giuseppe was finally placed with the Florentine, Vincenzo Van- gelisti, professor in the Brera at Milan, under whom he learnt engraving. He studied afterwards, for some time, in Rome, where he became acquainted with Raphael Morghen. Longhi soon obtained a reputation himself by his print from the Genius of Music, a picture by Guido, in the Chigi Palace. After his return to Milan, he was chiefly employed in miniature painting, until he was ordered by Na- poleon to make an engraving of Gros's portrait of him; and he was appointed about the same time (1798) to sucfceed VangeUsti, deceased, as Professor of Engraving in the Academy of the Brera, to which, during Longhi's professorship, many distin- guished engravers of the present time in Italy owe their education. It was one of Longhi's first prin- ciples to make the means subservient to. the end, and not the end to the means : he always deprecated cleverness of line as a principal object, and in his own works, manual dexterity is invariably subor- dinate to conformity of style. His first object was to give, as nearly as possible, the general character, colour, and texture of the original, and the etching needle was accordingly his chief instrument. He excelled in light and shade. Among his principal long] PAINTERS AND ENGEAVERS. [lons works are, the Vision of Ezekiel, the Sposalizio, or Marriage of the Virgin, and a Holy Family, all after Raphael; the Entombment, after D. Crespi; the Magdalene, after Cmreggio ; the Madonna del Lago, after L. da Vinci; Galatea, after Albano ; and many heads, after Membj-andt. It would occupy more space than the limits of this work will permit, to enumerate all the productions of Longhi's graver worthy of being specified. In the fine series of portraits published at Milan, under the title " Vite e Ritratti di lUustri ItaJiani," he engraved the portraits of Napoleon, with the iron crown on his head, as king of Italy; Michelangiolo Buonar- roti ; and Dandolo, Doge of Venice : all superb in execution. But his "Fasti di Napoleoneil grande" must not be omitted. This beautiful woii, after the designs of Appiani, was executed in part by Longhi, 'and the whole of it, as far as it exists, under his direction. Six of the plates were en- graved entirely by him,' in what the Italians call the semilibero manner ; five of them represent The Battle of Marengo ; the sixth. Time with the Pates : the rest are by Michele Bisi, Giuseppe BenagUa, and the two brothers, Rosaspina ; all worthy disciples of this great master. This work is especially de- serving of notice, as being done at the expense of the Emperor Napoleon. It is said, that not being completed at the time of his abdication, its further progress was forbidden, and the plates destroyed. By whose soever order this destruction was com- mitted, it deserves execration. Works of genius be- long to the world; heroic actions are entitled to preservation, historically and artistically, for the glory of the nation by which they are performed ; and he that would sacrilegiously destroy them, shows that he is governed by a baseness of soul which renders him incapable of performing deeds wor- thy of record, or of appreciating the talent of the poet, or the painter, who immortaUzes them by the efforts of his genius. He commenced in 1827 the engraving of the Last Judgment, after Mi- chael Angela, from a drawing by Minardi, but died without finishing it ; it was, however, considerably advanced, and will probably be completed by one of his distinguished scholars. The Madonna del Velo, after Raphael, he also left unfinished, but it was completed in 1834 by his pupil the Cavaliere Tos- chi, whose name deserves to be remembered with, gratitude by the latest posterity, for rescuing from oblivion some of the finest works of Antonio AUegri, (CoiTeggio,) and adorning them with all the graces of his matchless graver. Longhi died of apoplexy in 1831.] LONGHI, LucA. This painter was bom at Ra- venna, and flourished about the year 1580. There are several of his historical works in the churches of Ravenna, Ferrara, and Mantua. In the church of S. Benedetto at Ferrara, is an admired picture by him representing the Circumcision ; but his princi- pal works are in the churches of S. Vitale, S. Agata, and S. Domenico, at Ravenna. His compositions are generally confined to a few figures, but his pic- tures are highly finished, and very agreeably colour- ed. He also distinguished himself as a portrait painter. [Zani places his birth in 1517, and his death in 1590. Oretti says that he painted in 1531 ; it is certain he painted in 1580. Kiigler says he in- clined to the old manner of Francia's school ; but instead of the deep feeling of that master, we find in his pictures only an expression of an aflected devotion.] LONGHI, Francesco, was the son and scholar of the preceding artist, and painted history and por- traits in the style of his father, though greatly infe- rior to him. One of his best pictures is in the church of the Carmelites at Ravenna. L0N6RAFF, a Dutch engraver, who flourished about the year 1698. He engraved a set of orna- mental subjects for goldsmiths. They are executed with the graver in a very neat style. LONI, or LOMI, Alessandro. This painter was born at Florence in 1655, and was a scholar and imitator of Carlo Dolci. He was chiefly em- ployed in copying the pictures of his master, which he did with a precision and a finish that render it difficult to distinguish them from the originals. He died in 1702. LONS, D. E., [DiRCK EvERSEN,] an obscure en- f'aver, by whom there is an etching of the Holy amily, with St. Elisabeth and St. John ; after A. van Nieulandt. It is spiritedly executed, but the drawing is very incorrect. It is dated 1612. [He was living in 1622. There are four landscapes by him, each having a large wind-mill, with the titles, Seem Moolen, GotMbokn, Meet 3£oolen, Meet Moolen.'] [LONSDALE, James, an English portrait paint- er, was a native of Lancashire, but came to London at an early period of his hfe. It is not said where or from whom he received his artistic education ; but he was one of the founders and chief supporters of the Society of British Artists. He was a man of inde- pendent mind and manners, and perhaps his neglect of the suaviter in modo, was the reason that his prac- tice was chiefly confined to male sitters. He had a masculine style of painting, and showed great dis- crimination of character in the likenesses ; and, as he painted some of the really great men of his time, his pictures are likely to be appreciated long after the works of more fashionable portrait painters are forgotten, especially of .those who painted mere rank without the adjunct of greatness. He died at London in 1839, it is said at the age of 62. It should be added, that his independence was not ex- hibited in moroseness of manner ; for, on the con- trary, his manners were cheerful and bland in the highest degree ; and his conversation was replete with sagacity, rich in anecdote, and always impres- sive from justness of thought, clearness of judgment, and undeviating veracity. He was not a member of the Royal Academy.] [LONSING, Francois Joseph, was born at Brussels in 1743. He was intended for the military profession, and entered as a cadet in one of the Bel- gian regiments in the service of Austria, called the Walloons. Being in garrison at the citadel of Ant- werp he showed a love of art, and under the patron- age of Prince Charles de Lorraine, governor of the Low Countries, he frequented the academy which that prince had organized; and in 1759 obtained the principal priz6, a chain of gold and a medal bearing the efiigy of the Prince, with the inscription, ' Artis delineatoricE prcemium.' After this he entered the school of Martin J. Geeraerts, a distinguished painter of bas-reliefs, who had been a scholar of Theobald Michau. In this school. Lousing made such progress that Prince Charles and Count de Cobentzel sent him to Italy, with a pension, to per- fect his studies. At Rome he entered the school of Raphael Mengs, and there made acquaintance with Sir W. Hamilton, for whom, in 1772, he engraved several of the prints for the Scholce Italicce Picturas. He is afterwards found pursuing his art at Paris, Lyons, and Bourdeaux : at the last-named city he died in 1799, while engaged in painting the mansion 415 i.oo] A DICTIONARY OF [lore of a rich merchant there. His pictures are chiefly portraits, some of which have been engraved ; his easel pictures are rare and much sought after ; the major part of his works are at Bourdeaux. His general style is a mixture ofthe Italian and Flemish, which gives his pictures a peculiar air, differing from every other master, yet reminding the observer of the works of older date. He designed and composed with facility, disposing his groups with much intelligence, and was a good colourist. Bal- kema has committed an oversight in his account of this painter, jn saying that he profited by the con- versations held by Micliau with the scholars of Geeraerts, his former pupil, whom he delighted to instruct in the principles of the Flemish school, al- though in his ninetieth year, and blind. Michau died in 1755, at the age of.79, as stated by Balkema himself, and hjy every writer of credit ; Lousing was then only 12 years old, and did not enter the school of Geeraerts till after 1759, consequently knew no- thing of Michau personally.] [LOO, Peter Van, born at Haerlem in 1731, painted landscapes, fruit, and flowers. He com- menced by painting for the florists of his native city the choicest specimens, to exhibit as signs of their periodical return, by which he acquired great truth in the representation. He died in 1784.] LOOFF, Peter, a Dutch engraver, who flourish- ed about the year 1630. He engraved some por- traits, among which is one of A. v anden Bromen. He also executed a print of Frederick Henry, Prince of Orange, drawn in a triumphal car. , [LOON, Peter V.^n, a painter of architecture and perspective, was born at Antwerp, and flourished in 1600; his pictures are very carefully finished. The year of his death is not recorded.] LOON, Theodore van. This painter was born at Brussels in 1629. It is not said by whom he was instructed in his native country, but he went to Italy when he was young, and at Rome became acquainted with Carlo Maratti, whose style he par- ticularly admired, and with whom he lived in habits of fi'iendship. On his return to Brussels he painted a fine picture of the Nativity for the Abbey of Dil- linghem, near that city, which gained him great re- putation. In the church of St. Gery, at Brussels, there is a series of pictures of the Life and Passion of our Saviour, which are much admired ; but his most esteemed performances are seven pictures of the History of the Virgin, at Aerschot, near Mech- lin, which appear rather productions of the Roman than the Flemish school, and are entirely in the style of Carlo Maratti. His design is correct, and the characters of his heads noble and dignified; his colouring is excellent, though he is occasionally rather sombre and heavy in his shadows. LOON, H. VAN, a Flemish engraver, who was probably a relation of the preceding artist. He chiefly resided at Paris, where he engraved some plates for a work entitled Les Forces de V Eurojje, published at Paris in 1695. They consist of fortifica- tions, plans of towns, &c., and are neatly executed. [LOON, VAN, a painter of Amsterdam, whose subjects are birds, fruit, and flowers. He died in 1787, at the age of 60.] SiOPEZ, .losEF, a painter of Seville, and disciple urillo; he followed the style of that distinguish- ed master, but confined himself chiefly to painting representations of the Virgin, by which he obtained great credit.] [LOPEZ, Pedro, a Spanish painter, scholar of el Greco, painted the magnificent picture of the 416 Adoration of Kings, in the convent of the Trinita- rians at Toledo, which bears his name, and the date 1603. He painted many others, but his reputation rests on that.] LORCH. See Lorich. LORENZETTI, Ambrogio. This old painter was born at Siena in 1257, and has been incorrectly stated to have been a disciple of Giotto, from whose style he differs in design, colour, and drapery. His principal work is ,described Ify Lanzi to be a large picture in the public palace at Siena, repre- senting an emblematical subject of the effects of a good and vicious government, and is spoken of as an ingenious production for that early period. There is a greater variety in the characters of the heads, and a superior arrangement in the disposition of the figures, than appear in the contemporary produc- tions of the art. He died in 1340. [Ambrogio Lo- renzetti was an excellent painter for the time in which he lived. Lanzi says, "had there been a greater variety in the countenances of his figures, and a superior arrangement in the composition, his picture would have been little inferior to the finest in the Campo Santo of Pisa." His brother Pietro, whom Vasari mistakingly calls Pietro Laurati, painted in conjunction with him, and was no less excellent. On a picture painted by them conjointly was inscribed. Hoc opus fecit Petrus Laurentii et Amhrosius ^usfrater, 1335; and on one painted by Pietro alone, Petrus Laurentii de ' Senis me pinxit anno 1342. There were a great number of artists of the name Lorenzetti, natives of Siena, who flourish- ed in the fifteenth century.] LORENZINI, Fra Antonio, [Gianantonio,] a Bolognese painter and engraver, born in 1665, and was a scholar of Lorenzo Pasinelli. He is lit- tle known as a paintei*, as he devoted himself in the early part of his life entirely to engraving. In 1699 he was employed at Florence, in conjunction with Theodore Ver Cruys, Mogalli, and others, to en- grave the pictures in the gallery of the Grand Duke. [These are sometimes found collected in a single volume under the title of " Gallery of the Grand Duke of Tuscany," of which a set containing 147 subjects, engraved on 167 plates, is described in Bohn's Guinea Catalogue, page 66, as extremely rare.'] His plates are almost entirely etched, of which the following are the principal : St. Anthony of Padua working a Miracle ; after Pa- The Martyrdom of St. Ursula ; after the same, St. John preaching in the Wilderness ; after the savu. The Ascension ; tmer L. Caracci. The Virgin and Child ; after Ag. Ca/racci. St. Dommick taken up into Heaven ; after Guido. St. Philip Neri kneeling before the virgin ; after C, Maratti. St. John, surrounded -with Angels ; after Coreggio. The Annunciation ; after P. Veronese. The Baptism of Chiist ; after the same. The Raising of Lazarus ; after the same. Noah building the Ark ; <^er Giac, Bassano. St. Augustine, with a glory of angels ; after Tintoretto. Joseph sold by his Brethren ; after Andrea del Sarto. Joseph governing Egypt ; after the same. David mth the Head, of Goliah ; after Guercino. Christ, with the Disciples at Emmaus ; after the same. St. Peter delivered from Prison ; after the same. The Holy Women at the Sepulchre ; after P. da Cortona. Venus and Cupid ; after Carlo Cignani. [Nagler gives a list of 76 engravings by him. He died in 1740.] LORENZINI, Lorenzo, a modem Italian en- gi'aver, who flourished about the year 1759. He LORl]. PAINTERS AND ENGRAVERS. [lorh engraved part of the plates from the pictures in the cabinet of the Marquis Gerini. LORICH, or LORCH, Melchior, a German engraver on wood and on copper, bom at Flensburg, in the duchy of Sleswic, in 1527. His wooden cuts are executed in a bold, free style ; and his copper- plates are engraved with great neatness and deli- cacy. His drawing of the figures is tolerably cor- rect. He sometimes signed his prints with his name, and sometimes marked them with the mono- gram ^^p^(j ., with the date. We have the follow- ing by him y COPPER-PLATES. The Portrait of Martin Lutiier; inscribed, Faciebat Flensburg, 1548. The Portrait of Albert Durer. 1550 ; scarce. Aristoteles Stagirites PhUosophus ; with the cipher. 1561. St. Jerome at prayer. 1546. A Woman's Head. 1551. Two Portraits of the Grand Signior and his favourite Sultana ; very scarce. WOODEN CUTS. A Set of Prints of the Habits, Customs, &o. of the Turks ; dated from 1570 to 1581. A Sibyl. 1571. A Woman standing, pressing her breasts, with a variety of animals below, with an inscription at the top, ©ps Satut-ni conjtti queJBlatct Heovum ; dated 1565. A Lady in full dress. 1551. The Deluge ; a large print, in two sheets. [Zani says " Non ha mai inciso in LeynoJ' He places his death in 1586.] LORIONE. This name is affixed to a shght etching of ruins in a landscape, with several figures. It cippears to be the work of a painter. [LORME, or DE L'OEME, A. de, a painter of interiors of churches and other public edifices. His pictm-es are remarkable for the delicacy of the pen- cilling, and the peculiar manner in which the lights are introduced and distributed. Terburg painted the figures of some of them. It is surprising that he is not better known. Zani censures, in very strong terms, an Antonio Delorme, a French designer and engraver of free subjects, who was bom in 1653, and died in 1723. This artist ended his days miserably in prison. The painter was prgbably a native of Holland, or, at all events, a resident there ; as his pictures are representations of the interiors of churches of that coimtry, and the figures in them by known Dutch painters. He flourished about 1660;i LORRAINE, Claude Gelee, called. This ce- I lebrated landscape painter was bom at the village of Chamagne, in Lorraine, in 1600. His parents, who were very poor, put him as an apprentice to a pastry-cook. When nis time was expired, he was engaged by some young artists, who were going to It^y, to accompany them in the capacity of a valet, with whom he travelled to Rome; and soon after his arrival entered the service of Agostino Tassi, a landscape painter, who had studied under Paul Brill. His occupation was to cook for his employer, and to prepare his colours. In that servile situation he had lived some time, wheli he was emboldened to attempt some humble efibrts in design, by imi- ■ tating the works of his master, in which he did not evince much natural disposition, and his progress was difficult and slow. By dint of industry and perseverance, he at length acquired sufficient ability to enable him to subsist on the produce of his la- bour. The love of independence redoubled his 2 E emulation, and his prosecution of his studies was indefatigable. As he was more indebted to an ob- stinate application than to any marked indication of natural genius, he never operated with facility, and he frequently painted his pictures several times over, before he could finish them to his satisfaction. The simple pupil of natm-e, he had no other in- structor, and could derive no assistance from the resources of hterature, as he was so ignorant as scarcely to be able to read of write. By his aston- ishing success, he has proved that a determined re- solution to excel, will generally vanquish every obstacle which circumstances may have placed in the way, although there will always exist a limit, beyond which human intellect cannot extend with- out peculiar natural endowments. Thus, if Claude had attempted historical painting, or even portrait, it is almost certain his utmost assiduity would have been ineflectual, as he never could arrive at a toler- able design of the figure, although he was constant and exemplary in his attendance at the academy, to draw from the model ; and so sensible was he of this deficiency, that, when the figures in his pic- tures were painted by himself, he was accustomed to observe, that " he sold the landscape, and gave away the'figures." They are frequently introduced by Filippo Lauri or Com-tois. His studies were made on the banks of the Tiber, or from the splen- did prospects of the Campagna. From morning till night he was seen in the fields, contemplating, with an attentive eye, the effects produced by the sun at the different hours of the day, and the va- poury veil which air and distance throw over the various objects as they recede from the sight. These were stamped so precisely on his remembranfee, that he could from memory trace them on his canvass, with a fidelity that is unexampled. His scenery is not, however, always rigidly copied from nature, it is more frequently the ideal produce of his creation, or composed from the most picturesque materials, put together with consummate art, and the most polished taste. His landscapes do not, like those of the Dutch painters, exhibit the cold portraiture of a prescribed portion of a country ; he soars above the servile representation of ordinary nature, and trans- ports his spectators into the regions of poetry and enchantment. In this point of view, Claude will ever be regarded as the first of landscape painters ; . and it will not be disputed, that his compositions are the richest and most studied of all those who have excelled in that branch of art. The landscapes of Gaspar Poussin, or Salvator Rosa, engage little of our time and contemplation, to run over 5ie scanty confines of their" scenery, compared with the au- gust and boundless expanses of Claude. He pre- sents to the beholder such an infinity of objects, and conveys him over such a " variety of hill and dale, and misty mountains," thaf the eye may be said to be constrained, as it wanders, to repose it- self on the way. The superb temples, the lofty architecture, with which he embellished his com- positions; his ample lakes, peopled with aquatic bu'ds ; the glittering lustre of his skies ; the di- versity of his foliage, strictly suited to each plant or tree ; every object is stamped with the genuine feature of selected nature. In his pictures of morn- ing, the rising sun dissipates the dews, and the fields and verdure brighten at the approach of day ; his evening skies expand a glowing splendour over the horizon ; vegetation, oppressed by a sultry aridity, sinks under the burning heat of the sun. It is thus that Claude, with an unexampled felicity, represents 417 lorr] A DICTIONARY OF [lorr the vicissitudes of air and atmosphere, in which he may be said to dispute ihe veracity with nature her- self. His marines, and magnificent sea-ports, con- tend for the superiority with his inimitable land- scapes, in the purity and freshness of the air, -and the gently undulating swell of the water, sparkling with the lucid reflection of a clear and brilliant sun- shine. England has long possessed many of his most accomplished works, and since the acquisition of his celebrated pictures, formerly in the Altieri palace at Rome, and in the collection of the Duke de Bouillon at Paris, it may be confidently asserted, that we possess more of his capital works than the rest of Europe. He was accustomed to preserve in a book the drawings of the diflferent subjects he painted, for the purpose of ascertaining the pic- tures he had painted for those by whom he was commissioned, and of detecting the impositions of his contemporaries, by whom his works were copied or imitated. Of these registers, which he called' his Libri di Veritd, six remained at his death. One of them, containing two hundred drawings, is in the possession of the Duke of Devonshire. They have been admirably engraved in the style of the originals, by Mr. Earlom. Some of his principal pictures have been engraved by WooUet, Vivares, &c. We have several etchings of landscapes and sea^ports by Claude, amounting to about twenty- eight. They are spiritedly, though not dexterously, executed, with great intelligence of the chiaro- scuro, and of an admirable efiect. He died in 1682. [The following account of the Life of Claude Gel- lee, called Lorraine, with some observations on his works, prefixed to the list of his pictures in Smith's Catalogue raisonnS, will present the reader with more satisfactory details than are contained in the foregoing ; and it is hoped will correct the absurd traditional error respecting Claude having been brought up a pastry-cook, and other inaccuracies.] " Upwards of two centmies have elapsed since the birth of this enchanting painter, and during this long period, no successful rival has appeared to compete for the wreath of fame, he therefore stands alone pre-eminent in excellence, the admired of all beholders. A reputation so based, and so universal, can receive no augmentation from the encomiums of viriters, and all that their pen can oflFer in the cause of such high merit, is a faithful record of the works which have so raised the artist, and thereby render still more durable his well-deserved fame. " This illustrious painter was born in the obscure town of Chamagne, situate in the diocese of Toul in Lorraine, in the year 1600. His parents, Giovanni Gellee and Anna Podosa, had several children, of whom, according to Baldinucci, Claude was the third of five sons. Of the nature of their occupa- tion and situation in life, no mention is made ; but from the events which attended their decease, it is reasonable to conclude, that their circumstances were narrow and humble. Claude, who had only just attained his twelfth year when this calamity occurred, was under the necessity of exerting him- self for his own support. Driven at this early age from his natal abode, he travelled alone and on foot to Fribourg, in order to seek the protection of his eldest brother, who was a carver or engraver in wood. Here he found a refuge, and here he first be- came acquainted with the pencil ; it was here also that, while tracing the forms of arabesque and other ornaments, preparatory to initiation to his brother's business, the latent seeds of genius began to ger- 418 minate, and he soon evinced the most decided proofs of taste for a pursuit, which he afterwards carried to such high perfection. How long he remained undei- the limited instruction of his brother is uncertain, perhaps not many months; but his continuance there was broken off by the arrival of a relation, a dealer in lace, and then on his journey through Fribourg to Rome. Possibly this person had some knowledge of art, and was consequently induced, by the promising productions of the young artist, to take charge of him, vn\h a view of placing him under a suitable master, in the capital to which he was going. He, however, no sooner arrived at Rome with his charge, than some unforeseen event com- pelled him to quit with such haste, that he had no time to make any provision for his young relative ; and the youth was again thrown on his own re- sources, with little money in his pocket, and neither a friend or a guide to direct him; in a strange city, and far from all his relations. In this forlorn situa- tion, his courage never forsook him ; but stimu- lated by a growing attachment to his profession, he applied himself with unremitting diligence, until, by dint of studying and copying such works as he could obtain, he acquired a considerable knowledge of the rudiments of the art. While thus engaged, he accidentally saw, at one of the periodical fairs, some pictures of architectural views by Godfrey Waal, which had been sent from Naples for sale : these so won his admiration, that he at once deter- mined, if possible, to place himself under the tuition of that master, for he had hitherto seen nothing in art which so well accorded vvrith his taste. Thus resolved, he waited with anxious impatience for the promised remittance from his relation ; but, instead of the expected help, a letter arrived which gave him the mortifying intelligence, that, in conse- quence of heavy losses, sustained by the conquests and pillages of the Swedish armies, it was not in his power to afibrd him any further assistance. Not- withstanding this untoward event, Claude departed for Naples, animated with zeal, and fully determined to triumph over every difficulty. On this occasion fortune favoured him, for, on making himself known to Waal, (perhaps by the relation of a simple, imaf- fected tale, expressive of his attachment to the art, and admiration of his style, accompanied by an earnest look of entreaty,) he woh the good will of the painter, who kindly acquiesced in his request, and instantly received him into his academy, with this master he is supposed to have remained about two years, during which time, by a close application to his studies, he became proficient in architectural painting, and the science of perspective, which he subsequently used to such advantage in his beauti- ful landscape scenery. His urbane and obliging behaviour gained him the esteem and respect of his instructor, who, in return, took every occasion to promote the advancement of his pupil. " Claude now felt that this class of art, however well performed, was only a part, or adjunct to the lovely scenery around him, whose wide expanse and various beauties daily attracted hite admiration ; he now sighed for the power to represent in painting that which gave siich intense pleasure to his eye. In order to accomplish these enlarged conceptions, he became sensible that some instruction in land- scape painting would shorten the path to its attain- ment. Having accidentally learnt that Agostino Tassi had just arrived at Rome, he became instantly desirous of placing himself under that master, and lost no time in communicating his wishes on the lorr] PAINTERS AND ENGRAVERS. [lor 11 subject to Waal. The favourable impression which Claude first made on his master, had, by his subse- quent conduct, ripened into friendship ; and it was, therefore, with regret, that Waal learnt the intention of his pupil, and with reluctance that he sufl'ered him to depart. Although not stated by biographers, it is more than probable that he was furnished with letters of introduction to Tassi, as, on his arrival at Rome, he was most kindly received by the painter, and readily admitted into his studio. There was evidently something in the character and manners of Claude, which recommended him to the friend- ship and esteem of those with whom he became ac- quainted, and, in the present instance, Tassi soon added to the benefit of instruction, the generous oiFer of board and lodging in his house, and he henceforward became his familiar companion. Un- der such a master, combined with other advantages, the zeal and assiduity of the scholar were propor- tionately incited to exertion ; the result was, that he successfully imbibed the style and principles incul- cated, and therefore his early productions, both in composition, execution, and efiect, bear a close affinity to those by Tassi. " The happy change which he had for some time past experienced in his affairs, together with his success in his profession, made a deep impression on his mind, and under the influence of a grateful feel- ing for these benefits, he quitted Rome about the year 1625, in order to perform a pilgrimage to the Holy Virgin of Loretto, where he remained some days engaged in devotional meditation. From thence he departed on a tour through Italy, traversing Romagnia, Lombardy, and on to Venice : here he is supposed to have remained some time, engaged in the pursuit of his profession; for there were then living at Venice many wealthy individuals of taste, who encouraged extensively the arts ; there was also a school of painting to engage his leisure hours ; and, lastly, the numerous beautiful palaces that might have occasionally occupied his pencil. About this period some occurrence induced him to change his original intention of returning to Rome, and, on quitting Venice, he bent his course towards his na- tive country, taking a circuitous route, by the way of Germany, in order to see and study the beautiful scenery of the Tyrol, and other places of pictm-esque interest, in that direction. This journey was, how- ever, far from being propitious, as, in addition to his being taken ill on the road, he was robbed of the little property he had, while confined to his bed ; and after much delay he arrived, wearied and dis- couraged, at Lorraine, where he remained but a short time, and then went on to Nantes. During his residence in the latter city, he received a visit from a relation, who was also an artist, and at that time extensively engaged for the Duke de Lorraine. This person no sooner learnt that Claude was also a painter, and saw some of his productions, than he invited him to his house, and made him advan- tageous' offers, to induce him to assist in a work he had undertaken. Claude, with some difficulty, and under certain conditions,* accepted his propositions. * "Baldinucci gives rather a different Tersion to this statement ; for he says that ' Claude's relation introduced him to one Carlo Derwent, painter to the Duo de Lorraine, and Knight of Portugal : with this person he entered into an engagement, the conditions of which were that he should be employed to paint the figures in the several pictures, as he was anxious to improve mmself in that department of the art ; but long before the year was elapsed, he was compelled to paint the architectural portions of the decorations.' " 2 E 2 and remained with him above a year, working con- jointly with his relation on several pictures, most of which were of a colossal size, and done expressly to decorate the church of the Carmelites. The archi- tectural and landscape portions of these works were by Claude. " Claude at length grew weary of this most un- profitable employment, and resolved to seize the first opportunity to put an end to an engagement which offered so little scope to his genius, and be- came increasingly humiliating to his feelings. He recollected with pleasure the beautifiil scenes he had quitted, and sighed to return to the soil so sacred and genial to art. His relation in vain en- deavoured to dissuade him from these intentions, both by entreaty and tempting offers, but his mind was fixed on going, and each day's delay served only to augment his impatience. This resolution was somewhat hastened by an event which was near being attended with fatal consequences. Claude^ while closely engaged with his relation on a scaffold, completing some work preparatory to his leaving, the erection suddenly gave way, and precipitated them both to the ground ; and although they escaped any serious injury, yet the effect from flight acted so strongly on his nerves that he fainted, and on re- covering, the impression on his mind of its being an evil omen was so strong, that from that moment he abandoned his work, his relation, and his country. "He chose the route of Italy, by the way of Lyons, where, during a delay of a few days, he formed an acquaintance with some brother artists, who accompanied him to Marseilles : here his pro- gress was impeded by a severe and dangerous fever, which, for some time, threatened his life. While thus suffering, some villain stole his box, containing the little money he had provided for his journey. This loss, like the former robbery, v/as so gi'eatly counterbalanced by returning health, that the only regret he expressed was, the delay it would occasion in his return to Italy. Such, indeed, was the buoy- ancy of his spirits on the occasion, that he jestingly held up to his friends the only piece of money he had left, and good-humouredly observed, " this also shall go," and the same evening spent it gaily amongst his companions. This act of defiance to fortune has been practised by many, who, like Claude, were confident of their powers ; and under this conviction, he rose early the following morning, and having learnt that there resided at Marseilles a wealthy merchant, who had the reputation of being a pati-on of the arts, he waited on him, and had the good fortune to obtain a commission to paint two pictures. These, when finished, gave so much plea- sure to the amateur, that he instantly gave him an order for two more ; this favour the artist civilly de- clined, alleging his anxious wish to depart for Italy. He accordingly embarked in the first vessel sailing for an Italian port. Here again he was doomed to experience the inconstancy of fortune, for during the voyage they were overtaken by a violent tem- pest, and every one on board, for some time, de- spaired of life ; the ship, however, weathered the storm, and, after much delay, reached in safety her destination. " Claude arrived at Rome on the day of the Feast of St. Luke, 1627, after an absence of upwards of two years. His first object was to establish himself in a suitable residence, and to prepare every thing necessary in furtherance of his profession. The news of his return rapidly spread among his friends and the amateurs of the art, and as he had pre- 419 lorr] A DICTIONARY OF [lorr viously left a favourable impression of his talents, he very soon had abundant employment for his pencil. Oiie of his earliest patrons was the Cardinal Bentivoglio, for whom he painted two pictures; these so delighted his Eminence, that he showed them to the pope,* who commended them exceed- ingly, and desired to see the artist. The interview was highly flattering to Claude, and ended with an order to paint four pictures, representing the follow- ing scenes : a View of the Port of Marinella, on the coast of Tirreno ; a Sea-port, embellished with noble edifices and numerous vessels; a Pastoral Scene ; and an Arcadian Landscape, with Nymphs and Satyrs dancing. The production of these pic- tures established the reputation of the artist; for although he was little more than thirty years of age, yet they exhibited all the skill and science of an experienced master, and his works after this period rose exceedingly in public estimation. About this time he was employed by the Cardinal Crescenzi to decorate the rotunda of his palace : he was, also, similarly engaged in the Muti of the Holy Apostles, and of the Medici alia Trinita de' Monti. These were succeeded by the following engagements : the Duke of Bracciano, the Duke de Bouulon, and the Prince de Leancour, for each a picture ; the Signor de Bourlemont and the Cardinal Mellini, for each five pictures; for the Cardinal Giori, seven; the Constable of Colonna, eight ; for Prince Paul Fal- conieri he painted four; and a like number for Count Valdestain and the Prince Pamphili. He also painted, by order of Pope Alexander, for the Ghigi family, several excellent pictures, two of which are distinguished by the Rape of Europa, and a Battle on a Bridge. The fame of Claude now extended into every quarter of Europe, and com- missions from the most distinguished persons, and also amateurs, poured in,' much beyond his abilities to supply them. A reference to the LU>er Veritatis shows that his orders were not confined to Milan, Parma, Lombardy, and Venice, but extended also to Paris, Lyons, Marseilles, Montpellier, Avignon, and Madrid. He painted eight pictures for the king of Spain, embellished with subjects taken from the Old and New Testament. He also executed two pictures for an amateur at Antwerp, and a like number for a gentleman at Amsterdam. " Among the many pictures which emanated from his pencil, Pascoli mentions one in particular, re- presenting a woody scene, which he painted -mth extraordinary care, from the choicest groups of trees in the neighbourhood of the Madama Villa and Mount Marius. This he! constantly placed near his easel, as a model to work from. This beautiful study so delighted the pope, that he re- peatedly offered to cover it twice over with gold, if the artist would part with it ; but such was its value and importance to the painter, that he respectfully declined to do so on any terms, alleging that such a picture was not only indispensably necessary as a model to govern his own eye, but would be still more needful should he leave behind him any un- finished works. This apprehension was not with- out reason, for towards the middle of his life he was troubled with symptoms of the gout; as he ad- vanced in years this painful disorder iflcreased in violence, and at times rendered him incapable of pursuing his profession. Notwithstanding these severe visitations, his patience and good humour never forsook him, and at intervals of relief from 420 * Urban VIII. pain, if unable to paint, his greatest pleasure was in conversing on the subject of his profession, and freely communicating his opinions on the principles and practical department of painting. On such occasions he would illustrate his observations by apposite allusions to certain of his productions, one of which was generally the woody scene above noticed ; and another was Queen Esther, with her maidens, approaching the palace of Ahasuerus. When surrounded by his particular Mends, he took great delight in recounting the events of his youth, the struggles and privations endured in his boyhood, and the difficulties and dangers he had experienced in his maturer years ; he would dilate on the tricks which had been imposed on him, and the insidious snares he had escaped. Some, who had pretended to be his friends, would often visit him while paint- ing, with a view of borrowing his ideas and com- positions ; they would afterwards imitate his works, and then sell them secretly under his name : thus they deceived the amateur, and robbed him of his reputation. " In order to prevent a practice so injurious to himself and others, he determined in future to make dravidngs of every picture he painted, and to record on them the names of the persons for whom they were done, and the' places to which they were sentf This precaution was still further rendered necessary by the frequent applications from persons possessing spurious pictures, which they continually sent him to be identified, having purchased them as his pro- ductions. The enemies of his fame and prosperity, being thus checked, and their designs frustrated, spread a report that he now rarely wrought with his own hands, but employed a clever youth of the name of Giovanni Domenico, a cripple, whom he had compassionately taken into his service to grind his colours, and attend upon him while painting. His ene- mies, at length, carried their malice so far as to suborn this servant, who, instead of requiting a kind master with gratitude, lent himself to their machinations, assumed an air of importance, and demanded pay- ment of a suitable salary for the thirty years he had been with him, not as a servant, but in the capacity of an assistant. " Claude, who had throughout a long life scrupu- lously avoided every kind of Utigation, and patiently submitted to many provocations, determined, in the present instance, in order to avoid the trouble and vexation of a process at law, to comply with the unjust claim of the ungrateful domestic, and he therefore paid him his demand. This event, to- gether with others of a trivial nature, tended greatly to disturb the calm and peaceful disposition of the artist, and embittered many hours of his latter days : the gout also, which had been an occasional visitor for nearly forty years, now increased in virulence, and, although at intervals he continued to paint, even to a very late period of his life,J; he at length _ t " This curious compilation, known under the appella- tion of the Liber Veritatis^ consists of two hundred draw- ings, done in bistre, occasionally heightened with white. After the decease of the artist, they became the property of his heirs, and were sold by one of his nephews, for two hun- dred scudi, to a Frenchman, who took them to Paris, and offered them to the king ; the purchase being declined, they were shortly after bought by the late Duke of Devonshire, and they now adorn the magnificent mansion of his Grace at Chatsworth. Richard Earlom has most admirably imi- tated them in mezzotinto." J "The dates on pictures show that, notwithstanding his infirmity, he painted a great number between the years 1670 and 1680." lokr] PAINTERS AND ENGRAVERS. [lote sunk under a severe attack of this disease, attended with acute fever, and died on the 21st of Novem- ber, 1682. " Claude added to a kind and amiaUe disposition, an unimpeachable moral character, and this feeling he extended even to the subjects which embelUsh his pictures. "He was a well-proportioned person, about five feet eight inches nigh, with a strongly-featm-ed countenance, a promment nose, a higli forehead, black eyes and hair, with whiskers of a similar co- lour. His expression was grave, tending to severity. "It might be supposed, from the liberal en- courageinent he experienced in his profession, that -he would have left considerable wealth to his suc- cessors : this, however, was not the case, for the sum total of his property did not exceed 10,000 seudi; and this, together vntii the whole of his effects, he bequeathed equally to three of his ne- phews, for whom, as well as other relations, he had ever shown a warm regard. To this feeling of af- fection towards his necessitous relations may be at- tributed the smallness of the residue of his property. " A very brief knowledge of the works of Claude Itorraine must convince the amateur, that the super- lative beauty and excellence which most of them exhibit, could only have been the result of the most indefatigable study, governed by great taste and genius ; for, however admirably they represent na- ture, it is a question whether any picture by his hand was a faithful transcript of the scene from whence it was taken. His works may therefore be considered combinations of beautiful objects, bor- rowed from the inexhaustible source of nature, and exhibited under the most lovely forms and alluring medium.* If the scene represents the early morn- ing, when ' Aurora with her rosy fingers unbars the gates of day,' the hemisphere is suffused with light and heat, and all nature visibly feels their influence ; the mists are seen dispersing, and the cooling fresh- ness of the dawn of day is yielding to the absorb- ing rays of the rising luminary ; the soft zephyrs apjjear to agitate in gentle ripples the surface of the lucid streams, and to breathe in whispers among the foliage of the surrounding groves. Either the shepherd is there seen leading his flocks and herds to pasture, or the goddess Diana, with her attend- ants, sallying forth to the chace. Every period of the day, with all its elemental vicissitudes, has been successfully embodied by his magic pencil, and even the gorgeous splendom- of a summer's evening, with all its dazzhng brightness, was not beyond the reach of his master-hand. "Architecture appears to have been, from an early period of his life, a favourite branch of the art ; for this, he evidently possessed a refined taste and a ready invention, and he lost few opportunities of showing his predilection for such objects whenever his scenes permitted it. Palaces, temples, and other noble edifices, or the rained remains of such struc- tures of Greek or Roman origin, are appropriately introduced, whether the picture exhibit sea-ports or inland scenes, and these are composed virith so much skill and apparent propriety, that it is easy to imagine they once had an existence at some glorious era of- the Greek or Roman states. This illusion is still fiirther heightened by the representation of * "Sir Joshua Eeynolds, in his Discourses, observes, that Claude Lorraine ' was convinced, that tajung nature as he found it seldom produced beauty. His pictures are a composition of the various drafts which he had previously made from various beautiful scenes and prospects.' " some event from sacred or profane history, poetry, or romance, which accords (with some few excep- tions) with the style of the buildings and the nature of the scenes depicted. " Claude is reported to have taken much pains, by frequenting the academy, in order to acquire a cor- rect knowledge of the drawing of the human figure ; but although he succeeded sufficiently well not to offend the eye, even of the critic, he was so sensible of his defect, that he would sometimes jocosely say, that he sold the landscapes and gave his figures into the bargain. His deficiency in this department was sometimes supplied by Filippo Lauri, Courtois, or Jan Miel. " The pictures by Claude bear visible evidence that they are the result of much thought, delibera- tion, and cultivated taste. In their execution, both patience and elaborate care are equally manifest. His best works are painted throughout with a full body of colour, and a liberal use of ultra-marine. He appears to have commenced his operations en- tirely in grey, in which that valuable colour is freely used ; so that when the super colours in the comple- tion of the work are apphed, the silvery hues be- neath contribute greatly to the atmospheric effect, which constitutes one of the chief charms in his pictures. It is also worthy of notice, that the same careful attention to the details is as observable in the half tones, shadows, and distances, as in the more prominent and luminous parts. Above all, the high quality of his genius is best discovered, in the selecting of objects of the most pleasing forms, tastefully grouping them together, so as to produce, by the various combinations, a scene replete with the most enchanting beauties. Such are the pro- ductions of this inimitable artist." [In Smith's Catalogue raisonne, part viii., will be found a descriptive account of upwards of 400 of Claude's landscapes ; their sizes ; the prices at which they have sold in various sales ; the names of those who formerly had them in their collections, and of the present possessors. — These and many other particulars relating to the works of this Prince of Landscape Painters, there recorded, will be found the best history the amateur can have re- course to for information on the subject.] LORRAINE, John Baptista, a French en- graver, mentioned by Basan, who lived about the year 1760, and engraved some plates of portraits, and other subjects. LORRAINE, Louis Joseph de, a French paint- er and engraver, born at Paris in 1715. He was a scholar of Dumont. He went to Petersburg, where he chiefly distinguished himself as a painter of the- atrical decorations. He engi'aved some prints from his own designs, and the following after J. F. de Troy. The Judgment of Solomon. Solomon sacrificing to the Idols- Esther before Ahasuerus. The Death of Cleopatra. LOTEN, John. This artist was a native of Holland, but he came to England in the reign of Charles II., where he resided several years, and died in London about the year 1680. He painted landscapes, and particularly excelled in represent- ing dark oaken groves and glades, land-storms, and waterfalls. He was generally very cold in his colouring, and his landscapes are for the most part too dark. But he was well acquainted with the principles of the chiaro-scuro ; and there is a gloomy grandeur in his pictures, which interests the specta- 421 LOTI] A DICTIONARY OF [lout tor. They are usually of a large size, and are painted in a free, bold style. [It is uncertain whether he was a native of Holland or Switzerland, or whether he was baptized John or Jaxioh : in Eng- land he has always been called John. His style of painting is correctly described in the text. He is quite original ; his scenery is English, and his pic- tures would be entitled to a high rank, if it were not for the faults above noticed. Time has increased the bad effect. It is generally believed that he died in 1681.] LOTI, or LOTH, Giovanni Carlo. This paint- er was born at Munich in 1632. Zanetti states him to have been a scholar of Michael Angelo Caravag- gio, who died before he was born. He appears, however, to have formed his style by studying the works of that master, to which they bear a similar character, of a vigorous colour, and a striking con- trast of light and shadow. He studied some time at Venice, under Cavaliere Pietro Liberi ; but in- stead of following the cheerful and agreeable style of that painter, he aimed at the robust and effective manner of Guercino. He was invited to Vienna, where he painted several historical subjects for the imperial collection. He painted some altar-pieces for the churches at Venice, of which one of the most admired is the Death of St. Joseph, in the church of St. Chrysostom, a grand composition, and finely coloured, though rather dark in the shadows. Lanzi mentions his picture of the Death of Abel, in the Florentine gallery, as one of his best perform- ances. He died in 1698. [Balkema places his birth in 1611 ; in which he is not supported by any writer of authority.] LOTTO, Lorenzo. This painter was born at Bergamo about the year 1490, and, according to Tassi, was instructed in the rudiments of the art by Andrea Previtali at Bergamo, and afterwards studied at Venice, under Giovanni Bellini. On leaving the school of that master, the grander prin- ciples of Giorgione, and the harmony of his colour- ing, attracted his admiration, and he became the professed imitator of his style. Less resolute in his touch, and less glowing in his tones, he equals him in the truth of his carnations, the copious cast of his drapery, and perhaps surpasses him in the choice and elegance of his forms, and in the beauty and expression of his heads. ' His principal works are at Bergamo, Venice, and Recanati. Ridolfi particularly applauds his celebrated picture in the church of St. Bartholomew at Bergamo, which he distinguishes by the title of Maravigliosa. It re- presents the Virgin and Infant, with St. Stephen, St. Sebastian, and St. Dominick. In S. Spirito is another admired picture by Lorenzo Lotto, repre- senting the Madonna and Bambino, with St. John embracing a Lamb, designed vrith such simplicity and grace, that, Lanzi observes, would not have been greatly surpassed by Raffaelle or Coreggio. He died old at Loretto in 1560. [Lorenzo Lotto varied his manner according to the master under whom he studied, or whose works he admired. " These different influences appear in the different pictures of the artist. Thus one in the Museum at Naples, inscribed with his name, is in the style of Bellini's school ; another in the Pitti palace inclines to the Milanese, (L. da Vinci,) and others to the Ve- netian manner." — Kiigler.'] [LOTYN, Jean, a native of Brussels, was a flower painter employed a long time by Queen Mary of England, after whose death he returned to his native citv, where he died.] 422 LOUTHERBOURG, Philip James de. This ingenious artist was born at Strasburg about the year 1734. He was the son of a miniature painter, who afterwards established himself at Paris, where his son was placed under the tuition of Francesco Casanova, and on leaving the school of that master became a very popular painter of battles, huntings, sea-pieces, and landscapes, with figures and cattle, in which last he at that time appears to have imitated the charming style of Nicholas Berghem. His works were universally admired, and in 1763 he was made a member of the Academy of Painting at Paris. Though he met with very flattering en- couragement, ne soon afterwards quitted France, and settled in London, where he passed the remain- der of his life. Soon after his arrival in England he- was employed to make the designs for the scenes and decorations of Drury Lane Theatre, and in that province of the art he discovered extraordinary ability for several years. Besides a great variety of easel pictures, which were generally esteemed, Mr. de Loutherbourg oc- casionally employed his talents on a larger scale, in commemoration of the most remarkable events of the time, and of the achievements of British valour. Among these, perhaps the most popular were hjs pictures of the Review of Warley Camp, now in the King's collection. Lord Howe's Victory of the First of June, and the Siege of Valenciennes. When Mr. Macklin projected his publication of the Bible, Mr. de Loutherbourg was engaged to ex- ercise his powers as an historical painter ; on which occasion he painted two pictures, representing the Angel destroying the Assyrian Host, and the Uni- versal Deluge ; the latter was considered as his best performance in that department. As an artist, Mr. de Loutherbourg exhibits an uncommon example of the possession of facul- ties directly opposed to each other. In his land- scapes, and indeed in his performances in general, he is not less remarkable for the most admirable dexterity of hand, and the most captivating facihty of pencil, than for a seductive, though a meretri- cious gaudiness in his colouring, which is too fre- quently in opposition to the chaste and sober tinting of nature. The readiness with which he composed and executed his pictures could scarcely fail of be- traying him into the foibles of a mannerist. Indi- vidual parts of his pictures are frequently un- commonly fine ; but, either from an inattention to or an ignorance of the best principles of the chiaro- scuro, there is often a want of generality in the effect, which is frequently scattered and fluttering, and we look in vain for that tempered harmony in the whole, which distinguishes tne most admired productions of the art. Mr. de Loutherbourg was a member of the Royal Academy of London, and resided the latter part of his life at Chiswick, where he died, in I8I2. [With regard to the year of Loutherbourg's birth the reader will have ample room for choice. Five different writers have given five different dates ; they are as follow: 1728, 1730, 1734, 1740, 1741. As Loutherbourg, like his friend Cos way, was a beUever in Judicial Astrology, he may have varied the date of his birth from time to time to suit his whimsical speculations. His works are generally known by the gaudiness of their tints ; but some of his sea-coast scenes are excellent. It may be of ser- vice to amateurs to inform them that there are many of his subjects multiplied by a body of artists, who associated some years back for the purpose of im- LOUV] PAINTERS AND ENGRAVERS. [luca posing on the public a spurious article called Poly- graphzc Painting. These pictures, with a little assistance from other knaves, pass with the igno- rant for originals. He also published some aqua- tinted etchings of soldiers, marine subjects, and landscapes ; among the last. The Pour Times of the Day, the paintings of which were also Polygraphed.'] L0U"V1;MENT, Francis DE,.a French engraver, who flourished about the year 1680. He is said by Florent le Comte to have resided some time in Italy, at the time when Francis de Poilly studied at Naples. He engraved several plates after the Italian masters ; among which are the foEowing : The Stoning of Stephen ; after P. da Cortona. St. Fitincis Xavier interceding for the Persons afflicted with the Plague ; after Giro Ferri. He also engraved from Lanfranco, Solimeni, and others. LOUYS, or LOYS, John, a Flemish engraver, born at Antwerp about the year 1600. He was a pupU of Peter Soutman, at the time when Suyder- hoef studied under that master. His style resembles that of his instructor, and is chiefly dotted in the carnations. The following are his principal prints : PORTRAITS. Philip the Good, Diike of Burgundy. Louis XIII., King of Fiance ; after Rubens. Anne of Austria, his Queen ; after the same. Philip IV., King of Spain ; after the same. .!Ehzaheth of Bourhon, his Queen ; after the same. Francis Thomas of Savoy, Prince of Carignan ; after Vandyck. SUBJECTS AFTER VARIOUS MASTERS. The Kesurrection of Lazarus ; a fine copy, fromtheprint by J. Lievens. Diana and her Nymphs reposing after the Chace ; after Rvbens. The Interior of a Dutch Kitchen ; after Ostade. Peasants amusing themselves ; aftxr A. Both. A Dutdi Kitchen ; after W. Kalft [LOWRY, Wilson, a very eminent English en- graver, so excellent in the department he pursued, that the mechanical perfection to which he carried the art excited general admiration. He was an ap- prentice to John Browne the landscape engraver, and first began in that line, though few of the plates bear his name, having been executed for other artists, whose fame they contributed to exalt. He engraved most of the plates on mechanical sub- jects in Rees's Cyclopaedia, Crabbe's Technological Dictionary, the Philosophical Magazine, and other ^ works of a lilce kind. His mathematical knowledge ' of drawing, his deep researches in the laws of mechanics, his extensive acquaintance with physics and the general properties of matter and form, com- bined with the correctness of an eye that never erred, and a hand that could not deviate, highly qualified him for such works. Some of the finest specimens of his abilities, as an architectural en- graver, are to be found in the plates of Murphy's Satalha, Nicholson's Architecture, the print of the House of Commons at Dublin, and Gandon's de- signs. This estimable man died in 1824, leaving a son and daughter, inheritors of his talents, whose highest praise will be, when their names are record- ed in some future Dictionary, that they sustained the honour devolved on them from such a father.] LOYER, . This artist was a native of France, and flourished about the year 1760. Among other prints, he engraved some plates of architectural subjects from the designs of Bumont ; [also after Marieschi, Bernini, and others.] LUBIENETSKI, Theodore, a Polish painter and engraver, born at Cracow in 1653. He was instructed in design by Jurian Stur, a painter of Hamburg; from thence he went to Amsterdam, where he became a scholar of Gerard Lairesse. On leaving that master he went to Italy, and resided some time at Florence, where he was particularly patronized by the Grand Duke. On his return to Germany he was invited to the court of Berlin, and was- made painter to the Elector of Brandenburg, and director of the Academy. He painted history and landscapes in the style of Lairesse. He etched a set of six grand landscapes and figures, inscribed Th. de LuUenetzki, fecit. 1698. He died in 1716. [Zani says he died in 1720.] LUBIENETSKI, Christopher, was the young- er brother of the preceding artist, born at Stettin in 1559. After receiving some instruction in design, with his brother, from' J. Stur, he accompanied Theodore to Amsterdam, where he entered the school of Adrian de Backer, and followed the style of that master, both in history and portraits. In I7O6, he returned to Poland, where he died about the year 1719. [Fiissh says he died in 1729 ; Zani, in 1731.] LUBIN, James, [or Jacques,] a French engraver, bom at Paris in 1637. From the resemblance his style bears to that of Gerard Edelinck, he is sup- posed to have been a pupil of that able artist. Though very inferior to his instructor, his prints possess considerable merit. We have, among others, the following by him : PORTRAITS. Armand John du Plessis, Cardinal de HichUeu. John Peter Camns, Bishop of Belley. John Papire Masson, celebrated advocate. Vincent yoiture, of the French Academy. Peter Comeille, Dramatic Poet. Olivier Patru, of the French Academy. Eobert Arnauld D'Andilly. John Baptist Colbert, Minister of State. [And many others ; particularly 38 portraits in Perrault's " Hommes illus<3:es de Prance."] SUBJECT. The Entombing of Christ ; after Le Siieur, [The exact time of his death is not known, but he was living in 1694] LUCAS, of Letden. See Letden. LUCAS, a French engraver, who flourished about the year 1700. He engraved, in a very neat style, 'several plates' of architecture, for the collec- tion of Views of Versailles, published by P. Menant. He had a son who engraved, but his prints are not specified. [LUCASZ, Pierre Franqois, born at Malines in 1606, was a scholar of Gerard Seghers; he painted landscapes ornamented with small figures, which he designed and touched with great superior- ity. He was patronized by the Arch-duke Leopold, for whom he painted a great number of pictures. He died in 1654. The portrait of Phiderpe, a Flem- ish sculptor, in the Museum at Brussels, is by him.] LUCATELI, or LOCATELLI, Pietro. This painter was a native of Rome, and was a disciple of Pietro da Cortona. He painted history, and, ac- cording to Orlandi, was employed for some of the Eublic edifices at Rome; particularly the church of t. Agostino, and the CoUegio Fuccioh. He flour- ished about the year 1690, in which he was received into the Academy of St. Luke. [He was born in 1660, and died in 1741.] [LUCATELLI, or LOCATELLI, Andrea, a Roman landscape painter, whose pictures are ana- logous to those of Onizonte, flourished at the same 423 LUCC] A DICTIONARY OF [llin period as that artist, and occasionally worked in conjunction with him, and with Marco Ricci, and Paolo Pannini. This circumstance is mentioned in consequence of the confused accounts that are given by different writers respecting the dates of his birth and death. Both are confounded with those of Pietro ZucateUi. The date of his birth, 1 696, as given by Zani, appears to be too late, as it is certain he painted with the above-named artists, and that of 1660 would be the likely period if it were not assigned to Pietro ; and also the time of his death, 1741, which is given to that artist also. It is, however, likely that Pietro and Andrea mean one and the sanie painter. Lanzi says, " Andrea Lucatelli, a Roman, whose talents are highly cele- brated in every inferior branch of the art. In the archbishop's gallery at Milan are a number of his pictures, historical, architectural, and landscapes. In these he often appears original in composition, and in the disposition of the masses ; he is varied in his touch, delicate in his colouring, and elegant in his figures, which he was also accustomed to paint in the Flemish style, separate from his land- scapes." He then mentions other painters of that period (1686 — 1690) then at Rome ; among them Peter van Bloemen, the brother of Orrizonte, who painted battles and what are called Bambocciate ; and says, " in Rome, and throughout the ecclesias- tical state, we find many pictures of this sort by that Lucatelli who has been mentioned among the land- scape painters. The connoisseurs attribute to him two different manners ; the first good, the second still better, and exhibiting great taste, both in colouring and invention." Many of his land- scapes are in England ; they are considered of the decorative class, blending the manners of Fran- cesco Mola, occasionally, with that of Van Bloemen, called Orrizonte ; with less of depth than the for- mer, and more of freedom than the latter. They represent Arcadian scenes, and are, sometimes, very beautiful. They do not obtain high prices in commerce, but they deserve to be better appre- ciated, especially those on which he has bestowed care in the finishing.] LUCCHESE, II. See Ricchi. [LUCENA, D. Diego de, of an illustrious family of Andalusia, was a scholar of Velasquez, and imitated that master in his portraits, both large and small ; he acquired great credit for that of the poet Pantaleon, who repaid him with a sonnet. He died youns in 1650.] LUCENSfS, or LUCCHESE, Michael, an Italian engraver and printseller, who resided at Rome about the year 1550. He engraved some prints, after Michael Angela, Raffaelle, and PoUdoro di Caravaggio, which he usually marked with the monogram ^vrP- LUCHESINO. See Testa. LUCINI, Antonio Francesco, a Florentine engraver, who flourished about the year 1646. He was a contemporary of Stephen della Bella, and en- graved some plates in the style of that master, and copied some of his prints. He usually marked his plates with the cipher .3''LF. We have by him, among others, a copy of della Bella's print of the Festival on the Arno. LUGRENCELIS. This name is affixed to a bold, spirited etching of a Bacchanalian subject, in the style of Benedetto Castiglione. It is inscribed, Lugrencelis irw. et scul, 424 LUIKEN. SeeLuYKEN. LUINI, or LOVINI, Bebnaedino. The name of this painter, as signed by himself on his pictures, is Lovini. He was bom at Luino, a small town in the Milanese, on the Lago Maggiore, about the year 1480, and is generally considered as a scholar of Lionardo da V inci, of whose style he was the most celebrated imitator. The Padre Resta, in his OaL leria Portatile, asserts, that Luini did not visit Mi- lan until after the departure of Lionardo in 1500; and that he was a student under Stefano Scotto. This is however contradicted by the Abate Bian- coni, in his Ouida di Milano, a better authority, by whom he is numbered among the disciples of Lio- nardo. It is impossible for one artist to approach nearer to the style of another, than Luini does to that of da Vinci ; the same taste in his composition and design, the same peculiarity of colour and ex- traordinary relief; and it requires an intimate ac- quaintance with the works of Lionardo, to discri- minate between them. His two pictures, of Mary Magdalene, and St. John embracing his Lamb, in the Ambrosiana at Milan, can hardly be called in- ferior to the works of Lionardo, in the suavity and beauty of his pencil, and the piety and feeling of his expression. To form a just idea of the powers of Lmni, it would be necessary to contemplate his series of pictures of the Life of the Virgin, at Sa- rono, in which our Lady is represented with a beauty, dignity, and modesty which resemble the works of Raffaelle. Of his fresco paintings, in which he was not less distinguished, the principal are, the Sa- viour crowned with Thorns in the CoUerio del S. Sepolcro ; and the choir of the Monistero Maggiore at Milan. He was living in 1 530. [It is probable that Luini was born at an earlier period than that above mentioned, as in a picture with the date 1525 he has introduced his portrait as that of an old man. Nei- ther is the year of his death accurately ascertained. The picture in the English National Gallery repre- senting Christ disputing with the Doctors, attri- buted to Lionardo da Vinci, is, in the opinion of very competent judges, a work of Luini,; much of its original beauty is destroyed by unfortunate repairs. There is no positive proof that he was a scholar of LionardOj though it is obvious that he made him his model. His fame would have been greater in fo- reign countries had his works less resembled those of that celebrated master. Every possessor of a picture by Luini readily attributes it to Lionardo da Vinci, because the name regulates the estimation. Several of his best pictures have been engraved by eminant modem Italian engravers, which will dif- fuse a better knowledge of him than formerly pre- vailed. In Luigi Bossi's " Guida di Milano," there is an account of many pictures, in fresco and in oil, painted by B. Luini, in the churches of that city.] LUINI, AuRELio, was the son of Bemardino Luini, born in 1530. When Lomazzo published his Trattato dell' Arte in 1584, Aurelio Luini was considered one of the most eminent artists at Milan. His best performance is his picture of the Baptism of Christ by St. John, in the church of S. Lorenzo. It is painted in the style of Bemardino, but is gi'eatly inferior in the expression of the heads, and in the design and relief of the figures. He died in 1593. LUINI, ToMMAso. 'This painter was bom at Rome about the year 1597. He was of Venetian parentage, and, according to Baglioni, painted his- tory with some reputation during the pontificate of Urban VIII. He attached himself to the style of M. Angelo Caravaggio, and his pictures are distin- luml] PAINTERS AND ENGRAVERS. [LHTT guished by a bold and striking contrast of light and shadow, so much in the manner of that master, that he acquired the name of il Caravaggino, His best works at Rome are, his picture of S. Filippo Benizi working a Miracle, in the church of S. Maria in Via ; and a Flight into Egypt, in S. Giuseppe. He died at Rome, at the age of 35. LUMLEY, George. We have several portraits, &c. engraved in mezzotinto by this gentleman, who was not an enwaver by profession, but an attorney, and resided at York, about the year 1720.; where he lived in habits of intimacy with Francis Place. LUNARDUS, , an old engraver on wood, who flourished about the year 1520. He executed some cuts of frontispieces and book orna- ments in a sj)irited and masterly style, which appear to be from his own designs. [LUNDENS, Gereit, or Gerard, a Dutch painter of interiors and conversations in humble life. There are no particulars of his life recorded ; but from the style of his pictures, which resembles that of several Dutch artists who flomished from 1650 to 1670, and painted interiors, with boorS merry-making, it may be conjectured that he lived about that period. His pictures were for a long time confined to Holland, and were admitted into good collections; of late years several have been imported by English dealers, and rank with the productions of Jan Molenaer, and others of that class.] LUNGHI, Antonio. This painter was bom at Bologna, about the year 1685, and was a scholar of Gio. Gioseffo dal Sole. He painted historical sub- ■ jects with some reputation, of which the principal are in the churches at Bologna. In S. Maria Mad- dalena, is a pictm-e of Christ appearing to Magda- lene; and in S. Bartolomeo, an altar-piece represent- ing S. Rita. He died in 1757. [Zani says he was bom about 1677, and he marks him BB.] LUTI, Cavaliere Benedetto. This painter was born at Florence in 1666, and was for some time a scholar of Ant°. Doraenico Gabbiani. On leaving that master, he was favoured with the pa- tronage of the Grand Duke ; and expressing a strong desire to visit Rome, his protector promoted his wishes by supplying him with the means, and ac- commodated him with apartments in his palace in the Campo Marzio. He was desirous of studjdng under Giro Ferri, but on his arrival at Rome, he had the affliction of being informed of the death of that master. He did not nave recourse to any other instructor, but applied himself dihgently to study the works of the different masters, and formed to himself a style, which without exactly resembling that of any other master, was distinguished by ele- gance of design and suavity of colour, together with an intelligent conduct of the chiaro-scuro. We have to regret that this able artist should have oc- cupied so much of his time in crayon painting, so transient in its nature, as he possessed powers formed for nobler exertions. One of his earliest works at Rome was his picture of the Death of Abel, which was pubUcly exhibited on the festival of St. Bartho- lomew, when it excited universal admiration, by the sublimity of the composition, and the charac- teristic expression in the head of the murderer. He was commissioned by Clement XI. to paint his fine picture of the Prophet Isaiah in St. John of La- teran, and other works, who conferred on him the order of the Cross. Among his most admired works at Rome may be noticed his St. Anthony of Padua, in the church of the Apostles, and his Magdalene, in S. Caterina da Siena, at Monte Magna Napoli. The portrait of Benedetto Luti, by himself, is in the gallery at Florence, where he is regarded as the last painter of the Florentine school. He died in 1724. We have two etchings by this artist, which are be- come scarce : The Crucifixion, with St. John and Magdalene at the Foot of the Cross. , ' A Landscape ; ajter Chuercino. [LUTMA, Abraham. There is an engraved por- trait of Rubens, after Van Dyck, by this artist, but there is no account of him.] LUTMA, Janus or John, a Dutch engraver and goldsmith, born at Amsterdam about the year 1629. We have lay this artist a set of four portraits repre- sented as antique busts, which are executed in a peculiar manner, with a punch or chisel, and a mallet, which he calls opus mallei. Fine impres- sions of these plates are extremely scarce. They are as follow : The Portrait of his Father ; Janus Lutma, Posteri/ati ; opus mallei per Janum, fee. His own Portrait ; Janus Lutma Batavus, per se opere Mallei. 1681. J. Vondelius. Olor Bataims. Opus mallei, per J. Lutma. P. C. Booft. Alter Tacitus. Opus mallei, per J. 1/utma. We have a,lso by him two portrcdts, engraved in the style of Rembrandt, which are scarce, and highly esteemed, viz. Joannes Lutma Aurifex. It is the portrait of his father in a fiirred rohe, holding a port-crayon in one hand, and his spectacles in the other ; signed Joannes Lutma Junior,}ecit Ao. 1656. Joannes Ijutma Junior. He is seated at a tahle draw- ing, with a large hat, which throws a shadow over the face ; this portrait is extremely scarce. He also engraved some views of ruins, &c. in a style executed with the point, and assisted vrith the mezzotinto tool, one of which represents a Foun- tain, with Statues, and the Trajan Column ; dated 1656. LUTMA, James. This artist was of the same family as the preceding engraver. He etched and finished with the graver a set of plates of ornamental shields and foliage; they are executed in a neat style, from the designs of John Lutma the elder. He also engraved a plate of three portraits in a frame, inscribed, Jan Lutma ^Ovde, inv. Jao. iMtma, fecit aquaforU, etexc. LUTTEREL, Henry, was bom in DubUn about the year 1650. He came early in his life to London, and was bred to the law, in New Inn ; but having a disposition for the arts, he abandoned the pro- fession, and applied himself to painting portraits in crayons. He possessed an inventive mind, and observing the admiration excited by the new art of engraving in mezzotinto, he was desirous of disco- vering the process, and contrived the means of lay- ing the grounds with a roller, which succeeded to a certain degree, but not to his satisfaction. At this time, the mezzotintos of Blooteling were in great repute, and Lutterell persuaded his friend Lloyd, a printseller, to bribe a person of the name of du Blois, who used to lay the grounds for Blooteling, and who was then returning to Holland, to discover the mystery. He afterwards connected himself with Isaac Becket, and they became the earliest EngUsh engravers in mezzotinto. The best of his portraits, wnich were his principal works, was that of Le Piper the painter. We have also the follow- ing by him : 425 LUTZ] A DICTIONARY OP [maas The Duchess of Cleveland ; aftm- Lely. Arthur, Earl of Essex ; after the same. Anthony, Earl of Shaftesbury ; after Greenhill. "William, Viscount Stafford ; after his own design. Ben Hamet. Eobert Cony, M. D. [Lt)TZELBUIlGER,or LEUTZELBURGER, Hans, called also Hans Prank, an early Swiss wood engraver, of Basle, about whom much has been written, but as yet little is known. He lived in the early part of the 16th century, and is sup- posed by some to have cut the blocks of the celebrat- ed " Dance of Death," attributed to Hans Holbein. This supposition is founded on the facts of his being contemporary with Holbein, and of one of the cuts being marked H. L. This is maintained by some ^vriters, and combated by others, especially by Zani, in his " Enciclopedia metodica delle belle Arti," and Rumohr, in his work entitled " Hans Holbein der Jiingere in seinem Verhaltriss zum Deutschen Pormschnittwesen" (Hans Holbein the younger, in his relation to German wood engraving). There are many other celebrated old cuts, singly and in sets, some from drawings by Holbein, which are attri- buted to Liitzelburger, and which are described at length in the " Kunstblatt," and in the works of Bartsch, Heller, Massman, and other writers on wood engraving. The views of all parties are stated with considerable detail in Dr. Nagler's "Neues AUgemeines Kiinstler-Lexicon."] LUYKEN, John. This artist was born at Amr sterdam in 1649. He was a scholar of Martin Zaag- moelen, and for some time applied himself to paint- ing, but not succeeding to his expectation, he turned his thoughts to engraving, in which he became a very eminent artist. He usually engraved after his own designs, and discovers a fertility of invention, and a facihty of execution, which procured him the title of the C allot of Holland. This honourable appellation he has, however, not so much merited by the neatness and spirit of his point, as from his crowding his compositions with an infinite number of figures. His prints, notwithstanding, possess considerable merit. His principal work is the set of plates he engraved for the Bible published by Mortier, in two volumes. [Only a few of the plates of the so called "Mortier's Bible" are by Luyken, but there is another series published by Mortier and Covens, consisting of 62 very elaborate engravings of important occurrences recorded in Bible history, the whole of which are by him, and exhibit uncom- mon powers of invention and freedom of execution. There is an article in Bohn's new Catalogue men- tioning upwards of 900 engravings, all bearing the name of this most ingenious and indefatigable art- ist.] We have also the following by him : A set of ten plates of the Commandments. Seventeen plates for the History of Finland. Seventeen plates for the Voyages orientaux de M. Thevenot. One hundred and five plates for the History of the Martyrs. The Prophet Jonas preaching to the Ninevites. The Assassination of Henry IV. of France. The Massacre of St. Bartholomew ; in two sheets. A great variety of emhlematical subjects, fairs, public ce- remonies, book ornaments, &c. [He died in 1712.] LUYKEN, Gaspar, was the son and pupil of the preceding artist, bom at Amsterdam about the year 1670. His prints are very inferior to those of his father, and consist chiefly of book-plates, in which he was almost entirely employed. Among others, we have the following by him : 426 Twelve plates of the Months of the Year. Four, of the Seasons. St. Francis Xavier preaching before the Emperor of Japan. The Miracle of the Loaves. LUZZO, PiETRO, DA Felted. See Morto da Feltro. [LYS, or LIS, Jan vander, born at Breda in 1600, was a scholar of Comehus Poelemburg, whose manner he imitated so successfully that many of his pictures are attributed to that master ; the con- noisseur, however, can discriminate them. He painted historical subjects, landscapes, and con- versations; some 'of which he engraved. He is supposed to be the same as Gio. Lutz, after whom Mogalli engraved the subject of Abraham about to sacrifice his son Isaac. He died in 1657.] M MA AN, or MAN, Cornelius de. This artist was born at Delft in 1621. He was instructed in the rudiments of the art by an obscure painter, and having a strong inclination for travel, he went to Paris when he was very young, where he met with sufficient encouragement to supply him with the means of extending his journey to Italy, which was the ultimate object di his wishes. He travelled through Lyons to Lombardy, and made a stay of two years a,t Florence, where he executed some con- siderable works for a nobleman, who was desirous of retaining him longer, had not his anxious wish to visit Rome prevailed over the flattering oifers which were made to him. Arrived in the metropolis of art, he was indefatigable in his studies, and by the most assiduous application, during a residence of three years, he became an able and correct designer. He afterwards went to Venice, where the w^orks of Ti- tian, particularly his portraits, were the chief ob- jects of his attention. He at length returned to Holland, after an absence of nine years, and estab- lished himself in his native city, where he distin- guished himself as a painter of history and portraits, in the latter of which he particularly excelled. One of the most admired paintings at Delft, is a large picture, by C. Maan, of the portraits of the most eminent medical characters of his time, painted for the hall of the surgeons, which has more of the at- tributes of the Venetian than ,the Dutch school. He died in 1706. [Brulliot, who erroneously calls this artist Charles, says he engraved several por- traits approaching the manner of Jean Morin, which are marked with the same cipher, but always accompanied with the syllable an.l MAAS, or MAES, Arnold, was born at Gouda in 1620, and was a scholar of David Teniers the younger. He painted, with considerable success, similar subjects to those of his instructor. Village festivals, wakes, and merry-makings, are the sub- jects of his pictures, which are ingeniously com- posed, and touched with neatness and spirit, though infinitely inferior to those of his charming model. Aspiring to a higher department of the art, he visit- ed Italy, for the purpose of studying the works of the great historical painters. After residing a few years at Rome, he returned to Holland, and died soon after his arrival. M. Descamps asserts, that he etched some plates, and was instructed in en- graving by Renier Persyn ; but I have never met with any of his prints, nor is he mentioned as an engraver by any other authority. [He is mention- ed as an engraver bv Zani. Balkema savs he died in 1664.] MAAS] PAINTERS AND ENGRAVERS. [mabu MAAS, or MAES, Dirk, or Theodore. This painter was born at Haerlem in 1656. After study- ing some time under Henry Mommers, he became a scholar of Nicholas Berghem, whose works were in the highest estimation ; but by a singular capricious- ness of disposition, was induced to leave that ad- mirable painter, to place himself under John van HuchtenbuTg, the battle-painter, whose style he af- terw^ards followed with considerable reputation. He studied, with great attention, the design and ana- tomy of the horse, and drew that animal in all its various attitudes with surprising correctness. He painted battles, skirmishes, huntings, and horse- fairs ; and his pictures were ingeniously composed, and touched with an intelUgent and spirited pencil. He visited England in the reign of King William, where he met with some encouragement, and, among other works, painted the Battle of the Boyne, for the Earl of Portland, of which there was a print engraved in two sheets. We have a few very spirited etchings by this artist : among which is a Cajralier on Horseback ; fine, and scarce. [He died in 1715.] MAAS, or MAES, P. By this artist, who was probably a relative of Dirk Maas, there is an etch- ing, in a slight but spirited style, of the Virgin and C&ld, with two angels, which appears to be the work of a painter. It is inscribed, P. Maas, fecit, in aquaforti. [Peter Maes flourished about the year 1578. There are prints by him, copied after Henry Goltzius, with his name in full, Pierre Maes. Brul- liot also gives his monogram with the dates 1577 and 1578, one of which is on a portrait of Mary Queen of Scots. Zani must have seen some of his prints, as he quotes him operating in 1577.] MAAS, or MAES, Nicholas, was born at Dort in 1632, and after being instructed in the rudiments of design by an obscure artist in his native city, he went to Amsterdam, where he entered the school of Rembrandt. Under that master he became an ex- cellent colourist, and on leaving his academy, dis- tinguished himself as a painter of historical sub- jects of a smaU size, which, in richness of tone and harmony of effect, approached the admired works of Rembrandt; but finding portrait painting a more profitable pursuit, and possessing a surprising fa- cility, he adopted that branch, in w^hich he became one of the most successful artists of his time. He died in 1693. [Nicholas Maes in some of his larger portraits approximates to Rembrandt, but still there are great characteristic differences. The hand- hng of Rembrandt is peculiar to himself; Maes in many respects shares with others. The vigour of his portraits and the brilliant effect of the colour, make them very attractive; they are, however, to be distinguished from those by Rembrandt, by his man- ner of bringing out the principal features of his sub- jects by means of broad masses of shadow, in which a blackish tone generally predominates, and which he managed with considerable skill, without any ap- pearance of heaviness. There are some of his finest cabinet pictures in England, among which may be mentioned two in the National Gallery, The Idle Servant, bequeathed by the late Richard Simmons, Esq. ; and a Girl seated by a Cradle, in which there is a Child asleep: The Milk-Maid, in the possession of Charles Brind, Esq. ; two in the collection of the Duke of WeOington; and one in the Royal Col- lection ; and others of great excellence in the pos- session of Ralph Bernal, Esq., Mr. Wells of Red- leaf, Mr. Robarts, and other gentlemen. As his compositions are not numerous, (Mr. Smith, with all his research, specifies only 45 in the Catalogue raisonne and Supplement,) and are chiefly in public collections, or in the cabinets of opulent persons, they now obtain large prices whenever they appear in sales, and fine specimens are really deserving of it. He signed his name N. Maes, not Maas.] MAAS, or MAES, Godfrey, an eminent painter of the Flemish school, born at Antwerp in 1660. He was the son of an indifferent painter, by whom he was taught the elements of design ; and it does not appear that he had the advantage of su- perior instruction. He was, however, environed by the chefs-d'oeuvre of Rubens, Vandyck, and the other distinguished artists of his country ; and by an assiduous study of them, aided by a decided dis- position for the art, he became one of the most cele- brated historical painters of his time. The churches in the different cities of the Netherlands bear ample testimony of his ability ; but it is at Antwerp that he is seen to the greatest advantage ; though sur- rounded with the works of the many able painters who had preceded him. In the cathedral of that city is a fine picture by this master of the Death of St. Lucia ; and in the church of St. George, is his celebrated altar-piece, representing the Martyrdom of that saint. In the cnurch of the hospital is a picture of the Assumption of the Virgin, composed and painted in the gi-eat style of Rubens. In 1682, he became a member of the Academy at Antwerp, on which occasion his picture of reception was an emblematical subject of the liberal arts, which is one of the admired pictures of their hall. His com- positions are ingenious and copious, his design more correct than is usual in the works of the Flemish painters, and, like the generality of his countrymen, he was an excellent colourist. [It is supposed that he died about 1722. There were many other artists of the name of Maes, but the foregoing are the prin- cipal. There are several now flourishing in Holland whose names will do credit to some future Dic- tion ai-y.] MABUSE, or MALBEUGIUS, John de. This extraordinary artist was born at Maubeuge, a small town in Hainault, according to Harms, in the Chro- nological Tables, in 1492, M. Descamps says, in 1499. Both these dates are, however, erroneous, as he was in England in the reign of Henry VII., whose portrait he painted, with that of Prince Arthur, who died in 1502. He was a contemporary, and nearly of the same age, with Albert Durer, who was bom in 1470. It is no where mentioned by whom he was instructed, but he had the advantage of studying in Italy, and was one of the first artists of his country who attempted to reform the dry, stiff style that prevailed before him. His works were of suflJcient merit to excite the curiosity and to obtain the applause of Albert Durer, and Lucas of Leyden, both of whom visited him, and expressed the most marked admiration of his works. To ap- preciate the extraordinary merit of John de Mabuse, it is necessary to have seen his genuine pictures, instead of the wretched remnants of Gothicity which are frequently ascribed to him. His colour- ing is fresh and clear, his design as correct as that of Albert Durer, and much in the style of that mas- ter ; and his pictures are of a finish so precious and poUshed that they are not surpassed by the sur- prising productions of Mieris and Gerard Douw. One of his admired works was a picture of the De- scent from the Cross, painted for a church at Mid- dleburg, which was considered one of -the most surprising productions of the age. His most capital 427 MABU] A DICTIONARY OF [mabu and distinguished performance was a picture paint- ed for the altar-piece of the church ofthe Abbey at Grammont ; it represents the Wise Men's Offering, a composition of several figures, admirably grouped, with a fine expression in the heads ; and the drar peries, and ornamental accessories, coloured and finished in the most beautiful manner. It appears by the register of the Abbey, that this admirable production occupied the painter seven years, and that he was paid two thousand golden pistoles for his labour. When Albert and Isabella were govern- ors of the Netherlands, they purchased it of the monks, and placed it in the private chapel of their palace. After the death of Prince Charles of Lor- raine, it was sold, with the rest of his pictures, and was afterwards brought to this country. It is now in the possession of the Earl of Carlisle. We are informed by Karel van Mander, that Jol^n de Ma- buse visited England, which is proved by the vari- ous portraits which remain by him in this coun- try of the royal family and the nobility. Among others, there is at Windsor a picture of Arthur, Prince of Wales, with Prince Henry, and the Prin- cess Margaret, which is engraved by Virtue-. It appears that he died in 1532, from an inscription on a print of his portrait, published by Galle, Fuit Sanno pairia Malhodensis ; obiit AntwerpicB anno 1532. His death is dated by M. Descamps in 1562. [The family name of Jan de Mahuse was Gossaert, or GossAHD. By the general concurrence of all writers of authority he was born between 1496 and 1500 ; but even allowing the chronological tables to be correct, it is quite improbable that he should have painted the portraits of Henry YII. of England and his family in 1495, the date which one of the portraits bears. Indeed there is no au- thentic account of his ever having been in England ; Fiorillo emphatically denies it. He was the boon companion of Lucas van Leyden, who was born in 1494 ; and his name is affixed to a picture with the date 1516, the earliest that is known with his sig- nature. Some of his best pictures are dated about 1521, and 1527 is the latest discovered. As he led a life of dissipation, it probably was a short one ; the date on the print is therefore likely to be cor- rect, that he died in 1532. He signed two of his pictures thus : Johannes Melbogius Pingebat, 1516; JoAES Malbogius Pingebat, 1521. He is entitled to all the praise bestowed on his genuine works ; and, if what is recorded of his course of life be true, to the severest censure for his general depravity. Pictures hy, and attributed to, Jan de Mahuse. 1. Neptune and Amphi trite. This picture is signed Johannes Malbodius pingebat, 1516. In the Royal Museum at Berlin. 2. Danae receiving the Shower of Gold. This picture is signed Joannes Malbodius pingebat, 1527- In the Pinacothek. 3. Justice, drawing of the figure of a Female in a circle. In the collection of the Archduke Charles, at Vienna. 4. Lucretia, a picture mentioned by Karel van Mander. 5. Adam and Eve, formerly in Charles I.'s col- lection, andnow, or lately, at Kensington Palace. 6. Adam and Eve, mentioned by K. van Mander, formerly at Amsterdam. 7. Adam and Eve, near the Tree of Knowledge. In the Musee at Berlin. 428 In the Pinacothek. A picture mentioned by Earel 8. Noah drunk and asleep. The figures are imi- tations of the fresco of Michelangiolo in the Sistine chapel. 9. Abimelech offering Presents to Abraham ; a drawing in the collection of the Archduke Charles, at Vienna. 10. The Visitation, right wing only, at Althorp. 11. Adoration of the Shepherds, in the royal chateau at Wurzbourg. 12. Adoration of the Magi, a rich composition, with about thirty principal figures. This is one of the most important works of Jan de Mabuse. It was formerly in the Orleans gal- lery, and is now at Castle Howard. 13. Adoration of the Magi, (probably by Mabuse,) in the gallery at Dresden. 14. The Holy Family. Mary and Anne are seated on a throne, surrounded by their relations of both sexes. In the Pinacothek. 15. The Virgin and Child, on a Throne, St. Joseph, St. Catherine, and another Saint, who is offering a Pear to the Virgin. At Corsham House, if it has not been sold recently. 16. The Virgin, Child, and St. Joseph. In the chapel St. Maurice, at Nuremberg. Another of the same subject, formerly in the Boisseree collection, in which Christ extends his hand to take an apple. This has been lithographed by Heindel. 17. Holy Family. 18. The Virgin, van Mander. 19. The Virgin and Infant under a Gothic Canopy, surrounded by six angels. In the collection of Sir Thomas Baring. 20. The Virgin holding the Child on her Knees, who has his hands full of Chenies ; after a composition of L. da Vinci. At Berlin. 21. The Virgin offering a Grape to the Child. At Berlin. 22. Mary holding the sleeping Child to her Breast. In the style of Mabuse. At Berlin. 23. Mary holding the Child on a Cornice. In the chapel St. Maurice, at Nuremberg. 24. Mary holding the Child on a Cornice, on which she is seated ; the picture, is signed Johannes Malbodius pingebat, 1527. In the Pinacothek. 25. The Virgin seated in a Niche, holding the In- fant on her Knees. At Vienna. 26. The Virgin on a Throne. In the ducal palace at Genoa. 27. Mary, with the Child seated on a Throne,; in the form of a shell, with two Saints and a third person. The Archduke Charles, atVienna. 28. Mary,with the Child asleep on her Knees. En- graved by G. Wyns. 29. Mary seated, the Infant standing. An en- graving with the date 1589. 30. Jesus with the Rich Young Man. In the palace at Kensington. 31. Christ led out from before Pilate. ,A grisaille, in the collection of the councillor Kirschbaum, at Munich. 32. The Crucifixion, a picture containing a great number of figures. In the lower part, m a separate compartment, is seen the flagellation, and the crowning with thorns. In the Pina- cothek. 33. Descent from the Cross. Formerly at Mid- delbourg, but destroyed by fire. Vasari men- tions it : " di sua mano in Silando e una gran tri- buna nella badia di Middelborgo." MACC] PAINTERS AND ENGRAVERS. [mach 34. Descent from the Cross, mentioned by Karel van Mander. 35. Descent from the Cross ; on the wings are St. John the Baptist and St. Peter, in the middle of rich architecture. This picture formerly orna- mented the church of St. Donat at Bruges, and was afterwards in the possession of Mr. Edward Solly, of London; it is signed Joaes Matbogi pingehat, anno 1521. 36. Christ at the house of Simon the Pharisee; the middle part of a triptique. In the Museum at Brussels. 37. The Resurrection of Lazarus ; the left wing of the preceding. In the Museum at Brussels. 38. Resurrection of the Magdalene ; right -wing of the same. In the Museum at Brussels. 39. The Dead Body of Christ, surrounded by three men and two women ; a drawing in the collec- tion of the Archduke Charles. 40. Mary seated at the foot of the Cross, with the body of Christ extended on the ground and supported by her knees ; in the distance is the city of Jerusalem. An engraving which bears the following inscriptions : Joan. Mabusiits in- ventor. Sieronymus Wierinx ( Wierix f) sculp- sit ; Gerard/us de Jode excudit. 41. Christ in Glory, with the symbols of the four EvangeUsts. In the Pinacothek. 42. Twelve subjects from the Life of St. Augustine. Collection of the king of Holland. These form one pictm-e, the subjects being separated by ornaments. 43. The Pope reading the Mass, surrounded by Cardinals and Priests, In the church of St. James at Lubeck. 44. Jesus appearing on the Altar, while a Priest is consecrating the Host. A very rare engi-aving ; in the possession of the Chevalier Van Eersel. 45. Bust of St. Jerome; middle of an altar-piece. At Althorp. 46. The Decollation of St. James, en grisaille. Formerly at Amsterdam, according to Van Mander. 47. St. John the Baptist; one of the wings of a folding picture, formerly in the church of St. Donat, at Bruges, and afterwards in the collec- tion of Mr. Edward Solly, at London. 48. The Archangel Michael. In the Pinacothek. Lithographed by Strixner in 1821. 49. The Apostle St. Peter, formerly in the church of St. Donat, at Bruges, afterwards in the col- lection of Mr. Edward Solly. 50. The legendary Tale of Albanacht presenting his three daughters naked to King Alfred; a drawing in the collection of the Archduke Charles, at Vienna. 51. Portrait of the Mother of Henry VIII.; at Corsham. Waagen believes it to be of the time of Holbein. 52. Marriage of Henry VII. with Elizabeth of York ; attributed to Mabuse. 53. The Three Children of Henry VII. ; at Hamp- ton Court ; attributed to Mabuse. 54. A repetition of the same ; at Kensington. 55. A copy of the same ; at Corsham House. 56. Francis and Maximilian Sforza, dukes of Mi- Ian ; left wing of a tripiAque; at Althorp. 57. Portraits ; formerly in the gallery at WiitehaU. 58. At Lee Priory there were formerly some pic- tures attributed to Mabuse. 59. A small painting in one of the armories, in the library of the Vatican. Many others have been cited by writers, but in such general terms that it is impossible to specify them ; nor would it be safe to affirm the authen- ticity of all above quoted : the reader, however, has as good a list as can be obtained.] MACCHI, Florio. According to Malvasia, this painter was a native of Bologna, and a worthy disciple of Lodovico Caracci. He flourished about the year 1620, and painted several pictures for the churches at Bologna. In S. Andrea del Mercato, is a picture by him of the Crucifixion, with two laterals ; and in la Morte, the Raising of Lazarus. But his most admired work is his fine fresco of the Annunciation, in the church of II Spirito Santo, which has been frequently mistaken for a work of Lodovico. Florio Macchi is mentioned by Orlandi, in the Abecedario, as an engraver, but his prints are no where ^cified. MACCHIETTI, Girolamo, called del Croci- FissAJO. This painter was born at Florence in 1535. He was called del Crocifissajo, from his father being a carver of crucifixes. After studying some time under Michele Ridolfo del Ghirlandajo, he became a scholar of Giorgio Vasari, whom he assisted for six years in the works he executed in the ducal palace -at Florence. He afterwards visited Rome, where he studied two years. On his return to Florence, he acquired considerable reputa- tion by his two pictures of the Adoration of the Magi, in S. Lorenzo, and the Martyrdom of S. Lawrence, in the church of S. Maria Novella. His best works are at Naples, Pisa, and Benevento. Lanzi asserts that he resided some time in Spain. MACE, or MASS£, Charles, a French designer and engraver, born at Paris about the year 1631. He was employed by M. Jabach to make designs from his celebrated collection of drawings, and to etch them. The set consists of two hundi-ed and eighty prints, engraved by this artist, in conjunc- tion with the two brothers Corneille, Rousseau, and Pesne. M. Huber attributes to Mace a set of twelve etchings from landscapes, with biblical sub- jects, after Senedefto Castiglione. They are executed in a bold and free style. [It is not certain that his name was Charles ; the prints engraved by him in the Jabach collection are marked Masse only ; some of the etchings after Castiglione have C. Mace sculp. in the margin. For an account of 123 prints by him, see Dumesnil, tom. vi.] MACERATA, Giuseppino da. This painter was born at Macerata about the year 1600, and is said to have been a disciple of Agostino Caracci. His style exhibits the principles of that school, as is evident in his works in the two colleges at Fabri- ano; of the Annunciation, painted in oil, at S. Niccolo ; and his frescoes, in S. Venanzio, represent- ing some of the miracles of the Apostles ; which are distinguished by the fine expression of the heads, and the grand style of their composition. In the church of the Carmelites at Macerata, is a pic- ture by him of the Virgin and Infant, with a glory of angels, and S. S. Nicola and Girolamo ; and at the Cappuccini, Christ giving the Keys to St. Peter ; both of which are stamped with the character of the school of the Caracci. The latter is so nearly the composition of Guido's picture of the same sub- ject, in the church of the Filippini at Fano, that it may almost be considered as a copy. It is signed, Jos. Ma. faciebat. 1630. [MAC'HEREN, Philip van, a marine painter, who lived at Middelbourg towards the end of the 1 7th century. In 1672 he entered one of the vessels 429 mach] A DICTIONARY OP [MAUI of war of the republic, for the express purpose of seeing a naval combat, a subject wnich he delighted to I'epresent. He also made several voyages in Danish and Swedish vessels for the same purpose. His v/orks are rarfely seen with his name, nor are there any further particulars recorded of him, ex- cept that Balkema says he died at Amsterdam, and Immerzeel, at Rotterdam.] [MACHUCA, Pedro, a Spanish painter, sculp- tor, and architect, who is spoJken of in high terms by several writers, but whose works as a painter are but little known. ,It is said that he lived at Gre- nada, and that he executed several grand works in that city both as an architect and painter, and that the latter were in the manner of Raphael, whose works he had studied in Italy. It is certain that he had been to Italy ; for he is named among the Eagks, that is to say, the most illustrious artists of the time, by Pran9ois de HoUande, who knew him there, and whose book respecting ancient painting was finished in 1548. Zani says he operated be- tween 1527 and 1548 ; probably to a much later period. Pachecho, Lazaro Diaz del Valle, and Pa- lomino, all speak of Machuca having been in Italy. His fame now rests on his works of sculpture and architecture in the Alhambra.] MACOURT, C. According to Lord Orford, this artist was a native of Germany. He resided in London several years, where he practised por- trait painting, both in oil colours and miniature, and was a member of the Chartered Society of Artists, with whom he exhibited, from the year 1761 till 1767. In the Addenda to the Anecdotes, he is said to have died in January, 1768. He is also stated to have engi'aved some plates in mezzotinto. MACRET, Chables Francis Adrian, a modern French engraver, born at Abbeville in 1752, and died at Paris in 1783. He was a pupil of N. G. Dupuis, and engraved a few plates in a neat, pleasing style. Among others, we have the following by him : Christ and the Woman of Samaria ; after Van- derwerf. The Arrival of Rousseau in the Elysian Fields ; » after Moreau. The Reception of Voltaire in the Elysian Fields ; after Fauvel. The Sacrifice to Cupid ; after Oreuze. The First Fruits of Self-love ; after Gonzalez. MADDERSTEG, Michael. This painter was born at Amsterdam in 1659, and is called by Hou- braken the ablest scholar of L. Backhuysen. His sea-pieces and storms approach so near to the pic- tures of- that master, in the forms of his vessels, the ■movement of the waves, and the lightness of the skies, that they are sometimes mistaken for those of Backhuysen. He was invited to the court of Berlin, where he passed the greater part of his Ufe. He died in 1709. MAENNL, Jacob. See Mannl. MAES. See Maas. MAFFEI, Francesco. This painter was a na- tive of Vicenza, and a scholar of Santo Peranda, though he afterwards became a follower of the style of Paolo Veronese. He flourished about the year 1640, and painted history with considerable reputation. He is accused by Boschini of extrava- gance and manner, and is styled by that author " a painter of giants ;" but there appears in his works an originality of design, accompanied by a grace, which acquit him of the accusation of being a mannerist. His picture of S. Anna, in the church 430 of S. Michele at Vicenza, and other works by him in the public palace, exhibit a poetical fancy, and are coloured in the best style of the Venetian school. It is to be regretted that he adopted a hasty and shght mode of finishing his pictures, little calculated to preserve his reputation to posterity, as many of them have already become nearly obliterated. Of his large picture of Paradise, in the church of S. Francesco at Padua, scarcely a trace remains. MAGANZA, Giovanni Batista, the elder, was born at Vicenza in ) 509, and was the head of a fa- mily of artists, who did credit to their country. He - was brought up in the school of Titian, whose style he followed with some success. He was more dis- tinguished as a painter of portraits than historical subjects ; but in the few he has left, he evinced a chaste and refined taste. He was one of the reput- able poets of the day, and published several works under the name of Ma^agno, He died in 1589. MAGANZA, Alessandro, was the son of the preceding artist, born at Vicenza in 1556. After receiving some instruction from' his father, he be- came a scholar of Giovanni Antonio Fasolo, and studied the works of Paolo Veronese and Zelotti. His principal works are the Adoration of the Magi, in the chui-ch of S. Domenico ; and the Martyrdom of S. Giustina, in S. Pietro ; at Vicenza. He died in 1630, aged 74. [According to Fiissli and Zaiii he died in 1640, which would make him 84.] MAGANZA, Giovanni Batista, the younger. This artist was the son and scholar of Alessandro Maganza, born at Vicenza in 1577. He painted history in the style of his father, to whom he show- ed himself little inferior in his picture of S. Bene- detto, in the church of S. Giustina at Padua. He assisted Alessandro in many of his principal w^orks at Vicenza, where he died of the plague in 1617. MAGGI, Giovanni. This artist was a native of Rome, and flomished about the year 1600. He painted landscapes and architectural views, but is more known as an engraver than a painter. In 1618 he published a set of plates of the principal fountains in Rome, engraved in conjunction with Domenico Parasachi. He had undertaken to en- grave the plan of Rome, on a very large scale, with all the principal buildings ; but from the want of en- couragement he was not able to carry his object into execution. We have by him the following prints : A Landscape with Ruins and a Waterfall, with figures ; J. Mains, in. etfee. 1595. Figura della Vita humana; Joh. Mains, fee. 1600. The Portrait of a Cardinal ; as large as hfe. [The time of his death is uncertain. Brulliot says he was bom in 1566, and Fiissli that he died in his fiftieth year. One must be incorrect ; for if born m 1566 he would have been 52 in 1618.] MAGISTRIS, SiMONE de. This artist was a native of Caldarola, in the ecclesiastical state, and flourished about the year 1585. He distinguished himself as a painter and sculptor. His picture in the dome at Orsino, representing St. Phihp and St. James, painted in 1585, evinces a better style of composition than dexterity in the execution. The works he produced at Ascoh, at a more advanced period of his life, particularly his Madonna del Ro- sario, in S. Domenico, are highly applauded by Or- sino in his Guida d!Ascoli. MAGLIAR, Andrea, an Italian engraver, bom at Naples about the year 1692. He engraved some plates a,fter Francesco Solimene. MAGLIAR, GiosEFFo, was the son of the pre- magn] PAINTERS AND ENGRAVERS. [mair ceding artist, by whom he was instructed in engrav- ing, and gave unusual promise of ability, but died very young. He engraved a plate representing Christ appearing to S. Guglielmo ; after Solimene. MAGNANI, Cristofano. This painter was born at Pizzichcttone, a castle in the vicinity of Cremona, and was a scholar of Bernardino Campi. He flourished about the year 1580, and painted his- tory and portraits with no little reputation. He is said to have possessed so retentive a memory, that he could draw the likeness of any person he had once seen, of a most correct resemblance. He paint- ed some considerable works in fresco, in conjunction with Cavaliere Malosso and Mainardi. MAGNASCO, Alessandro, called Lissan- DRiNo, was born at Genoa in 1681, the son of Ste- fano Magnasco, an obscure painter, who had been a scholar of Valerio CasteUi. He studied at Milan, under Pilippo Abbiati, and though he painted on a smaller scale, and different subjects from those of his instructor, he acquired the boldness and spirit of his touch. He painted public processions, mili- tary exercises, and subjects called by the Italians Bamboeciate, and is styled by Lanzi the M. A. delle Sattaglie of the Genoese school. There are several of his pictures in the Palazzo Pitti at Florence, where he resided some time, and was particularly patronized by the Grand Duke Gio. Guastone. He died in 1747. [MAHUE, GuiLLAUME, born at Brussels in 1517, and died at the same city in 1569, was a portrait painter of great reputation in his time ; his pictures are rare, and we have no particulars of his fife.] MAILLET, Joseph. This artist was a native of France, and flourished at Paris about the year 1775. He engraved several plates of landscapes, which are executed in a neat style. MAINARDI, Andrea, called il Chiaveghino. This painter was a native of Cremona, and flourish- ed from the year 1590 till 1613. He was brought up in the school of Bernardino Campi, and was one of his ablest disciples. In conjunction with his nephew Marc Antonio Mainardi, he executed seve- ral considerable works at Cremona. One of his best pictm-es is the Marriage of S. Anna, in the church of the Eremitani; a performance which would do honour to any school, in the beauty of the forms, the splendour of the vestments, and the pleasing and harmonious tones of its colouring ; a more intelligent conduct of the chiaro-scuro would have left little to be wished for. Unfortunately for his fame, he did not always bestow upon his works equal care and attention ; and some of them appear to have been the production'of negligence and haste. MAINERO, Giovanni Batista, was born at Genoa about the year 1610, and was a disciple of Luciano Borzone, under whom he made a rapid im- provement, and at an early age distinguished him- self by the production of some historical subjects, of a small size, which were greatly admired. Notwith- standing this encouraging success, he abandoned historical painting, and applied himself to por- traiture, in which he was employed by the principal persons of his time. He died of the plague in 1657. MAJOLI, or MAJOLA, Clemente, was born at Ferrara about the year 1640, and studied at Rome under Pietro da Cortona. He was a reputable painter of history, and some of his pictures in the churches at Ferrara, and in the Rotundo at Rome, are mentioned in very favourable terms. In the church of S. Paolo, at Ferrara, is a picture of S. Maria Maddalena d6 Pazzi; and in S. Giuseppe, S. Niccolo da Tolentino, supported by an angel. MAJOR, Isaac, a German painter and engraver, born at Frankfort about the year 1576. Early in his life he went to Prague, where he became a scho- lar of Roland Savery, at that time painter to Ro- dolphus II. He was instructed in engraving by Giles Sadeler, in whose style he engraved several plates, though very inferior to that artist. In the execution of his prints he united the point with the graver. We have by this artist the following : A set of six Landscapes, Views in Bohemia; after P. Stephani. A set of nine romantic Views, numbered ; Isaac Major, fee. A very large Landscape, with the figure of St. Jerome; after Holand Savery. Isaac Major, scul. VienncB. 1622. The Emperor in a Triumphal Car, with Swans and Eagles ; inscribed/ife Triumphalisfelices, &c. MAJOR, Thomas, an eminent English.engraver, born about the year 1715. He resided some years of the early part of his life at Paris, where he en- graved several plates after Berghem, Wouwerman, &c. On his return to England, he distinguished himself by a variety of plates of portraits, landscapes, and other subjects, executed in a neat, firm style. In 1768, he pubhshed a set of twenty-four prints, entitled Tlie Huins of Pcesium, otherwise Posulonia, in Magna Greecia, after the designs of J. £. Borra. The following are his principal plates : portraits. John Carteret, Earl of Granville. Cardinal Pole. VARIOUS SUBJECTS. 1757. The Departure of Jacob ; after F. Lauri. The Good Shepherd ; after MuriUo. Two Landscapes ; after Gaspar Ponssin. A Landscape, with a Man driving Sheep j after Muhens. Two Flemish Festivals ; after Teniers. The Manege ; after Wowermans. The Travellers ; cfter N. Berghem. Two Landscapes ; Morning and Evening ; after ihe same. The Four Seasons ; after Ferg. A View near Haerlem ; after Vander Neer. A Sea-port ; after Claude. A View of Ponte Mole, near Rome ; after the same. [On some of his prints after Berchem, and Arnold Maas, he has put his name in an anagram, Jorma, or Jar, sculp."] '• MAIR, an old German engraver, who flourished about the year 1499. From the resemblance of the style of his engraving to that of Martin Schoen, it has been conjectured that he was his disciple. His design is equally Gothic ; but he is very inferior in every respect to that master. He is said to have been the inventor of that species of engraving called chiaro-scuro. Among others, we have the following prints by him, which are generally signed with his name, and dated about the year 1499 : Samson carrying the Gates of Gaza. The Wise Men's Offering. The Martyrdom of St. Sebastian. A Man taflting to a Woman, seen through the door of a house, with a Dog snarling at a Monkey. The Virgin and Infant, with St. Anne. The Virgin and Infant, with St. Joseph holding a Candle ; in chiaro-scuro. [Bartsch mentions only 12 prints by this engraver, 431 mair] A DICTIONARY OF [MALT and one doubtful : among them are but two of the foregoing list] MAIR, Alexander, a German engraver on wood and on copper, who flourished about the year 1660, and chiefly resided at Augsbourg. We have by this artist some book-plates and frontispieces, executed with the graver in so masterly a style, that it is to be regretted an engraver of such talents should not have been employed on more important subjects. He engraved the Frontispiece to Velser's Dissert- ation on the Antiquities of Augshoure, published in 1596, arid that of the Uranometria,Dy John Bayer, dated 1603. He usually marked his plates with the cipher [MAIR, LA, a painter of serpents, lizards, and other reptiles, in the manner of Otho Masseus, or Marcellis, as he is frequently named. He particularly excelled in the representation of butterflies ; and his works are generally attributed to Masseus, but they are painted on a hghter ground. Neither the year of his birth or death is known, but he hVed at Nimeguen in the eighteenth century.] MAISON-NEUVE, a modern French engraver, mentioned by Basan. He engraved the French Parnassus, from a bronze, and several portraits; among which is that of Jacques Theodore Klein. MAITRE, Ronx. See Rosso. MALA6AVAZZ0, Cohiolano. This painter was bom at Cremona about the year 1555, and was a disciple of Bernardino Campi, whom he assisted in some of his great works in the church of S. Gis- mondo. He is more known as the coadjutor of that eminent artist than by any original productions of his own. His principal work is his picture in the church of S. Silvestro, at Cremona, representing the Virgin and Infant, with St. Francis and St. Igna^ tins, which, according to Lanzi, is supposed to have been desigped by Bernardino. MALEUVRE, Peter, a French engraver, born at Paris in 1740. He was a pupil of Beauvarlet, and visited London, where he was for some time under Sir Robert Strange. On his return to Paris he engi'aved some portraits, and other subjects, in a neat style. We have, among others, the following by him: portraits. Gustavus Adolphus, King of Sweden. Count d'Aranda. M. d'Alembert. M. de Lalande. SUBJECTS. The Dozer ; after Craesheck. The Satyr and the Peasant ; after Dietricy. The Spoiled Child ; after Greuze. A Sea-storm ; after Backhuysen. Boors regaling ; after Brower. The Bath of Diana; after Marillier. MALINCONICO, Andrea. This painter was born at Naples about the year 1600, and was one of the ablest scholars of Cavaliere Massimo Stanzioni. Of his fresco works little is known, but, according to Dominici, the churches at Naples abound with his oil paintings, particularly in l£at of de MiracoU, of which the most esteemed are the Four EvangeUsts, and the Doctors of the church. These are, however, very superior to the generality of his works, which are not unfrequently slight and neghgent. MALLERY, Charles de, a Flemish designer and engraver, bom at Antwerp about the year 1576. From the neatness of his style, it is probable that he 432 formed his manner from the prints of the Wierixes, or that he was instructed by them. He worked en- tirely with the graver in a highly finished style, though his drawing is not very correct. He must have been extremely laborious, as his prints are very numerous, and all of them executed with the greatest delicacy. The Abbe de MaroUes possessed three hundred and fort^-two prints by him. Van- dyck painted his portrait among the celebrated art- ists of his time, which is engraved by Lucas Vorster- man. The following are ms principal prints : The iiifant Jesus, with two Angels, in a land- scape ; C. de Mallery,fec. The Adoration of the Magi. The Holy Family, with Mary Magdalene. , St. Francis. Several Heads of Christ, the Virgin, Saints, the Apostles, and other devotional subjects ; from his own designs, and after Anthony Salaert, and other masters. Part of the plates of the great Huntings ; after Stiradan : engraved in conjunction with the Col- laerts, the Galles, and others. The History of the Silkworm ; in six plates ; after A set of plates of Horses, for a book, entitled Za Cavalerie Frangoise. 1602. Four plates of the Miller, his Son, and the Ass ; after Ambrose Franck ; scarce. MALLERY, Philip de. According to Professor Christ, this artist was a native of Antorf, in Ger- many. He engraved several small historical sub- jects on copper, which were well executed, and were published about the year 1650. MALO, Vincent, was born at Cambray about the year 1625, and was first a disciple of Rubens. After the death of that celebrated master he became a scholar of David Teniers the elder, who had been brought up in the same academy. He afterwards went to Italy, where he passed the remainder of his life, and distinguished himself as a painter of battles and landscapes ; and also painted some altar-pieces for the churches at Genoa. He died at Rome about the year 1670. MALOMBRA, Pietro. This painter was born at Venice in 1556, and was a scholar of Giuseppe Porta, called Salviati. Although an imitator of the works of Palma, he avoided the feebleness of a man- nerist. His compositions and design are more stu- died and correct than is usual in the works of the Venetian painters. Such are his pictures of the miracles wrought by St. Francis of Paula, in the church dedicated to that Saint, at Venice. He is still more admired in his historical subjects of an easel size, and painted with great success architec- tural views of' the principal places in Venice, en- riched with groups of numerous figures, ingeniously composed, and designed with elegance and grace. He was also a distinguished portrait painter. He died in 1618. MALOSSO. See Trotti. MALTESE, an indifferent painter of fruit, flow- ery, and still-Ufe, whose works have Uttle more to recommend them than a spirited touch and a forcible eflTect. [He was called Francesco Maltese from the place of his birth, Malta. He was by no means an in- different painter. His pictures represent the objects faithfully ; his handling is large and vigorous, his colouring bold and striking; he excelled in painting carpets and musical instruments. Two of nis pic- tures are in the gallery at Munich ; and there are malt] PAINTERS AND ENGRAVERS. [mani some in England. He lived about 1670, or later, but there are no particulars of his life recorded.] [MALTON, Thomas, an English designer and ' engraver, was laorn in 1748. His " Treatise on Per- spective in Theory and Practice," and his " Pic- turesque Tour through London," are well known. He published also aquatinted plates of many of the public buildings of the metropolis, a,mong which are. The (old) Royal Exchange, The Bank, Royal Academy, Banqueting House, Guildhall, Mansion House, the church of St. Paul, Covent Garden, Old and New Palace Yard, and other placeg, the memory of which would be lost through the recent alterations and improvements, were it not for his accurate repre- sentations of them as they appeared in his time. The date of his deceeise is not correctly ascertained.] MAN, Cornelius. See Maan. MANAIGO, SiLVESTRO. This painter was born at Venice about the year 1680, and was a scholar of Gregorio Lazzarini. He possessed a fertile inven- tion, and his compositions evince both genius and taste ; but the love of gain seduced him into a ra- pidity and negligence of operation, and he fell into the tameness and repetition of a mannerist. His most creditable work is his picture of Christ driving the Money-changers from the Temple, in the church of S. FeUce, at Venice. MANASAR, Daniel, a German engraver, who resided at Augsbourg about the year 162(5. He en- graved chiefly plates of architecture, plans of build- ings, &c., which are executed entirely with the graver, in a neat but stiff style. Conjointly with w olfgang Kilian, he engraved the plates for a work entitled BasUicce S. S. Udalrici et afra Augustee Vindelicorum Histories, published at Augsbourg in 1626. His prints are usually marked with the initials of his name, with an F. for fecit, D. M. F. MANCHETTI, Michele. According to Do- minici, this painter was bom at Genoa about the year 1550, and studied at Naples, under Marco di Pino, where he acquired some reputation as an his- torical painter. One of his best works was a picture in the church of S. Agnello at Naples, representing the Virgin and Infant, vidth St. John, Mary Magda- lene, and St. Lucia ; painted in 1586. MANDER, Ka-rl Van. See Vanmander. MANDYN, John. This artist was born at Haer- lem in 1450. He painted drolleries ani incanta- tions, in the manner of Jerome Bos. His chief residence was at Antwerp, where he died. [Mandyn, Mandin, Madyn, Madin, (for so his name is written by different authors,) Jan, was born at Haerlem, and painted grotesque suljjects, in the manner of Jerome Bos, conflagrations, and landscapes of rocky and wild appearance. , Balkema says he was bom in 1450, and died in 1568, thus making him 118 years old. Immerzeel says he was born in 1568, and that he instructed Bartholomew Spranger. Spranger was bom in 1546, so that is not likely to be correct. Fussli places his birth in 1450, and says that he died at Antwerp, but does not mention in what year. He says nothing about Spranger on this occasion, but in his account of that artist he states that he was instructed by Johann Mandyn. Let those who can, reconcile these discrepancies of writers of credit. Jerome Bos, it should be noted, was bom in 1470, and died about 1530, so that Jan Mandyn, though his senior by twenty years, may have imitated his subjects from a similarity of taste ; or it may be that Bos made Mandyn his prototype, and went beyond him in devilry. Zani says that Mandyn died in 1500 ; others say in 1510.] 2 F MANENTI, Vincenzio. This painter was born at Canimorto, in the province of Sabina, in 1600. He was the son of Ascanio Manenti, an obscure art- ist, by whom he was instructed in the first principles of design. He afterwards studied at Rome, under Giuseppe Cesari and Domenichino. There are se- veral of his pictures in the churches of his province ; and Lanzi speaks favourably of his S. Stefano, in the dome at Tivoh, and his S. Saverio, in the church of II Gesu. He died in 1674. MANETTI, RuTiLio. This painter was born at Siena in 1576, and was a scholar of Francesco Vanni. He did not, however, attach himself to the graceful style of that master, but sought the vigorous colouring and robust character of M. A. Caravag- gio. His pictures at Siena are remarkable for a tenebrosity which destroys the just equilibrium of light and shadow, by which illusion is essentially supported. This deficiency is the more to be re- gretted, as he posse3s'ed a correct design, and his ideas are neither mean nor ignoble. He was well versed in architecture; and in some of his best works reminds us of Guercino. There are several of his pictures at the Certosa at Florence, and in the churches at Pisa, among which is particularly admired a Hiposo of the Holy Family, in S. Pietro di Castelvechio. He died in 1637, aged 66. [According to Zani, Manetti was born in 1571, and died in 1639, which would make him 68 years old ; Fussli says he died in 1639, at the age of 69 ; it is quite clear that Bryan was either wrong in his dates, or out in his arithmetic, as from his data the age would be 61.] MANETTI, DoMENico, was probably a relation of the preceding artist. He chiefly distinguished himself in painting historical subjects of an easel size, of which there are many in the private collec- tions at Siena, one of which is particularly men- tioned by Lanzi, in the Casa Magnoni, representing the Baptism of Constantine. MANFREDI, Bartolomeo. This painter was born at Mantua in 1574. Although Manfredi was a scholar of Cristofano Roncalli, called dalle Pome- rance, he might be styled another Michael Angelo Caravaggio, if his works were not distinguished by a superior choice of forms, and a more dignified taste of design. He painted few pictures for the churches j the subjects he made choice of were usually banditti, assemblies of gamesters and armed soldiers, which he represented with an appropriate ferocity of character, and an extraordinary effect of hght and shadow. The works of Manfredi are rarely to be met with, as he died young; and. of the few pictures he painted, some are attributed to M. Angelo Caravaggio, or to Valentin. [Zani places his birth in 1580, and his death in 1617.] MANGLARD, Adrian, a French painter and engraver, born at Paris in 1688. At an early period of nis life he went to Rome, where he met with considerable encouragement, and painted several landscapes and sea-pieces for the Villa Albani, and for the Palazzi Colonna and Rospigliosi. Joseph Vernet was his scholar, who surpassed him. He died at Rome in 1761. We have several pleasing etchings by this artist, of landscapes and marines, from ms own designs. [Dumesnil describes forty- four pieces by him; he says that Manglard was born in 1696.] MANINI, Gaetano. This artist was bom at Milan about the year 1730. He painted history in the gaudy and frivolous style of the modem Italian school, and came to England a little before 1775, in which year he was an exhibiter with the Chartered 433 MANN] A DICTIONARY OF [mant Society of Artists. He died between the years 1780 and 1790. [MANNINI, or MANINI, Giacomo Antonio, a painter and engraver of perspective and architec- tural ornaments, was born at Bologna in 1646, and died in the same city in 1732. He was a disciple of Andre Monticelli and Domenico Santi, and became very eminent in his profession. There is a series of sixteen perspective views by him, etched with a light point and fuU of taste, of which Bartsch has given a detailed account (P. Gr. torn. xix. p. 322).] MANNL, or MAENNL, Jacob, a German en- graver in mezzotinto, bom at Vienna about the year 1695. In 1720, Christopher Lauch, the inspector of the Imperial Gallery, which had been augmented by the Collection of the Archduke Leopold, under- took to have the whole of the pictures engraved, and Jacob Mannl was employed for that purpose. The death of the undertaker and of the artist pre- vented the completion of the project, and only thirty- one plates were finished. These prints are now become extremely rare. M. Heineken, in his idea of a complete collection of prints, gives a particular description of them from those in the possession of Mariette. They are as follow : The Portrait of the Emperor Charles VI. The dead Christ, supported by an Angel ; after , Palma. The Virgin, with the infant Christ, who is caress- ing St. John ; after Vandyck.' Mary Magdalene penitent, accompanied by an Angel; after Careggio. St. Francis praying; after Bassano. St. Clara kneeling ; after the same. The Repentance of St. Peter ; after Spagnoletto. The Martyrdom of St. Bartholomew; after L. Giordano. Christ praying in the Garden ; after M. A. Ca- ravaggio. Venus, with Cupid holding a mirror ; after Titian. Judith leaving the Tent of Holofemes ; after P. Veronese. Christ disputing with the Doctors ; after Spag- noletto. Samson delivered to the Philistines; after Van- dyck. The Ecce Homo ; half-length ; after Titian. The Virgin, or Mater Dolorosa ; after the same. A Philosopher meditating on a Skull; after L. Giordano. A Geometrician ; after the same. St. Margaret treading on the Dragon ; after Raf- faeUe. Tobit restoring Sight to his Father ; after M. A. Cara/Doggio. Christ taken in the Garden ; after B. Manfredi. Susanna at the Bath ; after Tintoretto. Susanna and the Elders ; after Ann. Caracd. Jupiter and Mercury, with Baucis and Philemon ; after Carlo Loti. Diana and her Nymphs; afler Willeborts Bos- chaert, and John Fyt. The Virgin and Infant; after Titian. A Warrior giving his Hand to a Man ; after Gior- gione. A aying Magdalene ; after the younger Palma. Christ bearing his Cross ; after Bassano. Judith with the Head of Holofemes; after A. Varatari. Judith; after Carlo Veneziano. A Child holding a Dog ; after P. Veronese. 434 MANNOZZI, Giovanni, called da San Gio- vanni. This painter was bom at San Giovanni, in ' the Florentine state, in 1590. He was a scholar of Matteo Roselli, whose correct and finished style was no way congenial with the vivacity of his invention, and the prompt faciUty of his execution. The ca- pricious flight of his imagination occasionally led him into the most absurd extravagance ; but when he chose to restrain this impetuosity, and to reflect on his subjects, he discovers both judgment and taste. Such are his works in the churches at Flo- rence, and in the tribune of the S. S. Quattro, at Rome. Lanzi observes, that although he did not begin to study the art until he was ei^teen years of age, and died in his forty-eighth year, the number of his works at Rome, in the pontifical states, and at Florence, appears almost incredible. He died in 1648, and left a son, Giovanni Garzia Mannozzi, who painted some frescoes at Pistoja, in a respect- able style. [Mannozzi died in 1636, at the age of 46.] [MANRIQUE, Miguel, a native of Flanders, but who practised painting in Spain about 1650. It is said that he had been a scholar of Rubens, but obtaining a commission as captain of a troop in the Spanish service, he went to that country, and set- tled at Malaga, where several of his pictures are to be seen. He was a good colourist, and his pictures have the characteristics of the school in which it is Said he first studied.] [MANS, F. H., (Franz Herman?) a Dutch painter, who has left numerous pictures, views of towns, villages, and coast scenes, with figures. His winter-pieces are in the manner of Klaas Molenaer, but somewhat superior, and are painted with great truth. They are generally of small dimensions, and signed with his name, and some are dated as late as 1677.] MANSFELD, John Ernest, a modern German engraver, born at Prague in 1738. When he was sixteen years of age he visited Vienna, where he learned design in the Imperial Academy, and was instructed in the art of engraving. His best plates are small portraits, with accessorial ornaments, of eminent personages of Vienna, and others, neatly executed with the graver. The following are his principal prints : PORTRAITS. The Empress Maria Theresa; J. E. Mamfeld, sc. The Emperor Joseph II. ; the same. Pope Pius V. ; Sagenauer, pinsc. 1782. Wenceslaus, Prince Kannitz; after Vinazer. Francis Anthony, Count KoUowrat; after the same. Maurice, Count Lacy ; after Kolhnitz. 177S. Frederick, Baron Trenck ; J. E. Mansfeld,fec. Joseph Haydn ; the same. Anthony Stoerk ; the same. 1773. Sir Robert Murray Keith ; after Graff. SUBJECTS. A Waterfall on the Danube ; after Wenzely. The Coronation of the Emperor Leopold ; after Sehutz. MANTEGNA, Andrea. This distinguished painter and engraver was born at a village near Padua in 1431, as appears from the date of his first public picture in the church of S. Sofia at Padua, painted in 1448, when he was seventeen years of age. He was the son of a herdsman, and his first occupation was watching cattle, which his passion for drawing sometimes occasioned him to neglect. This decided disposition for the art induced Fran- mant] PAINTERS AND ENGRAVERS. [mant cesco Squarcione to take him under his tuition, and such was his extraordinary progress under that master, that he adopted him as his son. At an age when others usually commence the study of the art, he was fixed on to paint an altar-piece for the church of S. Sofia, at Padua, which he inscribed Andreas Mantinea Patavinus annos VII. et X. natus sua manu pinxit 1448. He soon after painted the Pour Evangelists, for the same church. The celebrity he acquired by these and other perform- ances induced Jacopo Bellini, a painter then in great reputation, to bestow on him his daughter in marriage. This union was by no means agreeable to Squarcione, the enemy of Bellini, who in conse- quence became as inveterate in his detraction of the works of Mantegna, as he had before been strenuous in his praise of them. F. Squarcione had collected, in a journey through Greece, a rich assemblage of statues and bas-reliefs, which were the models of study in his numerous school ; but by none were they so profoundly contemplated as by Mantegna, by which he acquired a pure and correct design, a select choice of forms, and a simplicity of composi- tion superior to his contemporaries. His devout adherence to the antique had however seduced him into a neglect of nature, and of that animated ex- pression of character which she alone affords. For this deficiency, he was severely satirized by Squar- cione, particularly for his picture of the Martyrdom of St. James, in the church of the Eremitani, which is designed in a dry, formal style. This rebuke occasioned him to change his manner ; and in a picture he painted soon after, for the church of S. Giustina, of St. Mark writing his Gospel, he repre- sented the head of the Evangelist with an admirable expression of the most fervid devotion. He was in- vited to Rome by Innocent VIII., for whom he painted a chapel in the Vatican, and other con- siderable works, in which his style was improved by his study of the remains of antiquity in that metropolis. His chief residence was at Mantua, where he was particularly patronized by the Marchese Lodovico Gonzaga, for whom he painted some of his finest works, both in oil and in fresco. His most celebrated performance in oil is his picture called della Vittoria, painted in 1495, for a chapel of the Marchese Francesco Gonzaga, in the church of the Filippini, in commemoration of a victory gained by that prince over Charles VIII. of Prance at the battle of Pormoni. It represents the Marquis in armour, kneeling before the Virgin and Infant seated on a throne, surrounded by several saints, and near her St. Elisabeth, which is the portrait of the Mar- chioness, with the young St. John. In this extra- ordinary production, the surprising delicacy of the carnations, the elegant cast of the fiaperies, the glit- tering lucidity of the armour, and the tasteful acces- sories by which it is accompanied, equally surprise and charm us. Each head is a model worthy of study for the grace and vivacity of expression, and the truth of character; and the design, both in the naked and in the vestments, completely contradicts the commonly received opinion, that the Gothic style and that of Mantegna are the same. This interesting picture, which was long the admiration of every visitor of Mantua, was carried off by the French, with their other plunder, and is now one of the ill-acquired ornaments of their Museum. Mantua appears to have been destined to be stripped of the best productions of this estimable artist by the spoils of war ; as the fine series of pictures of the Triumph of Julius Ceesar, . formerly in the 2 F 2 Palazzo di S. Sebastiano, and now in his Majesty's collection, which Vasari considers as his most dis- tinguished works, and for which he was knighted by the Marquis of Mantua, became the plunder of the Germans at the sacking of the city. As an en- graver, Andrea Mantegna claims our veneration as one of the earliest practisers of the art, and as having contributed more than all his contemporaries to its perfection, by his superior knowledge of design. Coeval with Antonio PoUajuoli, he resembles him in the style of his engraving, but he greatly sur- passes him in the drawing of his figures, particularly in the naked. His plates are generally executed by single strokes from one corner of the plate to the other, in a manner resembling drawings made with a pen, without hatchings, or cross lines. Several of his prints are engraved from his own designs, which are distinguished by a simphcity and cor- rectness of outline unusual at the early period in which he Med. He sometimes marked his plates with a monogram similar to one afterwards made use of by Marc Antonio Raimondi, _J^|p . and some- times with a tablet, also made use of by that cele- brated engraver, | ^| |^ . The following are his principal plates : The Virgin seated, with the infant Jesus in her arms. The Scourging of Christ. ■The Entombing of Christ, inscribed, Sumani ge- neris Redemptori. Christ descen(fing into Hell'. Christ holding the Standard of the Cross between two Saints. Judith with the Head of Holofernes. A Battle of Sea Monsters, with the figures of two armed Warriors. A Battle of Sea Gods, with the figure of.Neptune. Hercules between Virtue and Vice. This print is sometimes attributed to Marc Antonio. Hercules strangling Anteus, inscribed, Divo Her- culi invicto. Pour Female Figures dancing. Bacchus, supported by Fauns and Satyrs. The Triumph of Juhus Csesar; in nine plates ; after his pictures now in the King's colkction. It is difficult to meet with a complete set of these plates. They have been copied in chiaro- scuro by Andrea Andreani. [In addition to the 23 prints described by Bartsch, there is in the British Museum one representing St. George and the Dragon, of large dimensions, which cost £60 sterling; also The Chalice, (of which Hollar engraved a copy,) measuring 171 inches H. by 8J W.l Andrea Mantegna died at Mantua in 1505, where a monument was erected to his memory by his sons, in the church of S. Andrea, in 1517, which his occasioned Vasari, with his usual inaccuracy, to date his death in that year. [Andrea Mantegna, according to Pungileoni, died the 13th of August, 1506 ; Zani says the 15th of September in the same year. It is better to say nothing than to say little concerning this great artist ; and, as it would fill a volume to dissertate on the controverted joints, it may be more convenient to refer the inquirer to the pages of Zani and Pungileoni for satisfaction. Even after consulting those two great authorities, there will remain matter for further investigation.] MANTEGNA, Francesco. Among the best 435 mant] A DICTIONARY OF [marc scholars of Andrea Mantegna, were Francesco, and another of his sons, who finished the frescoes left imperfect hy their father in the Camera degli Sposi, in the castle at Mantua, and painted the ceilings, so much admired for the infantine and playful beauty of the angels. Francesco also painted two laterals for an altar-piece in S. Andrea, a work of his father's. MANTOUANO, Rinaldo. This painter was born at Mantua, and was one of the most distin- guished scholars of Giulio Romano. Vasari regrets the premature death of this promising artist, who was regarded as one of the ablest painters of his time. In the church of S. Agnese at Mantua, is a fine picture by him of the Virgin and Infant, with S. Agostinoand S. Girolamo, composed and designed with a grandeur so much beyond his age, that it gave rise to a suspicion that it was painted from a design of his instructor. He died in the flower of his life. MANTOUANO. See Andreani and Ghisi. MANTOUANO. See Venusti. • MANTOUANO, Teodoro. See Ghigi. MANUEL, Nicholas and Rodofl. See Deutsch MANWAIRING, . This artist, who flourished about the year 1760, is mentioned by Mr. Strutt as the engraver of a portrait Of the Reverend Mr. Madan. MANZUOLI, Maso, called Maso di S. Fbiano. This painter was born at Florence in 1536. He was first a disciple of Pierfrancesco di Jacopo, and afterwards of Carlo Portelli. Vasari does not hesi- tate to place this artist on an equal rank with Ba- tista Naldini and Alessandro AUori. This honour- able testimony will not appear unmerited to those who have seen his picture of the Visitation of the Virgin to St. Elisabeth, formerly in the church of S. Pietro Maggiore ab Florence ; afterwards taken to Rome, and placed in the gallery of the Vatican. This graceful and impressive picture was painted when he was thirty years of age, and is not only the most admired of his works, but is regarded as the ablest production of the Florentine school at the period in which he lived. There are other works by him in the chm-ch of the S. Trinita, and in the Florentine gallery. He died in 1575. MARACCI, Giovanni. See Marracci. MARATTI, Carlo. This eminent painter was born at Camurano, in the Marquisate of Ancona, in 1625. At twelve years of age he showed so strong a propensity for design, that his parents sent him to Rome, where he entered the school of An- drea Sacchi, under whom he studied several years, and was his most favoured disciple. By the recom- mendation of his instructor, he made the great works of Ratfaelle the chief objects of his contemplation ; he studied them with the most exemplary assiduity, and became a correct and elegant designer. He was much employed in painting Holy Families, pictures of the Virgin, and female saints, on which account the contemporary artists, particularly Salvator Rosa, supposing him incapable of higher or more arduous exertions, satirically styled him Carluceio delle Ma- donne. To counteract the efforts of his enemies, Andrea Sacchi procured him the commission to paint a picture for the Battisterio of St. John of Lateran, where he represented Constantine destroy- ing the iiols, a perfoi-mance which stifled the voice of calumny, and was esteemed one of the ablest productions of the time. It procured him the pa- tronage of Alexander VII., under whose protection, and that of his successors, he became the most po- pular and most employed artist at Rome. His most 436 admired works are those he painted in the style of Andrea Sacchi, of which the following are the most worthy of notice. The Death of St. Francis Xa- vier, in the church of II Gesu, which is engraved by J. Frey ; the Visitation, in la Pace ; and the Con- ception, in S. Isidore : but his most celebrated work is the Martyrdom of S. Biagio at Genoa, which, Lanzi observes, is worthy of the ablest emulator of the style of Sacchi. Carlo Maratti was a correct designer, but his forms discover little acquaintance with the beauties of the antique. His compositions are rich, and even magnificent, but they bear the character of coldness and languor, and apj)ear rather , the productions of labour, than the inspirations of genius. The expression of his heads is sweet and amiable, though not distinguished by pecuhar dig- nity or grace. He prided himself on the copious casting of his draperies, but in these he was go- verned by manner and practice, and the confused multipUcity of his folds exhibits little of the beauty of the figure. His colouring in general is silvery and pleasing ; but towards the latter part of his life it was occasionally chalky and cold. He seems to have been more indebted for what is approved in his works to the great models he consulted, than the originality of his invention ; and though his pictures will always be thought worthy of our esteem, they possess neither the fire nor the senti- ment that excites our admiration. We have by this painter several etchings, executed in a free, spirited style, though neater and more finished than those of painters usually are. Some of them are from his own designs, and others after the celebrated Italian masters. The following are by him : A set of ten plates of the Life of the Virgin ; from his man compositions. Several Holy Famihes, and subjects of the Vir- gin ; after the same. HeliodoiTis driven from the Temple; in two sheets ; after RaffaeUe. Christ, with the Woman of Samaria ; aftef An. Car and. ''' '"" ,, The Flagellation of St. Andrew; after Bommi- chino. Joseph discovering himself to his Brethren ; after Mola. St. Charles Borromeo interceding for the Persons afflicted with the Plague ; after Cavaliere Pe- rugino. [Bartsch describes only 14 etchings by him. Those of Christ with the Woman of Samaria, and Joseph and his Brethren, he considers to be by P. F. Mok.] Carlo Maratti died at Rome in 1713. MARC, EsTEVAN, [or MARCH, Esteban.] Ac- cording to Palomino, this Spanish artist was a na- tive of Valencia, and a scholar of Pedro Orrente, under whom he became an eminent painter of bat- tles. He also painted historical subjects, though less distinguished in that branch than the former. In the church of San Juan de Mercado, at Valen- cia, is an altar-piece of the Last Supper, highly commended by his biographer. For the Bueno Re- tiro he painted a large picture of the Marriage at Cana, where there is also one of his most capital battle-pieces. He died at Valencia in 1660, at an advanced age. [Esfceban March adopted the Vene- tian style of painting, from his master, Orrente, who was a great imitator of the Bassans. He was an enthusiast, a kind of Quixote in his art ; in order to rouse his imagination he would arm himself cap-a- pie, place lance in rest, and to the sound of drums marc] PAINTERS AND ENGRAVERS. [marc and trumpets make a furious attack on the walls of his atelier. Having finished this preliminary exer- cise, he would commence painting the inspirations of his exalted imagination. He also attempted his- tory, but did not succeed ; it required more sobriety. His battle-pieces, however, were much esteemed by the amateurs ; they exhibited vigour in the action, freshness in colour, facility of handling, and a density in the atmosphere of that part where the afiair appeared to be most seribus. His works are chiefly at Valencia and Madrid.] MARC, [or MARCH,] Miguel, was the son and scholar of Estevan Marc, bom at Valencia in l633. He painted history and battles in the style of his father, though greatly inferior to him. One of his best performances is the Death of St. Francis, in the church of the Franciscans at Valencia. He died at Valencia in 1670. MARC, Antonio. See Raimondi. MARCA, Giovanni Batista Lombardelii, called DELLA. This painter was born at Monte- nuovo in 1532. He was first a scholar of Marco Marchetti da Faenza, and, according to Baglioni, visited Rome in the pontificate of Gregory XIII., where he attached himself to an imitation of the works of Rafeellino da Reggio, of whom he became an assistant and coadjutor in some fresco paintings in the Vatican. In the church of S. Pietro Mon- torio he painted a series of pictures of the Life of St. Francis ; and in S. Maria de Monti, the Resur- rection. There are several of his works in the churches at Montenuovo. He died in 1587. [Zani says he was bom at Perugia, and that he was living in 1592: he is also called il Montana.'] MARCEL, N. This artist was bom at Frank- fort in 1628, and was a scholar of George Vlugels, an indifferent painter of still-life. Marcel greatly surpassed his master, and his pictures of flowers, ftnit, shells, &c., are very highly finished and deli- cately coloured. They are held in considerable es- timation in Germany. He died at Frankfort in 1683. y^Jj^RCELLIS, Otho, a Dutch painter, bora at /Amsrerdam in 1613. It is not known by whom he was instructed, but he acquired considerable cele- brity by his excellence in a very singular branch of the art. He painted reptiles, insects, and curious plants, which he designed with surprising fidelity, and finished with extraordinary care. The admira- tion of these exotic productions was not confined to his own country. He resided some time at Paris, where he was greatly encouraged by the Queen- mother, by whom he was munificently rewarded. He afterwards visited Florence, where his talents were equally distinguished by the Grand Duke. His works were not less admired at Naples and Rome, where he passed several years. He painted every thing from nature, for which purpose he is said to have kept a kind of museum of serpents, vi- pers, rare insects, and other curiosities, which he copied with unexampled precision, and a singular beauty of pencil. His pictures are found in the choicest collections in Holland. He died at Am- sterdam in 1673. [Piissli sayS his name was Snuffe- laer ; he signed many of ms pictures 0. Masseus, but no writer mentions the circumstance.] MARCENAY, Anthony de Ghuy, a modern French engraver, who flourished about the year 1760. He was one of the most successful imitators of the style of Rembrandt, and has engraved several plates of portraits and other subjects, in which the dry point is used vidth great dexterity. Among others, we have the following prints by him : PORTRAITS. Henry IV. of Prance ; after Janet. The Duke of Sully; ajiier Porhus. The Chevaher Bayard. The Maid of Orleans. Viscount Turenne ; after Champagne. Prince Eugene ; after Kupetzki. Marshal ATillers ; after Rigaud. General Paoli. Stanislaus Augustus, King of Poland; after Sa- derelli. Marshal Saxe ; after Idotard. The Portrait of Tintoretto ; after a picture by himself. A half-length of Rembrandt, with a palette. SUBJECTS. Sun-set; after Fernet. A View of the Sea-coast, with Fishermen ; after the same. A Land-storm ; after Vanuden. A Skirmish of Cavalry ; after Parrocel. The Testament of Eudamidas ; after iV. PoiKsin. Tobit recovering his Sight ; after Memhrandt. [The Lady with the Pearl, an oval, with the date 1768; after Sembrandt. The (lady) Gardener; after O. Dm, with the date 1766 ; and others to the number of 66.] [He was born in 1722, and died in 1811.] MARCHAND, or MARCHANT, Peter. Flo- rent le Comte mentions an old artist of this name, who lived about the yeax 1577, and engraved both on wood and on copper; but he does not specify any of his works. Professor Chiist attributes' to this engraver a monogram composed of a P. and an M. HtI. with the above date. MARCHANT, J. There is a portrait of Mrs. Cibber engraved by this artist, after Hudson, in 1749. MARCHANT, Petrus. The name of an en- graver afllxed to a book of goldsmith's ornaments, executed with the graver in a neat, free style. It is signed, Petrus Marchant, fecit. •1623. MARCHESI, GiROLAMO. See Cotignola. MARCHESI, Giuseppe, called II Sansone. This painter was bora at Bologna in 1699, and was first a scholar of Marc Antonio Franceschini, but afterwards studied under Aurehano Milani. To the vigorous colour and the bold fore-shortening of his first instructor, he united the correct design of Mi- lani, and distinguished himself by many admired works in the churches of Bologna. In S. Pietro is a fine picture of St. Ambrose reding the Emperor Theodosius the Entrance to the Wemple. His pic- ture of the Birth of the Virgin, in la Madonna di Galeria, and that of the Resurrection in S. Croce, are jiainted in the great style of Franceschini. One of his most esteemed works Is the Martyrdom of S. Prisca, in the dome of Rimini, in which he appears to have had in view the St. Agnes of Domenicljino. Lanzi ranks his pictm'e of the Four Seasons among the happiest productions of the modern Bolognese school. [Died in 1771.] MARCHESINI, Alessandbo. According to Orlandi, this painter was born at Verona in 1664, and received his first instruction in the art from Biagio Falcieri. At the age of sixteen he was sent to Bologna, and placed under the tuition of Carlo Cignani. Under that master he became a reputable painter of history, and on his return to Verona was ,437 marc] A DICTIONARY OF [maeg employed in several works for the churches of S. Biagio, la Madonna della Scala, and other public edifices. He resided some time at Venice, where he was chiefly occupied in painting easel pictures of historical and fabulous subjects, which were more remarkable for facility of execution than correctness and study. He died in 1738. MARCHETTI, Mabco, called da Faenza. This painter is called by Baglione Marco da Faenza. He flourished at Rome in the pontificate of Gregory XIII., who employed him in ornamenting the log- gie of the Vatican with grottesque and arabesque subjects, in which he particularly excelled. His talents were not however confined to that branch of the art. He painted historical subjects, which were correctly and elegantly designed, with a more than usual acquaintance with the nude. Such is his pic- ture of the Murder of the Innocents in the Vatican. In the church of the Trinita de Monti, he painted a series of pictures of the Life of St. Francis di Paola. Cosmo I. employed him sometimes in the Palazzo Vecchio, at Florence. He died in 1588. MARCHI, Giuseppe, was a native of Rome, and was brought to England by Sir Joshua Reynolds, when he returned from Italy, by whom he was much employed in painting draperies, and in forwarding his pictiires. He engraved several plates in mez- zotinto, from portraits by Sir Joshua, among which are the following : Lady Mulgrave, when Miss Cholmondeley. Mrs. Crewe and Mrs. Bouverie. Miss Oliver. Doctor Goldsmith. Mrs. Hartley, with her child. [He assisted Sir Joshua in preparing his palette, and in painting his draperies ; and made several success- ful copies of heads by that master. He died in 1 808.] MARCHIS, Alessio de. This artist was a Nea- politan, and flourished about the year 1710. He painted landscapes, sea-ports, and towns on fire ; in which he followed the great style of Salvator Rosa. His principal works are at Perugio and Urbino, where they are held in high estimation. Lanzi re- ports of this painter, that in order to imitate nature more exactly in his conflagrations, he set fire to a barn, for the purpose of study ; the fact being dis- covered, he was sent to the galleys for some years, but was released from his punishment in the ponti- ficate of Clement XL, who employed him m his palace at Urbino, which he decorated with several of' his best works. One of his most celebrated pic- tures is the Burning of Troy, in the Palazzo Sem- proni. [He died about 1742.] MARCILLA.orMARSIGLIA, Ghglielmo da. This painter was born at Marseilles in 1475. Vasari reports, that having been concerned when he was young in an unfortunate quarrel, in which one of the parties was killed, to avoid the rigour of justice, he took refuge in a cloister, and became a monk. He afterwai'ds fled from his monastery, and travel- j led to Arezzo, and on his arrival in Italy was secu- larized. At Arezzo he distinguished himself by some very extraordinary paintings on glass, the fame of which reached Rome, whither he was invited by Julius II. For that pontiflF he executed some con- siderable works on glass, as well as several paint- ings in fresco. In the dome at Arezzo he painted the Evangelists, designed in the great style of M. A. BuoucLroti, and like the frescoes of that sublime master, are coloured in a low and subdued tone. His glass-paintings, on the contrary, have all the rich- 438 ness and glow that colour can give, and when as- sisted by the brightness of the sun, are of unde- scribable brilUancy. He died in 1537- [Lanciolotti calls him Ma^ohe, or MagoUo, Francesco, i. e. a Frenchman : it is also said by some that he was born in 1462, and djed in 1524.] MARCOLINI, Francesco, an Italian engraver on wood, bom at ForU about the year 1500. In 1540 he published a book entitled iZ Oiardino de Pensieri, with wooden cuts, executed by himself, after the designs of Oiuseppe Porta, called Salviati, which possess considerable merit. MARCONI, Rocco. This painter was a native of Trevigi, and flourished about the year 1505. Ri- dolfi ranks him among the disciples of Palma, but Zanetti, with more probability, asserts that he was a scholar of Giovanni Bellini. He excelled as a colourist, and was a tolerably correct designer, al- though coarse and austere in his forms, and ignoble in ^his characters. His picture in the church of S. Niccolo, which is considered one of his earliest works, is dated in 1505. One of his best perform- ances is the Adultei:ess before Christ, in S. Giorgio Maggiore. [Kiigler, in his " Italy," mentions two others at Venice : an altar-piece of Christ between two Angels, in S. S. Giovanni e Paolo ; and a very excellent Descent from the Cross, in the collection of the Academy. In the Berlin Museum there is The Supper at Emmaus, dated 1507.] [MARCUARD, Robert Samuel, an English designer and engraver, born in 1751, and died in 1792. He was a pupil of Bartolozzi, whose manner he followed, and was considered one of the best scholars of that eminent master. His engravings are chiefly after the works of contemporary painters, particularly Cipriani, Angelica Kaufiman, W. Ha- milton, Hoppner, Ramberg, Flaxman, (sculptor,) Stothard, Peters, and Sir J. Reynolds.] MARCUCCI, Agostino, was a native of Siena, though educated at Bologna, and had the advantage of studying in the school of the Caracci, until Pietro Pacini attempted the establishment of a rival aca- >. demy, to which Marcucci attached himself. He painted some pictures for the churches at Bologna, among which is the Death of the Virgin in la Con- cezione. [He flourished about 1600.] 'MARESCALCO, Giovanni. SeeBuoNCONSiGLi. MARESCOTTI, Bartolomeo. This painter was a native of Bologna, and was brought up in the school of Guido Reni, of whose style he was a slight and unsuccessful imitator. There are some of nis works in the churches and public edifices at Bo- logna ; in S. Martino Maggiore, the Martyrdom of S. Barbara ; in S. Stefano, the Crowning of the Vir- gin ; and S. Sigismondo condemned to death, in the church dedicated to that saint. [Died in 1630.] MARGARITONE. This venerable artist is re- farded as the most ancient painter of whom we ave any account in the history of modem art, who, with Cimabue, contributed to the revival of paint- ing. He appears to have been born at Arezzo in the year 1198, about forty years before the birth of that master. He is said by Vasari to have been in- structed by some Greek painters in the rude and barbarous exercise of the art, practised at that re- mote period. His works were almost confined to images of the Virgin and Crucifixes, a few of which remain in the churches at Arezzo ; and in S. Croce, at Florence, where there is a picture of St. Francis, by Cimabue, to which the works of Margaritoneare Uttle inferior. He also distinguished himself as a sculptor and an architect. On the death of Gregory marq] PAINTERS AND ENGRAVERS. [MAUI X., at Arezzo, Margaritone was appointed to erect his monument, on which occasion he carved a mar- ble statue of the Pope, and decorated the chapel with his portrait, and other paintings. He died in 1275. [Several writers say that he died at the age of 77, but they do not agree in the dates. Zani says he was born in 1240, and died in 1317, which would make him 77 ; Lanzi says he dieda^er 1289, at the age of 77. As all his pictures are lost, with the exception of one engraved in Lastri's " Etruria Pittrice,"it would answer no good purpose to enlarge this article.] MARGHUCCI, GiACOMO. According to M. Heineken, this artist was an engraver and print- seller, by whom we have some plates of antique busts, statues, &c. MARI, ALESSANDRO.was born at Turin in 1650, and was first a scholar of Domenico Piola of Genoa, but afterwards went to Venice, where he studied some time under Cavaliere Liberi. He next visited Bologna, and passed some years in the school of Lorenzo PasinelU, and on leaving that master, painted some pictures for the churches in that city, of which the most esteemed were the Crucifixion, and the Martyrdom of St. Sebastian, in S. Barbazi- ano. His principal residence was at Milan, where he gained considerable reputation by painting sym- bolical subjects, in imitation of the old masters. According to Lanzi he went to Spain, and died at Madrid in 1707. MARIA, Cavaliere Ercoie, called Ercolino Di GuiDO. This painter was a native of Bologna, and a favourite disciple of Guido Reni. He imitat- ed and copied the works of his instructor with such precision, that he is said to have deceived the mas- ter himself. Malvasia reports, that Guido having left a picture in a half-finished state, Ercoie copied it, and placed his work on the easel of his master, who proceeded to finish it, without discovering the deception. His powers appear however to nave been confined to the humble pretensions of a copyist, although they were such as to procure him the most flattering encouragement, even at Rome. He was particularly patronized by Urban VIII., who con- ferred on him the honour of knighthood. He died young at Rome, about the year 1640. MARIA, Francesco di, was bom at Naples in 1623, and became a disciple of Domenichino, when he resided in that city. Like his admirable in- structor, he studied the subjects he painted vrith the most profound attention ; and, like him, endured with patient suffering the taunts and scofiings of his contemporaries for tardiness and irresolution, which accompanied Zampieri to the tomb. His his- torical works are not numerous ; but the few that exist are held in the highest estimation, and may be mistaken by the inexperienced for the works of Do- menichino. He particularly excelled in portrait painting ; and Lanzi reports, that a portrait by him being exhibited at Rome with one by Rubens, and another by Vandyck, the preference was given by the judges, Niccolo Poossin, Pietro da Cortona, and Andrea Sacchi, to that of Maria. He died in 1690. MARIANI, Giovanni Maria. This painter was a native of Ascoli, and flourished about the year 1655. He was a scholar of Donienico Fiasella at the time when Valerio Castelli studied under that master, and in conjunction with him distinguished himself by several works at Genoa, both in oil and in fresco. His picture in the oratory of S. Jacopo, of the Baptism of that Saint, may be ranked with the best productions of his time. He passed some part of his Ufe at Rome, and was received into the academy there in 1650. He sometimes painted his- torical subjects of an easel size, which are found in the first collections at Genoa and Florence. One of his most admired works of this description is his pictm-e of the Rape of the Sabines, in the Florentine gallery. MARIENHOF, a., a Dutch painter, bom at Gorcum in 1650. It is not known by whom he was instmcted, but according to M. Descamps he passed the early part of his life in studying and copying the works of Rubens. He afterwards settled at Briissels, where he was much erqplbyed in painting small historical pictures, which were touched and coloured entu'ely in the manner of Rubens. He died young. [The date of his death is uncertain ; Balkema says in 1712 ; but this is unsupported. He was more of a copier than an original painter.] MARIESCHI, Michele. This artist was a na^ tive of Venice. He excelled in painting architec- tural views and perspective, and passed the first part of his fife in Germany, where his works were much esteemed. On his return to Venice, he painted the most remarkable views in that city, several of which he has etched in a pleasing and spirited style. He died in 1743. MARIESCHI, Jacopo, [or Giacomo,] was the son of the preceding artist, bom at Venice in 1711. After being instructed in design and perspective by his father, he became a scholar of Gasparo Diziani. He painted architectural subjects, and views of Ve- nice, in which he imitated the style of Canaletto,but with less success than Francesco Guardi. He died in 1794. [His pictures are oftener mistaken for the works of Canaletto than are those of Guardi, who painted with more freedom than either.] MARIETTE, John, an eminent French en- graver and printseUer, bom at Paris in 1654. He was instmcted in drawing by his brother-in-law, J. B. Corneille, with the intention of becoming a painter, but by the advice of Charles le Bmn, he changed his pursuit, and devoted himself to en- graving. Several of bis plates are from his own de- signs,- and his compositions possess considerable merit, though his drawing is not very correct. He worked both with the point and the graver, in a slight, and rather a coarse style. We have a great number of plates by him, the greater part of which are frontispieces, vignettes, and other book orna- ments. The following are esteemed his best prints : The Descent from the Cross ; after le Brun. The Angels ministering to Christ in the Desert ; after the same. St. Peter delivered from Prison ; after Domeni- chino. Moses saved from the Nile; after Poussin. Joseph making himself known to his Brethren ; ajier M. Corneille. Christ curing the Paralytic ; after the same. St. Louis receiving the Commimion; after J. 3. Corneille. St. Louis received into Heaven ; after the same. John Mariette died at Paris in 1742. MARIETTE, Peter John, was the son of the preceding artist, from whom he inherited a veiy con- siderable property, and an extensive collection of prints, which, by continual additions, he rendered the most numerous and select of any private indivi- dual in Europe. His immense assemblage of prints and drawings was sold in Paris in 1775. For his amusement ne etched a few plates of landscapes, 439 MARl] A DICTIONARY OF [marl after Ouercino ; and some heads and studies, after Caracci and Pierino del Vaga; [also Traits des Pierres gravees, with 250 engravings of antique gems, in 2 vols., folio.] He died at Paris in 1774. [MARIGNY, Michel, a French historical paint- er, born at Paris in 1797, and died there in 1829, was a scholar of M. Lafont and the Baron Gros. He painted several pictures of large dimensions for churches at Paris and Rouen, and one of Moses, as the legislator, for the council-chamber at the Lou- vre. His last production, a wounded soldier, was ex- hibited at the Luxembourg in 1830.] [MARILLIER, Clement Pierre, a French de- signer and engraver, was born at Dijon in 1740, and died in 1808. He made numerous drawings of sub- jects from the Bible, and for the worts of Dorat, the Abbe Prevost, de Boucher, Amand Bacculard, and Sauvigy. He also engraved from his own designs the landsca,pes for "les voyages en France, a Naples et en Grece," and for various other works.] MARINARI, Onorio. This painter was bom at Florence in 1627. He was the cousin and disci- ple of Carlo Dolci, and for some time followed the finished and laboured manner of his relative, but afterwards adopted a grander and more dignified style ; more ideal and less constrained. His princi- pal works are in the church of S. Maria Maggiore, and in that of S. Simone at Florence. Of his easel pictures there are several in the private collections, which are highly esteemed; He died in 1715. [This artist was in the former edition erroneously named Mariani. There are many of his pictures in Eng- land, but they are generally attributed to C. Dolci : he painted with a freer pencil, and with a greater glow of colour, than his master, and more harmony of tone. After C. Dolci's death he finished several of his pictures, perhaps not to their disadvantage.] [MARINAS, Henrique de las, a Spanish ma- rine painter, was born at Cadiz in 1620. He was celebrated for his representations of scenes of em- barkation in the bay of his native city, which he gave with so much truth and beauty that he pleased both artists and seamen ; and in such compositions the latter are not bad critics. He is praised for the transparency of his water and his aerial gradations.- He realized a large fortune by his pictures, and afterwards indulged himself in travelling ; but hav- ing arrived at Rome he never quitted it, but died there in 1680. His pictures are still sought for by intelligent amateurs, but it is uncertain under what name they are sold in Italy.] MARINI, Benedetto. This painter was a na^ tive of Urbino, and flourished about the year 1625. According to Lanzi, he was one of the most distin- guished scholars of Claudio Ridolfi, and on leaving that master resided some years at Piacenza, where he painted several altar-pieces, and other works, in which he united the Lombard with the Venetian style. The most celebrated of his performances is his picture of the MultipUcation of the Loaves, in the refectory of the ConventuaU, painted in oil, in 1625 ; an immense composition, arranged with sur- prising ingenuity and variety. Lanzi gives him the preference to his insthictor in the extent and vi- vacity of his genius, though perhaps inferior to him in the fundamental principles of the art. MARINUS, [Ignatius,] a Flemish engraver, who flourished about the year 1630. His principal residence was at Antwerp, where he executed seve- ral plates, in a neat but singular style. They are worked entirely with the graver, with very delicate strokes crossing each other, and filled up with long 440 dots. They are very highly finished, though the drawing and the folds of the draperies are not veiy correct. The prints of this artist are held in consi- derable estimation, particularly fine impressions of them. Among others we have the following by him: The Flight into Egypt j a night-piece ; after Ru- bens. St. Ignatius curing the Diseased ; after the same. St. Francis Xavier resuscitating a Dead Person ; after the same. The Adoration of the Shepherds ; after Jordaens. Christ before the High-priest Caiaphas ; afier the same. The Martyrdom of St. ApoUonia j after the same. Village Children forming a Concert; after C. Sachtleven. 1633. « He also engraved some plates, after M. A. Cara- vaggio, Vandyck, and others. [He is also called Ignatius Cornelius Marinas; writers difier respect- ing the time of his birth ; some place it in 1587, and others in 1626. The time of his death is not known.] MARIO DA PioRi. See Nuzzi. MARIOTTI. By this artist, who was a native of Italy, and probably a painter, we have a slight, spirited etching of a frontispiece to a collection of altar-pieces, published at Rome by Giacomo Rossi. The figures are well drawn, and it is executed in the style of a painter. It is after a design by Ciro Ferri. MARK, QuiNTiN, or QniRiNUS, a modern Ger- man engraver, born at Littau in 1753. He visited Vienna when young, and was instructed in engrav- ing by Schmutzer, under whom he became an eminent artist, and was made a member of the Im- perial Academy. His plates are neatly executed with the graver. The following are among his best prints : The Virgin and Infant, with St. John ; after L. Giordano. Susanna and the Elders ; after Rvhens. Alexander and Diogenes ; after the same. Herodias vidth the Head of St. John ; after T. van Thulden. Cleopatra showing Augustus the Bust of Julius Caesar ; after P. Battoni. Venus and Cupid asleep ; after Francesehini. The Amorous Miser ; after Braun. 1786. [He died in 1811.] [MARLET, Jean Henri, a French poetical, his- torical, and portrait painter, born at Autun in 1771^ was a pupil at the Academy at Dijon, and after- wards of the Baron Regnault. His compositions are numerous, embracing a great variety of"subjects from poetry, history, anecdote, and fancy. He has published some works in Lithography, among them Les Tableaux de Paris. He was living in 1831.] MARLIE, Rene Elizabeth. See Lepicie. MARLOW, M., an obscure EngHsh engraver, who Uved about the year 1675. He appears to have been employed only by the booksellers, and in that capacity engraved a portrait of John Mayne, Arith- metician, prefixed to nis Clavis CommereiaMs ; dated 1674. [MARLOW, William, an English landscape painter and engraver, born in 1740, was a scholar of Scott the marine painter. Like his instructor he painted scenes on the lower banks of the Thames, and also in the neighbourhood of Richmond and Twickenham. His pictures are very pleasing, and sometimes approach the manner of R. Wilson in his English subjects. He also painted and etched some marm] PAINTERS AND ENGRAVERS. [marh Italian views : to these he has put his name, with the aadition of P. S. A. He died in 1800.] MARMION, Edmdnd, an EngUsh designer and engraver, by whom we have a few etchings of do- mestic subjects of ladies and gentlemen, from his own designs. His prints bear some resemblance to those of Gaywood, though inferior to him. There is a portrait of George Tooke, of Popes, by him, which is scarce. MARMOCCHINI, Giovanna Cortesi. This lady was born at Florence in 1670. She was first a pupil of Livio Mehus, and afterwards of Pietro Dandini. She was afterwards taught miniature painting by Ippolito Galantini. Although she chiefly excelled in portraits in miniature, she prac- tised both in oil and in crayons, and under the pa- tronage of the Grand Duchess, met with very exten- sive encouragement. She died in 1736. MARMOLEJA, Pedro de Villegas, a Spanish painter, born at Seville in 1520. He travelled to Italy for improvement ; and from the great style of his design, has been incorrectly said to have been a disciple of Rafiaelle, who died in the year in which Marmoleja was born. His principal works are in the churches, and in- the hospital of San Lazaro, at Seville, and are said to be distinguished by beauty of form and dignity of character. He died in 1599. [Bermudez classes him among the greatest artists of Andalusia.] [MARNE, Jean Lodjs. See Demarne.J MAROLI, DoMENico. This painter was born at Messina in 1612. He was a scholar of Antonio Ricci, called Barbalunga ; and on leaving the school of that master visited Venice, where he studied with attention the works of the great masters of that school, and returned to Sicily with the powers of an accomplished colourist. His carnations are fresh and delicate ; and the airs of his heads expres- sive and full of character. Such are his pictures of the Martyrdom of S. Placido, in S. Paolo ; and the Nativity, in the Chiesa della Grotta, at Messina. Whilst at Venice, he painted with success some pastoral subjects, in the style' of Giacomo Bassano, which were much admired. This artist fell a victim to the revolution which took place in Sicily in 1674. MARONE, Jacopo, was a native of Alexandria, and flourished from about the year 1451 till 1484. His principal residence was at Genoa, and in the state, where he painted several altar-pieces for the churches. In the church of S. Jacopo at Savona, is a picture of the Nativity by him, painted in dis- temper, in a careful, high-finished style. In S. Bri- gada, at Genoa, are two pictures by this master, dated in 1481 and 1484. MAROT, John, a French architect and engrav- er, born at Paris in 1620. We have by this artist several architectural plates of plans and elevations of the most remarkable edifices in Paris and the vicinity. In conjunction with S. de la Boissiere, Is. Silvestre, I. k Paultre, Seb. le Clerc, F. Chaveau, and other artists, he executed several of the plates for the great cabinet of the King of France. The following are his principal prints : A set of thirteen plates of Churches and public edifices at Paris j designed and engraved after their measurement by J. Marot. A second set of twelve plates of the same. Twenty-one plates of Views of the Chateau de Richelieu. The Plans and Elevations of the Louvre ; three plates. The Plans and Views of the Chateau de Vin- cennes ; three plates. The Plan and Elevation of the Chateau de Ma- drid ; two plates. MAROT, Daniel, was the son of the preceding artist, born at Paris in 1650, and distinguished him- self as an architect and an engraver. He is usually styled architect to WilUam III., King of England; and engraved several plates in the style of his father, which were published at Paris, with some of those of John Marot, entitled Receuil des planches des Sieurs Marot, pere et fils. He also engraved a set of architectural plates, which were published at Amsterdam in I7I2; and the statues and vases in the palace at Loo. We have also the following prints by him : The great Fair at the Hague, with the Burghers under arms, saluting the Prince and Princess of Orange ; in two sheets. The great Fair at Amsterdam, with the Citizens under arms. The Festival of the Birth-day of the Prince of Orange. 1686. The Interior of the Audience-chariiber at the Hague. A perspective View of Voorst. MAROT, Francis, a French painter, born at Paris in 1667- He was a scholar of Charles de la Fosse, and painted history in the style of that master. He was made a member of the Academy at Paris in 1702. One of his most esteemed works is a picture in the church of Notre Dame, repre- senting Christ appearing to the Three Marys. He died in 1719. [MARQUEZ, EsTEBAN, a Spanish historical painter, bom at Estremadura, was a scholar of his ' uncle Fernando Marquez Joya, who followed the Bchoor of Murillo. At the death of his uncle Marquez went as a workman to one of the es- tablishments where they manufactured pictures for exportation to America; but not having had sufiicient practice and experience in this sort of work, he became the butt of his fellow labourers, and was obliged to quit Seville and return to his native place. After a while he returned to Seville, and having by close application acquired a correct- ness of design, a knowledge of colouring, and a tolerable imitation of the style of Murillo, he sur- passed all those who had before made him the ob- ject of their mockery. He painted an Ascension for the cloister of the Trinitarios descalzos, which has considerable merit; also an Apostolat of the size of life, for the hospital de la Sangre, and pic- tures for the churches of the Augustines, Reccolets, and others. He died at Seville in 1720.] [MARQUEZ JOYA, Fernando, uncle of the preceding, was a portrait painter, and painted in 1649 that of Cardinal Spinola, which is engraved by Van Goyen. He followed the manner of Murillo ; and was a frequenter of the Academy at Seville from 1668 to 1672, when he died.] MARRACCI, Giovanni. This painter was bom at Lucca in 1637, and was first a scholar of Pietro PaoUni. When he was fourteen years of age he went to Rome, where he had the advantage of being received into the school of Pietro da Cortona, under whom he studied some time; and before he was twenty-five had distinguished" himself as an histori- cal painter at Rome. On the death of his father he returned to Lucca, where he painted several pictures 441 marr] A DICTIONARY OF [mart for the confraternity of S. Lorenzo, and the Colle- giate di S. Michele. In the dome of S. Ignazio, at San Giovanni, he painted some considerahle fresco works. He died in 1704. MARRBBECK, J. This artist was probably a native of Holland, and flourished about the year 1700. We have a few portraits by him, engraved in mezzotinto. MARSHALL, William, an English engraver, who, from the persons he represented, must have begun to practise the art early in the reign of James I. He engraved chiefly for the booksellers, by whom he was employed upwards of forty years. He work- ed entirely with the graver, in a stiff style, without taste. His best prints are his portraits, of which he engraved a great number, most of which are sup- posed to have been done from his own designs, after life. Although they are very indifferently executed, they are interesting to the collector, on account of the personages they represent. He also engraved se- veral frontispieces, and other book ornaments. We have, among others, the following portraits by him: Sir Thomas More, Chancellor. Desiderius Erasmus. WilUam Cecil, Lord Burleigh. Robert Dudley, Earl of Leicester. Nicholas Ridley, Bishop of Rochester. Lady Jane Grey. James I. William Camden, Historian, &c. William Shakspeare. Benjamin Jonson. Charles I. ; three prints. Francis, Lord Bacon. George Villiers, Duke of Buckingham. Robert Devereux, Earl of Essex ; scarce. William Alexander, Earl of Stirling ; scarce. William Laud, Archbishop of Canterbury. Nathaniel Bernard, Rector of Ramenham ; scarce. Dr. Donne, when 18 years of age. 1635. The Reverend Dr. John Taylor. The Reverend John Sym. The Reverend Josia Shute. James, the first Duke of Hamilton. John Milton. James Shirley, Poet. Sir Robert Stapleton, Poet. 1646. Sir John Suckling, Poet. The Frontispiece to the Arcadian Princess. 1635. to the Evangelical Harmony. to Virgil's Works, by Ogilby. 1649. MARSIGLIA, GuGLiELMO. See Marcilla. MARTEAU, Giles de, the elder. This artist was bom at Liege in 1722. He went to Paris when he was young, where he acquired considerable re- putation as one of the most successful revivers of the dotted style of engraving, which he brought to great perfection. He was received into the Academy at Paris in 1764. He engraved several plates of academical figures, after the designs of some of the most eminent French artists. We have also, among others, the following prints by him : The Portrait of C. Vanloo, Painter. The Education of Cupid ; after Boucher. Venus and Cupid ; after the same. The Head of Heliodorus ; from a design by Pierre ; after Saffaelle. The Bust of the Viftin ; after Pierre. The Entombing of Christ'; after Stellaert. Justice protecting the Arts ; qfter Cochin. 442 Lycurgus wounded by a Plebeian ; qfter the same ; his reception plate. An allegorical Subject on the Death of the Dau- phin ; after the same. A set of six Landscapes ; after J. Souel. MARTEAU, Giles de, the younger, was the nephew and pupil of the preceding artist, born at Liege about the year 1750. He engraved some plates in the style of his uncle, which are not without merit. Among others, we have the following by him : Innocent Pleasure ; after Huet. The favourite Lamb ; after the same. Two Hunting-pieces ; after the same. Cupid crying; after the same. MARTENASIE, Peter, a Flemish engraver, who was a native of Antwerp, and was instructed in engraving at Paris by J. P. le Bas. We have the following prints by him : The Watering-place ; after Berghem. The Father of a Family ; after Greuze. The Rape of the Sabines ; after Rubens. MARTIN, David, an English mezzotinto en- graver, who flourished about the year 1765. He engraved several portraits, among which are, L. F. Roubillac, Sculptor ; after A. Carpentiers. 1765. Lady F. Manners, daughter of the Marquis of Granby. 1772. J. J. Rousseau ; after Ramsay. David Hume ; after the same. [He was also aportrait painter ; he painted a half- length of Dr. Franklin, of which there is a mezzo- tinto print] MARTINELLI, Giovanni. This painter was a Florentine, and flourished about the middle of the seventeenth century. He was an artist to whom, Lanzi remarks, history attributes less merit than he deserves. In the Florentine gallery is a flne picture by this master of the Feast of Belshazzar; and in S. Lucia de Bardi, the Guardian Angel ; but his most esteemed work is his picture of a miracle wrought by St. Anthony, at the ConventuaU at Pescia. MARTINET, . This lady was a na- tive of Fra,nce, and flourished about the year 1760. She was the daughter-in-law of Nicholas Dupuis, by whom she was instructed in the art of engrav- ing. Among other prints, she engraved a large plate, representing the Death of Adonis, from a pie-' ture by Bianchi. She had a brother, who engraved Several small plates of views, vignettes, animals, &o. MARTINEZ, Ambrosio, was born at Granada about the year 1630, and was brought up in the school of Alonzo Cano. By the instruction of that distinguished artist, he became a reputable historical painter. His principal works are in the church of the Monastery of San Geronirao, and at the Carmel- ites, in his native city. He died at Granada in 1674. MARTINEZ, JusEPE. This Spanish painter was born at Saragossa in 1612, and went young to Italy, where he studied some years at Rome. On his return to Spain he was employed in several considerable works for the churches and convents at Saragossa. Palomino mentions a series of pic- tures of the life of oui Saviour in the cloister of S. Geronimo. He died in 1682. MARTINEZ, Sebastian, a Spanish artist, born at Jaen in 1602. He was a reputable painter of history, and, according to Palomino, resided the early part of his hfe at Cordova, where he painted several pictures for the churches, particularly three mart] PAINTERS AND ENGRAVERS. [masa altar-pieces in the Convent of Corpus Christi, re- presenting the immaculate Conception, San Fran- cisco de Assis, and the Nativity. On the death of Don Diego Velasquez, he visited Madrid, and was appointed painter to Philip IV. He died at Madrid in 1667. [Sebastian Martinez was an excellent landscape painter ; and he painted many beautiful cabinet pictures, which are to be found in private coUections at Jaen, Cordova, Seville, Cadiz, and Madrid. The Jesuits at Jaen had several of them, but they are dispersed, and it is not known what has become of them.] MARTINI, Giovanni. This artist was a native of Udina, and flourished from the year l501 till 1515. He was a co-disciple with Pelligrino di S. Danielle, under Giovanni Bellini. His principal work is a picture of S. Marco, in the Dome at Udi- na, painted in competition with his fellow student, which, according to Vasari, is little inferior to him. MARTINI, PiETRO Antonio, a modern ItaUan engraver, born at Parma in 1739. He visited Paris when young, where his first productions were some plates, etched after Teniers, and other Flemish art- ists, which were finished by Le Bas. Martini was some time in London, where he engraved several Elates. We have, among others, the following by im: Heliodorus driven from the Temple ; after Soli- mene. Christ driving the Money-changers from the T«mple ; ajier the same. Architectural Ruins ; after Mobert. The Pleasures of Summer ; after Vernet. A View of Spoletto ; after the sajne. A View of Porto Ercole ; after the same. A View of Avignon ; after the same. The Augurs j after Sal. Rosa ; etched by Martini, and finished by Ze Bas. [MARTINO, Marco San, an Italian landscape Fainter and engraver, who flourished about 1680. t is a dispute whether he was a native of Venice or Naples. Lanzi says he resided at Rimini, where his pictures are more generally to be met with. He ornamented his landscapes with very beautiful small figures, in which he excelled. Landscape painting, indeed, was his profession, but he did not confine his talents to that alone ; he attempted works of a higher order, such as the Baptism of Constantine, in the cathedral of Rimini, and the Saint preaching in the Desert, in the college of S. Vincenzio, at Venice. Bartsch (P. gr. torn, xxi.) has described 33 prints by him of scriptural, mytho- logical, and familiar subjects, many of which have his name, Marco San Martina. Yet some writers persist in calling him Sammartino, Sanmartino, and Sanmarchi ; as Zanetti and Guarienti. The latter, after naming him Sammartino, and saying he re- mained most part of his Mfe at Venice, in the next article gives the name of Marco Sanmarchi,^ a land- scape and figure painter, much extolled by Malva- sia, and flourishing about the time of Sanmartino ; thus creating two artists out of one : a very common occurrence when familiar appellations are used in- stead of baptismal names.] MARTINOTTI, Evangelista. This painter was born at Castel Monferrato in 1634. He was a scholar of Salvator Rosa, and, according to Or- landi, excelled in painting landscapes, with figures and animals. Lanzi mentions him as a painter of history, and commends his picture of the Baptism of Christ by St. John, in the dome of Casale. He died in 1694. He had a brother, Francesco Mar- TiNOTTi, who was also a disciple of Salvator Ros^, and painted history. He died in 1674. MARTIRELLI. This painter was born at Naples in 1670, and was a scholar of Giacomo del Po. , His first attempts were in historical subjects, but not succeeding to his wishes, he abandoned that branch of the art, and applied himself to land- scape painting, to which his powers were better adapted, and became a reputable artist. He imi- tated the style of Salvator Rosa, in the romantic wildness of his scenery, as well as in the figures with which he embellished his pictures. He died in 1720. [This is probably Gaetatw Martorelli, who died in 1723.] MARTIS, Ottaviano, was a native of Gubbio, and flourished from the year 1400 tiU 1444. Lanzi mentions a picture by him, in the church of S. Maria Nuova, painted in fresco in 1403, represent- ing the Virgin and Infant, with a glory of angels, in which, though in a dry style, the attitudes are as graceful as any of his contemporaries. [MARTSS, or MARSSEN, Jan, caUed de JoNGE, a painter and engraver, who flourished about the year 1632. Very little of his history is known. Bartsch describes six prints of battles by him, and others are mentioned by BruUiot and Nag- ler. Bartsch observes that he is learned in the ordonnance of his groups, and skilful in his draw- ing. It is only in the horses that he has not always succeeded; they are not correctly designed, and their limbs are heavy, resembling those that are condemned in the prints of Peter van Laer. His manner is somewhat peculiar ; it consists of short strokes a little bent, and rarely crossed with counter- strokes ; the marks of the graver are but little ap- parent in them. He marked his prints J. M. I). Jonge fecit, and J. M. D. J. /e.] MARUCELLI, [or MARUSELLI,] Giovanni Stepano. According to Baldinucci, this artist was born in the province of Umbria in 1586. He was a scholar of Andrea Boscoli, and distinguished him- self as a painter of history, although he was more celebrated as an architect and engineer. His princi- pal residence was at Pisa, where he painted, in the tri- bune of the dome, Abraham and the Angels, which is admired for the elegance of the composition, and the harmony of the colouring. He died in 1646. MARZIALE, Marco. This painter was a na- tive of Venice, and, according to Lanzi, flourished from 1488 till 1506. He was a scholar, or at least an imitator, of Giovanni Bellini, and painted his- torical subjects in a dry, stifi' style. In the Conserva- torio delle Penitenti at Venice, is a picture of the Purification, signed Marcus Martialis Venetus, 1488. He was Uving in 1506, as appears from a picture of Christ with the Disciples at Bmmaus, dated in that year, in the Contarini collection. MASACCIO, Maso di S. Giovanni, called. This eminent painter was born at S. Giovanni di Valdarno, in the Florentine territory, in 1401. He was first a disciple of Masolino da Panicale, whom he soon surpassed, and after the death of that master finished the works left imperfect by him. He formed his principles by studying the works of Lorenzo Ghiberti and Donatella. He learned perspective under Filippo Brunelleschi, and went to Rome to- improve his design by the study of the antique. The powers of Masaccio form an epoch in the history of the art, and he is regarded as the founder of a new style characterized by the incipient grandeur of the Florentine school. Vasari observes, that the pro- 443 MASC] A DICTIONARY OF [mass ductions of his predecessors may- be said to be painted ; but the works of Masaccio are stamped with the genuine attributes of truth and nature. His first performances retained somewhat of the dry and Gothic stifihess which prevailed before him. Such are his S. Anna, in the church of S. Ambrogio at Florence ; and his series of pictures of the Pas- sion of our Saviour, in the' chapel of S. Catherine, in the church of S. Clemente at Rome. But his celebrated fresco works in the church of S. Pietro del Carmine at Florence, are distinguished by a greatness of style unknown to his contemporaries. His compositions are studied and combined, his de- sign daring, though correct, and his colouring tender and true, with a harmony of effect, little known at that period. The airs of his heads are distinguished by extraordinary animation and truth of expression, and are compared by Mengs to those of Raffaelle. The folds of his draperies, though minute, are simple and natural. His works became the study of the best painters who succeeded him, and were the models from which Pietro Perugino, and even Raf- faelle, formed their style. There are few of his pic- tures to be met with in private collections. In the gallery at Florence is a portrait of a young man, which is highly esteemed. He died in 1443, in the prime of life, and was suspected to have been poisoned. Some of his works, left imperfect at his death, were finished by Filippo Lippi. [His real name, according to Zani, was Tmnmaso Gmdi. With regard to his birth and death there is great diver- sity of opinion. Baldinucci says he was born in 1417, and died in 1443, which would make him only 26 years of age ; Landino, the commentator on Dante, who was his contemporary, says he died at the age of 26 ; and so says the author of the inscrip- tion on his monument. Vasari says he was born in 1402, but does not state any thing satisfactory re- specting his death. They who do not give exact dates say he died very young ; 41 is not very young, but 26 is so, with regard to a painter who made such great advances in his art.] MASCAGNI, DoNATO, called Fra Arsenio. This painter was born at Florence in 1579, and was one of the ablest scholars of Jacopo Ligozzi. Soon after leaving the school of that master, he became a monk of the order of the Servi, and took the name of Fra Arsenio, by which he is generally known. He painted several altar-pieces for the churches at Florence, particularly for that of his monastery. His principal performance is a large picture in the library of the Servi, at Vallombrosa, which Lanzi mentions in very favourable terms. It is a copious and ingenious composition, representing Matilda, Countess of Ferrara, yielding up that state to the see of Rome. His style is more distinguished by minuteness and precision, than for elegance of de- sigTi, or suavity of colour. He died in 1636. MASCALL, Edward, an English portrait paint- er, who flourished about the year 1650. He painted a portrait of Oliver Cromwell, which was in the possession of the Duke of Chandos. We have a print of a portrait of Mascall, from a picture painted by himself, engraved by James Gammon. MASE, F. DE la, an obscure French engraver, mentioned by Mr. Strutt as having etched a plate representing St. Jerome in his Cavern, after L. de la Hire, which proves him to have been a man of ability. MASO, Di S. Friano. See Manzuoli. MASOLINO DA Panicale. See Panicale. MASON, James, an eminent English engraver, 444 who flourished about the year 1770. He engraved a great number of landscapes, after the pictures of Claude, GasparPoussin, and other masters ; and se- veral views in England, from the designs of Lambert, Scott, Smith, &c. [James Mason, an English land- scape engraver, was born in 1710, and died in 1780. He was very eminent in his line, and his works are held in great esteem by foreign amateurs. His prin- cipal pieces are after Claude, G. Poussin, Swane- veldt, Hobbema, Wilson, Lambert, Scott, and Zuc- carelli. The Landing of jEneas in Italy, after Claude, is one of his finest landscapes; and he is no less ad- mired in the print, after Andrea SaccM, of Venus at the Bath, surrounded by Cupids. He sometimes engraved in conjunctipn with Canot, Vivares, and other masters of the period, who, like himself, were employed by the enterprising Boydell.] MASQUELIBR, Louis Joseph, a modern French engraver, born at Lisle about the year 1741. He was a pupil of J. P. le Bas at Paris, where he engraved several plates, in the neat, spirited style of his instructor, which possess considerable merit, particularly his landscapes. Among others, we have the following prints by him : The arrival of Voltaire in the Elysian Fields; after le Barbier. An old Man kneeling near a Skull, called Dio- genes ; after G. Douw. A View in Flanders ; after Teniers ; etched by Masquelier, and finished by Le Bas. A Landscape, with Cattle ; after P. Potter. A pair of Landscapes ; after Ruysdael ; by Mas- auelier and Le Bas. A View in Italy ; after Vernet. A Shipwreck ; afier the same. Two V lews of Ostend ; after le May. A Landscape, with a Waterfall ; after Dietricy. He engi-aved several of the plates for Le Voyage d! Italic, by St. Non. [Louis Joseph Masquelier was born at Cisoing (north) in 1741, died in 1811. He engraved several of the French battles and victories, and other subjects after Monnet and Vernet; some of the plates for the voyage of La Peyrouse ; and nu- merous designs illustrative of the Metamorphoses of Ovid, the Fables and the Kisses of Dorat ; and, in conjunction with M. Nee, the work entitled, "Tab- leaux de la Suisse," consisting of 216 plates in folio. He was also director of the publication of "La Ga- lerie de Florence," for which he engraved several of the pictures, statues, cameos, and bas-reliefs. Nu- merous other works were produced by him, well known to the amateurs of engraving.] [MASQUELIER, Nicolas Francois Joseph, called THE YOUNG, was a relation and scholar of the preceding. He was born at Lille in 1760, and died in 1809. He received lessons also from Vatteau and Gueret. He engraved a Corps-de-garde, after Le- due ; Caesar at the Tomb of Alexander, after S. Bourdon; Extreme Unction, a/ifer JoMuenei ,- Christ at the Column, after Vouet ; for the Musee Robil- lard : and several other pieces for the same collec- tion. He also assisted in engraving the cameos and bas-reliefs for the " Galerie de Florence."] MASSARD, John, a modern French engraver, , born at Paris about the year 1740. He was a pupil of J. G. Wille, and has engraved several plates in the neat, finished style of that artist. The following are among his most esteemed prints : portraits. The Family of Charles I. ; after Vandyck. Louis XVI. of France, when Dauphin. mass] PAINTERS AND ENGRAVERS. [mass' Marie-Antoinette, his consort. Nicholas de Livri, Bishop of Callinique ; after L. Toqite. SUBJECTS. The Virgin and Infant ; after Vandyck. Abraham and Hagar ; after the same. Eve presenting the forbidden Fruit to Adam ; after dgnani. The broken Pitcher ; after Greuze. The benevolent Lady ; after the same. [Gabet (" Dictionnaire des Artistes de V Ecole Fran- caise") says he was born at Belesme in 1740, and died in 1822, and that he had no other master than his own taste and aptitude for design. He engraved several of the plates for " Le Galerie de Florence," and for the collection of the "Mnsee," pubUshedby Filhol. Among his most esteemed works, are, the Death of Socrates, after David ; and La plus Belle des Meres, after Van Dych; several of his engravings after Raphael, Domenichino, Cignani, and Rem- brandt, are deservedly held in estimation. For a hst of his principal works, see Nagler.] [MASSARD, Jean Baptiste Raphael Urbain, son and scholar of the preceding, was born at Paris in 1775; he studied- design in the school of David. He engraved many of the plates for the beautiful editions of Virgil and Racine, published by Didot, and also for " Le Musee Robillard," and other col- lections. The St. Cecilia, after Raphael; Apollo and the Muses, after Giulio Romano ; and Hippo- crates refusing the Presents of Artaxerxes, are among his most esteemed works: but there are many others entitled to high commendation. He was Uving in 1831. Nagler has given a list of a great part of his best prints.] MASSARI, Lucio. This painter was born at Bologna in 1569, and was some time a scholar of Bartolomeo Passerotti; but he afterwards studied in the great school of the Cafacci. His style resem- bles that of Annibale, rather than Lodovico ; and in some of his works he approaches so near to his manner, that they may easily be mistaken for those of that master. Of this description are his pictures of the Marriage of St. Catherine, in the church of S. Benedetto at Bologna; Christ appearing to Mary Magdalene, at the Celestini; and his two altar- pieces in S. Michele in Bosco. In his picture of S. Gaetano, in the church of the Theatins, he appears to have imitated the style of his friend and feUow student, Albano, particularly in the glory of angels, which is entirely in the graceful manner of that master. Although he generally made choice of cheerful and pleasing subjects, his powers were not competent to the more arduous exhibition of the tragical and terrific. Such are his pictures of the Murder of the Innocents, in the Palazzo Bonfigliuola ; and Christ bearing his Cross, at the Certosa, a grand and copious composition, with an admirable variety in the expression of the heads, and of the most impressive efiect. He died in 1633. MASSARO, Niccoio. This artist was a Nea- politan, and a scholar of Salvatgr Rosa. He painted landscapes, which resemble those of his instructor more in his forms and scenery than in his colouring, which is languid and weak. As he was not suc- cessful in the design of the figure, he was assisted in the decoration of nis pictures by other artists, par- ticularly by Antonio di Simone, a painter little known. He died in 1704. MASSAROTTI, Angelo. He was born at Cre- mona in 1655, and for some time studied under Agostino Bonisoli, in his native city. He afterwards visited Rome, where he became a scholar of Carlo Cesi. One of his first performances was an altar- piece for the church of S. Salvatore in Lauro. Al- though he resided several years at Rome, his style partakes more of the Cremonese than the Roman taste. He trusted little to his imagination, but usually painted each individual figure from a por- trait before him. By this servile habit, he could hardly avoid the vices of a mannerist. His principal work is a large picture in the church of S. Agostino, representing that saint distributing his regulations to his diflferent orders. He died in 1723. [MASS^fe, Charles. See Mace.] MASSl), John Baptist, a French miniature painter and engraver, born at Paris in 1681. In the early part of his life he applied himself to engrav- ing, but having made some attempts to paint por- traits in miniature, he met with such success, that he adopted it as his principal profession, although he arrived at a celebrity as an engraver, which pro- cured him a reception into the Academy at Paris. He undertook the direction of the engravings from the pictm-es by Le Brun, in the gallery of Versailles, for which he made some of the designs. The work consists of fifty-two plates, entitled La grande gak- rie de Versailles et les deux salons qui V accompagnent, dessinee par J. B. Masse et gravee par les meilleurs maitres dw terns, Paris, 1752. He engraved, himself, the following prints : Mary de Medicis, Queen of Henry IV., a frontis- piece to the Luxembourg gallery ; after Rubens. The Portrait of Anthony Coypel, Painter ; after a picture hy himself; engraved by Masse, for his reception at the Academy, Mercury sent by Venus to dispose Dido in favour of .^neas ; after J Cotelle. [Minerva showing the Portrait of Louis XIV. ; after Rigaud and Coypel. The Abbe Fontenai says he was born on the 29th of December, 1687, and died the 26th of September, 1767.] MASSEI, Girolamo. This painter was a native of Lucca, and, according to BagUone, flourished at Rome in the pontificate of Paul V., where he paint- ed several pictures for the churches and public edi- fices. In S. Luigi de Francesi is an altar-piece by him, representing the Martyrdom of St. Sebastian ; and in the Trinita de Monti there are several pic- tures in fresco of the Life and Miracles of St. Fran- cis of Paula. Agostino Taj a, in his Descrizione del Vaticano, says, he was one of the artists selected by Fra Ignazio Danti, superintendent of the works, to ornament the loggie of the Vatican, where he was employed several years. He returned to Lucca to- wards the latter part of his life, where he died at the age of 80. MASSI, G. This artist is mentioned by Mr. Strutt as the engraver of a portrait of Cardinal Ala- man Salviati; e^er P. Nelli; dated 1730. MASSINI, C. The name of this artist, who was apparently a painter, is afiixed to a slight etching, after G. F. Greut, representing Penelope weaving her web. MASSON, Anthony. This celebrated French engraver was born near Orleans in 1636. He was bred to the business of an armourer, and first exer- cised the burin in graving ornaments on steel. Early in his life he settled at Paris, where he applied him- self to drawing with great assiduity, and acquired some celebrity in painting and designing portraits. 445 mass] A DICTIONARY OF [math But he is principally distinguished as an engraver; and in some of his plates, particularly his portraits, he reached an excellence which has seldom been surpassed. His plates are executed entirely with the graver, which he handled with surprising firm- ness and fiacility, and at the same time with the ut- most delicacy. His portrait of Brisacier, known by the name of the Grey-headed Man, is a model of lightness and precision. That of OUvier d'Ormes- son is also admirable. Of his subjects, the cele- brated print of Christ with the Disciples at Emmaus, after Titian, commonly called the Table-cloth, may be regarded as a chef-d'oeuvre in that style of en- graving. The following is an ample list of the works of this eminent artist : PORTRAITS. Her P. Anne of Austria, Queen of France Mignard. Maria Theresa of Austria, Queen of France; after N. Mignard. Maria Anne Victoria of Bavaria, Dauphiness. Louis Augustus, Duke du Maine, advicum so. John James de Mesmes, Count d'Avaux. 1683. Francis de Beauvilliers, Duke de St. Aignau. Francis Rouxel de Medavi, Archbishop of Rouen. 1677. Maria de Lorraine, Duchess de Guise ; after N. Mignard. The Count D'Harcourt, called the Cadet de la perle ; after N. Mignard ; extremely fine. Nicholas de Lamoignon, Count de Courson. 1676. Jerome Bignon, Librarian to the King. 1686. Denis Mann, Secretary to the King. 1672. Louis Verjus, Count de Crecy. 1679- Frederick William, Elector of Brandenbourg. 1683; scarce. Guido Patin, Med. Doct. ; engraved in a singular style; rare. Charles Patin, his son, M. D. Francis Maria, Doge of Genoa. 1685. Hardouin de Beaumont, Archbishop of Paris ; after N. Mignard. Emanuel Theodore, Duke d' Albert ; after the same. Gaspar Charrier, Secretary to the King; after Blanehet. Alexander du Puy, Marquis of St. Andre ; after de Seve. Louis, Duke de Vendome ; after P. Mignard. G. de. Brisacier, Secretary to the Queen, called the Grey-headed Man ; very fine. Olivier le Fevre d'Ormesson, President of the Parliament. 1668 ; very fine. Peter Dupuis, Painter to the King; after N. Mignard. Anthony Masson, engraver to the King ; seipse fecit. The following heads, as large as Ufe, though fine- ly engraved, are less happy in the execution than the preceding portraits. Louis XIV. with a Hat ; ad vivum fecit. 1687. Louis XIV. ; a large oval ; after C. le Brun. Louis the Dauphin, his son, with a Hat. PhiUp, Duke of Orleans. John Baptist Colbert, Prime Minister. 1677. Francis de Harley, Archbishop of Paris. 1684. Claude du Housset. 1681. Henry de la Tour d'Auvergne, Viscount de Tu- renne. Nicholas Potier de Novion, President of the Par- liament. 1679. William de Lamoignon, President of the Parlia^ ment. 1675. 446 Charles Colbert, Marquis de Croissi; after H. Gascar. SUBJECTS. St. Jerome in Meditation ; Masson, sc. The Holy Family ; after N. Mignard. Christ with the Pilgrims at Emmaus ; after Ti- tian. This print is celebrated by the name of the Tahk-cloth ; very fine. The Assumption of the Virgin; after Subens ; fine and scarce. The Brazen Serpent; after the same; in two sheets; fine. [He died at Paris in 1700. For a critical account of his prints, see Dumesnil, tom. ii.] MASSON, Magdalene. This ingenious lady was the daughter of the preceding artist, bom at Paris about the year 1660, and was a pupil of her father, in whose fine style she engraved several por- traits, or heads, as large as life. Among others, we have the following by her : Elizabeth Charlotte, Duchess of Orleans ; Mad. Masson, sc. ■ Elizabeth of Orleans, Duchess of Alengon ; after P. Mignard. Maria Theresa of Austria, Queen of France; after Sabert. Ehzabeth Maria Josephine, Infanta of Spain. Victor Amedeus II., Duke of Savoy. Louis Henry de Gondrin de Montespan ; after a picture by A. Masson. MASTELLETTA, II. See Donducoi. MASUCCI, Agostino. This painter was born at Rome in 1691, and was the last scholar of Carlo Maratti. Without the possession of great vigour or energy, his powers were equal to the subjects he usually treated, which, for the most part, were holy families, and subjects of the Virgin. In his small pictures he rivals his master in the amiable charac- ter of his Madonnas, and the pleasing arrangement of his compositions. Of his works in the churches and pubUd edifices at Rome, the most esteemed are his picture of S. Anna, in the church del Nome SS. di Maria; and the Holy Family, in S. Maria Mag- giore. In, the church of the Osservanti, at Mace- rata, is an admired picture of S. Francesco ; but his most considerable work is his S. Bonaventura, at Urbino, an ingenious and abundant composition, mentioned by Lanzi in very favourable terms. He died in 1758. MATHAM, James, [or Jacob,] a Dutch en- graver, born at Haerlem in 1571. He was the son- in-law of Henry Goltzius, by whom he was instructed in the art ; and, by his advice, went to Italy, where he engraved several plates after the works of the most eminent Italian masters. On his return to Holland he worked under the eye of Goltzius, and executed a great variety of prints, after the ablest painters of the Low Countries. He worked entirely with the graver, which he handled with great freedom and facility. It is to be regretted that his drawing is not more correct. He sometimes marked his prints with a monogram, composed of I. M. A. J/^. The fol- lowing are his principal works, many of which are highly esteemed : PORTRAITS. Philip William, Prince of Orange ; after M. Mirevelt. Henry of Nassau, Prince of Orange. 1610. Bust of Philip Winghius, inscribed Henricus Ooltzius Amieilm ergo delineabat Bonus. math] PAINTERS AND ENGRAVERS. [math Michel Angelus, Buonarotus. Abraham Bloemaert ; after Paul Moreelse. SUBJECTS AFTER ITALIAN MASTERS. The Holy Family, with St. Anne ; after Saffaetle. Mount Parnassus, with Apollo and the Muses; after the same. The Holy Family, with St. Catherine ; after Titian. 1592. The Alliance of Vepus with Bacchus and Ceres ; after the same. The 'Visitation of the Virgin ; after Salviati. Christ washing the Feet of his Disciples; after Taddeo Zuccaro. Christ prapng on the Mount ; after the same. The Nativity ; after the same. The Assumption of the Virgin ; after the same. The Adoration of the Kings ; (rfter Fed. Zuccaro. Christ curing the Sick ; after the same. Christ raising the Widow's Son ; after the same. The Visitation of the Virgin; after Paolo Veronese. SUBJECTS AFTER GOLTZIUS. The Fall of our first Parents. The Visitation of the Virgin to St. EUsabeth. The Crucifixion, with the Virgin and St. John. Christ appearing to Magdalene. 1602. Christ with the Disciples at Emmaus. The Loves of the Gods, Jupiter and Europa, ApoUo and Leucothoe, Mars and Venus, and Hercules and Dejanira; four plates. Perseus and Andi-omeda. 1597. The Four Seasons ; in four circular plates. 1589. Faith, Hope, and Charity. 1590. The seven Cardinal Virtues ; in seven plates. The seven Mortal Sins ; in seven plates. The Type of Human Life ; in three plates. 1592 j scarce. SUBJECTS AFTER GERMAN AND DUTCH MASTERS. .Abraham sending away Hagar; after Ah. Sloe- maert. The Annunciation ; after the same. The Adoration of the Shepherds ; after the same. Jupiter and Danae ; after the same. Cupid and Psyche ; c^er the same. Samson and Dalilah ; after Rubens. The dead Christ, with the Marys : after Jer. Franck. The Crucifixion ; cffter Albert Ihirer ; scarce. Venus asleep, surprised by Satyrs; afier Rotten- hamer. A set of five prints of Fruit-pieces, and the Inte- riors of Kitchens ; after Peter van Aertsen, called Long Peter ; scarce. [He died in 1631.] MATH AM, Theodore, was the son and pupil of the preceding artist, born at Haerlem about the year 1600. After engraving a few plates in his own country he went to Italy, where he entered the school of ComeUus Bloemaert ; in conjunction with Michael Natalis, Benier de Persyn, and others, he engraved the statues in the Palazzo Giustiniani. On his return to Holland, he engraved a variety of plates, principally portraits, which are executed with the graver, occasionally assisted with the point, in a clear, free style. He usually signed his plates with his initials T. M., with the addition oi fecit or sculpsit. We have the following prints by him : PORTRAITS. Michael le Blon, Agent to the Crown of Sweden ; af^r Vandyck. Joost van de Vondel, Dutch Poet. ; after Sandrart. Vopiscus Fortunatus Plempius, Med. Doct. ; after Backer. D. Gerardus Vossius, Canonicus Cantuariensis ; after Sandrart. Caspar Barlaeus, Med. Doct. ; after the same. PhiUp William, Count Palatine of the Rhine; after J. Spilberg. WolfgangWilliam, Count Palatine ; after the same. Stephen Vacht, Dean of Sarten; after the same. Claudius a Salmasi ; after Dubordzeu. Henricus Regius, Med. Doct. ; after H. Bloemaert. D. Leonardus Marius Goezanus, Professor Colo- niensis ; after N. Moyaert. SUBJECTS. The Virgin and Infant, with St. John; after Bas- sano. The Holy Family ; after J. Sandrart, Diana and Acteon ; Th. Matham, fee. The Descent from the Cross, with the Marys, St. John, and Joseph of Arimathea ; after Gerar- dus Leydanus ; fine. [According to Zani he was the third son of James, or Jacob Matham, and was living in 1678 ; but Nagler places his birth in 1589, when his father was only 18. It may therefore be concluded that he was the eldest son of Jacob.] MATHAM, Adrian. This artist was of the same family as the two preceding engravers, born at Haerlem about the year 1600. He engraved part of the plates for the Academie de I'Fspee, published at Antwerp in 1628. We have also some portraits and a few grotesque subjects by him. He worked entirely with the graver, in a style resembling that of J. de Gheyn the elder, though very inferior to that artist, both in execution and design. The fol- lowing ai-e his best prints : portraits. James Graham, Marquis of Montrose. Peter Bor Christiaensz, Historian ; after F. Mais. D. Sibrandus Sixtius Oistervirius ; <^er N. Moy- aert, SUBJECTS. The Golden Age; after H. Goltzius. 1620. An old Man caressing a Woman, to whom he pre- sents his Purse ; after the same. Two Beggars, the Man playing on a Viol, the Woman singing ; after A. Vander Venne. A Combat of six grotesque Figures ; after the same. [Zani says he was the second son of James, and flourished to the middle of the 17th century. There is an error in the date of his birth, or that of his brother Theodore. Of Jan Matham, mentioned by Zani as the first son of Jacob, and as a portrait painter, no notice is taken by any other writer.] MATHEUS, a French engraver, who resided at Paris about the year 1620. He was chiefly em- ployed by the booksellers, and engraved several plates of frontispieces, and other book ornaments, in &. neat, finished style. They possess considerable merit, and are, for the most part, from his own de- signs. Among others, we have the following by him: The Adoration of the Magi ; from his own designs. The Frontispiece to a General History of France ; published at Paris in 1619. A Frontispiece to the Works of Thomas Aquinas. 1622. Another Frontispiece to Amours cfFndimion et de la Lane. 1624. MATHEY, C. The name of this engraver is 447 math] A DICTIONARY OF [mats affixed to the porti-ait of Arcangelo Corelli.the Mu- sician, after Hftward. MATHIEU, A., a French engraver, who flour- ished about the year 1656. We have by him some spirited etchings, retouched with the graver, in a style somewhat resembling the works of Callot, for a thin folio volume, entitled Les Armes trhmphantes de son Altesse Monseiffneur le Due cPEsperon pour le suject de son heureuse entrie,faite dans la ville de Di- jon.- 1656. [MATHIEU, or MATTHIEW, Jean, an en- graver born in 1749, was a pupil of Longueil. He was one of the artists employed in the "voyage de la Grece," by Choiseul Gouffler, in the " Voyages des Royaumes de Naples et de Sicile," by St. Non, and "Voyage d'Espagne," by Laborde. Some of his engravings are in the PouUain Cabinet, and in the Galerie de Florence. He engraved La Vierge aux Candelabres, after Raphael; and subjects after Caracci, Claude, G. Poussin, F. Mola, K. du Jardin, J. Vernef, Ruisdael, and Wouwerman. He died at Fontainbleau in 1815.] MATHYSSENS, Abraham, a Flemish painter, born at Antwerp about the year 1570. According to M. Descamps, he was a reputable painter both of history and landscapes. In the cathedral at Ant- werp is a picture by nim of the Death of the Virgin ; and m the church of the RecoUets, an altar-piece, representing the Virgin and infant Saviour, with St. Francis. [MATON, B., a Dutch painter, who copied the works of Gerard Dou and William Mieris. He was particularly successful in his copies of Don's candle- light pieces, giving them great force and brilhancy, but with less of finish than in the originals. His pictures are to be found in some of the best collec- tions ; sometimes his name is sufiered to remain, that is to say, when the picture belongs to an hon- ourable collector. There are no particulars of him recorded, but from the appearance of his works he lived about the time of William Mieris. His pic- tures are of small dimensions, and on panel.] MATSYS, [METS^S,] or MESSIS, Quintin, called the Blacksmith of Antwerp. According to Van Mander, this painter was born at Antwerp in 1450, and, until he was twenty years of age, followed the laborious calling of a blacksmith. The cause of his quitting the anvil for the palette, is said to have originated in his having conceived a strong attach- ment to the daughter of an artist of his time, who had determined she should marry no other than a painter. Finding her father inflexible in his reso- lution, he abandoned his devotion to Vulcan, and became an humble worshipper at the shrine of the Muses. This account of his conversion to the art is supported by the verses of Lampsonius, affixed to his portrait, engraved by Jerome Cock ; and by the inscription on his monument, in the cathedral at Antwerp ; Connuhialis amor de Mulcibre fecit Apel- lem. It is not known under whom he studied, ov whether he had the advantage of any particular in- struction ; but he became one of the most eminent painters of his time in the dry minute style prevalent at that period. His most considerable work is an altar-piece, with two folding-doors, in the chapel of the Circumcision, in the cathedral at Antwerp. The centre picture represents the dead Christ on the knees of the Virgin, with Mary Magdalene, and other figures. On one side of the shutters is the daughter of Herod with the Head of St. John; and on the other St. John in the cauldron of boiling oil. Of this curious performance. Sir Joshua Reynolds gives 448 the following description. " In the Pieta, the Chiist appears starved to death, in which manner it was the custom of the painters of that age always to repre- sent a dead Christ ; but there are heads in this pic- ture not exceeded by RafFaelle, and indeed not unlike his manner of painting portraits, hard and minutely finished. The head of Herod, and that of a fat man near the Christ, are excellent. The painter's own portrait is here introduced. In the banquet, the daughter is rather beautiful, btit too skinny and lean." In his Majesty's collection is his well-known repre- sentation of the Misers ; and in the gallery of the Louvre are three pictures by him, which, in the French invasion of Flanders, were deemed suffi- ciently curious and interesting to become the objects of their plunder. They represent the Holy Family ; the Marriage of Zachary and St. Elisabeth; and Zachary struck dumb, for his incredulity. He died at Antwerp in 1529. [Guicciardini says, he was of Louvain, and other circumstances support the assertion. The story of his conversion from a blacksmith to a painter is romantic, and it is a pity to disturb it, especially as it is of no moment, and is a pleasing vulgar error. The much-talked of Misers, at Windsor Castle, is one of a numerous family of the same subject, all claiming the same paternity, and having only such slight differences as appear in children of one father. The pictures taken by the French are not now in the Louvre. It may be con- jectured that the works in iron at Antwerp, at Ar- schot, and in England, are rather from his designs than the actual labour of his hands : he was too much employed with the palette to bestow much time on the anvil. He made a medallion bust of the celebrated Erasmus, four inches and a quarter in diameter. The head is in profile, similar to that by Holbein ; it is surrounded by the following in- scription in Greek capitals: THN KPEITTQ TA syrrPAMMATA AEIBEI: and in Roman, Imago AD viva effigib expressa, 1519. In the field Sr. Rot. On the reverse is the figure of the god Termi- nus, the word Terminus on the cube block, and in the field Concedo Nulli. The first part of the in- scription is in Greek, and the second in Roman capi- tals : OPA TEAOS MAKPOY BIOY : Mors ULTIMA LiNEA RERU. Erasmus alludes to it in one of his epistles, in which he says Quintin Metsys has got his head in metal. The editor has one in Teutonic metal. In Roscoe's Life and Pontificate of Leo X., Bohn's 8vo edition, 1846, vol. ii. p. 128, is one closely resembhng it, but bearing the date 1531, having no Greek inscription. List of Pictures by, and attributed to, Quintin Matsys. 1. Joachim and St. Anne, at the golden gate ; at Schleissheim. 2, 3. Death of St. Anne, and Joachim driven from the Temple ; wings of a triptigue, in the church of St. Peter, at Louvain. 4. An Angel announces to Zachariah the preg- nancy of Elisabeth ; formerly in the church of St. Peter, at Louvain. (Descamps.) 5. Mary and the Infant Jesus surrounded by Saints of both sexes; a centre panel, in the same church. 6. Holy Family, with the infant St. John; a drawing in the collection of the Prince de Ligne. 7. Holy Family, Joseph holding a shell. 8. A Virgin, mentioned by Karel van Mander. 9. Mary and the infant Jesus; formerly in the church of the Nuns of St. Elisabeth, or of Sion, at Brussels. (Descamps.) mats] PAINTERS AND ENGRAVERS. [mats 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. Mary kissing the infant Jesus; at Keddleston. Waagen is of opinion that it is by Jan Matsys. The same subject in the Berhn Museum. Mary and the infant Jesus ; the latter holds an apple near his mouth ; engraved by Ralph Sadeler. The Virgin as Queen of Heaven, holding the Infant in her arms, surrounded by angels, and resting her feet on a crescent ; above is a re- presentation of the First and Third Persons of the Trinity. In the collection of the king of Holland. At the demohtion of the church of St. Donat, at Bruges, this picture was found between two walls, where it was enclosed, pro- bably to preserve it from the Iconoclasts. It received some injury from the bricks on its re- moval, but has been very carefully restored. Adoration of the Magi ; in the royal Museum, at Naples. Adoration of the Magi ; in the Pinacothek ; in his manner. The Circumcision ; a circular drawing with the pen ; cabinet de M. VUlenave. The Circumcision ; at Munich. Biposo of the Holy Family; an engraving mentioned by Zani and Brulliot. The Head of John the Baptist presented to Herodias ; left wing of the famous tripUque, at Antwerp. Parable of the Unjust Steward ; at Vienna. The same subject, half-size iigures ; in the Do- ria Gallery. Christ before Pilate ; in the ducal palace, at Venice. , Jesus crowned with Thorns ; the heads only of the people seen ; formerly in the church of the Nuns of St. EUsabeth, or Sion, at Brussels. (Descamps.) The Crucifixion ; in the chapel of St. Maurice, at Nuremberg. Mary embracing the body of Christ ; in the lower part are the crown of thorns and the nails ; half-figures. A drawing in the royal ' cabinet of engravings at Dresden. Descent from the Cross ; the centre panel of the famous triptique, at Antwerp. Death of St. Anne; right wing of the trip- Uque, at Louvain. Simon Magus ofiering money to St. Peter; formerly at Paris. (See Landon, Musee Fran- 9ais, tom. xiv. p. 121.) Christ crowned with Thorns ; in the possession of M. Boek, at Brussels. Christ blessing the World ;' in the Museum, at Antwerp. Head of the Virgin ; in the Museum, at Ant- werp. St. Bartholomew, St. John the Evangelist, and St. John the Baptist in the middle of a land- scape ; in the Pinacothek. St. Barbe, St. Christine, and St. Madelaine ; in the Pinacothek. ' St. Anthony in the Desert, and four other figures ; devils tormenting him in the distance ; a circular drawing with the pen : in the cabinet of M. VUlenave. The Betrothing of St. Elisabeth ; formerly at Paris. (Landon, M. F. tom. xvi.) St. Jerome ; an old copy at Schleissheim. St. Jerome in the Desert; signed Quintin Masijs F. 1513 ; in the Lichtenstein gallery, at Vienna. 2 G 38. St. Jerome in his Study, full Daylight; at Vienna. 39. St. Jerome, a night scene ; at Vienna. In the manner of Q. M. 40. St. Jerome, bust only ; at Florence. 41. St. John in the Cauldron of boiUng Oil; right wing of the triptique, at Antwerp. 42. St. Xiuke painting the Virgin, who is seated on a throne with the Infant in her arms. En- graved by A. Wierix. 43. Mary Magdalene ; at Corsham House. 44. The Usurer's Family'; at Dresden. 45. The Money-changer and his Wife ; formerly be- longing to a merchant of the name of Steneens, at Antwerp. 46. The Usurer, with his Wife leaning on his shoulder; formerly in the collection of M. Winckler, at Leipsic. 47. A Man sitting at a table weighing Gold, a young woman near him ; at Dresden, but thought by some to be by Jan Matsys. 48. A Man and Woman counting Gold; in the Pinacothek. 49. The two Misers, the husband counting money, a perroquet on the left. In the castle at Windsor. There are a great many repetitions of this sub- ject, with difierences in the accessories, that have an equal claim to originality. 50. Two Usurers counting Money ; in the Pinaco- thek. 51. Two Misers; at Vienna. 52. A Jeweller weighing pieces of Gold, his Wife examining a book of Miniatures ; in the Louvre. 53. The Card-players ; formerly at Antwerp. 54. An old Man corn-ting a young Woman. 55. The Burgomaster of Aelst, Sieur Smits, pos- sessed two monstrous caricatures by him ; and there are drawings of beggars holding rosaries in their hands, and reading books of piety, in collections at Brussels. 56. Portrait of Erasmus, and his friend Peter Egidius, holding a letter from ■ Sir Thomas More ; formerly in the collection of Charles I. 57. Another portrait of Erasmus. 58. Portrait of himself; formerly in that part of the Bourse, at Antwerp, which was given to the Academy of Painting. (See Descamps.) 59. His own Porti-ait ;• in the gallery at Florence. 60. Portrait of his wife, dated 1520 ; in the gallery at Florence. 61. Portrait of an Abbe ; at Vienna. 62. Portrait of a Dignitary of the Church ; at Vi- enna. 63. Portrait of a Man without a beard, wearing a furred black bonnet ; in his right hand he holds a ring which he appears to be showing ; in the left is a rouleau of paper, on which there are four rings set with precious stones ; at Vi- enna. 64. Portrait of a Man wearing a black habit and a barrette, with a ring on his finger ; in the Uflizi gallery at Florence. 65. Portrait of a young Man holding a small diinking-glass in his right hand, and his left placed against his breast; above are two coats of arms, each containing three crows ; in the gallery at Gotha. 66. Portrait of a Man in a black hat; at Berlin. 67. Portrait of a Man; in the Lichtenstein col- lection, at Vienna. 68. Portrait of a Jewel Merchant; formerly be- longing to Rubens. vttj mats] A DICTIONARY OF [maub 69. Portrait of a Man in a red barrette; in the style of Q. Matsys. The foregoing list, without pretending to be com- plete, may be considered as tolerably accurate ; no doubt there are many more in existence, but the desire is not to attribute to Quintin Matsys the copies and imitations by inferior hands. There are some eight or ten by his son Jan, which approach very near to the father: they bear date about 1563 and 1565, if they be found in their genuine state.] MATSYS, or MESSIS, John, was the son and scholar of the preceding artist, born at Antwerp about the year 1480. He followed the style of his father, but was in every respect greatly inferior to him. Some of his best pictures are at Amsterdam, among which is one representing two old Men counting their Money, which is favourably spoken of by Van Mander. MATSYS, MET, or METENSIS, Cornelius, a Flemjsh engraver, who flourished about the year 1545. We have a variety of prints by this artist, principally from his own designs, which are ex- ecuted in a style resembling that of Francis de Ba- bylone, [Jacdb da Bariaryf} though more connect in the drawing. It was for some time supposed that Matsys and Metensis were two different artists ; but M. Heineken, with more appearance of probability, considers the prints marked with the monograms C^f£^, andf^A^. to have been executed by the same engraver. He sometimes signed his plates Corn. Met. He appears to have visited Italy, from the taste of his design, and the masters from whom he engraved. He is not very successful in his female heads, which are neither handsome nor expressive. The following prints are attributed to him : The Portrait of Ernest, Count de Mansfeld, [and his wife Dorothea.] The Cardinal Virtues. [Portrait of Henry, King of England, with the date 1544.] The Death of Cleopatra. 1550. An old Man, with two old Women, one of whom holds a Basket of Eggs. 1549. Judith with the Head of Holofernes. 1539. A Battle ; after G. Penz. The Holy Family, with St. Elisabeth; after Raffaelle, Corn. Met. The miraculous Draught of Fishes ; after the sanie ; Cornel. Met. fee. The Entombing of Christ ; after an etching hy Parmiffiano. A set of Prints from the Old Testament; on some of these he has put one of the above-mention- ed monograms, and also signed his name at length, Cornelius Matsys, fecit. They are dated 1549 and 1550. [Bartsch gives a list of 58 prints by him, which Nagler has increased to 83.] MATTEIS, Paolo de. This painter was born at Naples in 1662, and, according to Lanzi, was the most celebrated scholar of Luca Giordano, and an artist who might compete with the ablest of his time. In the early part of his life he went to Prance, where he was employed for three years in some considerable works for the court. He was invited to Rome by Benedict XIII., where he painted several pictiu'es for la Minerva, and the cnurch of Ara Cceh. At Genoa, in the church of S. Girolamo, are two of his admired works, representing the Imma- culate Conception, with a glory of angels, and St. 450 Jerome appearing to S. Saverio in a dream. But the theatre of his best exertions is Naples, his prin- cipal residence, where he distinguished himself by numerous works in the churches and palaces ; in Which he appears to have emulated the promptness and surprising facility of his instructor, without equaUing him in the vigour of his colouring, or the general effect of the chiaro-scuro. He chiefly prided himself on having painted the great Cupola of Gesu Nuovo in sixty-five days, in which there are pas- sages which remind us of the genius and despatch of Lanfranco. He died in 1728. MATTEUS, Cornelius. The name of this art- ist is affixed to a spirited etching of a landscape, with a ruin in the back-ground ; it is executed in the style of a painter, resembling that of Herman Swanevelt. [He flourished about the year 1637. He painted landscapes and animals. Bartsch de- scribes three etchings by him, which are very rare : they are named the Goat-herd, the Bridge, and the Muletier.'] MATTIOLI, LoDovico. This artist was born at Bologna in 1662, and learned design in the school of Carlo Cignani, with the intention of becoming a painter, but having made some essays in etching, lie. met with such encouragement that he was induced to devote himself entirely to engraving. We have a variety of etchings by him, after the Bolognese masters, as well as ft-om his own designs; among which are the following : The Annunciation ; after Lod. Caracci ; scarce. The Circumcision ; after the same. The Nativity ; after Agos. Caracci. Christ and the Woman of Samaria; after An. Caracci. The Death of St. Joseph ; after Franceschini. The Presentation in the Temple ; after G. M. The Martyrdom of St. Peter ; after the same. [Bartsch gives a list of 140 pieces known to him, and of 23 others noticed by Gori and FiissU. Brul- liot mentions several more. He died in 1747.] MATURING. This eminent painter was born at Florence in 1490. He was one of the artists who had the advantage of studying under Raf&elle, and was employed by him in ornamenting the loggie of the Vatican. He became the intimate friend arid coadjutor of Pohdoro da Caravaggio, with whom he applied himself to an assiduous study of the an- tique bassi-rilievi, and other relics of Grecian sculp- ture, by which he acquired an elegance of, taste, and a purity of design, in which he was onl^ sur- passed by Polidoro. In conjunction with that great master, he was much employed in ornament- ing the exterior of the palaces at Rome, many of which were of extraordinary beauty ; and it is much to be lamented, that, from their exposed situatiori, few of them have escaped the injuries of time, or the destructive fury of barbarism. One of the most celebrated of their united works was the Death df the Children of Niobe, at the Maschero d'Oro, which is now unfortunately perished ; the admirable com- position is however preserved to us by the print of Cherubino Alberti. The sacking of Rome by the Spaniards in 1527, separated the two friends, and interrupted their conjunctive exertions. Maturino did not long survive that disaster, but is said to have died of the plague when he was little more than 37 years of age. MAUBERT, James. This artist was probably a native of France. According to Lord Orford, he MAUC] PAINTERS AND ENGRAVERS. [mazz resided in England in the reign of George I. He distinguished himself by copying all the portraits of English poets he could meet with. He painted Dryden, Wycherley, Congreve, and some others, fi-om the life. He died in the year 1746. MAUCOURT, Charles, a French mezzotinto engraver, bom at Paris about the year 1743, and died in London in 1768. Among other prints, we have the following by him, which is become scarce : The Expulsion of the Jesuits from Spain; C. Maucourt,fec. MAUPERCHE, Henry, a French painter and engraver, born at Paris in 1606. He painted land- scapes with considerable reputation, and was re- ceived into the Academy at Paris 1655. In the apartments at Fontainbleau are several works in fresco by him. We have by him several etchings, some of which are from his own designs, and others after H. Swanevelt. The following are by him : A set of six plates of the History of Tobit. A set of six plates of the History of the Virgin, from the Annunciation till the Flight into Egypt. Twelve Landscapes ; after Hermann Swanevelt. Two plates of the Prodigal Son. Poiu: Landscapes, with Figures and Ruins. [Dumesnil enumerates 51 pieces by him, which he says are of great rarity on account of the extreme lightness of his point, which he did not strengthen with the aid of the graver. He died in 1686.] MAUPIN, or MAUPAIN, Paul. According to Sasan, this artist was a native of Abbeville, and flourished about the middle of the seventeenth cen- tury. He executed some wooden cuts in ■ chiaro- scuro, after J. Stella. Basan mentions another en- graver on wood, of the name of Maupain, a relation of the above-mentioned artist, but he does not spe- cify any of his works. MAURER, Christopher. This artist was born at Zmich in 1558. His father, Joshua Maurer, was a painter of some merit, by whom he was instructed in the first elements of design, but he afterwards studied at Strasburg, under Tobias Stimmer, whose style he adopted. He was a reputable painter in distemper and on glass, but he distinguished himself more as an engraver, both on wood and on copper. In conjunction with Stimmer, he pubhshed some prints of animals of the chace. He executed a set of wooden cuts for the Bible, which are admired for their neatness. He also etched a set of forty plates of emblems, which were published after his death, in 1622, entitled, JEhnblemata miscel. nova. ^c. He died at Zurich in 1614. He sometimes used the ci- pher ^yf,* [^0'' "■ ™°''^ detailed account of his works, see Bartsch and Brulliot.] MAURER, J. This artist was a native of Swi(> zerland. He came to England about the year 1745, where he engraved several views of buildings, &c. in London, which are neatly executed. [MAYER, Mademoiselle Constance, was in- structed by Suv6e, Greuze, and Prud'hon. She ex- hibited many portraits and subjects of fancy at the several expositions in France, from 1800 to 1821, at which time it is supposed she died. Among her works the most popular were, Innocence between Love and Riches; Venus and Cupid asleep, caressed and awakened by Zephyrs ; The Torch of Venus ; The happy Mother; A young Naiad repeUing a Troop of Lovers who are disturbing her in her re- treat; A Dream of Happiness; and a few of a less poetical character.] MAYNO, Juan Bautista, a Spanish painter, bom at Toledo in 1594. He was a scholar of Domenico delle Grecche, or Domenico Teotocopoli, under whom he proved an eminent artist. At an early period of his life he became a monk of the order of the Predicatores ; but this seclu- sion from the world did not prevent the exercise of his talents, and he was reputed as one of the ablest painters of his time. In the convent of San Pedro the Martyr, at Toledo, there are four of his principal works, representing the Nativity, the Resurrection, the Descent of the Holy Ghost, and the Mystery of the Trinity ; and in the same church another fine picture by Mayno, of the Repentance of St. Peter. He had the honour of being drawing- master to Philip IV., who was not only a lover of the art, but a proficient ; and was employed by him to paint his celebrated battle-piece in the Bueno Retiro, into which he has introduced the Duke d' Olivarez animating the troops to victory, by showing them the portrait of their King Philip. He died at Toledo in 1654. [He was born in 1569, and died in 1649, at the age of 80. He instructed Philip IV., when prince, in the art of painting, and was the patron of Alfonso Cano, and of other distinguished artists. He belonged to the order of St. Dominic] MAZO, Don Juan Bautista. This Spanish painter was bom at Madrid in 1620, and was edu- cated in the school of Don Diego Velasquez. He is said by Palomino to have been a universal painter, and to have equally excelled in history, portraits, and landscapes. He possessed an extraordinary talent in copying with surprising exactness the works of other masters, particularly those of Titian, Tinto- retto, and Paolo Veronese : and was much employed by PhiUp IV. in copying the celebrated Venetian pictures in the royal collection, which could with difficulty be distinguished from the originals. He died at Madrid in 1670. [His name is properly Son Juan BavMsta del Mazo Martinez ; he died on the 1 0th of February, 1687, and not, as Palomino says, in 1670. He married the daughter of Velasquez, a proof of the estimation he was held in by that mas- ter. His landscapes, which are of large dimensions, are considered by his countrymen as inappreciable.] MAZOT, . This artist is mentioned by Mr. Strutt as an engraver of no note, by whom we have a few very indifferent portraits ; among others, that of Christian IV., King of Denmark. MAZZA, Damiano. This painter was a native of Padua, and weis one of the ablest disciples of Titian. He chiefly resided at Venice, where he painted some pictures for the churches, which ap- proached nearer to the fine style of his instructor than any of his contemporaries. His most cele- brated work was his picture of Ganymede taken up by the Eagle, in the Casa Sonica at Padua, which was regarded by many as a production of Titian. This promising artist died in the flower of his life, to the gi'eat regret of the admirers of art, who had formed the most sanguine expectations of his grow- ing talent. MAZZIERI, Antonio di Donnino. According to Vasari, this painter was a native of Florence, and a diciple of Francia Bigio. He flourished about the year 1520, and distinguished himself as a painter of landscapes and battle-pieces, which were well coloured, and touched with gi-eat spirit. MAZZOCCHI, Paoj,o. See Uccello. MAZZOLINI, LoDovico, called Mazzolini m 451 MAZZ] A DICTIONARY OF [MAZZ Ferrara. This painter was born at Ferrara about the year 1481. He must not be confounded with Mazzolino, a Milanese, mentioned by Lomazzo in his Idea del Tempio della Pittura. MazzoUni of Fer- rara is stated by Barrufaldi to have been a scholar of Lorenzo Costa. He was less successful in his large pictures than those of an easel size, which are spoken; of, by Lanzi in very favourable terms. In the church of S. Francesco at Bologna is an altar- piece of Christ disputing with the Doctors, and a small picture below it of the Nativity, which is much superior to the large picture. His works are very highly finished, and each object is designed with great neatness and precision. In the Floren- tine, gallery is a small picture by him of the Holy Family, with St. Anne and St. Joachim. He died in 1530. [Two easel pictures by this painter in the Enghsh National Gallery, will give a better idea of his style than can be conveyed by description. In Mr. Edward Solly's collection there was one of ex- traordinary size, 5 feet by 4 feet, representing the Destruction of Pharaoh and his Host in the Sea. It was dated 1521, and is engraved in Agincourt's work.] MAZZONI, Cesarb, was bom at Bologna in 1678, and was first a scholar of Lorenzo Pasinelli, and afterwards studied under Giovanni Giosefib dale Sole. There are several of his works in the churches and public edifices at Bologna, which prove him to have been a respectable painter of his- tory. In S. Colombano, the chief altar-piece is by him, representing that saint kneeling before the Virgin and Infant. In S. Tommaso di Strada Mag- giore is the Crucifixion, with the Virgin, Mary Magdalene, and other figures ; and in S. Giovanni in Monte, St. Peter delivered from Prison. He died in 1763. MAZZONI, Giutio, was a native, of Piacenza, but studied at Rome under Daniele di Volterra, and flourished about the year 1568. He is men- tioned by Vasari, in the life of that distinguished master, as a painter of considerable merit. . His principal work is the Four Evangelists in the dome at Piacenza. Though deficient in foreshortening, he was respectable in'every other branch. MAZZUCHBLLI. See Morazzonb. MAZZUOLI, Francesco, called II Parmigia- NO. This admired painter was the son of Pier Ilario Ma,zzuoli, an obscure artist, born at Parma, accord- ing to the Padre Afib, who has written his life, in 1503 ; Vasari says, in 1504. His father dying when he was very young, he was brought up under his un- cles, Filippo and Michele, who taught him whatthey knew of the art ; and such was the vivacity of his genius, that, without the advantage of superior in- struction, at the age of sixteen, he painted his pic- ture of the Baptism of Christ by St. John, in the church of the S. Annunziata, at Parma, which was the astonishment of his contemporary artists. Sur- rounded with the admirable productions of Coreg- gio, he appears to have studied them with the great- est attention and success. The congeniality of their taste is not unaptly expressed by an elegant modem poet : " Soft as Catullus, sweet Coroggio play'd. With all the magic charms of light and shade ; Though Ea/rma claim it for her rival son, The praise of sweetest grace thy pencil won." Hayley. His earliest works were entirely in the style of that exquisite painter ; such are his S. Bernardo at the Osservanti at Parma, and the Holy Family, in 452 the collection of the Presidente Bertioh. The de- sire of seeing the works of Michael Angelo and Raffaelle, led him to Rome when he was tweiity years of age, where his talents recommended him to the notice of Clement VII., for whom he painted a picture of the Circumcision, for the palace of the Vatican, his first production in that metropolis. He now embeUished his taste by imitating the grace and dignity of BafiFaelle, and invigorated his design by contemplating the gigantic energy of Buonaroti. Vasari reports that it was said at Rome, " that the soul of Raffaelle had passed into the person of Par- migiano." Mazzuoli was high in his patron's favour, and in the public estimation, when his flattering career was interrupted by the sacking of Rome in 1527. This event, so disastrous to the arts and artists of that capital, obliged him to take refuge at Bologna, where he painted some altar- pieces for the churches, among which was his cele- brated picture of the Virgin and infant Christ, with St. John, St. Margaret, and St. Jerome; in S. Mar- gherita. This distinguished performance was long the admiration and the studyof the Caracci; and is now in the gallery of the Louvre. In the church of S. Petronio is a grand picture of S. Rocco, a noble and dignified performance. On his return to Parma he was engaged to paint in fresco the vault of la Madonna della Steccata, where he represented Adam and Eve, and his famed chiaro-scuro of Moses breaking the Tables of the Law, in which the sublimity of the idea, and the great style of the design, render it one of the grandest produc- tions of the Lombard school. Of his easel pictures, one of his most admired compositions is the Virrin and Infant, with St. Catherine, St. John, and St; Jerome, in the Florentine gallery, of which there are several repetitions. Another celebrated picture by him, representing the Virgin and Child, with Mary Magdalene and Angels, called La Madonna del collo lungo, was formerly in the same collection, and is now in the French Museum. To the prejudice of his reputation, and the detriment of the art, this accompUshed painter was unfortunately addicted to the ruinous mania of alchymy, and wasted his sub- stance and his health in the absurd pursuit of the philosopher's stone. This fatal infatuation occa- sioned him to neglect, and at last to abandon, the im- portant works he was engaged in at the Steccata, and having received several sums of money in advance, he was prosecuted by the confraternity. He fled to Casale Maggiore, where he died of a fever, brought on by disappointment and chagrin, at the age of 37. The style of Parmigiano is distinguished by a seductive elegance of contour, and the most cap- tivating grace in his attitudes. His design, though sometimes learned and severe, is frequently more tasteful than correct; and though his forms are beautiful, and the characters of nis heads full of sweetness and expression, they are not always ex- empt from the appearance of afiectation. In aiming at extreme delicacy, he occasionally fell into meagre- ness and manner. He was generally an enchant- ing colourist, and was a profound master of the magic of chiaro-scuro. As an engraver Francesco Mazzuoli has been erroneously supposed to have been the inventor of etching ; but it was practised in Germany a considerable time before him ; though he is considered as the first artist who exercised the point in Italy. This is rendered extremely probable, by the difficulty he appears to have laboured under in the mechanical part of the execution of some of his first prints. His plates are scratched in with the MAZZ] PAINTERS AND ENGRAVERS. [mazz point, and being sometimes not well corroded with the aqua fortis, they are retouched with the graver, without much delicacy of execution. From his in- experience in the process, his earliest etchings are seldom clear, or perfect, though some of those ex- . ecuted in the latter part of his life are greatly su- perior. These defects are, however, amply com- pensated by the tasteful arrangement of his subjects, and the spirit and animation of his design. It is very difficult to meet with fine impressions of his prints, as the plates have been much retouched, and have been frequently copied. The -originals are distinguishable by the superior expression in the heads, and the elegance of the outline. We have a number of wooden cuts from his designs, printed in chiaro-scuro, which have been incorrectly said to have been executed by himself ; but it is perfectly ascertained that he only superintended their ex- ecution by Ugo da Carpi, Antonio da Trento, An- drea Andreani, and others. Antonio Zanetti haS' lately considerably added to their number. We have the following etchings by this distinguished artist: Moses and the Burning Bush ; supposed to have been his first plate. Judith with the Head of Holofernes. Joseph and Potiphar's Wife. A set of thirteen plates of Christ and the Apostles. The Nativity. The Marriage of St. Catherine. The Holy Family, with St. John presenting a Basket of Flowers. The Holy Family, with Zacharias. Another Holy Family, with St. John embracing the infant Jesus. The Entombing of Christ. Guido has copied this print. The Resurrection, with several Soldiers. A Man and a Woman seated, in a landscape. A Mother instructing her four Daughters. A Shepherd resting on his Crook. Diogenes seated near his Tub. There is a wooden cut of this subject, by Ugo da Carpi. St. Peter and St. Paul healing the lame Man ; after B/iffaelle ; fine. [The real name of this painter was Girolamo Francesco Maria Mazzola, though he is better known by that of Parmigumo, or Parmigianino. He was the son of Pilippo Mazzola, and was brought up by his uncles Michele and Pier Ilario Mazzola. The picture mentioned as being in the French Museum is not there now. The Vision of St. Jerome is in the English National Gallery. This picture was painted in his twenty-fourth year. Zani denies that he was ever addicted to alchymy, or that he engraved on wood. Bartsch has given a description of fifteen etchings by him, the titles of wmch are given below: and twenty-six more, marked with the letters F. P., formerly attributed to Parmigiano ; but which, with various others, will be found to be only after his designs, and more likely to be by Andrea MeldoUa, and other contemporary artists. .See Meldolia. lAst of Prints hy Parmigiano, as given hy BaHsch. 1. Judith holding the Head of Holofernes and the Sword, &c. 2. The Annunciation, with the Holy Spirit de- scending, &c. 3. The Nativity. The Virgin seated and covering the Infant. 4. The Holy Virgin, holding the Infant in her Arms. 5. The Entombment of Jesus Christ. 6. The Resurrection of Christ. 7. St. Peter and St. John curing the lame Man at the Temple Gate. 8. St. James the Great. 9. St. Philip. 10. Ste. Thais, or some other holy recluse. 11. Love Asleep. 12. A Shepherd standing, supporting himself with a Stick. 13. A young Man and two old ones. 14. The two Lovers. 15. The Astrologer. Of these. No. 9, St. Philip, is not by Parmigiano; Bartsch himself describes it among the prints of Guido, No. 47 : neither is the print of the Astrologer, No. 15, by this master. There are two other prints by Parmigiano which were unknown to Bartsch ; a Judith, and the Study of an Arm.] MAZZUOLI, Girolamo, was the- son of Michele Mazzuoli, and the cousin and scholar of Parmi- fiano, whose graceful style he followed with consi- erabie success. His works are chiefly confined to Parma and its vicinity, although there are some of his pictures in the churches at Mantua and Pavia. He did not accompany Francesco to Rome, preferring the study of the woVks of Coreggio. It is believed that several of his pictures have, from the similarity of their manner, been attributed to Parmigiano, which will account for the paucity of his produc- tions, though he Uved to an advanced age. After the death of Francesco, he was employed to finish the pictures at the Steccata, left imperfect by that master, and painted his celebrated fresco of the Last Supper, in the refectory of the monks of S. Gio- vanni Evangelista, a grand composition, in which he displayed the fecundity of his invention and the faciUty of his hand. In the church of S. Bene- detto, at Mantua, is another of his most considerable fresco works, representing the Multiplication of the Loaves. Of his pictures in oil, one of the most ad- mired is the Marriage of St. Catherine, in the church of the Carmelites, in which he appears to have emulated the graces of Coreggio. He was Uving in 1580. [Zani says this painter's real name was Girolamo diMelchiarre Bedolo, but commonly called Girolamo Mazmla, because he was the son-in-law of Pier Ilario of that name, whose daughter Elena he married. As Pier Ilario was uncle to Parmigiano, Bedolo became his cousin by marriage, Pungilione notices, that of the ten colossal figures of Children in the arches of the cupola of the cathedral at Parma, painted in chiaro-scuro, six are by the hand of Correggio, and the other four are by Girolamo Bedoli detlo Mazzola.] MAZZUOLI, Alessandro, was the son and scholar of the preceding artist, and painted history in the style of his father, but was greatly inferior in every respect. In I57I he was employed in some fresco works in the dome at Parma. [This painter, being the son of the preceding, should also be called Bedolo. He died in 1608.] MAZZUOLI, Giuseppe, called II Bastaruolo. In the index to his Staria Pittorica, Lanzi, by an oversight, calls this painter Filippo; but in the body of the work he styles him Giuseppe, by which name he is designated by Cesare Barotti, in his Pitture e ScoUure di Ferrara. He was born at Fer- rara about the year 1525, and was a fellow student ' 453 mech] A DICTIONARY OP [MECH with 6io. Francesco Surchi, in the school of Dosso Dossi. He acquired the name of II Bastaruoli from the profession of his father, who was a dealer in grain. With the exception of a deficiency in per- spective, which is occasionally discernible in his works, he may be ranked among the most eminent painters of the Perrarese school. In the middle part of his life he corrected this defect, and acquired a suavity of colouring, which partook of the purity of Titian ; and a breadth, and an intelligence of the chiaro-scuro, worthy of the school of Coreggio. His pictures were in such estimation, that there is scarce a public edifice in his native city which does hot possess some of his works. In the cathedral at Perrara is a fine' picture of the Virgin and Infant, crowned by angels ; in S. Maurelio, the church of the Capuchins, the Ascension, one of his most ad- mired works; in II Gesu, the Annunciation, and an esteemed picture of the Madonna and Bambino, with Mary Magdalene and St. John ; but his most cele- brated performance is his picture in the Conserva- torio of S. Barbara, representing that saint and St. Ursula, with a number df female figures, composed and painted with exti'aordinary beauty and sim- plicity. This able artist was drowned, whilst bath- inginthePo,in 1589. [He was also called Lodovico.] MECHAU, James, a modern German painter and engraver, born at Leipsic in 1748. He was for some time a pupil of Bernard Rode, at Berlin, and afterwards frequented the academy at Leipsic. He painted history and landscapes, in which he ac- quired considerable reputation in Germany ; but he is more generally known as an engraver. He etched several plates, some of which are from his own de- signs ; and engraved a variety of views in Italy in aqua-tinta. He handled the point with tolerable dexterity. Among others, we have the following prints by him : St. Michael vanquishing the Demon; Mechav,, fee. aquaforti. rhe~ The Resurrection of Lazarus. Mechau,fec. 1761. The Adoration of the Shepherds ; after C. Schut. A Dance of Nymphs and Pauns; after Giulio Carpioni. A set of six Italian Landscapes ; in the style of Swanevelt. 1792. A set of six Views in and near Rome. 1792, 1793. [And numerous others which wiU be found in Nag- ler. According to several authorities he was born in 1745, and died in 1808. His name was Jacob Wilhelm Mechau.] MECHBL, Christian de. This artist was a native of Basle, in Switzerland, in 1737. He was for some timfe a pupil of J. G. WiUe, at Paris, and afterwards resided at Bcisle, where he carried on a considerable commerce in prints. We have by him, among others, the following plates : PORTRAITS. The Emperor Joseph II. on horseback, reviewing his troops ; after J. C. Brand. Frederick II. King of Prussia, on horseback ; the companion. General Elliot, Lord Heathfield. Cliristianus a Meckel, ChalcograpTms, &c. SUBJECTS. An old Man mending a Pen ; after Metzu. Cupid shooting an An'ow ; after Carlo Vanloo. Pour Views of the Rhine : after Brmchman and Weirotter. [The works of Christian von Mechel are very 454 numerous, and in general remarkably well ex- ecuted. He engraved and published the medals of Hedlinger; the Dusseldorf Gallery, with a Cata- logue raisonne ; the works of Hans Holbein, with explanatory and critical remarks ; and many pic- tures of contemporary painters. He died in 1818.] MECHELN, or MBCKENEN, Israel von, 'father and son. Itwas for some time supposed that the various prints which are attributed to Israel von Mecheln, were the works of one and the same person ; but on account of the great difference ob- servable in their style, as well as from the dates in- scribed on some of them, M. Heineken and others have very reasonably concluded, that both the fa- ther and the son practised engraving. Israel von Mecheln the elder, is stated by M. Huber to have been born at Mecheln, a village near Bocholt, a small town in the bishopric of Munster, in West- phalia, about the year \43A. He is regarded as one of the earliest engravers of whom we have any ac- count, and immediately succeeded, or was rather a contemporary of Martin Schoen. That he was not a disciple of Schoen is evident from the total difference in their style. It has not been found practicable to distinguish precisely the prints of the elder Mecheln from those of his son ; but it may be naturally concluded, that the ruder part of them, in point of design and execution, should be ascribed to the father. M. Heineken estimates the number of their prints at about two hundred and fifty. They are usually signed with the initials 1. M. or L V. M. or Israhel V. M., or sometimes at length, Israhel van Mehenen Ooldschmit, or Israhel tzu Bockholt ; the letters in the Gothic character. The following are among their most remarkable prints : The Portraitof Israel von Mecheln the elder, with a beard, and a kind of turban ; signed Israhel von Meckenen Ooldschmit. The Portraits of Israel von Mecheln the younger and his Wife ; inscribed Figuraciofacienm Is- rahelis et Ide Uxoris, I. V. M. A set of Prints of the Life of Christ. These, as well as the two following prints, are supposed to be some of the earliest works of the elder Mecheln. The Descent of the Holy Ghost. St. Luke painting the Virgin. Judith with the Head of Holofernes. In the back- ground is a battle, and cannons, with other war- like instruments. The Death of the Virgin. M. Schoen, and others, have engraved this subject. The Virgin standing upon a Crescent, crowned by angels. The Annunciation ; the Angel holds a Scroll, on which is inscribed A VE. OBA. The Virgin seated, in a landscape, embracing the Infajit, and St. Joseph reposing. On the right of the print is a Grasshopper, on which ac- count it is called the Virgin with the Grass- hopper. The same subject has been engraved by Albert Durer, and copied from him by Marc Antonio. The Virgin and Infant surrounded by four Angels. 1480. The Virgin seated, holding the Infant, with a garden-wall in the back-ground, inscribed in Gothic letters, Ave potissima Maria. The same is engraved by M. Schoen. The Feast of Herod; Herodias with the Head of St. John. mech] PAINTERS AND ENGRAYERS. [medi Herod's Cruelty. Christ bearing his Cross. The Scourging of Christ. The Crucifixion ; Isrdhel, M. ; with a light ground. The Crucifixion j Isrdhel, V. M. ; with a dark ground. St. George and the Dragon ; I. V. M. St. Jerome seated in a room, pointing to a Skull which hes on the table. This is considered one of their best prints. It has been copied by Lucas van Leyden. St. Anthony tormented by Devils. The same subject is engraved by Martin Schoen. The Death of Lucretia. A Man and a Woman walking, with Death be- hind a tree, shaking an hour-glass. This print has been copied by Albert Durer and others. Several single Figures of male and female Saints. A Woman smging, and a Man playing on the Lute. A Man playing on the Organ. Three naked Women, with a Globe hanging above them. Albert Durer and others have ■ copied this print. A Man holding a Skull, inscribed Sespicejlnem. A Cup, richly ornamented. The same has been engraved by M. Schoen. A variety of goldsmith's ornaments, and a great nimiber of other subjects. M. Israel van Mecheln the younger died in 1523. [As it is certain that all who feel interested re- specting these artists and their works, will prefer going to the highest authorities for information, it would be superfluous to enter into a dissertation here. Bartsch, P. 6. tom. vi., and Zani, in his Ma- teriaU, and Bnciclopedia delle belle Arti, parte I. vol. xiii. note 40, have so fuUy discussed all the points, that scarcely any thing more can be ehcited, pi-o and eon, than what they have produced. But it may be necessary to say something respecting the paintings at Cologne and Berhn, supposed to be by one of them, and of which engravings are to be foimd in the Uthographed "Gallery of the early German Masters, formerly at Stuttgard, in the pos- sessipn of the Brothers Boisser^e, now at Munich." Dr. Franz Kiigler is unexceptionable evidence in the matter, and therefore it wiU be better to quote him than to enter into any speculation on the subject. He says. First in the school of Cologne, about the latter half of the 15th century, we meet with an excellent artist, who, with many traces of the elder Cologne school, unites a conscious famiharity with the models afforded by that of Van Eyck. The name of this master is iinknown ; formerly, though without suffi- cient ground, that of a contemporary goldsmith and engraver, Israel von Mecheln, or Meckenen, was given to him. His chief work, a representation of the Passion, on eight panels, is in the possession of Hen- Lyversberg, at Cologne, and it is now usual to designate him as the " Master of the Passion." His pictures have still, indeed, a gold ground, and re- semble the older school in this circumstance, as well as in the style of colouring, which is lively, power- ful, and clear; but they are painted in oil, and moreover, the manner of treatment, the attitudes, and the arrangement, are generally borrowed fi-om the school of v an Eyck. He appears to have been an able, intelligent, and highly-g&ted artist, earnest in seeking an insight into life, zealous and careful, but for the most part, it must be confessed, devoid of original inspiration. The general character of his di'awing is precise and hard ; his efforts to mark character in the lower class of persons, such as the persecutors of Christ, degenerates into exaggeration. Besides this excellent work of the Passion, there are several paintings evidently by the same hand. The most important of 'those in Cologne are, a Descent &om the Cross, of the year 1488, in the city Museum, less powerful than the Passion, and pro- bably of the latest time of the artist ; the wings, added later, are probably by a scholar or imitator ; — two very good pictures in the possession of Hen- Zanoli ; — the paintings in the windows and on the walls of the Hardenrath chapel in Sta. Maria, in Capitolio, of the year 1466; the first of which, how- ever, are injured, and the last considerably retouched. The Crucifixion, on the walls of the same place, belongs to a later period. There are, besides, ex- cellent altar-pieces by him in the churches of Linz and Sinzig ; and a considerable number at Munich, in the former Boisseree collection, particularly an altar-piece with very dignified figures of the apos- tles (John the Baptist in the place of Judas). Se- veral are in the chapel of St. Maurice, at Nm-em- berg ; and a beautiful picture, with female Saints, is in the Berhn Museum. The influence of this artist on his contemporaries weis very important, as is proved by the various works of his scholars, or imitators, extant at Cologne, and in the neighbour- hood, or in the Boisseree collection and Berlin Mu- seum. Of those in the Berlin Museum, two panels with male and female Saints are particularly re- markable, being distinguished as much by the dig- nity of the figures and their noble drapery, as by the powerful painting and expression of their heads. So it appears that, in the opinion of this impartial judge and real connoisseur, the application of the name of Israel von Mecheln to these paintings is merely conjectural, founded probably on theh' ana- logy to his engraved subjects, and their being painted at the period in which he lived. ] MECHELN. The name of this artist is afl[lxed to a portrait of Pope Urban VIII., dated 1623. MECHERINO. See Beccapumi. MEDICI, PiETRO. This artist was born at Flo- rence in 1586, and was a scholar of Lodovico Cardi, called Cigoli. By the instruction of that eminent master, he became a reputable painter of history, and was employed in painting several altar-pieces for the churches at Florence, which possess con- siderable merit. He died in 1648. MEDINA, Sir John [Baptist]. This painter was the son of Medina de I'Asturias, a captain in the Spanish service, bom at Brussels in 1660. He was a scholar of Francis du Chatel, and afterwards improved himself by studying the works of Rubens. When he was twenty years of age he came to Eng- land, and for some time painted portraits with con- siderable success. He was invited to visit Scotland, under the patronage of the Earl of Leven, who pro- cured him many commissions ; and he painted the portraits of most of the Scotch nobiUty. At Went- worth Castle is a large picture of the first Duke of Argyle, with his two sons, John and Archibald, painted in the Italian style ; and, according to Lord Orford, superior to most of his contemporaries. The portrait of Medina, by himself, was sent to the Grand Duke of Tuscany by the Duke of Gordon, and was placed in the Florentine gallery. He occa- sionally painted history and landscapes. • Two small historical pictures by him are said to be in Surgeons' Hall, at Edinburgh; where there are also the por- traits of the principal professors. Sir John Medina was knighted bv the Duke of Queensberry, then Lord 455 meel] A DICTIONARY OP [MEIL High Commissioner. He died at Edinburffh in 1711. [MEELE, Matthiew, a portrait painter, born at the Hague in 1664, was for some time in England, and practised under Sir Peter Lely. On his return to the Hague he was appointed one of the principals of the Academy, and died there in 1724, His por- traits are very good.] MEER, John vander, the elder. This painter was born at Schoonhoven in 1627. It is not known by whom he was instructed ; but when he was young he visited Italy, accompanied by Lieven Vander- schur. On his retuin to Holland he met with the most flattering encouragement, and his pictures were sought after with unusual avidity. He painted landscapes with cattle and figures, and marines. His sea-pieces are particularly admired, in which the different vessels are designed with correctness and precision ; his skies are light and floating, and the water clear and transparent. His tints are warm and tender ; and there is a sunny, brilliancy in his colouring, which reminds us of the sea-ports of Claude. He also painted battle-pieces with con- siderable success, and designed his figures and horses with great fire and animation. He has been re- Eroached with too great a predominance of blue in is distances, a pecuharity not uncommon to those who have studied in Italy, where nature frequently assumes a brightness of atmosphere unknown in more northern climates. He died at Haerlem in 1691. [Balkema applies this account to an artist of the same name born in 1628, and who died in 171 !•] MEER, John vander, the younger, [called Vander Meeh de jonge,] was the son of the fore- going artist, born at Haerlem in 1665, and was first instructed by his father, but he afterwards had the advantage of studying under Nicholas Berghem, of whom he became one of the most celebrated scholars. He painted similar subjects to those of Berghem, representing landscapes, with cattle and pastoral figures, and was so successful in painting sheep, that he has been said, in those particular objects, to have equalled, if not surpassed, his instructor. His landscapes exhibit very pleasing scenery ; the forms of his trees are well chosen, and the freshness of the verdure in his plants and foUage is very agreeable. Though certainly very inferior to the works of Berg- hem, the pictures of Vander Meer the younger are found in the best collections, particularly in Hol- land, where they are highly esteemed. He died in 1688, aged 33. We have a few charming etchings by this artist, which are now become scarce ; viz. A set of four landscapes, with sheep. An Ewe suckling a Lamb; /. v. der Meer de Jonghe, fecit. 1683; very fine and rare. [Balkema applies this to an artist, also called de yonjre, and born atUtrecht in 1665,whodiedin 1722.] MEER, N. Vander, a Dutch engraver, who resided at Paris about the year 1760. He engraved some of the plates for Le Brun's gallery, consisting of the insides of churches, flowers, &c., which are executed in a very neat style. MEER, Vander, of Delft. See Vermeer. [MEERT, Peter, bom at Brussels, had con- siderable reputation as a portrait painter : he imi- tated the style of Van Dyck. In the Museum at Brussels there are portraits of some of the ancient magistrates of that city by him. As there are prints by him with the date 1621, Descamps must be in error when he dates his birth in 1618.] MEHEUX, James. This artist was a native of 456 Holland, and flourished about the year 1680. He engraved some plates in mezzotinto, among which is a copy of the print of the Ratcatcher, by Corne- lius Visscher. MEHUS, or MEUS, Livio. This painter was born at Oudenarde in 1630. The troubles which soon afterwards took place in that country, obliged his family to leave Flanders, and they settled at Milan, where he received some instruction from a Flemish artist, then resident in that city. At an early age he visited Florence, where he was favour- ed with the protection of Prince Mattias, and placed under the tuition of Pietro da Cortona, who was at that time employed by the Grand Duke Ferdinand II. in the Palazzo Pitti. He accompanied his in- structor to Rome, where he studied the antique and the best models, and became a coiTCct and careful designer. He afterwards visited Venice, where he improved himself in colouring, by contemplating the works of the great masters of that school. On his return to Florence he was employed by the Marquis Gerini to ornament his palace, in conjunction with Giro Ferri, who had been his feUow student under P. da Cortona, where he painted his celebrated pic- ture of Bacchus and Ariadne. Although he was more engaged in embellishing the palaces of the nobility, by whom he was much employed, than in painting for the churches, he was fixed on to paint the dome of the church of La Pace ; a performance in which he appears to have outdone himself It is composed and designed in the best taste of the Lombard school. He was afterwards employed by the Grand Duke in the Palazzo Pitti, where he painted his fine picture of the Sacrifice of Abraham. He possessed a fertile and inventive genius; his pencil is resolute and prompt, and his colouring chaste and harmonious. His portrait, by himself, is in the collection of Painters, in the Florentine gallery. He died in 1691. MEI, Bernardino, was a native of Siena, and flourished from the year 1636 till 1653. It is not said under whom he studied, but the Padre della Valle, who had seen several of his works, says his style sometimes resembles the Caracci, and some- times Guercino. There are some of his pictui;es in the churches at Siena. One of his best perform- ances is a ceiling in fresco, representing Aurora, in the Casa Bandinelli. MEIGEL, Christopher, a German engraver, who resided at Nuremberg, where he published a folio volume of prints, engraved by himself, repre- senting the follies of different people of all profes- sions. They are executed in a very indifferent style. MEIGHAN, R., an Enghsh engraver and book- seller, who flourished about the year 1628, and carried on the business of a bookseller and pub- lisher in St. Dunstan's Churchyard. He has been supposed to have been the engraver of a scarce por- trait of John Clavel, a reclaimed criminal, prefixed to his Mecantation of an ill-spent Life. It is proba- ble, however, that he was only the publisher of it, as it is inscribed, S. Meighan, exc, 1628. MEIL, John William, a modem German de- signer and engraver, bom at Altenbourg in 1732. He resided chieflyat Berlin, where he was for some time employed in engraving vignettes and book- ornaments, from his own designs. He has engraved a great number of plates, in a neat, spirited style, in which he appears to have been emulous of imitating the charming works of Delia Bella, in which he has not been entirely unsuccessful. Among a variety of other prints, we have the following by him ; meir] PAINTERS AND ENGRAVERS. [meld A set of eight small plates of Heads and Carica- tures ; scarce. Four of Quack-doctors and Ballad-singers ; in the manner of Dietricy. A set of ten Vignettes for .the Poem of Joseph and his Brethren ; by Bitaube. Twelve Allegorical Vignettes. Hercules playing on the Lyre. A set of four Landscapes, with figures. Fifty-two subjects, entitled, SpecUiculmn Natures et Artium ,• published at BerUn in 1765. [He died about 1798.] MEIRE, Gerard vander. This old painter w^as a native of Ghent, and flourished about the year 1450. He was one of the earUest painters in oil, after Van Eycki Van Mander mentions a picture by this master, representing the Death of Lucretia, which was very highly finished, well coloured, and tolerably correct in the design. [This is one of the artists of the early period, of whom most that is said is conjectural.] [MEIRE, Jan vander, is also mentioned as brother of Gerard, and scholar of the Van Eycks. It is said that he painted a picture of the Institution of the order of the Golden Fleece for Charles the Bold, Duke of Burgundy, whom he followed in all his campaigns, and that he died at Nevers in 1471. If tills be correct, Hans Hemling and Jan Vander Meu-e were fellow soldiers.] MEIRERPECK, M. Wolfgang, a German de- signer and engraver on wood, who flourished about the year 1550. In conjunction with G. Liberal, he designed and executed the wooden cuts for the Com- mentaries of Matthinhis on Dioscorides, published at Venice in Latin, in 1548, and in Germany in the Bohemian language, in 1560. MEIS, B. This artist is mentioned by Mr. Strutt as the engraver of a print representing a poet writing. It is etched in a style somewhat resembling that of Benedetto Castiglione, and subscribed S. Meis, fecit. MELAN. See MELLAN. MELANI, Giuseppe and Francesco. These brothers were natives of Pisa. Giuseppe, a scholar of Camillo GabrieUi, was a reputable painter of his- tory, as is evident from his large picture in oil, of the Death of S. Ranieri, in the dome at Pisa, which, ac- cortog to Lanzi, without being ranked among the most distinguished works of art in that sanctuary, does him considerable honour, as an ingenious com- position, and freer from manner than most of his con- temporaries. His chief merit is in fresco painting, in which he never appears to more advantage than when he painted the figures in the architectural vieflfs of his brother Francesco, in which they both seem to have imitated the splendid style of Pietroda Cortona. Francesco was esteemed one of the ablest painters of perspective of his time. Their most ce- lebrated joint performance is the vault of S. Matteo at Pisa. Francesco died in 1742 J Giuseppe in 1747. MELAR, Adrian, a Flemish engraver, who re- sided at Antwerp about the year 1650. He attempt- ed to imitate the style of Paul Pontius, but with very little success. We have several portraits by him, among which are those of Francis de Mom-a, and Christopher Bernhardt. He .also engraved a plate representing St. Michael overcoming the Evil ■Spirit; after Subens. MELCHIORI, Giovanni Paolo. This painter was born at Rome in 1664, and was brought up in the school of Carlo Maratti. He painted history with considerable reputation, and was employed for some of the public edifices at Rome. His most esteemed work is his picture of the Prophet Ezekiel, in the Basilica of St. John of Lateran. [He was living in 1718.] MELDER, Gerard. This painter was born at Amsterdam in 1693, He showed an early inclina- tion for the art; and when a boy, neglected the usual amusements of his age to devote his time to drawing. He became possessed of some miniatures by Rosalba, and by copying and imitating them, he arrived at great proficiency in that branch of painting. He drew the portraits of many of the principal persops of his time, and was much em- ployed in copying,' in water-colours, the pictures of Mieris, Vander Werf, and others, which he finished with surprising delicacy. He also painted in enamel ; but is more distinguished for his miniatures. He died at Utrecht in 1740. [Balkema says he died in 1746; and Immerzeel, in 1/54.] [MELDOLLA, Andrea, an Italian designer and engraver, who flourished between 1540 and 1550. There has been much discussion respecting his works, but very httle has been accurately ascertained of his history. Until a recent period the etchings now allowed by competent judges to be by him, were attributed to Andrea Schiavone, called Medula ; or to Francesco MazzuoK, better known as Parmigiano, because the greater number of them are from pic- » tures, or drawings, evidently by that distinguished painter. Zani claims the honour of making the discovery that MeldoUa .(or Meldola, for it is writ- ten both ways) was a different artist from Schia- vone, or Parmigiano. He establishes the fact that MeldoUa was the engraver of the print of HeUo- dorus driven from the Temple, from a drawing by Parmigiano after the painting by Raphael. He had heard in the course of his researches respecting this master, that an impression was in the possession of Count Antonio Remondini, which had the inscrip- tion Andrea Sclavonus Meldola fedt ; to ascertain the fact he wrote to the Count, who replied, " It is true that I possess the print in question, with the in- scription Andreas Meldola, but without Sclavonus." IE eero ch'io tengo la citata stampa deW Eliodoro, ma senza lo Sclavonus. As the subject of this artist's works has been ably investigated by the admitted knowledge and judgment of Zani, Bartsch, and Nagler, who have restored the property to the right- ful owner, it is better to refer the inquirer to their dissertations than to present him with less compe- tent authority ; but it may be permitted to make him cognisant of an additional fact. Zani says he was acquainted with one hundred prints by Mel- doUa; Bartsch enumerates and describes eighty- seven ; Nagler mentions one more ; but Messrs. Smith, brothers, the eminent dealers in ancient prints, of Lisle Street, Leicester Square, London, possess one hundred and ten, and have a descriptive account of nine others, which are in various cabinets abroad. This superb collection was made by Mr. Ford, so well known for his judgment and love of pictorial art, and has been inspected by the editor of the present work. The monogram or marks of this engraver are frequently made in a manner so slight and negligent that it is difficult to find them ; but on some lie has very distinctly etched his name MeldoUa, and in a few instances with his Christian name, Andrea, prefixed. By the courtesy of Messrs. Smith the editor is enabled to gratify the curious with the following list of those not described by Bartsch or Nagler, but which are in the possession of those gentlemen; and also of the nine others in foreign cabinets, with 457 meld] A DICTIONARY OP [meld which they are acquainted, and the places are men- tioned after each print. The list is arranged accord- ing to the order in Bartsch, (Peintre Graveur, torn, xvi.) to No. 87, being all that were known to that eminent connoisseur, and continued to the number of 119, with several previous duplicates, or varied repetitions, intercalated with the marks a, h, c, or with stars. The different states of the impressions are noticed as they present themselves in Messrs. Smith's collection, and some differences in measure- ment from those that are given by Bartsch. The measure adopted is the French scale, so that it may be in accordance with Bartsch, or other foreign writers. Where there is a discrepancy, it does not impugn the accuracy of that distinguished writer, as alterations in the plate, or accident to the impres- sion under his view, may make the difference, and sometimes a typographical error. Such differences only as appear important are noticed, as this work must necessarily be compressed as much as possible. It is now generally believed that the plates on which MeldoUa etched were oi pewter, which will account for the scratches and corrosions that appear on the later impressions, and for the frequent alterations made in the treatment of the subject and the acces- sories. As the greater part of these etchings are evidently from designs byParmigiano, or, as he was affectionately called by his contemporaries, Parmi- gianino, it is probable that they were much in re- quest at the time of their production by the artists, who may have suggested the^ alterations in the draperies and chiaro-scuro that a^ppear in the differ- ent states of the impressions ; suggestions that he would adopt in deference to his chief customers. The rarity of impressions in fine condition is a cor- roboration of this conjecture; for every collector knows the condition of prints that have occupied a place in an artist's portfolio: like Dr. Johnson's library, they present a ragged regiment of veterans who have gone through much service. A Catabgue raisorine of the Etchings of Andrea Mel- dblta, and their variations; with an account of those not mentioned by Bartsch. 1. Jacob's Ladder. In this print there is no ladder to be seen : it appears to have been retouched, but at present no variations are known. 2. Moses saved from the Nile. There are four variations : ^st, before the cross-lines on the left arm of the woman in the fore-ground on the left were continued beyond the outline forming the arm ; second, the cross-lines extend over the outline of the arm, so as to give it a rough and unfinished appearance; third, retouched all over, easily distinguished by the strength and harshness of the outlines ; fourth, with a hole in the centre at top and bottom, for the purpose of fixing a chiaro-scuro block. This etching has also been copied by Denon on a somewhat larger scale. 3. God appearing to Moses. Of this there are three variations ; first, pure etching before the retouch, the face and nead of Moses nearly white ; second, retouched all over, the hair on the head of Moses formed by deeply cut lines ; third, nearly worn out, 'the plate covered with scratches, and the town in the back-ground in- distinct. 4. Moses showing the Quails to the Israelites. First, a pure etching before the monogram ; second, retouched all over, especially the mitre 458 of Aaron, and the back of Moses. The mark J^ is introduced in the centre of the fore- ground, below a quail which iS running away. 5. The Annunciation. Firit, before the flutings on the pillars ; second, has these flutings, but before the injuries to the upper part of the plate ; third, the upper part of the plate da- maged, particularly by a strong scratch across the upper portion of the figure' of the angel. 6. The Nativity. First, before the retouch, the head of the ass near the Infant is scarcely shaded, and its right ear is not made out; second, these alterations made and the plate re- touched all over. Though considered by Zani to be very rare, this print is by no means so in the second state ; the_^8i5is in reality of great rarity. 7. The three Kings. Mrst, a pure etching very much unfinished, before the fluting on the pil- lar on the right; Y^his is probably unique;) second, the plate retouched all over, the outlines very hard, and the pillar fluted. 8. The three Kings. First, before retouch ; the second retouched all over, and several scratches and other injuries on the plate. 9. The Plight into Egypt ; as in Bartsch. 10. Presentation in the Temple. There are four : first, there is no necklace on the female hold- ing the two doves, and standing near the high priest in the centre; second, the necklace is added and the outlines strengthened; third, the mitre of the high priest is altered from the second, where it is white, having additional strokes, and varied in form ; the boy's foot on the right has on it the indications of a sandal ; fourth, entirely and harshly retouched all over with a graver. 11. Presentation in the Temple. As in Bartsch. This print, which is excessively rare, was etched by Meldolla, after Parmigiano. 12. 'The Circumcision. As in Bartsch. It is ex- tremely scarce. - 13. The Circumcision. FKrst, before the mono- gram in the upper corner on the right ; second, retouched and the monogram 4(1 added ;,ttirrf, the monogram altered to Bartsch and Zani consider this print to be extremely rare ; except in the^s* state, it is by no means so. 14. Jesus with the Woman on the Steps. As in Bartsch. This fine print is by no means common. 15. Christ healing the Sick. The print from which the description by Bartsch is taken is in the Archduke Cnarles's collection at Vienna; it is very rare, as the only other known is in the Ortalli collection at Parma, belonging to the late Archduchess. In the one described, part of the outlines of Christ, two of his disciples, and the dog, are touched with a pen. 16. Christ healing the Lepers. As in Bartsch. 17. The Entombment. Of this there are four; first, before the retouch ; second, retouched all over, the outlines very hard, and the trees in the back-ground very indistinct; a crooked line is introduced across the shoulder of the figure of a man on the right ; third, still further re- touched ; the leg and foot of the man on the right shadowed with strong engraved lines; fourth, the cap of the man, the second figure behind the Virgin, is altered from the helmet form which it has in the third. meld] PAINTERS AND ENGRAVERS. [meld 18. The Entombment. Three: ftrst, with the monogram distinct ; second, retouched, so that a portion of the print in which is the mono- gram is covered with lines forming the appear- ance of a step ; third, still further retouched, the pointed top of the cover of the vase of oint- ment is efiaced, and the knee of the Magdalene extended to the middle of the box or vase. 19. The Entombment. Two: _^rs<, before cross hatchings on the under leg of Christ ; second, the leaves in the fore-ground and on the tree above are touched with the graver, and the un- der leg of Christ is shaded with cross hatchings. 20. The miraculous Draught of Fishes, (after Ra- phael.) Two : _first, before the letters M. A. F. ; second, has a monogram composed of the letters M. A. F. similar to that of Marc^ntonio, at the bottom on the right. 21. St. Peter and St. John curing the Lame Man. Three : ^st, before the monogram ; the neck of St. John is shaded vsfith horizontal strokes only ; second, also before the monogram ; St. John's neck has additional cross hatchings from left to right; third, retouched, and has the monogram. — Lord Spencer has an inter- mediate state between the second and third, in which the upper parts only of the figures are retouched. 22. St. Paul preaching at Athens. As in Bartseh ; but H. ll;j. U., W. 7p- 11?. The first impres- sion very rare. 23. The Pentecost, or the Descent of the Holy Ghost. Two : ftrst, the back of the figure of the Apostle on the left, who is holding up both hands, is very slightly shaded; second, dark shadows added by strong horizontal lines. 24. The Saviour. Bartseh says he is holding his banner; in this he is holding his drapery in his left hand, and giving his benediction with the right Query, Is that of Bartseh an ear- lier state ? 25. St. Peter. As in Bartseh.- 26. St. Andrew. As in Bartseh. 27. St. James the Great. He is a profile figure turned towards the left, holding in his left hand a long staff which reaches to the top margin of the plate ; his right hand is placed against his side. 28. St. John. As in Bartseh. 29. St. Phihp. As in Bartseh. 30. St. Bartholomew. He is standing in the centre, the head only in profile, directed to the left ; he holds the knife in his right hand, which is con- cealed by his cloak, and has the other placed over it on his bosom. 31. St. Matthew. As in Bartseh. 32. St. Thomas. As in Bartseh, but two variations : ftrst, before the retouch ; second, retouched in a harsh manner. The small shadows in the fore-ground, in the left corner, formed by hori- zontal strokes in the former impression, is in this crossed over by strong diagonal lines. 33. St. James the Less. Profile, directed to the left. He appears in the attitude of meditation, and his right nand is placed on his left shoulder, from which hangs a quantity of drapery. 34. St. Simon. As in Bartseh. 35. St Judas Thaddeus. Full-face figure, the head slightly inclined to the right; his arms folded ; his left hand is seen, but the other is concealed under his drapery. 36. St. Mathias. 37. St. Paul. . As in Bartseh. 38. The Saviour. As in Bartseh. Variations: ftrst, before the zodiac on the globe; second, has the zodiac introduced. 39. St. Peter. As in Bartseh. 39.* St. Peter. A repetition of the preceding, un- known to Bartseh. It is nearly the same in design, but reversed. H. 8p. U., W. 4jo. 71- 40. St. Andrew. He is in the centre of the print, with his head leaning down towards the right ; he supports his cross with both hands on the left. Two : in the ftrst the drapery descends a very short distance below his left shoulder and ends in a point ; in the second, additional drapery, so as to descend in nearly a straight line to the cross. 41. St. James the Great. As in Bartseh. 42. St. John. As in Bartseh. Three ; the ftrst, the drapery under the Saint's left elbow is not shadowed with diagonal strokes, and the out- line is generally very light ; second, the outline strengthened, with these shadows added ; third, retouched in a harsh manner, easily distinguish- ed by the strong engraved shadow lines. The upper edge of the dress from shoulder to should- er, formed by two lines in the previous im- pressions, is made with three in this state. 43. St. Philip. As in Bartseh ; but three varia- tions : ftrst, pure etching, the space between the two fingers of the Saint's left hand is formed of perpendicular strokes only ; second, additional work, and the portion above men- tioned crossed by diagonal lines ; third, harshly retouched, and the plate scratched and injured all over. 44. St. Bartholomew. As in Bartseh. 44.* St. Bartholomew ; the same in design as the preceding, but reversed. Unknown to Bartseh. 45. St. Matmew. As in Bartseh. Three varia- tions : ftrst, less shaded, the edge of the drapery on the Saint's right leg shaded with horizontal strokes only; second, these are crossed by diagonal, or almost perpendicular Unes ; third, a fringe is added to the edge of the dress below the knee. 46. St. Thomas. As in Bartseh. 46.* St. Thomas. The same design as the pre- ceding, but etched in the reverse direction. Unknown to Bartseh. 47. St. James the Less. As in Bartseh; but, ftrst, pure etching; second, harshly retouched, and the plate scratched and corroded. 48. St. Simon. As in Bartseh ; but, ftrst, before the small strokes on the bottom of the drapery resting on the Saint's left foot ; the second has these strokes. 48.* St. Simon. A repetition of the preceding " in the same direction. It differs from the for- mer, inasmuch as the stomach is scarcely shaded, and there are strong horizontal lines on the leaf of the book. Unknown to Bartseh. 49. St. Judas Thaddeus. Profile directed to the left, and looking upwards. He has a large book under his left arm, and his right hand is placed on his bosom. 49.* St. Judas Thaddeus. Same design as the preceding, but etched in the reverse direction. Unknown to Bartseh. 50. An anonymous Saint, as described by Bartseh ; measures H. 7p- H'-, W. 4p. 81. 50.* A Saint walking to the right, but having his head inclined towards the left. He holds a 459 meld] A DICTIONARY OF [MEia lance in his left hand, and has a large book under his right arm. Unknown to Bartsch. H. 7p. 9?., W. 4p. 71. ■ 50.** The same design as the preceding, but dif- fering from it in many respects, principally that the lance in this ends in a kind of ilower, and that the back of the book is seen, which in the former is covered by his cloak. Un- known to Bartsch. 51. The Saviour, a repetition of No. 38, but with variations, inasmuch as a small fold, coming to a point, falls from the right shoulder ; the chest and body are not so much covered with drapery. In this plate the fold of drapery which passes from shoulder to shoulder and covers the breast of the figure, reaches to the middle of the globe in his left hand, while in the other print it is carried to the bottom of the globe. The variations are, Jirst, before the dark shadows on the fold of the drapery across the centre of the figure ; the right side of the body is white ; second, shadows added all over the drapery ; third, the lines of the fingers sup- porting the globe made very strong, and the sha- dows generally heightened. H. 7p- 9?., W. 4p. 91. 52. St. Andrew, a repetition of No. 40, the reverse way. There is much variation in the drapery ; this print has no fringe to the mantle, and no pointed fold falling down on the side of the 'cross. ' The surface of the cross on which the holes of the four nails are seen is white, and not covered with lines. H. 7p. 9^., W. 4p. 101. 53. St. James the Great. As in Bartsch ; but in the Jirst impression the whole of the back- ground is formed of horizontal strokes only ; in the second the centre of the back-ground has perpendicular strokes carried over the horizon- tal. H. 7p- 9Z., W. ^. 10^. 54. The Holy Virgin, (or the Holy Family,) as in Bartsch ; but first, before the retouch ; second, worn out and retouched all over ; the shadows on the Infant's forehead quite obliterated. 55. The Christian Religion triumphant over He- resy. As in Bartsch : but, Jirst, pure etching before the plate was broken, no marks of nails on the cross ; second, a piece of the upper part of the plate broken oif close to the left side of the female, so that her floating drapery is not seen. This is the only state with which Bartsch was acquainted. Third, the plate still further broken, so that a portion of the head and nearly the whole of the left thigh of the female is taken away. 56. The Marriage of St. Catherine. As in Bartsch ; but, the wings of the angel are not finished, and there are very slight indications of the knives on the wheel ; second, additional work all over ; the angels' wings finished, and the knives on the wheel strongly marked. 57. The Virgin. As in Bartsch : but _first, pure etching ; second, the head on which she stands is retouched. 58. The Virgin surrounded by several Saints. As in Bartsch. 59. The Virgin accompanied by Saints. A similar design to the preceding, but engraved in the op- posite direction. Itdimrs from the former, inas- much as a fluted pillar is behind the Virgin on the right, and St. Luke, writing his Gospel, is kneeling in the right hand comer at bottom, and a portion of the figure of the bull is seen above St. Luke's shoulder ; on the base of the pillar is 460 the monogram. The variations are, ^rst, the fold of the curtain above the head of the Vir- gin is not fringed ; second, additional strokes, so as to give the edge of the curtain the ap- pearance of fringe, another side is added to the base of the pillar, by which the foot of the angel lifting up the curtain, which is visible in the former impression, is concealed ; third, re- touched, perpendicular strokes of shadow intro- duced on the upper edge of the base of the pillar, above the head of St. Luke, and short strong perpendicular strokes between the leg of the angel and back of the Virgin. 60. The Virgin and Saints. A similar subject to the last : the Virgin is seated in the centre of the print, giving the Infant to St. Catherine, who is kneeling on the left j behind the Vir- gin, on the right, are half-length figures of St. Joseph and St. EHsabeth. A portion of St. Catherine's wheel is in the left corner at bot- tom, and a basket with scissars, &c. in the fore-gi-ound. H. 8p. 51. (? 4,) W. 5p. 71. 61. The Holy Family. As described by Bartsch, except that he says it is an open hook on the table, whereas in this it is a wreath which the Virgin holds with both hands. Bartsch was doubtful respecting the size of the print, and puts it Hauteur 9 pouces f Largeur 7p. 9 lignes ? this is H. I2p. 11, W. 7p. \\l. The varia- tions are, first, before the retouch and before the monogram ; second, retouched, a shadow added on the left shoulder of St. Anne beyond her two fore fingers, and a monogram added on the left just below the drapery of the Vir- gin ; third, the plate corroded and a piece broken out near the middle on the left, near the wreath on the table. 62. The Infant Jesus in the Cradle surrounded by Saints. As described by Bartsch, who, ho>y- ever, was doubtful of the measurement, for he puts it Hauteur lOp. 10 liffnei? Largeur 7p. 8 lignes ? whereas this measures H. 12p. 51., W. 7p. 10?. The variations a,re,Jh-st, before the monogram; second, retouched, the monogram is on the seat of the Virgin, near the bottom on the right. 63. The Infant Jesus and St. John embracing in the presence of several Saints.' As described by Bartsch. The variations axe, first, the sha- dow on the right cheek of St. Anne formed by slight single strokes only ; second, additional cross lines to this shadow ; third, retouched, a corrosion extends across the thigh of St. Anne to the thigh of St. John. 64. Different Saints present at the homage paid by St. John to the Infant Jesus. As described by Bartsch. There is, however, a difference in the measurement ; Bartsch says H. 12p., L. 7p. 91., whereas this is H. 12p. 7?-, L. 8p. The variations are, first, the left knee of the Virgin is quite white ; second, the knee shaded with light strokes going from right to left. 65. Saints adoring the Infant Jesus in his Cradle. This is the same print described by Bartsch as No. 62, the measurement of which is corrected above, and the introduction of the monogram noticed in the second impression. 66. The Present of Flowers. This is described by Bartsch also as 61 : it is the same print. 67. Heliodorus driven from the Temple, after Ra- phael. As described by Bartsch there is a slight difference in the measurement, this being one meld] PAINTERS AND ENGRAVERS. [meld line each way longer. The variations are : Jirst, before additional fluting to the pillars, and be- fore diagonal strokes on the pillar above the lower part of the lance of Heliodorus ; the second has these alterations. 68. Bellona. A back figure turned towards the right, but with her head in profile looking up to the left ; she holds her ^gis in her left hand over her head, and has a javelin in her right. This description differs somewhat from that of Bartsch, as also does the measurement : he says H. 4p. 4L, L. 2p. 9/. ; this measures H. 6p. 51. ? L. 3p. 41. 69. Diana. As described by Bartsch. 70. The Coronation of Pegasus. As described by Bartsch. 71. Mercury. As described by Bartsch. The variations are: Jirst, less worked and before the monogram ; second, has the monogram. This print is 5 lines in height and 2 in width more than given by Bartsch. 72. Hercules, Dejanira, and Nessus. As described by Bartsch. 73. Mars and Cupid. As described by Bartsch. 74. Ganymede and Hebe. As described by Bartsch; a slight difference in the measure- ment, this having the advantage of a few lines. The variations are : Jhst, before the retouch ; second, retouched, the outline of Ganymede made very strong and harsh. 75. Venus after Bathing. As described by Bartsch; the width is, however, 5 lines more in this. 76. Bellona. As described by Bartsch ; but this is H. 8p. 31., W. 4p. 31. The variations are : Jirst, before the rays of glory at the top, and be- "fore the monogram; second, has rays of glory at top from left to right, and the monogram A) towards the centre at bottom, near to the foot of Bellona ; retouched^- and plate cracked and corroded ; third, still further retouched, and more corroded. 77- Bellona. As described by Bartsch. The vari- ations are: ^«*, has no shading on the wall on the left hand, it being quite white ; the right leg of the goddess is naked ; second, horizontal shadows on the wall on the left added, a sandal is placed on the right leg, and the drapery is continued lower down the thigh. 78. Mars. As described by Bartsch : a slight dif- ference in measure. 79. Minerva and the Muses. Minerva is seen con- versing with the nine Muses on Parnassus; she is standing, a profile figure, on the right directed to the left, holding her lance in her left hand over her shoulder, and extending her right hand towards the nine Muses, who are on the left of the print. A guitar, pipe, &c. are on the ground in the centre in front, and in the back- ground on the left are rocks and trees. A sin- gle tree, which reaches to the top of the plate, is on the right behind the goddess. It appears doubtful whether this print is really by Mel- doUa. The subject is very imperfectly de- scribed by Bartsch ; but his measurement cor- responds. H. 8p. 61., L. 6p. 31. 80. The Judment of Paris. As described by Bartsch, This print is formed of two plates joined together m the middle : the monogi-am is on each of them ; on that on the right, under the goat's head; and on that on the left, undet the right Teg of the female in the corner. The variations are : Jirst, pure etching, before the monogram on the left; second, also pure, etch- ing, but has the monogram ; third, retouched, strong and harsh shadows all over, particularly on the left side of Paris ; fourth, still further retouched, strong engraved lines on the right leg of Venus, &c. 81. The Rape of Helen. As described by Bartsch, but there is a difference in the measurement. Bartsch has, Largeur 18/?. %., H. 14/). 8i. ; this measures, L. 19p. 1/., H. 14p. Ml. The varia- tions are : Jirst, pure etching, the under part of . the head of the fallen horse on the right is white J second, the under part of the horse's head is shadowed, but the stone on the right has no inscription and is white ; third, has the inscription in five lines on the stone, and Mel- dolla's monogram ; fourth, the stone, which has the inscription, white in the preceding impres- sion, is shaded with single strokes in this. Near the middle, at bottom, Andrea Meldolla In Ventor ; Jifth, a large dolpljiin introduced in the fore-ground, near the centre, under the head of the fallen horse, so as to cover the name of Meldolla ; sixth, an arm of a figure is introduced between the man falling from his horse and the figure of Paris j it is also retouched all over. 82. Virtue victorious over Vice. As described by Bartsch. 83. A Prophet. He is standing full length, turned slightiy to the right, holding a long scroll in both hands, at which he is looking ; a glory in the back-ground. H. 4p. 71 ? W. 2p. 7}. ? 84. A Woman carrying a Vase. As described by Bartsch. The variations are : Ji/rst, the floating drapery on the right is nearly white ; second, it is nearly covered with shading. 85. The same print as described No. 74. 86. A Woman accompanied by a Child. As de- scribed by Bartsch. 87. A Woman writing. As described by Bartsch. Prints hy Andrea Meldolla not described Tyy Bartsch. 88. Eleazar at the Well. He is standing on the left of the print stooping to drink from a vase which he holds with both hands, and which a female standing on the right presents to him ; she also holds it with both hands, her right at top and her left at the bottom. Behind Eleazar on the left are two figures, and in the back- ground on the same side are two heads of camels, and a man on horseback holding a standard. The well is in the centre of the print, and a dog is in front of it. On the right in the back-ground is a mountain. H. 7p. 4/., W. 5p. 9/. 89. The Adoration of the Shepherds. The Virgin kneeling in the centre of the print supports the Infant with both hands. On the left are three shepherds, one in the centre, a back figure, is stooping holding a bundle which he appears to be about to place on an ass. In the back- ground, in the centre, is the head of an ox, and on the left two figures, each holding a torch. In the back to the left is a large glory, and in the centre on the right a grand building. H. 5iJ. lOi, W. 8p. 71 90. The Adoration of the Kings, a grand composi- tion of sixteen figures. The Virgin is seated on the ground on the right having the Infant on her knees : the Child holds up his right arm to- 461 meld] A DICTIONARY OF [meld wards a vase on a plate, which one of the kings, a profile figure with a large beard, bedding on the left, offers to him. Behind the latter is a young man holding a similar vase and a plate vrifh both hands above the head of the other. Joseph is standing in the centre of the back- ground with his hands joined. In the back- ground to the left is another of the kings with a crown on his head, several attendants, and the heads of two horses and a camel. Behind the Virgin' on the right are the heads of two oxen, and above them the inclined back of a man with his head turned in profile looking down towards the Virgin. H. 11^. 31.? W. 8p. 111.? 91. The Holy Family. The Virgin seated in the centre looks towards a female saint, who, kneel- ing on the left, holds the Infant with both hands. Joseph, whose head and left hand only are seen, is in the back-ground behind the Virgin, and appears conversing with a mitred bishop who has his hands together in the atti- tude of adoration. At the top is a trellis, on which a vine is trained. H. 8;j. 21., W. 5p. There are two of this ; the first, little more than pure etching j the belly of the Virgin is white ; the second retouched ; the belly of the Virgin covered with lines. 92. Marriage of St. Catherine. The Virgin seated on the right on a throne approached by steps, and supporting the Infant with both hands ; the Child leans towards St. Catherine, who is kneeling on the left on the steps, extending her left hand to receive the ring. Behind the Virgin, on the right, is an angel playing on the organ. In the back-ground, in the centre, may be perceived St. Anne, and on the left a back figure looking out of a door-way. In the right corner at the bottom is St. Joseph, a profile figure half-length, and St. Catherine's wheel is in the left corner. H. 8p. U., W. 5p. 101. This measurement includes a margin of about 3 lines going all round. There are two of this : ' the first a pure etching, very light all over ; the beard of Joseph is nearly white. The second is retouched, and the beard of Joseph made very strong and dark. 93. The Holy Family. The Virgin seated in the centre has the Infant lying across her knees ; on the right sits St. Joseph with a large book open on his knees, and his head turned to- wards the Vilrgin. Behind him is a figure, (probably St. John,) holding a staff, round which is a scroll. Above this figure are some fluted and ornamented columns. On the left is an angel stooping to pour water on the In- fant from a vase which he holds with both hands, and behind him a figure holding a basket of fruit with both hands on his head. H. Ilj7. IZ.? yf.7p. lOl. 94. Christ and his Disciples. This print appears to be the right half of a subject, probably that of Christ healing the Lepers, similar to No. 16. The composition is exactly the same, but the expressions are different, and the Saviour's feet are naked, whereas in No. 16 he has sandals on them. In the right corner at the bottom is the monogram ]^. H. IQp. 31., W. 7p- 21. 95. Christ healing the Lepers. The Saviour, a full-face figure, is standing on the left in front of eight of his disciples, and extending his left 462 hand towards the crowd of Lepers on the right. On that side may be remarked two men, back- figures, sitting with their heads turned in pro- file towards the Saviour. In the back-ground, in the centre, is a small pyramid surmounted by a kind of vase. A large tree is behind Christ and his disciples. H. ??■ 41., W. lOp. 3L 96. Boy bending a Bow. A boy standing in the centre of the print, with his head to the left, holding the top of his bow above his head with both hands, and pressing his left foot raised against it. On the left is a large tree, and a goat with its head to the ground near the boy's right leg. H. 5p. IN., W. 3p. 41. 97. Mars. Mars, a front figure marching to the right, holding his sword pointed to the gi'ound in his right hand, and havirig his shield on his left arm, which is raised up to the top of the print on the right ; on the same side is part of the stump of a tree. H. 5p. 101:, W. 3p. 11. 98. Return of the Prodigal Son. He is kneeling, one knee on a step in the centre of the print di- rected towards the right, on which side his father stoops to kiss him. Behind the latter are two men, little more than the heads are seen, and behind the Prodigal is a servant who ap- pears to be putting some clothes on his back. On the step, under the left foot of the Prodigal, is the monogram J^ , H. 5p, 31,, W. 3p. 31. There are three impressions of this : Jirst, be- fore .any monogram ; second, with the mono- gram as described ; third, with the monogram altered jiP This subject has been copied by Reveidinus. Bartsch, XV. 14. 99. Mercury. Mercury walking towards the right holding up his Caduceus in his right hand, and having his lyre under his left arm. A goat is lying on the ground with its head to the right. In the back-ground to the left is a portioti of a tree, and in the bottom corner on the same side the monogram reversed. H. Qp. 31., W. 3p. 31, There are two impressions : in the first the neck of the goat is completely covered with shading ; the second is worn out and retouched ; the neck of the goat is shaded half-way over only. 100. Apollo and Daphne. Apollo, a profile figure, is running on the right, but towards the left holding up his right arm towards Daphne, and having his bow in his left hand. S'he is aback figure, vnth her head in profile looking to- wards him, and is running up a hill on the left with both arms raised, and her fingers ending in branches, which extend to the top of the print. A half-length figure of a river god with his left arm over his vase, is seated at the bot- tom on the left. H. &p., W. 3p. 9Z. 101. Apollo and Daphne. He is standing, a full figure, with his head in profile, on the right side of the print. He is naked, except some drapery which floats behind his back, and extends his right arm towards Daphne, who, standing on the left in an attitude of terror, is metamorphos- ing into a tree, the roots of which terminate her right leg, and her hands, ending in boughs, are raised. At her feet, nearly across the print, with his head to the left, is a river god. H. 5p. 41., W. 3p. 81. There are two impressions; the first a pure etching, the right arm of Daphne from the elbow to the wrist is shaded with a meld] PAINTERS AND ENGRAVERS. [meld single stroke only; the second retouched, and the arm of Daphne crossed with strong lines. 102. Judith. She is a front figure standing in the centre of the print looking up towards the left. She holds the sword in her right hand elevated, and with her left appears to place the head of Holofernesinasack, which an attendant stand- ing behind her on the right is holding. A tent is in the back-ground on the same side. At bottom on the right the monogram reversed, and on the left the body of Holofernes. H. 5p. lOZ., W. 3p. 21. 103. Judith. . A copy of Parmigiano's etching, No. i, but differing from it inasmuch as there are no shrubs in the left at bottom, as in the ori- ginal print. In this etching the head of the attendant is younger, and reaches only up to the elbow of Judith, whereas in the original she is old, and her head reaches nearly the shoulder of Judith. H. 5p. lOL, W. 3p. 21. There are three impressions of this : the ^rst, pure etch- ing before any retouch, the blade of the sword not made out ; the second retouched, the right shoulder of the attendant, white in the preced- ing impression, has some lines on it, and the blade of the sword distinctly made out ; the third, the plate cracked in the middle and on the left side, into the figure of Judith, so that her right arm is nearly taken away entirely. It mecisures merely 2p. 51. in the widest part. 104. St. James the Great? The figure is profile, whole length, walking towards the left, and having a lance under the left arm ; he has a closed book under the other, and appears to be meditating. Probably this is one of the same set as 83. He is surrounded by a glory. H. ^. 31., W. 2p. 101. 105. St. Paul. Full-face figure standing in- the centre, but looking up to the right. His right hand is placed on the pommel of a sword, the point of which is on the ground, and he has an open book under his left arm. This figure is also surrounded by a glory, and is probably one of the same series as No. 83. H. 4p. 31., W.2p.Ul. 106. Nymphs Bathing. In the back-ground in the centre is a nymph standing naked, holding up some drapery with both hands ; she looks to- wards the right at a satyr under a tree em- bracing another nymph. Another figure is be- hind these last with his right arm round the ■ tree observing them. In the back-ground on the left is a nymph, a back figure, and in front another lying on the ground with a Cupid near to her. In the fore-ground, near the centre, is another sitting, a back figure, and a sixth on the right looking down towards her. H. 9p., W. 6p. U. There are two impressions : the _^rs*, the nymph on the right has very httle drapery round the middle, and her right hand is distinctly visible; in the second, more dra- pery is added, by which the right hand is covered. 107. Cupid, a whole-length figure walking to- wards the left. He holds his bow resting against his back, in his left hand, and with the omer, raised above his head, appears to he throwing an arrow. A kind of cuirass is on the ground behind him on the right. H. 5p. 91, W.|,. ^ ^ 108. Bellona, whole-length figure looking towards the right. She is in profile, throwing a javeliij with her right hand, and the other is placed on a large shield on the right before her. H. 4p. 41., W. 2p. lOl. 109. Bellona. The same design as the preceding, but etched in the reverse direction. The shield in this print has a kind of spike at the top and bottom, which are not in the former. H. 4b. 41 , "W. 2p. 111. 110. Virgin and Child with St. John. The Virgin is seated in a chair on the right of the print, but looking towards the left. The Infant ap- pears to be leaping ofi" her knees to the infant St. John, who, standing on the left, supports him with both hands. H. 5p. 61., W. Sp. 11. 111. Apollo and Python. Apollo naked, all but a floating drapery behind hiin, is standing near the centre, extending his left arm towards a lit- tle Cupid, who, standing on the right, raises his left arm. Behind the feet of the god, with his head to the right, hes the serpent. H. 4p. 11/., W. 3p. U. 112. Diana. The goddess is standing in the centre of the print, her head in profile looking up to- wards the left ; she holds a bow in her right hand, and points with the other towards the right. In the bottom corner on the right is the stump of a tree and some shrubs, &c. H. Gp., W. 3p. 41. 113. Bellona. She is in profile, walking towards the left, and holding up her shield on her right arm ; she holds a lance, directed upwards, be- hind her in the other. Near the bottom, on the left, is the stump of a tree on a small hillock. H. 5p. 11. ? W. 2p. IQl. 1 14. Female Figure. A female figure walking to- wards the left, profile, holding up a portion of her floating drapery with both hands ; her left knee is bent, as in the action of walking. It is doubtful whether this print be really by Mel- dolla. H. 5p. lU, W. 2p, 6i. 115. Five Figures. In the centre is a young wo- man, face in profile, who points with her right hand towards the left. In the back-ground on that side are two figures, one of which points with the left hand. A child is standing on the • left, also pointing. In the right is another fe- male figure extending her right arm. H. 4». 21., W. 2p. 21. 116. Faith. Faith is standing in the centre support- ing a cross towards the right with both hands ; her left foot is placed on a book, and her right is on the shoulder of Incredulity, who lies on three books across the print with her head to the left. At bottom to tiie right is a tablet with the monogram ^^^\ (At Paris.) H. 9p. 3^., W. 5j5. HI. 117. Quos Ego. Neptune appeasing the storm: copy of the centre compartment of the cele- brated print by Marc Antonio. (At Paris.) H. 8p. 61, W. 5p. 10/. 118. St. Christopher. The saint is walking towards the right, having the infant supporting a globe, only a portion of which is seen on his left shoulder. The saint holds a staff, formed of the branch of a tree, in his right hand. In the .back-ground on the le/t is an outline indi- cation of another figure. (At Paris.) H. 8p. 51, W. 5p. 61. 119. Woman pouring Water from a Vase. A young woman is staiimng in the centre between two vases, one on the bottom on the left, and 463 mele] A DICTIONARY OP [melo the other on the right; she is pouring water into that on the left from a jug which she holds in her right hand, and holds up another in her left. (British Museum.) H. 5p., W. 3/>. U. For the foregoing catalogue amateurs should feel grateful : it would have rejoiced the hearts of Zani and Bartsch. No doubt further research will bring more of his prints to light.] MELEUN, Count de, a French amateur en- graver, mentioned by Basan. He lived about the year 1760, and etched for his amusement several small plates from Berghem, Callot, and other masters. MELINI, Carlo Domenico, an Italian engrav- er, born at Turin about the year 1745, but chieily resided at Paris, where he became a pupil of Beau- varlet. We have several plates by nim, executed in a neat, finished style, among which are the fol- lowing : PORTRAITS. The King of Sardinia. The Children of the Prince of Turenne. La belle Source ; after Nattier. The Education of Cupid ; after Lagrenee. Morning, a landscape ; after Zoutherbourg. MELISSI, Agostino. This painter was a na- tive of Florence, and flourished about the year 1675. According to Baldinucci, he was much employed by the Grand Duke in painting cartoons for tapestry, from the designs of Andrea del Sarto. He also painted several pictures of his own composition ; among which, the above-mentioned author com- mends his picture of Peter denying Christ, in the Palazzo Gaburri. MELLAN, Claude, an eminent French designer and engraver, born at Abbeville in 1601. His dis- position for the art discovering itself at an early age, he was sent to Paris, where he learned the elements of drawing in the school of Simon Vouet. An in- clination for engraving induced him to attempt the management of the graver, which he soon handled with extraordinary facility. To improve himself in design he went to Rome, when he was sixteen years of age, where he studied some years with great assiduity, and became one of the ablest burinists of his time. He executed several plates, which were highly esteemed, and was engaged to engrave the busts and statues in the Giustiniani collection. The greater part of the plates he engraved at Rome are executed in the usual manner, with the strokes crossed a second and a third time, as the strength of the shadows require. He afterwards adopted a novel and singular method of working, with single parallel lines, without any cross strokjes^ver them, the shadows being expressed by the same lines be- ing made stronger, and consequently nearer to each other. By this new mode of engraving he acquired considerable celebrity ; and the eflect he produced by it, particularly in plates of a small and middle size, is clear, soft, and agreeable. It is certainly surprising, that he has been able to give such force and harmony to his plates, by so simple an effort, and such economy of labour ; but his success is rather to be attributed to the singular dexterity with which he handled the graver, than to the pecuharity of the process. His print of Rebecca, after the pic- ture by Tintoretto, is of an admirable colour, and of the most mellow effect. It is evidently engraved from the work of a great colourist, of which he ap- 464 pears to have seized the very tones of the painter ; yet it is only in some of the accessories that he has introduced any cross lines. The number of his prints is very considerable, among which there are many admirable porti-aits, several of them from his own designs, as well as the greater part of his his- torical plates. He lived to the advanced age of 87, and died at Paris in 1688. The following are his most esteemed prints : PORTRAITS. Vrha.-^ YIIL; after Bernini. 1631. Cardinal Bentivogjlio. The Marquis Justiniani. Anne of Austria, Queen of France. Henry, Duke of Montmorency. The Cardinal, Duke de Richelieu. The Cardinal de Mazarin. Francis de Villemontee, Bishop of St. Malo. 1661. Peter Seguier, Chancellor of Prance. Nicholas Cseffeteau, Bishop of Marseilles ; after Du Moustier. The Cardinal du Perron ; after Herbin. Victor le Bouthillier, Archbishop of Tours. 1658. Nicholas Claude Pabri de Peiresc ; one of his finest portraits. Charles de Crequis Lesdigueres, Marshal of France. 1633. Peter Gassendi, Professor of Mathematics. Louisa Maria de Gonzaga, Queen of Poland. 1645. Claude Mellan, painter and engraver. 1635. SUBJECTS FROM HIS OWN DESIGNS. Lot and his Daughters. Rome, 1629. Samson and Dalilah. Moses and the Burning Bush. 1663. The Miracle of the Manna. The Annunciation; inscribed -Bcce Virgo con- cipiet. 1666. The Virgin, with the infant Jesus on her knee. 1659. The Holy Family. Rome, 1635. Christ praying in the Garden ; a night-piece ; fine. Christ seized by the Soldiers; inscribed Fater, ignosce illis, 8fC. St. John, with Magdalene embracing the Cross, Rome. The Crucifixion, with the Virgin, Magdalene, and St. John. The Entombing of Christ, with an inscription. Terra mota est. The Resurrection ; inscribed Per se resurgem. 1683. The Face of Christ, called the Sudarium of St. Veronica ; executed entirely by a single spiral line, begun at the extremity of the nose, and continued, without quitting, over the whole face and back-ground. St. Peter Nolasque, supported by two angels. One of the finest and the rarest print of the artist. Four large plates of the Life of St. Bruno. St. Bruno praying in the Desert. St. Francis praying. 1638; very fine. Several other Saints in acts of Devotion. Mary Magdalene expiring, supported by angels. SUBJECTS AFTER VARIOUS MASTERS. Herodias with the Head of St. John; after S. Vouet. The Roman Charity ; after the same. The Death of Lucretia ; after the same. St. Catherine kneeling, to whom an angel is pre- senting the palm of martyrdom ; after the same. MEtO] PAINTERS AND ENGRAVERS. [memm Rebecca meeting the Servant of Abraham ; after Tintoretto ; esteemed the finest of his prints. He also engraved part of the plates of the antique statues in the Justiniani gallery, the whole of which consists of 322 prints, [published collectively in 2 vols, folio, Romse, 1640,] and a part of the antique marbles in the royal palaces of France, which were completed by S. Baudet. Mellan did not always sign his prints with his name at length, but sometimes with the initials C. M., or with the abbreviation C. Mel. or CI. Mell. MELONE, Altobello. This painter was a native of Cremona, and flourished about the year 1497. According to Vasari, he painted for one of the churches at Cremona a series of pictures of the Passion of our Saviour, which are described by that author as superior to the productions of the coeval artists of his county. He was less successful in fresco than in oil. Of the latter, his best perform- ance is a picture of Christ descending into Limbo, in the sacristy of the church del Sacramento. It is a composition of many figm-es, and though they are not very correctly drawn, and generally too long, it is coloured with force, and at the same time with tenderness, with a grace in the forms and attitudes, unusual in the Cremonese school at the. period at which he lived. [Altobello Melone flourished some- what later ; there are pictm-es by him with the dates 1517 and 1520. Rosini hcis given a print of the Flight into Egypt by him, (plate 75,) which will give an idea of his style of design and com- position.] MELONI, Francesco Antonio, an Italian en- graver, born at Bologna about the year 1670. His first intention was to study painting, for which pur- pose he became a scholar of Marc Antonio Fran- ceschini ; but not succeeding to his wishes, he etched some plates after the designs of that master, which encouraged him to devote himself entirely to engrav- ing. Among others, we have the following, by him : The Adoration of the Shepherds; after C. Cignani. Aurora ; from a ceiling painted at Forli ; by the same. [F. A. Meloni was born in 1676, and died in 1713. His design is correct and pure ; he finished his etch- ings very carefully with the graver. His prints are not numerous j Bartsch mentions only sixteen ; he does not, however, consider the list complete. Nag- ler has added ten more.] MELOZZO, DA Forli. Lanzi supposes the bap- tismal name of this painter to have been Francesco, and thinks it probable that he was a disciple of An- sovino da Forli, who had studied under Francesco Squarcione; though he is said by others to have been a scholar of Pietro della Francesca. He was a native of Forli, and, according to Vasari, flour- ished about the year 147i Such was his desire of learning the best principles of the art, that it is as- serted by Scanelh, in II Mierocosmo della Pittura, that, though of a noble and affluent family, he sub- mitted to the menial duties of a domestic servant and colour-grinder to some of the principal painters of his time. To this venerable artist is attributed the first invention of fore-shortening, which was af- terwards carried to such perfection by Coreggio. In the study of perspective, considerable progress had been made by Pietro della Francesca, since its alleged invention by Paolo Uccello, the Florentine j but the merit of first painting figures in perspective, on vaults and ceilings, by which the illusion is ren- dered completely effective, was reserved for Me- 2 H lozzo. He appears to have resided at Rome some time previous to 1472, in which year he painted, for Cardinal Riario, nephew of Sixtus IV., on the vault of his chapel, in the church of the Apostles, a fresco of the Ascension, which is spoken of by Vasari as a work of surprising effect. In 1711, when the chapel was taken down and rebuilt, this painting was sawed out of the wall, and placed in one of the apartments of the pontifical palace of Monte Ca- vallo, with the inscription. Opus MelotiiForoliviensis, qui summos fomices pingendi artem vet primus in- venit vel illustravit. The style of Melozzo resem- bles that of Andrea Mantegna. His design is rigidly correct, and the expression of his heads noble and dignified. This eminent artist was still living in 1494, as appears from Luca Paccioli's work, entitled, Summa d'Aritmetica e Geometria, published in that year, in which he mentions Melozzo da Forli among the most celebrated painters of perspective then living. [Zani says he was born in 1436.] [MELZI, Francesco, il Conte, the pupil and friend of Lionardo da Vinci, was a native of Milan, and lived to the year 1568. He was of noble birth, and practised the art of painting as a delightful em- ployment rather than as a profession. He ap- proached nearer to the manner of Lionardo than did any other of his pupils or imitators ; indeed so close is the resemblance, that his pictures have been universally ascribed to that master. Kiigler speaks of a Vertumnus and Pomona in the Berlin Museum formerly supposed to be by Lionardo, which now bears the name of Francesco Melzi ; and there is, or was, in England a female head with a wreath of flowers, called " The Flora" of Lionardo da Vinci, but which is no doubt the work of Melzi, as it is attributed to him by an early writer on art. Melzi was highly esteemed by Lionardo for his various good qualities, and he felt a reciprocal attachment to his great master. He followed him to France, and attended him at his death ; and became heir to the whole of his designs, instruments, books, and manuscripts. He furnished Vasari and Lomazzo with notices of Lionardo's life; and it is to him that posterity is indebted for the preservation of the valuable collection of his writings.] MBMMI, SiMONB, sometimes called Simone Martini. Simone Memmi, one of the earliest painters after the revival of the art, was bom, ac- cording to Vasari, in 1285. He is said by some to have been a scholar and coadjutor of Giotto, and to have aided him, at Rome, in his celebrated mosaic of the Navicella. The Sienese writers state him to have been a disciple of their venerable compatriot Maestro Mino. Although he might not be a scholar of Giotto, he is known to have assisted him in his works, and to have painted some frescoes in St. Peter's, in imitation of his style, which occasioned the Pope to invite him to Avignon, where he paint- ed the portrait of the famed Laura, for which he has been celebrated by Petrarch in two of his son- nets. His pictures in the Vatican have perished ; but several of his works remain at .Siena, Pisa, and Florence. At Pisa, in the Campo Santo, are some frescoes of subjects from the life of S. Ranieri, and his much-admired Assumption of the Virgin. In the Capitolo degU Spagnuoli, at Florence, are some of his works of more extensive compositions, of the Life of Christ, St. Peter Martyr, and others. He painted several portraits of the most eminent per- sonages of that time. He died in 1345. [His fa- mily name was Martino, and he was called Simone di Martino da Siena. He signed his pictures Simon 465 memm] A DICTIONARY OP [meng de Senis ow several occasions; the last in 1344, in which year he died. The date of his birth is less certain ; Zani and others place it in 1274, which would make him 70 when he died. He also painted in miniature, and for his friend Petrarch embellish- ed a MS. Virgil, which is now in the Ambrosian Library at Milan. Rosini has given a print (plate 15) of a painting by Simone Memmi in S. Mai-ia Novella, in Florence, which gives a very exalted idea of the talents of the artist.] MEMMI, LiPPO. This artist was a native of Siena, the brother-in-law and scholar of the pre- ceding artist, and flourished about the year 1360. Although unequal to Simone Memmi in invention, he was a successful imitator of his style, and with the advantage of his designs, executed several works which would have been regarded as the pro- . ductions of Simone, if he had not signed them with his name. When he was not supported by > such assistance, his performances were deficient in composition, though well coloured. He sometimes painted in conjunction with his relative, as appears from a picture formerly in S. Ansano di Castel Vecchio, at Siena, now in the Florentine gallery, inscribed A. D. 1333. Simon Martini et Lippus Memmi de Senis, me pinxerunt. At Ancona and at Assisi, are some pictures begun by Simone, and finished by Lippo Memmi. [M!ENAGEOT, Pkan(;ois Guillaume, an his- torical painter, born of French parents at London in 1744, and died at Paris in 1816. He was a scholar of Boucher and the celebrated Vien. He distinguished himself by several classical subjects, for which he obtained prizes ; and became one of the professors of the Academy, and director of the French School at Rome. At the Revolution he re- turned to France, where he painted Polyxenus taking leave of Hecuba, Astyanax torn from the arms of his Mother, Cleopatra at the Tomb of Marc Antony, Diana and Venus, and Dagobert giving orders for the construction of the Church of St. Denis ; this last picture is placed in the sacristy of that church.] MENA6E0T, Robert, a modern French en- graver, born at Paris in 1748. He was for some time a pupil of Boucher, and at first practised paint- ing, but he afterwards devoted himself entirely to engraving. We "have several plates by him, exe- cuted in the dotted manner, some of which were engraved for Mr. Boydell, during his residence in London. Among others, we have the following prints by him: Friendship ; a circular print ; after Coreggio. Innocence; the companion ; Menaeeot, fecit. The Virgin and Infant, with St. Elisabeth ; after Gruido. An African Woman ; after Zoutherbourg. MENANT, P., a French engraver, who flourish- ed at Paris about the year 1715. In conjunction with Raymond, Fonbonne, Scotin, and others, he executed part of the plates of the Views of the Pa- lace and Gardens at Versailles. They are neatly executed, but in a stiff, formal style, and without [MENESBS. See Osoric] MEN60ZZIN0. See Santi. MENGS,. Antonio Rafpaelle. This celebrated artist was born at Auszig, in Bohemia, in 1728. His father, Ishmael Mengs, a miniature painter of little celebrity, instructed him in the first rudiments of drawing, and having removed to Dresden whilst 406 his son was young, our artist had an opportunity of improving himself, by studying the works of the best masters in that celebrated galleiy. When he was thir- teen years of age, his father took him to Rome, in 1 741 , where he was employed in copying, in miniature, some of the works of Raffaelle, for Augustus III., Elector of Saxony and King of Poland, which were sent to Dresden, and which were much admired. He remained at Rome three years, and on his re- turn to Saxony was appointed one of the painters to the Elector and King, with a salary, and was permitted by his royal patron to visit Rome a second time, where he resided four years, and exhibited a picture of the Holy Family of his own composition, on a larger scale, which gained him great reputation. He married at Rome, and was desirous of fixing his residence in that capital, but his father would not permit him to indulge his inclination, and he was compelled to return to Saxony, where he arrived in 1749. He remained three years at Dresden, where the tyranny of his father rendered his situation so distressing, that he found his health and spirits impaired, and he requested and received the king's permission to return to Rome. He was soon after- wards reduced to very embarrassed circumstances, by the discontinuance of his salary, which was stopped, from the distressed state of the king's finances, occasioned by the war. He worked at Rome for support, at very low prices, when he was employed by the Duke of Northumberland to paint a copy of the celebrated School of Athens, by Rafiaelle. It was about this time that he was en- gaged to paint the ceiling of the church of St. Euse- bius ; and soon afterwards he executed his admired fresco of Mount Parnassus, in the Villa Albani, which has been finely engraved by Raphael Mor- ghen. In an excursion he made to Naples, to exe- cute a commission for the Elector of Saxony, he became known to the king, afterwards Charles III. of Spain, who, on his succession to the throne, in- vited Mengs to Madrid, with the offer of a very considerable appointment. This proposal was not likely to be refused, and he arrived at the court of Spain in 1761. His first undertaking was the ceil- ing of the -king's antechamber, representing the Graces ; and afterwards that of the queen's apart- ment, where he painted one of his most celebrated works, the Aurora, a grand and beautiful com- position. The climate of Spain not agreeing with his constitution, he was permitted by the king to return to Rome, for the re-establishment of his health. On his arrival he was employed by Cle- ment XIV. in the Vatican, where he painted his pic- ture of Janus dictating to History, who writes, and a Holy Family, which have been engraved by Dom. Cunego. He remained three years at Rome, and on his return to Madrid- was received with great kindness by his royal protector. It was soon after his return that he undertook his famous work of the ceiling of the great saloon, in the palace at Madrid, where he represented the Apotheosis of the Emperor Trajan, a composition of extraordinary ingenuity and judgment. The colouring and gene- ral effect of this magnificent work are admirable. The fresco paintings of Mengs are greatly superior to his pictures in oil ; and in them his style is in- finitely preferable. Of his works in oil, perhaps the most esteemed is his picture of the Nativity, in the royal collection of Spain. It is painted on the same principle as the famous Notte by Coreggio, in which the whole light emanates from the infant Saviour. It was so highly valued by the king, that MENGJ PAINTERS AND ENGRAVERS. [merc he ordered it to be covered witli a, single plate of glass, to preserve it from injury. It measures nine feet ten inches, by seven feet. Through his whole life, Mengs devoted himself entirely to the study of his art, without the neces- sary relaxations of exercise or society ; and after a residence of little more than two years, from his return to Madrid, he found that incessant applica- tion, and the unfavourable climate, had reduced him to a state of weakness, which made it necessary for him to return, without loss of time, to the more friendly temj)erature of Rome. To that emporium of the arts, his inclinations and habits of study had at all times bent ; and it was with the most heart- felt gratitude that he received his royal patron's per- mission to return to Italy, with an increased pension, and the most munificent marks of his esteem. His enfeebled frame felt returning vigour as he journey- ed, and when he approached Rome, his languid spirits brightened, at the hope of passing the re- mainder of his life in the sacred residence of virfS and taste. But these endearing prospects were of short duration. Soon after his arrival at Rome, the death of his wife, to whom he was tenderly at- tached, occasioned him the deepest affliction. He sunk into a state of the most melancholy despond- ency, which brought on a return of his former in- disposition. In Miis state of debility, he called in the assistance of an ignorant empiric, whose injudi- cious and violent treatment occasioned his death, in , 1779, in the fifty-first year of his age. The talents of an artist are seldom duly appreci- ated during his life. The inflated eulogimri ' of friends must subside, and the heated rancour of ene- mies cool, before his true character can be estabUshed by the dispassionate and judicious. The indiscreet zeal of his partisans has not hesitated to exalt his powers to a level with those of RaSaelle; and some o*" his admirers, particularly the celebrated Winkel- man, place him in a still more elevated rank. He has been gazed at by some, as the sole bright luminary of modern times, who attribute to him the purity of the antique, the composition and ex- pression of Raflaelle, the grace and chiarorscuro of Coreggio, and the colouring of Titian. Should these attributes appear strained, as they probably will to the rational, they may be contrasted with opinions less favourable to his reputation, though Eerhaps quite as consistent with what is due to is undoubted ability, and with that justice which we owe to his illustrious predecessors. He is said to have been an artist, who had seen much and in- vented little; ^hat he dispenses neither life nor death to his figures ; excites no terror, rouses no passions, and risks no flights. By studying to avoid particular faults, he runs into general ones, and his execution bears the masks of tameness and servility. The contracted scale and idea of a painter of minia- ture, is to be traced in all, or most, of his composi- tions, in which the finished delicacy exhibits the hand of the artist, but gives no emanations of the soul of the master. If it is beauty, it does not warm ; if it is sorrow, it excites no pity. To form a just idea of this painter's abiUty, it is necessary to have seen his most studied and distin- guished works, which are unquestionably in Spain. If the powers of Mengs do not surprise us by the fiery soaring of his imagination, or the daring dis- play of novel and inventive genius, they satisfy the most scrupulous, by the chaste arrangement of his ideas, and his careful and learned attention to the propriety of costume. His acquaintance with the 9 D o antique is studied and profound, and his characters are distinguished by a quiet correctness, and a pla- cid expression of tranquil and inanimate beauty ; though he was perhaps unequal to the delineation of the sublime and terrific, or the development of the passions, agitated by the varied impulses of hu- man feeling. As a theorist, and a writer on art, Mengs -is entitled to a distinguished reputation. He supplied the Abbe Winkelman with very important materials for his Storia delle Belle Arti, and has him- self written some excellent treatises on painting, which, though his ideas are occasionally wrapt up in pedantic mystery, and eiiveloped in difficulties, little intelligible to the incipient understanding of the student, are however calculated to elevate the mind of the painter to the most consummate idea of the grandeur and sublimity of his art. [MENHEERE, Cor.velis Laurensz, a Dutch marine painter, who lived at the beginning of the 18th century. He resided at Flushing, and the greater part of his pictures represent views of that city taken from the sea-coast.] MENICHINO, DEL Brizzio. See Ambrogi. MENTON, Francis. According to Van Mander, this painter was born at Alkmaer in 1550, and was a disciple of Francis Floris. He painted history and portraits. His pictures were well composed, and his drawing tolerably correct. The encourage- ment he met with as a portrait painter prevented him from painting many historical pictures, but in the few he has left he proves himself to have been a reputable artist. He was living in 1604. [He died in 1615.] MERANO, Giovanni Batista. This painter was born at Genoa in 1632. He was a scholar of Valerio Castelli, and by the recommendation of his master studied with attention the works of Coreg- gio, at Parma, where he was employed by the Duke, and for ma.ny private collections. " One of his best performances is the Murder of the Innocents, in the church del Gesu, at Genoa, which Latizi describes as a copious and ingenious composition, with great variety of expression and character, and of an har- monious colouring. He died in I7OO. [Zani says he died in 1698.] MERCATI, Giovanni Batista. A Florentine painter and engraver, born at Citta San Sepolcrb, about the year 1600. He was art imitator, if not a scholar, of Pietro da Cortona, and painted history in the style of that master. In the church of S . Chiara, in his native city, he painted two subjects from the life of the Virgin ; and in S. Lorenzo, an altar-piece representing the titular, with other. Saints, which resembles the style of the Caracci, in the variety and expression in the heads, and the ample folding of tne drapery. We have several spirited etchings by this artist, some of them are from his own designs, of which the following are the principal : A set of fifty-two plates of Ruins and Views in Italy ; engraved in the manner of Sylvestre ; Gio. Bat. Mercati, fee. Four Antique Figures, from the arch of Constan- tine; engraved in the style of Gallestrucci ; circular ; Gio. Bat. Mercati. The Marriage of St. Catherine ; after Coreggio. ■ St. Bibiana refusing to sacrifice to false Gods; after P. da Cortona. [It is probable that hewas born eariier, as there are prints by him dated 1616. His etchings are well de- signed, and assisted by the graver in a bold manner, 407 MERC] A DICTIONARY OP [meri which gives them a vigorous and brilliant eifect. The latest date on them is 16370 MERCIER, Antoine LE. We have by this art- ist some slight but spirited etchings of architectural ornaments, &c., after the designs of P. Collo, [He flourished about 1633 : he must not be confounded with Jacques Le Mercier, the architect, who also en- gi-aved. Three prints by the latter are described by Dumesnil, which he says are of the greatest rarity. They are the design 'of a model {not executed) by Michael Angelo, of the church S. Giovanni dei Piorentini, 1607; a design of the statue of Henry IV., erected at S.Giovanni de Lateran, in 1608; and the Catafako at Rome for the obsequies of Henry IV., July 1, 1610. He was born about 1590, and died in. 1660.] MERCIER, Philip.. This painter was originally of Prench extraction, but was born at -Berlin in 1689, and was brought up in the Academy there. After visiting Prance and Italy, he went to Hanover, where he painted the pbrtrait of Prince Frederick, which he brought with him to England, and when his Royal Highness came over Mercier was ap- pointed his painter, became a favourite, and was taken into his household, and by the Prince's order drew several of the royal family, particularly the three eldest princesses, which were engraved in mezzotinto by J. Simon. After nine years, he lost the favour of the Prince of Wales, and was dismissed from his service. He afterwards lived in Covent Garden, painting portraits and pictures of domestic subjects, in the style of Watteau, in whose manner there is an etching of Mercier, with his wife and two children. He died in 1760. [Some of his por- traits blend the manners of H. Rigaud and Godfrey Kneller.] MERIAN, Matthew, the elder, an eminent designer and engraver, bom at Basle in 1593. Hav- ing discovered an early disposition for the art, he was sent to Zurich, and placed under the tuition of Dietrich Meyer, a glass painter and engraver, with whom he studied four years, and in that time had already acquired some celebrity. On leaving that master he went to Prankfort, where he formed an intimacy with Theodore de Bry, and improved his talent by the instruction and advice of that able master, whose daughter he married. He was at this time employed in engraving his topographical plates of the Views in the environs of Heidelberg, Stut- gard, Schwalbach, &c., which he afterwards pub- lished at Prankfort, and which are the best of his works. They are etched from his own designs, in a slight free style, and finished with the graver, and give a perfect idea of the places they represent, though without much taste in the execution. He has me credit of haying been the instructor of the estimable Hollar. The following are his principal prints, which are sometimes marked with one of these ciphers, ;^ or J^. PORTRAITS. David Parens ; Prof. AcademieB Heidelberg. Daniel Sennertus ; oval. Arnold Weickerdus, Med. Doc. 1626. A set of plates from Sacred History. , The Last Supper, inscribed, Accepit Jesus partem ; a large plate ; very scarce. A large plate of the Picture of Human Life ; in- scribed. Tabula Cebetis, continens totius vitee hti- mana descriptumem ; scarce. 468 A set of seven Views in France. Six Views in Germany. ' Sixteen Views in Germany and Switzerland. Twelve Views of Gardens, &c. Twenty-four Picturesque Landscapes, with fi- gures. He died at Prankfort in 1651. [For a full account of his works, see Nagler.] MERIAN, Matthew, the younger, was the son of the foregoing artist, born at Basle in 1621, and is said to have been successively the scholar of San- drart, Rubens, and Vandyck. He painted history and portraits, and is mentioned by Fuessh, his countryman, as a very reputable artist. Of his his- torical works, that author particularly notices the Martyrdom of St. Lawrence, in the dome at Bam- berg. He was a tolerably correct designer, and his colouring partook of the vigour of the Flemish school. As a portrait painter, he was employed by the most distinguished personages in Germany. He was also an engraver, and is supposed to have been in England about the year 1640, as there is an emblematical frontispiece by him, with the portrait of Dr. Donne, prefixed to his Sermons, published in that year. MERIAN, Maria Sybilla. This celebrated lady was the daughter of Matthew Merian the elder, born at Frankfort in 1647. She had the misfortune of losing her father when she was only four years of age, but her mother having some time afterwards married Jacob Murel, a reputable painter of flowers and fruit, he encouraged the disposition she dis- covered for drawing, and taught her the first rudi- ments of the art. With the advantage of his in- struction, she made a surprising progress, and soon arrived at a proficiency in painting flowers, fruit, insects, and still-life, in miniature, which astonished her master. Her inclination led her particularly to the study of natural history, and she had formed an extensive collection of insects and reptiles, which she designed with the nicest precision. To render her more perfect in that branch, her father-in- law placed her under the care of Abraham Mig- non, the celebrated flower-painter, who had been his scholar, and who excelled particularly in paint- ing insects ; and it was not long before she arrived at a perfection little short of her instructor. She usually painted in water-colours, on vellum, and re- presented butterflies, caterpillars, and other insects, in the various changes they undergo, with a fidelity and beauty of finishing, which has never been sur- passed. In 1665, she married John Andrew Graff, an ingenious artist of Nuremberg, who had been a scholar of Murel, and settled in that city. Not satisfied with the description of insects and their metamorphoses, which sne found in the works of the natural historians of hfr time, she formed the project of giving to the world her own observations and researches, accompanied with plates, from her designs, and partly etched by herself. In 1679, she published the first volume of her interesting work, at Nureniberg, written in German, under the title of The History of the Insects of Europe, drawn frmn nature, and explained, by Maria Sybilla Merian, with their Generation and Clianges, with the Plants on which they feed. The second volume appeared in 1683. Her zeal in the pursuit of her favourite study in- duced her to undertake a voyage to Surinam, for the purpose of designing from nature the insects and plants pecuhar to that climate. In 1698 she em- barked at Amsterdam, where she had resided some time ; and after an absence of two years returned to MERl] PAINTERS AND ENGRAVERS. [metz Holland, with the fruits of her voyage. In 1705 she published an account of them at Amsterdam in Latin, entitled, Dissertatio de Generatione et Meta- morphosibus Jnsecforum Surinamensium, contMning sixty plates. This work was augmented, in a later edition, with twelve additional plates, by her daughter, Dorothea Graff. The miniatures of this lady have a delicacy and beauty of colouring which have seldom been equalled, and they are still in the highest estimation, notwithstanding the extraoi'din- ary attention which has since been paid to the accu- rate execution of such works. There are two large volumes of the drawings of this artist in the British Museum, one containing the insects of Europe, and the other those of Surinam. They were purchased at a great price by Sir Hans Sloane, who is said to have given five guineas for each drawing. She died at Amsterdam in 1717. MERIAN, Gaspar. This artist was a native of Germany. He engraved a set of plates representing the Ceremontes of the Election of the Emperor Leopold, pubUshed at Frankfort in 1660. MERLIN, James van. According to Florentle Comte, this artist, conjointly with Theodore van Merlin, who was probably his brother, engraved a few plates after Martin de Vos, and others. They flourished about the year 1600. MERSION, Madelaine le. This French lady etched a plate of a Landscape and Cattle, in a style resembling that of Dankerts, when he engraved etfter Berghem. It was published at Paris, without date, or the name of the painter. MESA, Alonso de. According to Palomino, this painter was born at Madrid in 1628, and was a scholar of Alonso Cano. He painted history with considerable reputation, and executed several works for the public edifices in that capital, of which the most admired are said to have been a series of pic- tures of the Life of St. Francis, in the cloister of the Franciscans. He died at Madrid in 1668. [MESA, Juan de, a Spanish painter, who re- sided at Madrid at the commencement of the seven- teenth century. He painted for the college of the Je- suits de Alcala de Henares, a series of pictures illus- trative of the Life of St. Ignacius Loyola, by Father Ribadeneyra, which were engraved in Flanders.] MESNIL, E., a modern French engraver, men- tioned by Basan. He was living in 1760, at the time he published his dictionary, and had engraved several plates after Mieris, Karel de Moor, and other Dutch masters. MESSINA, Antoneilo da. This painter was born at Messina in 1426. After learning the rudi- ments of the art in Sicily, the fame of Masaccio in- duced him to visit Rome, where he studied some time. He afterwards went to Naples, where he re- sided at a period when some of the works of John van Eyck, or John of Bruges, who had some time before made his discovery of painting in oil, were brought from Flanders by some Neapolitan mer- chants, and presented to Alphonso I., King of Na- ples. The novelty of the invention, and the beauty of the colouring, inspired Antonello with a strong desire of becoming possessed of a secret which had excited such universal admiration." He determined on visiting the author of so interesting a discovery, and of using all the means in his power to become acquainted with the mystery. With this resolution he travelled to Bruges, and so far insinuated himself into the good graces of Van Eyck, who was then advanced in years, that he instructed him in the process, with which he returned to Italy, and was the first artist who pahited in oil in that country. From him the secret is said to have been communi- cated to Domenico Veneziano. Such is the account given of this event by Vasari, but it& accuracy is much doubted by later and more correct authorities; and even the authentically of the invention by Van Eyck is considered as very questionable, if not en- tirely unfounded, as may be seen by a reference to the article of Van Eyck. Of the works of Anto- nello, history furnishes us with a very parsimonious account. Lanzi mentions two altar-pieces by him in the two churches della Dominante at Venice, apd some pictures of the Virgin, in private collections. He also notices a portrait in the possession of Sig. Martinengo, inscribed, Antonelhis Messaneus me fe- cit, 1494, and a Pieti in the hall of the Corisiglio de Dieci, signed AnUmms Messinensis. The time of his death is not precisely ascertained. [Writers are not at all agreed respecting the birth of this painter ; some with great probability place it in I4I4, others in 1447. It would be a work of great diflieulty to reconcile their diflFererices. The principal belli- gerents on this and other matters concerning Anto- nello, are Lanzi, Zani, and Rosini; their auxiliaries, Gallo, Puccini, Summonzio, MauroUco, and Zanetti : to these, therefore, it will be safer to refer the in- quirer, than to give an opinion on either side. See Lanzi, Storia Pittorica, torn. ii. ; Zani, Enciclopedia delle belle Arti, vol. ii., parte prima, note 115 ; Ro- sini, Storia della Pittura Italiana, tomo iii. ; and the other writers as quoted by them. Vasari's ac- count of this painter is not considered as sufficiently supported by facts to make it of any authority.] MESSINA, Salvo da. According to Hakert, in in his Memorie de Pittori Messinesi, this painter was the nephew of Antonello, and flourished about the year 1511. He is said, by that author, to have been a successful follower of the style of Raffaelle ; and he mentions with distinction a picture by him, in the sacristy of the cathedral at Messina, repre- senting the Death of the Virgin,, which, he says, is painted delpiupuero Haffaelwieo stilo. METELLI. See Mitebli. METENSIS, C0R.NEEIUS. See Matsys. METGER, J. J. The name of an obscure en- graver, aflixed to a portrait of Cardinal GioVanni Nitardo, very indifferently executed, for " Priorata's History of the Emperor Leopold," published in 1672. METRANA, Anna. A'ccording to Orlandi, this lady was a native of Turin. She flourished about the year 1718, and distinguished herself as an emi- nent paintress of portraits. [METZ, Conrad Martiij, an eminent engraver in the chalk manner and aquatint, was a native of Bonn, but received his education in art at London, under the celebrated Bartolozzi. His principal works consist of imitations and fee-similes of the drawings of the old Italian masters, of which he published a great number; particularly of the drawings by Parmigiano in the royal collection,, those of Polidoro Caravaggio in the possession of Sir Abraham Hume, and numerous detached pieces in various cabinets. In 1801 he left England for Rome, where he con- tinued to exercise his ready talent at imitation, and otherwise engraving from works of the highest or- dcF, till the time of his decease, which occurred in 1827, at the age of 72. Nagler enumerates upwards of 200 of his engravings J METZU, Gabriel. This charming painter was born at Ley den in 1615. It is not known by whom he was instructed, but he appears to have made the works of Gerard Terburg the models of his imita- 469 meul] A DICTIONARY OF [meus tion, whom he equalled in the silky softness of his pencilling, and surpassed in the elegance and cor- rectness of his desi^. At an early period of his life he established himself at Amsterdam, where his works soon rose into the highest estimation. His pictures generally represent domestic scenes, and what are called conversations, ladies at J;heir toilet, or playing on musical instruments ; and sometimes subjects from low life, as fish stalls, women selling game, fruit, vegetables, &c. These objects have been treated by several of the Dutch painters, but by none more successfully,, than by Metzu. Less minute in detail, and less lab%*j^ in the finishing, than the works of Gerard Douw and Mieris, he ex- cfels them in the lightness and spirit of his touch, and the chasteness and harmony of his colouring. Though he painted on so small a scale, his style may be compared to that of Vandyck, in the correct drawing of the heads and hands, the delicacy of his carnations, and the breadth and facility of his pen- cil. An enemy to manner, his touch is vague and free, and always adapted to the particular object he had to represent. The attitudes of his figures are easy and natural, and th?re is a truth and naivete in the expression of his heads which may be said to be peculiar to him. The works of Metzu may perhaps be justly proposed as models of perfection, in the particular branch of art in which he excelled, as combining freedom with finish, and as exhibiting a transparence and purity of colouring, which is dis- turbed and destroyed by the torment of extreme and laborious polishing. The pictures of this admirable artist are not frequently to be met with, as he died in the prime of hfe. An uninterrupted assiduity in his profession, and constant confinement, is said to have impaired his health, and brought on the afflict- ing complaint of the stone. He was under the ne- cessity of submitting to the operation, which he did not long survive, but died in 1658. [In Smith's Catalogue raisonne, vol. iv., and Supplement, will be found descriptions of 160 pictures by Metsu. No other written account will convey to the reader any information equal to what is to be found there. One of the pictures described is in the Dresden gallery, and has the date 1667 ; if this be correct, it, in some measure, corroborates Balkema, who says he died in 1669. On the few pictures that have his name, it is Metsu, not Metzu.'] MEULEN, Anthony Francis vander. This distinguished artist was born at Brussels in 1634, though from his long residence at Paris he is ge- nerally considered of the French school. His pa- rents, who were in affluent circumstances, perceiving his early inclination to the art, placed him as a dis- ciple of Peter Snayers, a reputable painter of battles, whom he surpassed before he quitted his school. Some of his first productions, after leaving that master, found their way to Paris, and possessed suf- ficient merit to attract the attention of Charles le Brun, at that time the arbiter of taste in the French metropolis. As the object of the arts, as well as eveiy consideration of the court, was to flatter the ambition of Louis XIV., it was with this view that Le Brun recommended Vander Meulen to M. Col- bert, as possessing a proper talent to commemorate the military achievements of that monarch. The minister, always ready to seize every opportunity of tickling the vanity of his sovereign, eagerly listened to the proposal. Vander Meulen was invited to Paris, and was soon afterwards pensioned by the king, and accommodated with apartments at the Gobelins. The brilliant exploits of Louis XIV. 470 afforded ample employment for the abiUty of the painter; and Vander Meulen was appointed to at- tend his royal patron to the field in his different campaigns. He painted for the Chateau of Marly the principal battles and sieges of that monarch in Flanders. It is perhaps to be regi'etted, that the eminent talents of this painter were confined to the precise represe W. 3p. 22. St. Anthony standing amidst Ruins, turned to the left, holding a book in his right hand to his breast, and in his left hand a crutch and a bell ; landscape in the distance, and the pig is partly seen on the left. Monogram at bottom on the right: H. 3p. U., W. 2p. 61. 23. A Saint, with a large bag on his back, running towards the left. In the back-ground a land- scape Tvith ruins. The monogram is on a stone on the left: H. 3p. 71., W. 3p. 24. Lazarus, with two Dogs licking his Sores. Monogram at bottom on the right :' H. 3p. 71; W. 3p. 25. Victory. A winged female figure standing on the ruins of a large building, nolding a lance in one hand, and a laurel wreath in the other. On a pillar on the right, Victoria, and above, N R : H. bp., W. 3p. 51. 26. Fame. A winged female sitting on some ar- mour, writing Fama Volat on a shield. N M on a pillar on the right : H. 5p., W. 3p. &l. 27. Neptune, holding a Trident, sitting directed to the left ; his left hand is on an um from which water flows; on the right is a niche with an altar, and a tablet with the letters ONRM. On Neptune's chair, Neptuni Simolacron: H. 5p., W. 3p. 61. 28. Mercury standing, the winged cap on his head 9. I and the caduceus in his right hand. On the pedestal of a pillar N J. RO : H. 5p., W. 3p. 61. Mercury standing, caduceus in his left hand, a flute in his right; head three quarters turned to the right. On the pedestal of a pillar, Mercurio. At bottom in front, N. R. at the side of a vase. A Niello, not described by Du- 29 30. Four Children round a Tree. One on the right sits on a round pedestal; the second leans its head on the knee of the first ; the third is on horseback ; and the fourth standing. In the centre is a tree with a tablet suspended, on which is inscribed. Opus Nicoletti de Mu- tina: H. 4p. Ul.,W.3p.^. 31. The Vestal Lucia carrying Water in a Sieve, to prove her virginity. At top on a scroll hangs a tablet with the artist's monogram: H. 4p. 11/., W/3p. 31. 32. Goldsmith's Ornament. A Vase surrounded by four Wreaths of Roses. The letters N. R. are by the side of a smaller Vase with pointed top : 5p. 51. square. 33. A similar Ornament with the letters N. R., but without the smaller Vase ; same size as the preceding. Bemarks. The flrst print described by Bartsch, David with the Head of Goliah, holding the Sling in his right hand, is a Niello. See Duchesne, No. 16. Bartsch, Nos. 6 to 20, The Life of the Virgin. There are two states of these plates. In the second they are coarsely retouched. For the variations, see Bartsch, tom. xiii.] [MODENA, or MUTINA, Tommaso da. This name is on pictures painted in the fourteenth century. With respect to the painter, it is diflicult to say little, and useless to say much ; so great is the uncertainty that exists among all that have wiitten concerning him and his works. No doubt much of this uncertainty hcis arisen from artists of that early period being called after the places of their birth, or where they had acquired the right of citizenship, instead of their family "name. It ap- Eears that his father's name was Barisino, and that e was nominated to the citizenship, and to the public notaryship of Trevigi in I3I5 ; in which his family was called di Modena. Whether Tommaso was bom at Trevigi or at Modena has not been dis- covered, but on the series of pictures painted by him at the former place, in the chapter-house of the Do- minicans, is inscribed "Anno Domini MCCCLII. Prior Travisinus ordinis preedicatorum depingi fecit istud Capitulum, et Thmnas Pietor de Mutina pinxit istud:" so it may be concluded that he there gave the name of his real country, either because he was born in Modena, or because, descended from a Mo- denese family, he retained his citizenship, and rather wished to appear of Modena than of Trevigi. But his name is of more importance than it otherwise would have been, on account of various pretensions which works attributed to him have given rise to. •The altar-piece, in three compartments, of the Vir- gin and Child, with Saints Wencelas and Palmatius, patrons of Bohemia, formerly at Carlestein, but now in the gallery of the Belvidere at Vienna, was said to be an oil painting, and to have been painted in 1297 ; it was, therefore, eagerly caught at by the writers of Germany and Italy, to confute Vasari, and to vindicate the title of their respective coijn- tries, in opposition to the Flemish claim. This pic- ture, however, bears no date at present, (though 481 modi] A DICTIONARY OF [moin Zani asserts that it had the date 1357, which Michel read erroneously 1297,) and more recent chemical analysis has shown that it is a tempera, and not an oil painting. The figures are half-length, about half the size of life ; and the picture bears the following inscription :■ — Quis opus hoc finxit ? Thomas de Mutina pinxit, Quale Tides lector Barisini filius auctor. Vou' Michel reads " Marisini," but Federici, Tira- boschi, and Lanzi show that JSan'sim should be the reading. This is all that can be gathered of cer- tainty with regard to Tommaso da Modena, or Mu- tina, though much conjecture might be hazarded in reference to Tommaso Bassini, and others simply called Maso, of whom mention is made as flourish- ing about the same period.] MODIGLIAN I, Francesco. This painter was a native of Forh, and flourished about the year 1600. Lanzi notices some of his works at Urbino, where he is called Francesco da Forli, representing a Deposition from the Cross, and some frescoes in the church of S. Lucia. But his best productions are at the Osservanti at Forli, and in the church of S. Maria del Bosavio ; they are subjects of the Old Testament, among which are Adam and Eve driven from Paradise, the Deluge, the Tower of Babel, and others. MOELART, Jacob, was bom at Dort in 1649, and was for some time a scholar of Nicholas Maas. His progress under that master was considerable, and he proved a reputable painter both of history and portraits. Of his historical works, Houbra^ ken particularly commends his pictures of Moses striking the Rock, and the Destruction of Pharaoh and his Host. He distinguished himself as a por- trait painter, and was employed by the principal persons of his country. He died in 1727. MOFPEI, C. P. This obscure artist is mentioned by Mr. Strutt as the engraver of a coarse, incorrect etching, representing the Death of St. Francis. It is inscribed, C. F. Moffei, fecit. MOGALLI, CoMO, [or Cosimo,] an ItaUan de- signer and engraver, born at Florence in 1667. He was instructed in design by Giovanni Batista Fog- gini, a Florentine sculptor, and applied himself chiefly to engraving. He executed part of the plates for a book of Etruscan antiquities, published at Florence in 1724, by Thomas Dempster ; and was employed, in conjunction with Antonio Lorenzini and others, to engrave the plates for the Museo Fio- rentino. We have also some prints by him, after Santo di Tito, P. Peruccl, aiid others. The follow- ing are from the pictures in the Florentine gallery : The Holy Family reposing; after Albano; circular. Apollo and Marsyas ; after Quereino. Magdalene carried up to Heaven by an Angel ; ^ier Ouido Cagnacci. The Holy Family ; after Coreggio. Eve presenting the Apple to Adam ; after Oah. Cayliari. Adam and Eve driven from Paradise; after ihe same. Christ and the Disciples at Emmaus ; after Palma. The Marriage of St. Catherine ; after Fra Barto- lomeo. David and Bathsheba ; after Salviati. The Annunciation ; after Andrea del Sarto. The Adoration of the Shepherds ; after Titian. A BacchanaUan Dance ; after the same. Philip II., King of Spain ; after the same. [He died about 1730.] 482 MOGALLI, NiccoLo, was the son of the pre- ceding artist, born at Florence in 1723, After learn- ing the principles of design under Francesco Conti, he was instructed in engraving by J. D- Picchiante. About the year 1750 he went to Rome, where he resided several years, and was employed by the cele- brated Winkelman to engrave, from the desighs of Casanova, the plates for his work, entitled, Monu- menti antichi, inediU, spiegati et illustrati da Giovanni Winkelmann. Soma, 1767. He also engraved some plates for the Florentine gallery, and for the cabinet of Portici. [MOHEDANO, Antonio, a Spanish historical painter in- fresco, and considered one of the best painters of Andalousia, was born at Antequera in 1561. He studied under the celebrated Pablo de Cespedes, but prefering Jresco to painting in oil he devoted himself to that, and became the most eminent artist of his time. In his practice he followed the system of his master; first to meditate, next to study the composition, and last to trace and design his figures after nature, or from models arranged by himself, and with the assistance of the hy figure. Hence he became very happy in hk compositions, learned in the art of contrasting his groups, and gave fine character and grandeur of form to his figures. He painted fruit and orna- ments with equal skill ; and successfully imitated the grottesques in the Loggie of the Vatican by Giovanni da Udine. He left many proofs of his merit as a painter, particularly in four pictures for the convent of S. Francisco de Seville, and in the frescoes painted at the same place in conjunction with Alonso Vasquez. At the latter part of his life he returned to Lucena, where he finished the pictures for the gi'eat altar of the cathedral of that city, and died there in 1625. Mohedano had also a talent for poetry, of which specimens may be seen in Flares de poetas ilustres de Fspana, published by his friend Pedro Espinosa in 1605.] MOINE, or MOYNE, Francis le, a French engraver, who was concerned with Berain and Cha^ veau, in designing and engraving the ornaments of painting and sculpture, which are in the gallery of Apollo in the Louvre. MOINE, Francis, an eminent French painter, bom at Paris in 1688. He was a scholar of Louis Galloche, under whom he became one of the most promising young artists of his country, and obtained the first prize at the Academy. He did not, how- ever, enjoy the advantage of studying in Italy under the pension of the king, being prevented by the dif- ficulties of the time ; and his parents, who were in indigent circumstances, had not the means of sup- porting him in his travels. By an assiduous study of the best models he could meet with in his own country, he acquired a distinguished reputation, and became a member of the Academy at Paris in 1718. His picture of reception was Hercules and Cacus, which, though not one of his best performances, is remarkable for the correctness of the design. In 1724, Mr. Berger, one of his patrons, formed the project of visiting Italy, and invited Le Moine to accompany him. The proposal was readily accepted, though he may be said to have rather run through the country, than visited it for the purpose of study, being only six months on their journey, and that at a time of life when his principles were already formed. In his short visit to Rome he appears to have been more captivated with the splendid sump- tuosity of Pietro da Cortona, and the daring despatch of Lanfrajico, than the sublimity of Michael Angelo, moit] PAINTERS AND ENGRAVERS. [mola or the graceful dignity of Raffaelle. On his return to Paris he was engaged to paint the cupola of the chapel of the Virgin in St. Sulpice, where he dis- tinguished himself by the beauty of his groups, and the freshness of his colouring. This undertaking, which occupied him three years, established his celebrity. He was commissioned by Louis XV. to paint the ceiling of the grand saloon at Versailles, representing the Apotheosis of Hercules, an im- mense machine, which, in dimensions, is the most stupendous in Europe, as it measmes sixty-four feet by fifty-four. It consiits of nine compartments, and was finished in four years. This prodigious work procured him the appointment of principal painter to the king at the death of Louis de Boul- logne, with a hberal pension. Notwithstanding this flattering patronage, he fell into a state of melancholy and despondency, which his friends en- deavoured in vain to dissipate. M. Berger calling on him one day to invite hitri to his country-seat, he conceived that the officers of justice were come to conduct him to prison ;' he snatched up his sword, stabbed himself in several places, and as his friend entered his apartment, fell lifeless at his feet. This event happened in 1737, in the forty-ninth year of his age. MOITTE, Peter Stephen, a French engraver, bom at Paris in 1722. He was a pupil of P. F. Beaumont, and has engraved several plates of por- traits and various subjects, in a clear, neat sfyle. His most considerable works were the plates he ex- ecuted for the gallery of Dresden, and the cabinet of Count Bruhl. We have, among several others, the following prints by him : PORTRAITS. J. Restout, Painter to the King; after de Latour. Charles John Francis Henault, Historian; after St. AuMti. SUBJECTS AFTER VARIOUS MASTERS. The Holy Family; aft^er Andrea del Sarto ; Dres- den collection. Another Holy Family; after F. Vanni; the same. The Marriage of St. Catherine ; after Coreggio. Christ praying on the Mount of Olives ; after the same. A Halt of Travellers ; after Wojvermans. The Watering-place ; cfter the same. The Dutch CJook ; after Gerard Douw. The Fish Woman ; after the same. ;^neas saving his Family from the Burning of Troy ; aftxr M. CorneUle. The Triumph of Venus ; o/fer Boucher. The Pleasures of Summer ; after the same. Several Prints after Greuze, Cochin, and other masters. [He died about 1780.] MOITTE, F. A., [FRAN501S AuGUSTE,] was the son and pupil of the precedmg artist, born at Paris, about the year 1748. We have by him several plates after Greuze, and other masters ; among which are the following : A pair, Poetry and Painting ; after Greuze. A Flemish Repast ; after Jordaens. [MOL, Jan Baptist van, a contemporary and imitator of Rembrandt, of whom there are no further detailsj MOL, Peter van. This painter was bom at Antwerp in 1590, and was brought up in the great school of Rubens. He painted history with no mean reputation, and was employed for some of the 2 I 9. churches in Flanders and Brabant. In the cathe- dral at Antwerp is a picture by him of the Adora^ tion of the Magi, finely coloured, in the style of his master; and in the gallery of the Louvre is a dead Christ, with the Holy Women, St. John, and Joseph ofArimathea. He died at Paris in 1650. [Immer- zeel and Balkema say he was bom in 1580. His pictures are coarse imitations of Rubens, but are too frequently ascribed to that master.] MOLA, Pietro Francesco. This eminent paint- er was bom at Coldi'a, in the Milanese state, in 1609. He was the son of an architect, who placed him under the tuition of Giuseppe Cesari d'Arpino, at Rome ; but his father's aflTairs calling him to Bo- logna, he was accompanied thither by his son, and he became a disciple of Francesco Albano. He did not however adopt the principles of either of those masters, but sought a bolder style of design, and a more vigorous cdlour. The works of Guercino were particidarly the objects of his admiration, and he was ambitious of acquiring the energy and powerful effect of his chiaro-scuro, and the magic of nis reUef. Aiming at a fresher and more harmonious system of colour than he found in the works of Guercino, he went to Venice, where he studied the best prodiic- tions of the great masters of the Venetian school. He returned to Rome in the pontificate of Inno- cent X., by whom he was employed in several con- siderable works, particularly a chapel in the church del Gesu, where Tie painted in fresco St. Peter de- livered from Prison, and the Conversion of St. Paul, which gained him great reputation. He was not less patronized by Alexander VII., for whom he Eainted his most celebrated work of Joseph making imself known to his Brethren, in the pontifical palace of Monte Cavallo. In the church of S. Maria della Vita, at Milan, are two of his most ad- mired performances, representing St. John in the Wilderness, and St. Paul the Hermit. The figures are designed with a correctness and dignity worthy of the Caracci ; and in the latter he has introduced a noble landscape, resembhng that in the famed St. Peter Martyr by Titian. Alfliough Mola reached a distinguished rank as an historical' painter, he is still more esteemed for his admirable landscapes, to which his genius and inclination seem to have par- ticularly directed him. His scenery is sometimes solemn and sublime ; and when his sites are more pleasing and extensive, they are always marked with a grandeur, which is hardly surpassed in the best productions of Caracci or Domenichuio. His touch is firm and free, and his colouring unusually vigorous and glowing. The figures with which they are decorated generally represent some subject of history or the fable, and are introduced with infinite taste and intelUgence. He died at Rome in 1665. We have a few etchings by P. F. Mola, executed in a spirited and masterly style. The following are by him : The Virgin suckling the Infant Jesus ; after his own design. The Holy Family, with Angels. This plate was first etched by Mola, and was afterwards fin- ished with the graver by a clumsy, unskilful - hand. Joseph discovering himself to his Brethren. This print has been sometimes attributed to Carlo Maratti. The Holy Family,, with Angels presenting Flow- ers to the Infant Jesus ; after Albano. rThere is a difference in writers respecting the dates 483 mola] A DICTIONARY OP [molt of this artist's birth and'death. Passeri says he was born in 1612, and died in 1668 ; Pascoli, that he was born in 1621, and died in 1666. There are three pictures by him in the National Gallery. MOLA, John Baptist. This artist has been said to be the brother of Pietro Francesco Mola, but, according to the authorities of Malvasia, Or- landi, and others, which have been followed by Lanzi, and adopted by d'Argenville, he was of a different family, and was a native of France, born about the year 1620. After passing some years in the school of Simon Vouet at Paris, he went to Italy, and studied at Bologna, under Francesco Al- bano, by whose instruction he became a reputable painter of history and landscape. When Albano was invited to Rome, he was accompanied to that capital by Mola, where he passed some time, study- ing the works of the best masters, and particularly the Farnesian Gallery, by Annibale Caracci. Among his best performances at Rome are four large land- scapes, in the Salviati palace, painted entirely in the charming style of his instructor. We have a feW etchings by this artist ; among others, Cupid in a Car, drawn by two little Loves; afier Atbano. [Zani places his birth in 1616, and his death in 1661.] MOLENAER, John, a Dutch painter of drolls and merry-makings. His pictures are ingeniously composed, and are coloured with a richness and harmony approaching the admirable productions of Adrian Ostade, though greatly inferior to that artist in the beauty of his pencil, and the expression of his heads.] Jan, Jan Miense, Nicolas Miense, and Nicolas Molenaar, are strangely mixed up in the accounts of the Dutch writers. They were probably relations, if not brothers, and flourished at the same period. The name of J. Molenaar (sometimes Molenaer) is of most frequent occurrence. His sub- jects are interiors, with merry-makings of the lower classes, very well painted, with a good manage- ment of light and shade, and characteristic expres- sion ; but not to be compared with Adrian Ostade. His name is found on landscapes under the in- fluence of winter, with figures skating, and other amusements, in which he gives a true representation of the season as it appears in Holland : in these his skies and atmosphere are excellent. The other three named, are said to have painted similar sub- jects; it is probable that they frequently assist- ed each other. Pictures occur with the name Mo- lenaer only; these are generally of an inferior quality.] MOLIGNY, C. D., a French engraver, who re- sided at Paris about the year ) 760. He engraved several portraits, principally after Cochin, among which is that of Jean. Brute, Cure de St. Benoit. [MOLITOR, Martin von, a landscape painter and engraver, born at Vienna in 1759, and died in the same city in 1812, was a pupil of Christian Brand. His landscapes, both in oil and in water- colours, were much admired and sought for by amateurs and connoisseurs. Bartsch published a Catalogue raisonne of his etchings, consisting of 52 pieces, which Nagler has copied into his work. Some of his designs have been engraved by Gabet and Bartsch ; these are distinguished by their ini- tials, in addition to M. M. with which he marked his etchings ; as for example, M. M. inv. A. Btchf. — M. M. a. Q. 8., the last signifying, Martin von Molitor delineavit, (Francois,) Gabet, sculpsif] MOLYN, Peter, the elder. This artist was 484 born at Haerlem about the year 1600. He painted landscapes in a very pleasing style. His skies and distances are touched with lightness and delicacy, and his fore-grounds are enriched with buildings and^ ruins in a picturesque manner. We have several spirited etcnings by this artist, which are in- correctly attributed by Mr. Strutt to his son, Peter Molyn, called Tempesta. They are executed in the style of John Vandevelde. His prints are generally signed with his name, the P. and M. being joined thus jy\; Among others are the following : A set of four Landscapes ; inscribed, P. de Moh/n, fee. etexc. 1626. Another set of four Landscapes ; P. Molyn, fecit. 1626. Several Candle-light pieces and dark subjects. MOLYN, Peter, the younger, called Tem- pesta, or PiETRO Mulier. This painter was the son of the preceding artist, born at Haerlem in 1637. He learned the principles of the art from his father, but having seen some of the hunting-pieces by Francis Snyders, he applied himself with great zeal to imitate the style of that master, and with so much success, that his pictures were scarcely less esteemed than those of Snyders. He did not con- fine his talents to huntings and animals, but equally excelled in painting sea-storms and tempests, in which he represented the violent agitation of the waves, and the horrors of shipwreck, in the most impressive manner. When he was twenty-five years of age, he went to Italy, where his ability in depict- ing these disastrous subjects acquired him the name of II Tempesta. At Rome his works were particularly admired ; and he was so much em- ployed, that he was under the necessity of calling, in the assistance of a coadjutor, whose sister he married. His reputation reached Genoa, whither he was invited, with offers of the most tempting kind, and, in an evil moment, he was induced to ac- cept them. His reception, and the encouragement he met with, were most flattering ; and he was in the most brilUant career of fortune and fame,,when the indulgence of a fatal passion blasted all his prospects, and from the enviable height of the pub- lic esteem and admiration, plunged him into the abyss of guilt, remorse, and infamy. He conceived a violent attachment to a Genoese lady of great beauty, and finding that it was in vain to hope for a return of it whilst his wife lived, he formed the hor- rible project of putting an end to her life. To ac- complish his dreadful purpose, he invited her to join him at Genoa, and employed assassins to murder her on the way. His crime did not long escape the vigilant eye of justice ; he was arrested on suspicion, and many circumstances appearing to corroborate his guilt, he was sentenced to an igno- minious death. The intercession of his powerful friends, and perhaps some consideration for his talents, occasioned his punishment to be changed to perpetual imprisonment, of which some years had passed, when the French bombarded Genoa, and as the city was in danger of being burned, the doge or- dered the prisons to be opened, and Tempesta escap- ed into the duchy of Parma. It is said ttiat some of his finest works were those he painted during his imprisonment. He passed the remainder of his life at Parma and Milan, where his pictures were held in the highest estimation. He died in 1701. [Balkema, differing from all writers of credit, says that he was born in 1643, and died in 1699.] momm] PAINTERS AND ENGRAVERS. [mong [MOMMERS, Hendrik, born at Haerlem in 1623, studied at Rome, and was called by the asso- ciated artists there Meleager. His subjects are Italian vegetable markets with peasants, landscapes and animals, seldom without an ass. Occasionally he painted searports, which may easily be mistaken for the work of Weenix. His colouring is warm and pleasing, and his handling vigorous and clean. On his return to his native country he received scholars, some of which proved respectable painters ; Brackenbourg, Bernard van Schendel, and Thierry Maes, were of the number. He signed his pictures with his initials, IT. M., and sometimes in full. He died in 1697. Balkema mentions an artist bf the same name, who went to Italy, painted the same, subjects, and who he says was a scholar of Karel du Jardin. He says that he was bom at Haerlem in 1650, and died in 1708. There is but little doubt that it means the same painter.] MOMPER, or MOMPERT, Joos, or Jodocus. This painter was born at Antwerp in 1580. As it is not known under whom he studied, and as his manner does not resemble that of any painter of his country, it is probable that he had no other instruct- or than nature. He painted mountainous land- scapes in a bold, free style, and appears to have taken hig views from the romantic scenery of Switzerland, rather than the confined prospects in his own country. Contrary to the usual style of the Flem- ish artists, his works have nothing of the precise finishing which was so much admired in the pictures of Breughel and Savery. His pencil is broad and facile, and his colouring clear, and of an agreeable efiect, though in the forms of his trees and 'moun- tains there occasionally appears the stiffness and formality of a mannerist. His pictures are fre- quently decorated with figures by the elder Teniers, [Francks,] or John Breughel. Vandyck painted the portrait of Momper, among the celebrated art- ists of his country, and has etched a plate of it him- self. He etched a few plates of landscapes from his own designs, which are scarce. [He died in 1638.] MONA, or MONNA, Domenico, was born at Ferrara in 1550, and was a disciple of Giuseppe Mazzuoli, called il Bastaruolo. He possessed a prompt and ready invention, and an astonishing faciUty of execution, which accounts for the extra- ordinary number and magnitude of the works he has left at Ferrara, where mere is scarcely a church or public edifice which does not possess something of his hand. There is a surprising inequaUty in his works ; and in viewing his best performances, such as the Birth of the Virgin, and me Nativity of our Saviour, in S. Maria in Vado ; and the Entombing of Christ, at the Servi ; it appears unaccountable, that, with the possession of such powers, he could be so negligent of ^is fame, as to expose to pubUc view the slight and imbecile productions which form the majority of his works. Lanzi attributes this in- coherence to occasional derangement of mind, and reports, that in a ^t of insanity he killed an ofiicer oj the household of the Cardinal Aldobrandini, which obliged him to take refuge in the duchy of Parma, where he died in 1602. MONACO, PiETRO, a modern Italian engraver, bom at Belluno about the year 1738. He chiefly resided at Venice, where he published, in 1763, a set of one hundred and twelve plates, after the most celebrated pictures at Venice. These prints are very unequal ; some of them, however, possess con- siderable merit. The following are his most esteem- ed prints : PORTRAITS. Giovanni Batista Tiepolo; after a picture by him- self. Jacopo Tatti, called Sansovino, Sculptor; after Titian. SUBJECTS AFTER VARIOUS MASTERS. Tobit restoring his Father's Sight; after Dom. Feti. The Adulteress before Christ ; after P. Veronese. The Nativity ; after Seh. Hied. The Murder of the Innocents ; after Giulio Car- pioni. The Last Supper ; after Pittoni. Lot and his Daughters ; cfter P. Liberi. Christ conducted to Mount Calvary; after Oio. Bat. Tiepolo. Christ with the Disciples at Emmaus ; after Gio. Bellini. The Presentation in the Temple; after Anto. Balestra. [Zani says that P. Monaco worked in 1743 and 1751 ; if so, he must have been born earUer than is stated in the text.] MONAMY, Peter. This painter was a native of Jersey, born about the year 1670. His parents were in indigent circumstances, and he was sent to England when a boy, and apprenticed to a house- painter on London Bridge. But, as Lord Orford observes, speaking of this artist, " where nature gives talents, they break out in the homeliest school. The shallow waves which rolled under his window, fitted him to imitate the turbulence of the ocean." The sea-pieces of Monamy are inferior to those of William Vandevelde, but they are equal- led by few painters of those subjects. His calms, particularly, are sunny and transparent, and his vessels are designed and equipped with the great- est correctness and precision. He died in West- minster in 1749. [The pictures of Monamy should not be named with those of W. Vander Velde; they are very inferior productions, and seldom admitted in choice collections. It is true that his works were at one time popular, but it was in the age of ignorance of these matters, when such critics in art as Walpole guided the pubhc taste.] MONANNI, MoNANNO. According to Baldi- nucci, this painter was a native of Florence, and was a disciple of Cristofano Allori. He went early to Rome, where he painted history with some re- putation, and was received into the Academy there in 1652. In the church of S. Giovanni DecoUato- at Rome, is a picture by him of the Baptism of Christ by St. John. MONCALVO, II. See Caccia. MONCORNET, Balthazar, a French engrav- er, who flourished about the year 1650. He chiefly resided at Paris, where he followed the business of a printseller. Basan styles him one of the most in- different engravers of his country, which is treating him with more severity than he merits, as France has certainly produced many artists inferior to him. He engraved an almost incredible number of por- traits, and a few subjects after Rubens, and other masters, among which are the following : The Battle between Constantine and Maxentius ; after Rubens. The Triumph of Constantine ; after the same. A set of Ornaments for goldsmiths. A small etching of Rabbits, in imitation of the style of Hollar. [Nagler says he was born in 1630, at Rouen, and mond] A DICTIONARY OF [mons died in 1670. He gives a long list of portraits and other prints by him, among w&ch he mentions " Le Branle des Modes depuis Prangois I. jusqu'en 1695." Perhaps the figure 9 should be 6. Zani says Mon- cornet flourished from 1622 to 1663.] MONDINI, PuLGENZio. This painter was a native of Bologna, and flourished about the year 1658. He was a scholar of Guercino, and painted history with considerable reputation. This able art- ist is particularly commended by Malvasia, who asserts that he was one of the most promising young painters of that period, and would have reached a distinguished rank in the art, if his talents had been permitted a longer career. He died young, at Florence, where he had been employed by the court. There are several of the works of this artist in the churches at Bologna, of which the following are the Aost worthy of notice. In the Annunziata are two admired pictures by him, of the Angel appearing to St. Joseph in his Dream ; and the Repose of the Holy Family in Egypt. In S. Petronio, two frescoes of subjects from the Life of S. Antonio di Padoua. MONERI, Giovanni. He was born at Visone, a small town near Acqui, in Piedmont, in 1637, and studied at Rome under Roinanelli. In 1657 he returned to his native town, and gave proof of his ability in a picture of the Assumption, painted for the Cathedral at Acqui. At a more advanced age, and with an improved talent, he painted an esteemed picture of the Presentation in the Temple, for the church of the Capuchins. He died in 1714. MONGEROUa, M. de, a French amateur en- graver, who, for his amusement, etched some plates, among which is a landscape with figures and ani- mals ; after Casanova. MONI, J. According to PapUlon, this artist was a native of Lyons, and flourished about the year 1570. He was an eminent engraver on wood, and executed a set of cuts from his own designs, for the Bible History, published at Lyons, by William Rouille, in 1570. He also copied the engravings on wood from the Bible, executed by Solomon Bernard, called Little Bernard, which copies were published at Lyons in 1 582. He sometimes marked his prints with the initials of his name, and some- times with the monogram -iU, [MONI, Louis DE, born at Breda in 1698, was a scholar of Van Kessel, Emanuel Biset, and Philip Van Dyck. He painted small pictures, in which he endeavoured to imitate the manner of Gerard Don. His compositions are simple and animated, and are deserving of high commendation. He understood the principles of light and shade, and the harmony of colour. His handling is free, light, and firm. His pictures are found occasionally in the best col- lections. He died at Leyden in 1771-] MONNICKS, or MONNIX. This painter was bom at Bois-le-Duc in 1606. It is not said by whom he was instructed, but he went early to Italy, and studied several years at Rome. He chiefly ex- celled in architectural views, markets, and conversa- tions. His talents recommended him to the notice of Urban VIII., who took him into his service with a liberal establishment, and employed him in several important works during his residence at Rome. He painted the most remarkable views in that capi- tal, the Colosseum, the Columns of Trajan and Ves- pasian, the Campo Vaccino, and the other interest- ing scenery of that city and its vicinity. He was a perfect master of perspective, and the figm-es which 486 decorate his pictures are correctly drawn, and touched with great spirit. The works of this mas- ter are almost entirely confined to Italy, where he passed the greater part of his life. He did not re- turn to Holland until he was upwards of seventy, and died at Bois-le-Duc in 1686. MONNOYER, John Baptiste, called Baptiste. This eminent flower-painter was born at Lisle in 1635. He studied at Antwerp, and for some time applied himself to historical painting ; but finding that his genius led him to another branch of the art, he attempted to paint flowers and fruit, in which he greatly distinguished himself. He went young to Paris, where his works were greatly ad- mired f and in 1663 he was received into the Academy with distinction. He was employed in ornamenting the palaces of Versailles, Trianon, Marly, and Meu- don. This flattering encouragement id not pre- vent him from accepting the invitation of Lord [the Duke of?] Montague, then our ambassador to France, to accompany nim to England. His first performances were several pictures of flowers and fruit, for the embellishment of Montague House, now the British Museum, which are amongst the finest of his works. During a residence of nearly twenty years in London, he painted an infinite number of pictures, which decorate the mansions pi the nobility, and the collections of individuals. If the pictures of John van Huysum, Rachel Ruysch, and Mignon, are admired for the velvet softness of their pencil, and the polished finishing of every ob- ject, those of Baptiste claim our admiration, by the boldness of his compositions, the energy of his touch, and the force and vigom- of his colouring. J. B. Monnoyer etched a few plates from his own designs, representing vases vidth flowers, which are executed in a tasteful and spirited style. He died in 1699. [The pictures by Baptiste, (for so he chose to call himself,) though deserving of the praise be- stowed on them, are held, comparatively, in little estimation by collectors ; he etched some, and others have been engraved to the number of 80, forming a folio volume. He exercised his talent at Burlington House, at Lord Carlisle's, at Hampton Court, at the Duke of St. Alban's, at Windsor, and at Kensing- ton Palace, where he painted a looking-glass for Queen Mary.] MONNOYER, Anthony, called Young Bap- tiste, was the son and scholar of the foregoing art- ist, and painted flower-pieces in the style of his father, which, though not destitute of merit, were greatly inferior to those of John Baptiste Monnoyer. MONOSILIO, Salvatoee. This painter was born at Messina about the year 1700, and studied at Rome under Sebastiano Conca, whose style he fol- lowed with some reputation. There are several of his works in the public edifices at Rome. He paint- ed the ceiling of one of the chapels in S. Paola della Regola ; and a picture of S. Pascale in the church of SS. Quaranta. In the church of the Priests of the Mission, is one of his best works, representing the Conversion of St. Paul. MONSIGNORI, Francesco, was bom at Ve- rona in 1455, but was brought up in the school of Andrea Mantegna at Mantua. He painted history with considerable success, and was much patronized by the Marchese Francesco Gonzaga. Less learned and correct in his design than Mantegna, he is more modern in his style ; and his colouring, particularly in the carnations, has more of the morbidezza. He excelled in painting animals, which he was fond of introducing into his works. In the church of the MONS] PAINTERS AND ENGRAVERS. [MONT Franciscans, at Mantua, is one of his best pictures, representing S. Lodovico ; and in the refectoiy some perspective views, which show him to have been a perfect master of that branch of the art. He died in 1519. MONSIGNORI, GiROLAMo, was the brother of the preceding artist, bom at Verona about the year 1460. At an early period of his Ufe he became a monk of the order of the Dominicans, and painted some altar-pieces for the church of his monastery. In the great Ubrary of S. Benedetto is a fine copy by this artist of the celebrated Last Supper, by Lionardo da Vinci, which, according to Lanzi, is considered the best that has been painted of that miracle of art. He died in 1520. MONT, Del. See Dei-mont. MONTAGNA, Benedetto. This artist was a native of Vicenza, and flourished about the year 1500. According to Ridolfi, he painted some pic- tures for the churches in his native city, which are so much in the style of Giovanni Bellini, that they may be mistaken for the works of that master. He is, however, better known as an engraver than a painter ; and though his works are very feeble and imperfect, both in design and execution, they are deserving of notice, as among the earliest specimens of the art in the Venetian states. It is probable that some of the prints of Albert Durer, which were brought to Venice, and the early works of Marc Antonio, who resided some time in that city, might have encouraged him to attempt the art, wmch may be said to have been then in its infency in Italy, as at that time Marc Antonio had not produced any of his capital works. The prints of Benedetto Mon- tagna bear a slight resemblance to the earliest and rudest engravings of Marc Antonio. They are from his own desims, and are usually signed with his name at length ; they are now become very scarce. We have, among others, the following by him : The Virgin seated, holding the infant Jesus, St. John IE standing by her side, and St. Joseph appears below. In the back-gi-ound is a town, with a river and a bridge over it. A young Man sitting on a Rock. Venus punishing Cupid. The Rape of Europa. The Judgment of Midas. A Naked Figure standing by a Tree. Two Figures, an elderly Man playing on the bag- pipes, and a young one playing on the violin. Three "Women, in a landscape, one of them taking a Child from a Tree. [Birth of Adonis.] A Landscape, with a Cottage, and an old Man seated on a bank. SZani gives inscriptions with dates that show Bene- etto painted in 1524 and 1533. Bartsch describes 33 prints by him ; many of them have his name in full. Some writers confound Benedetto, as a painter, with his father, Bartolommeo. The following twenty prints by Benedetto Mon- tagna are not described by Bartsch. 1. The Nativity, with Joseph at the Well; copy of Albert Durer. H. 7\m., W. 4|m. B. M. on a tablet hung from the upper nart of the house. {Sykes, 1095.) 2. St. Anthony standing praying; pig on the right at bottom. B. M. in the middle at bot- tom. H. lOim., W. 7im. 3. Two Hunters observing a Stag which lies on the ground, pierced by a javehn. In the sky on the right the name. H. 5|ere., W. 3|in. 4. Venus standing Naked, holding a mirror in her right hand ; no name. H. lUm., W. 6f. {Syhes, 1098.) 5. River God seated on a Rock on the right; Cupid, a back figure, on the left. H. 6*, W. f. (0«tey,p. 529.) he Saviour standing, in a landscape, after his resurrection ; a banner in his right hand, and a scroll in his left ; Jerusalem in the distance. H. lOp. bl., W. 8/). \l. 7. A Woman with two Children, and a Man seated, in a landscape. 8. A Nymph with two Children and two Satyrs ; she is lying naked in a garden suckling a Child at her right breast; the Satyrs are hfting the curtain on the right. H. Qp. 51., W. Sp. 51. 9. The Holy Family seated near a fountain. 10. River Goddess, with willed Boy holding a sphere. [British, Miiseum.') IL The Sorceress. Copy from Albert Durer. The letters B. M. are at bottom on the left. H. 4p. •3^., W. 2p. 8/. 12. An old Man in a Turban, with a book in his . hand, sitting on a bank. H. Sp. SI., W. 2p. 9^. 13. Holy Family, in a landscape, St. Joseph hold- ing the little St. John's feet; name at full length at top, on the left. H. 6p. \l., W. 3p. Ul. 14. Christ in the Manger, with the Ox and Ass near him ; the Virgin is kneeUng, praying, and St. Joseph stands behind a kneeling angel. Near the Virgin kneels St. Catherine with the wheel, and between them a monk with a cross. The artist's name at fuU length. H. 6p. IL, W. 5p. 51. 15. Riposo in Egypt. The Virgin' sitting on the bank of a river ; at the top is the name of the I artist. H. 7 p. 9/., W. 5p. ^l. {Pmgnon Di- jonval.) 16. St. Catherine, in a landscape, with a palm branch in her right hand, and a book in her left; on a socle Benedetto Mont agna. H. 6?j. St., W. 5p. 81. 17. Christ standing in the middle of the plate at the foot of the Cross, showing his Wounds ; he is naked, and his coat, the dice, the sponge, the reed, and a skull, are at his feet. In the middle at bottom B. M. H. 4p. 21, W. %;. 71. (.Copy of A. Durer. N". 20.) 18. The Saviour. Mentioned by Brulliot. 19. The Virgin suckling the Infant. {Copy of A. Durer, N'. 34,) marked B. M. 20. The Satyr and his Family, three figures. He is standing against a tree, blowing a horn. H. 6p. 3Z., W. 4p. n.] MONTAGNA, Marco Tuilio. According to Baglione, this painter was a native of Rome, and flourished in the pontificate of Clement VIII. He was a disciple of Federigo Zuccaro, and painted history both in oil and in fresco, with some reputa- tion. In the church of S. Cecilia, the ceiling is painted by this master ; and in S. Niccolo in Car- cere, is an altar-piece Ijy him, representing a sub- ject from the life of St. Nicholas. MONTAGNA, Matthew. See Plattenbero. MONTAGNANA, Jacopo. This painter was a native of Padua, and flourished from ttie year 1495' till after 1508. Vasari and Ridolfi call this artist Jacopo Montagna, but his real name was Montag- nana, as appears from a simature on a picture of the Resurrection by him, in the Vescovado at Venice, which he has marked, Jacopus Montagnana\ 1495. 487 MONT] A DICTIONARY OP [MONT In the Sala del Consiglio, at Belluno, there is a picture by him, representing a subject from the Ro- man History, which, if we may judge from an epigram wiitten .under the work, in ancient charac- ters, must have been regarded as one of the most esteemed productions of the time. l^is. a copious composition, and at first sight migl^be attributed to Andrea Mantegna, from the- conlEtness of the design, and the draping of the figures. The in- scription is as fallows : Non hie Parrhasio, non hie tribuendns Apelli, Hos licet auctores dignus habere labor. Euganeus, vixdnm impleto ter mense, Jacobus Ex Montagnana uobile pinxit opus. MONTAGU, . This artist was a native of France, and flourished about the year 1760. He engraved several architectural subjects and views in Rome. MONTALTO. See Danedi. MONTANINI, PiETRO, called Petruccio Pe- BUGiNO. This painter was born at Perugia in 1619. He was first a scholar of Giro Ferri, but his genius leading him more to landscape painting than his- torical subjects, he left that master, and became a disciple of Salvator Rosa. His landscapes are de- signed in the bold and romantic style of his instruct- or, though very inferior in the design of his figures. There are many of his works in the private collec- tions at Perugia. He died in 1689. [Pascoli and Zani say he was born in 1626.] MONTELATICI, Francesco, called II Cecco Bravo. According to Orlandi, this painter was bom at Florence about the year 1600, and was a scholar of Giovanni Bilivert. He did not, however, attach himself entirely to the style of that master, but blended the taste of his instructor with that of Domenico Cresti, called Passignano. He was a toler- ably correct designer, and no vulgar colourist. The name of 11 Cecco Bravo was given him on account of his touchy and quarrelsome disposition. Of his works at Florence, the most remarkable are, the Pall of Lucifer, in the church of the Teatini ; and a fine picture of S. NicoUo Vescovo, in S. Simone. He was invited to Inspruch by the Archduke Fer- dinand, and died there, painter to the court, in 1661. MONTEMEZZANO, Francesco, was born at Verona about the year 1555, and was brought up in the school of Paolo Veronese, whose style he fol- lowed in the copiousness of his compositions, the airs of the heads, and the splendour of his draperies ; but his pencil is tame and spiritless, and his colour- ing languid and weak. His most respectable per- formances are, his picture of the Annunciation, in the church of the Osservanti alia Vigna, at Venice ; and Christ appearing to Magdalene, in the church of S. Giorgio, at Verona. He died in 1600, in the prime of life. [MONTEN, Dietrich, an eminent German battle painter, was born at Dusseldorf in 1799. He showed from his earliest youth a great love for accounts of wars and battles, and Homer, Tasso, and Ariosto were his favourite authors. In order that he might have some practical knowledge in military matters he enlisted, as a volunteer, in the Prussian army, and served for twelve months. At the expiration of his term of miUtary service he entered the Academy of Arts at Dusseldorf, and after studying there for two years, removed to Mu- nich, in order to benefit by the instruction of Peter Hess. He soon attracted the attention of Cor- nelius, then at the head of the painters at Munich, who intrusted him with the execution of three of the frescoes of the arcade of the Hofgarten ; namely, the Storming of the Turkish Entrenchment by the Bavarians at Belgrade, in 1717, the Battles of Arcis sur Aube, and the granting of the Bavarian Cohstitii- tion by Maximilian Joseph in 1818. He painted many other large battle-pieces, in which the Ger- mans figure as the victors ; and also many smaller pictures, in all of which, it is said, extraordinary spirit in the incidents and in the execution, and. a display of fine drawing and good colouring, are con- spicuous, though in some parts too sketchy and un- defined. He wanted the necessary patience for elaborate modelling and uniform finish. All his works have an agreeable effect ; their greatest de- fect is an occasional extravagance of action. His horses are always very spirited. He died in 1843.] MONTENAT. This artist was. an engraver on wood, and, according to Papillon, executed several cuts from the designs of Simon Vouet. [Dumesnil mentions a print by him of the Virgin and Child, inscribed J. Montenat, fecit.'] MONTBPULCIANO. See Morosini. MONTERO, DE RoxAS, Juan de, a Spanish painter, born at Madrid in 1613. He was a disci- ple of Pedro de las Cuevas, and studied in Italy. Of his pictures in the churches at Madrid, Palomino particularly commends the Assumption of the Vir- gin, in the church of the Colegio de Atocha ; the Angel appearing to St. Joseph, in San Juan de Alarcon ; and the Destruction of Pharaoh's Host, in the sacristy of the convent de la Merced. He died at Madrid in 1680, aged 70. [He copied and imitated the pictures of Caravaggioj he died in 1683, aged 70.] [MONTERO, Lorenzo, born at Seville in 1656, excelled in architectural decorations, landscapes, fruit and flowers, which he painted in distemper. He was much employed at the Retiro, but his works there have perished. In the chapel of St. Martha in the church of St. Jerome at Madrid, are still to be seen traces of his skill in ornamental design. He was not equally successful in oil painting ; the only work worthy of notice, in this way, being the portrait of Philip V., which is dated 1701. He died at Madrid in 1710.] MONTI, Francesco, called II Bresciano delle Battaglie. This painter was born at Brescia in 1646, and was first a scholar of Pietro Ricchi, but afterwards studied under II Borgognorie. He ex- celled in painting horses and battles, which he de- signed in a spirited and masterly style, and acquir- ed the name of 11 Bresciano delle Battaglie. There are many of his works at Rome, Genoa, and Parma, where they are held in considerable estimation. He died in 1712. [Zani says in 1703.] MONTI, Francesco, Bolognese, was born at Bologna in 1685, and was brought up in the school of Giovanni Gioseffb dal Sole. On leaving that master, he was taken into the protection of the Conti Ranuzzi, for whom he painted one of his finest pictures of the Rape of the Sabines. He was afterwards employed at the court of Turin, where he painted the Triumph of Mordecai, an ingenious and copious composition, which is highly com- mended by Crespi. Of his numerous works in the churches at Bologna, the most esteemed are, Christ with the Disciples at Emmaus, at the Osservanti ; the Virgin in glory, with S. Barbara and S. PilippoNeri, in the Madonna di Galeria; and the Martyrdom of S. Pedele, at the Cappuccini. He died in 1768. [MONTFORT. See Blockland.] MONTI, Giovanni Batista. According to MONT] PAINTERS AND ENGRAVERS. [moor Soprani, this artist was the son of a poor mendi- cant, bom at Genoa about the year 1610. When a boy, he discovered an uncommon disposition for the art, by sketching on the walls of the houses, which being noticed by a Genoese nobleman, he charitably took him under his protection, and placed him as a pupU under Luciano Borzoni. His progress under that master was so rapid, that it surprised his instructor, and he became a respectable painter of history. He was, however, more distinguished for his excellence in portraits, and painted the principal personages of his country. He died of the plague in 1657. MONTICELLI, Andrea. According to Or- landi, this painter was born at Bologna in 1640, and studied perspective under Agostino Mitelli. He designed some architectural views in imitation of that master, but he chiefly excelled in painting flowers, fruit, vases, and other still-life, which he touched with freedom and spirit, and he was a tolerable colourist. He died in 1716. MONTICELLI, Michele Angelo, was bom at Bologna in 1678, and was flrst a scholar of Marc Antonio Pranceschini, but afterwards studied under Domenico Viani. He excelled in painting land- scapes and battles, of which his biographer Crespi speaks in terms of the highest approbation. No painter of his time surpassed him in the degi'adation of his distances, the forms and foliage of his trees, and the judicious arrangement of his plans ; and his figures were designed with correctness and spirit. In the midst of a promising career, he had the mis- fortune of losing his sight in the prime of life. [According to Zani he was born in 1670, and died in 1748.] MONTMIR AL, the Marquis of. This French nobleman is said by Basan to have etched several pfates of landscapes, from his own designs, and others after Albert. They are dated about the year 1733. MONTORFANO, Giovanni Donato. This painter was a native of Milan, and flourished about the year 1495. In the refectory of the Dominicans delle Grazie, he painted a picture of the Crucifixion, a composition of many figures, which would have been more the object of public admiration, if it had not been placed so near the celebrated Last Supper, by Lionardo da Vinci. With such a rival, he was not likely to be able to compete, to whom the greatest masters would be httle degraded by yielding the palm. There is a just and natural expression in the heads, which, if it had been accompanied by a more elegant turn of the figures, and more graceful atti- tudes, he would have been equalled by few of his contemporaries. In the picture is a group of soldiers at play, in which every face is impressed with the character of attention, and the impatient desire of gain, which is admirably depicted. The back-ground represents the City of Jerusalem, in which the perspective and distance are. correctly observed. [Zani says he was born in 1440, and died in 1510.] MONVERDE, Luca. This painter was bom at Udina in 1501, and was a disciple of Pellegrino di San Daniello. This promising artist was only per- mitted a short career in the art, in which he would otherwise have probably acquired a distinguished reputation. He painted an altar-piece for the church of^S. Maria delle Grazie at Udina, representing the Virgin and Infant, with SS. Gervasio e Protasio, which rendered his premature death lamented by every admirer of the art. He died in 1522. MOOJAERT, or MOOYAERT, Nicholas, a Dutch painter and engraver, born at Amsterdam about the year 1600. He is said to have formed his style by imitating the works of Adam Elsheimer, and painted laijdscapes with figures, in the manner of that master. ' Hf^as the credit of being the in- structor of Jadobjander Does, Solomon de Coninck, John Baptist Wfenilix, and other eminent artists. He engraved several plates from his own designs, among which are the following : A set of six of different Animals. Lot and his Daughters ; in the style of JElsheimer. A Landscape, with cattle. [See Motaert.] MOOR, Karel de. This eminent painter was born at Leyden i_n 1656. He was intended by his parents for one of the learned professions, but a de- cided inclination for the art induced his father to place him under the care of Gerard Douw. His pro- gress was considerable, but being desirous of dis- tinguishing himself on a larger scale than was prac- tised by that master, he was sent to Amsterdam, where he became a scholar of Abraham vanden Tempel. The death of that painter, when he was only sixteen years of age, obliged him to search after another instructor, and his election fixed on God- frey Schalcken, under whom he studied at Dort for some years. His first productions on leaving that master, were portraits and domestic subjects, which were generally admired, and procured him immedi- ate employment, and he was esteemed one of the ablest artists of his time. The states of Holland commissioned him to paint a picture for their coun- cil chamber, and left the choice of the subject to himself, provided that it related to the administra- tion of justice. On this occasion, de Moor proved himself capable of nobler exertions than those which had hitherto engaged his pencil. He painted the terrible Judgment of Brutus condemning his two Sons to Death, which he represented in the most awful and impressive manner. The celebrity of Karel de Moor reached Italy, and the Grand Duke of Tuscany expressed a desire to have his portrait, painted by himself, to be placed among the illustri- ous artists in the Florentine Gallery, which was sent to Florence in 1702, and the painter was hon- oured in return with a gold medal and chain. He was commissioned by the Emperor of Germany to paint the portraits of Prince Eugene and the Duke of Marlborough, which he executed so much to the satisfaction of that monarch, that he conferred on him the order of knighthood. One of his most capital performances is in the hall of the magistrates at the Hague, representing the Burgomasters and Echevins, in the year 1719. The pictures of de Moor are ingeniously composed, his figures are cor- rectly designed, and his colouring is clear and trans- parent. In some of his larger portraits he seems to have aimed at a style, partaking of the chaste deli- cacy of Vandyck, with somewhat of the vigour of Rembrandt. Although his works are always very highly finished, his touch is firm and free, and they have nothing of the appearance of labour. He died at the Hague in 1738. He etched a few portraits, from his own designs, among which are those of Gerard Douw, John van Goyen, and Francis Mieris. MOORE, Jacob, [or James.] This painter was bom at Edinburgh about the year 1740, and was brought up in a school of design established in that city, under the direction of Alexander Runciman. About the year 1770, he went to Italy, where he 489 moor] A DICTIONARY OF [mora acquired considerable celebrity as a landscape painter. He appears to have formed his style by studying the works of Claude, and his pictures, like those of that celebrated master, generally represent views of the Campagna, and the environs of Rome. Moore was much employed by the British nobility and gentry who visited that capital, and the indis- cretion of some of his admirers went so far as to compare his merit with that of Claude. A more rational estimate of his talents, will admit that his scenery is always picturesque, and his forms well chosen ; but there is a mealy mawkishness in his aerial tints, and a poverty of tone throughout, which keeps him at a fearful distance from his ad- mirable model. He died at Rome in 1795. [He is generally called Moore of Some.'] MOORE, Samuel. According to Lord Orford, this gentleman held a situation in the Custom-house. He flourished about the year 1715, and appears to have dedicated much of his time to drawing and en- graving. His prints are not executed with much delicacy, they are coarsely etched, and afterwards retouched with the graver. Among other plates, he engraved the Coronation Procession of King William III. and Queen Mary, which, as it is without the name of the designer, may be presumed to be from his own composition. Vertue informs us, that "he made a medley of things drawn, written, and painted, which he presented to Sir Robert Harley, Speaker of the House of Commons, afterwards Earl of Ox- ford ;" it was an imitation of several sorts of prints. MOORTEL, [or MORTEL,] John, [or Jan.] This artist was born at Leyden in 1650. He was an eminent painter of fruit, flowers, and still-Ufe. Although his flower-pieces are inferior to those of John van Huysum and Rachel Ruysch, there is a mellowness and reUef in his pictures of fruit, which approach to illusion. His works are chiefly con- fined to Holland, where they are justly esteemed, and are found in the choicest collections. He died at Leyden in 1719. [He copied the works of De Heem and Mignon so skilfully as to deceive the amateurs of his time ; and no doubt many of his copies pass now for the works of those masters.] [MORACE, Ernest, engraver, was born at Stuttgart in 1766, and was a pupil of J. 6. Miiller. He engraved several of the prints in the " Galerie de Florence," " Mus6e Fran^ais," and " Galerie de Orleans." He died in 1820.1 MORALES, called El Divino. This admired Spanish painter was born at Badajos, in Estrema- dura, in 1509, and was a scholar of Pedro Campana. From his constantly making choice of devout sub- jects, and the beauty of his pencil, he acquired the appellation of El Divino Morales. His pictures generally represent the head of our Saviour crowned with thorns,, or that of the Virgin in grief; audit is said there are few instances of his having drawn the figure at length. His heads are of a most ad- mirable and touching character, and are finished with the greatest car?, without weakening the force, or diminishing the expression. In this respect, his works bear some resemblance to the highly charac- teristic heads of Lionardo da Vinci. It must be al- lowed, however, that he was an artist of a contracted genius, and of a barren invention, never venturing beyond the simple delineation of a head, though it wdll be confessed tljat in this limited scope he has carried the art to the highest possible perfection. His Ecce Homo exhibits the height of human suf- fering, borne with more than human complacency ; and his Mater Dolorosa is the very extremity of sor- 490 row. Some of his pictures are preserved at Cordova and at Seville ; and in the chapel of Our Lady of the Soledad, at the convent of the Trinitarians, at Madrid, is a Santa Veronica, by his hand. There is also a fine picture of an Ecce Homo in the con- vent of Corpus Christi, in that city. He died in 1586. [It is a mistake of Palomino to say that Luisi de Morales was a scholar of Pedro Campaiia; the latter did not arrive in Spain till 1548, and there are pictures in the church of the Conception at Badajos by the former with the date 1546. There were many good painters in Spain before Campana's visit, of whom Morales might have learned the elements of the art. Whatever may have been the cause of his being titled M Divino, he must not be judged of by the execrable pictures so often attributed to him. As his larger pictures are confined to the churches, and his smaller are rarely seen out of Spain, it may sufiice to say that the latter are painted either on wood or copper, and seldom exceed the bust. For an account of his pictures in the churches, and other public buildings, see Cean Bermudez, torn. iii. [MORAN, Santiago, a Spanish historical and landscape painter, was living and practising at Ma- drid about 1640. Bermudez mentions three pictures by him, which would show that he is deserving of more notice than he has received. One is a St. Jerome, in the possession of an amateur of the name of the Baron de Casa-Davalillo, who had a fine col- lection, in which he says the design, anatomical science, and brilliant colour in every part, are admirable, and the landscape part enchanting. Another, the head of St. Jerome, was in the posses- sion of D. Nicholas Lameyra, which Le Brun mis- took for the work of Albano. A third, St. Jerome on his knees and quite naked, has been engraved ; but the engraver, not being acquainted with Moran!s works, has put the name of Guercino to the print. Moran invented and designed the Muses whicn are in the beautiful work of Quevedo, edition 1670; and produced many fine landscapes.] MORANDI, Giovanni Maria. According to Lanzi, this painter was born at Florence in 1622. He was a disciple of Giovanni Billivert, and, on leaving that master, visited Venice, where he studied for some time the works of the great colourists of that school. He afterwards went to Rome, where he painted several altar-pieces for the churches, and was also employed for private collections. Of his works at Rome, the most deserving of notice are his Visitation of the Virgin to St. Elisabeth, in the church of La Madonna del Popolo ; and the Death of the Virgin, in La Pace. The latter is considered his masterpiece, and has been engraved by Pietro Aquila. He was also much employed as a portrait painter, and in that capacity was invited to Vienna by Leopold I., where he painted the family of the Emperor, and the portraits of many of the most dis- tinguished personages of Germany. His design bears the character of the Roman school, and in his compositions and colouring he appears to have aimed at the. splendid style of Pietro da Cortona. He lived to the advanced age of 95, and died at Rome in 1717. MORANDINI, Francesco, called II Poppl This painter weis born at Poppi, a small town in the Florentine state, in 1544. He was a scholar of Giorgio Vasari, whose style he followed, though more minute in detail, and more addicted to the gay and festive in his compositions. Of his works in the churches at Florence, Vasari particularly notices his picture of the Conception, in S. Michelino ; mora] PAINTERS AND ENGRAVERS. [more and his still more admired Visitation of the Virgin to St. Elisabeth, in. S. Niccolo. MORAZZONEjPierPrancescoMazzuchelli, called II, was horn at Morazzone, in the Milanese, in 1571, and, from the place of lus nativity, is ge- nerally called II Morazzone. He resided at Rome in the early part of his life, where he painted for the church of S. Maria Maddalena al Corso, the As- sumption of the Virgin, with the Apostles ; and for S. Silvestro in Capite, the Adoration of the Magi.. He afterwards went to Venice, where he studied the works of Titian, Tintoretto, and Paolo Veronese, by which he greatly improved his style of colouring ; and on his return to Milan he painted the Adoration of the Kings, for the church of S. Antonio Abate, in a style so superior to the picture of the same sub- ject which he had painted at Rome, that it ap- peared to be by a difi'erent hand. At Como, in the church of S. Giovanni, is one of his principal works, representing St. Michael discomfiting the rebel An- gels. He was employed and patronized by the King of Sardinia, by whom he was knighted. In 1626 he was invited to Piacenza, to paint the great cupola of tile cathedral, which he only lived to commence. It was afterwards finished by Guercino, and was one of his grandest works. He died in that year. MORE, Sir Anthony. This eminent painter was born at Utrecht in 1519, and in the early part of his life was a scholar of John Schoreel. He after- wards went to Italy, where he passed some time in studying the works of Michael Angelo Buonaroti and RaffaeUe. On his return to Holland he devoted himself to an imitation of the style of Holbein, in which he was more successful than in attempting the grandeur of the models he had contemplated at Rome. Like Holbein, he was a precise follower of nature, but without reaching the delicacy and clear- ness of that master, though he designed and painted in a bold and mascuUne style, and possessed a toler- able acquaintance with the chiaro-scuro. He was recommended to the protection of the Emperor Charles V., by his countryman Cardinal Granville ; and in 1552 arrived at the court of Spain, where he drew Prince Phihp, and was sent into Portugal, to paint the portrait of King John III. and Catherine of Austria, his queen, sister to Charles, which were executed so much to the satisfaction of the Em- peror, that he was afterwards sent to England to paint that of the Princess Mary, previous to her marriage with Phihp of Spain. On this occasion he is said to have employed all the flattering aids of his art, and accompanied the King to Eneland, where he continued tUl the death of Mary. He re- turned vrith Philip to Spain, who treated him with an intimacy and familiarity which had nearly proved fatal to him. Phihp was accustomed to honour him frequently with a -visit when he was painting, and in a moment of condescension and admiration, slapped him jocosely on the shoulder, which the painter in- discreetly returned, by smearing the hand of the monarch with carmine. The jest was rash and in- considerate, and the King was not of a disposition to be played on with impunity. The attendant courtiers revolted from the sight with disgust and amazement ; but Philip, recollecting himself, passed it over with a smile of complacency. The artist threw himself on his knees, in atonement of his of- fence, and every thing appeared to be forgotten; but he was secretly advised to withdraw himself from Spain, and he lost no time in returning to the Netherlands, where he was afterwards patronized by the Duke of Alva. The talents of Sir Anthony More were not confined to portraits, he painted several historical subjects for the royal collection in Spain, most of which perished in the conflagi'ation of the palace of the Pardo. He died at Antwerp in 1576. [Writers differ respecting the date of his birth; some place it in 1512, others in 1518 and 1519; Immerzeel says in 1525. Neither are they agreed in the date of his death; Fiissli says he died at Brussels in 1575, others that he died at Ant- werp in 1581, and in 1588. The latest date seen by the editor on any of his works, is 1575.] MORE, John Caspar. This artist wasa- native of Zurich, and flourished about the year 1694. He was principally employed in engraving portraits for the booksellers, which are very indifferently ex- ecuted. MOREAU, Edme. According to Florent le Comte, this artist was a native of Rheims, and flourished towards the end of the seventeenth cen- tury. He engraved several plates fi-om his own compositions, and from the designs of St. Igny and other masters. MOREAU, Louis, a French engraver, bom at Paris about the year 1712. He was chiefly em- ployed in engraving ornamental subjects and theses. We have also by him the following prints : PORTRAITS. Ludovicus de Ponte Societatis Jesu ; L. Moreau, fie- J. B. Bebel ; after Watteau. SUBJECT. Christ raising the Daughter of Jairus from the Dead ; cffter La Fosse. MOREAU, John Michael, a modern French engraver, bom at Paris in 1741, and was probably of the same family as the preceding artist. He was an artist of considerable merit, and was received in- to the Academy at Paris in 1781. He engi'aved a great variety of vignettes and other bodt orna- ments, in a neat style. His plates are chiefly etched and assisted with the graver. We have also the foUovring prints by him : The Bath of Bathsheba ; after -Remhrandt. The Consecration of Louis XVI. at Rheims. Four plates, forming a large print of the Fete given at Paris in 1782, for the Birth of the Dau- phin. . The Tomb of J. J. Rousseau; J. M. Moreau, fie. 1778. A set of twenty-five small plates for the first volume of the Chansons de la Borde. [His designs amount to upwards of 2000 ; there are about 200 which form vignettes to the works of Voltaire and Rousseau ; and an infinite number to illustrate Ovid, Moliere, Lafontaine, Regnard, Mar- montel, DeliUe, Barthelemy, Laborde, and other favourite vmters. He died in 1814.] MOREAU, P., a French architect, who flourished from 1750 to 1760. He designed with great taste, and etched some plates of architectural subjects from his own compositions. MOREELZE, Paul. This artist was born at Utrecht in 1571, and is distinguished by Van Man- der as a painter, an architect, and an engraver. At first he practised portrait painting, under Michael Mirevelt, but he afterwards went to Rome, where he studied some time. On his return to Holland he painted some historical subjects and architectural views, which were not without merit, though he was more employed in portraiture, in which he was more] A DICTIONARY OF [morg little inferior to Mirevelt. As an engraver, we have a few excellent wooden cuts by him, executed in chiaro-scuro; they are designed in a masterly style, and in the union of the three tints, produce a very pleasing effect. They are now become scarce. He sometimes signed them with his name at length, the P. of the baptismal name being joined to the M. ^^"^1 JW* ' ^^^ sometimes with the cipher only. Among others, we have the following by him: Cupid led by two Females, dancing ; P. Moreeke. 1612. The Death of Lucretia j the same mark and date. [It is supposed that he died about 1638.] [MOREL, Antoine Alexander, a French en- graver, born at Paris in 1764, was a scholar of Massard and Ingouf. He engraved several of the plates for the " Musee Frangais," and for the " Galerie de Florence," and many detached pieces after David, Ingres, Oiraud, and other contemporary painters. His death is not recorded by Gabet ; he was living in 1827. Nagler has given an account of about thirty of his principal pieces.] • MOREL, Francis, a modem French engraver, by whom we have some landscapes, after P. Hackert. [MOREL, Jan Evert, a painter of fruit and^ flowers, was bom at Amsterdam in 1777, and was a scholar of Linthorst; he had previously studied under Troost van Groenendoele, and at the Hague with F. Vander Aa. On his return to his native city he made the works of Jan van Huysum his objects of study, and by perseverance he became one of the best painters of fruit and flowers of his time. His touch is light and his colouring delicate, nearly approaching that of the master he so much admired. There is a vase of flowers by him in the Museum at Amsterdam. He died in 1808.] MORELL, N. [Nicolas,] was born at Antwerp in 1664, and was a scholar of N. Verendael, an emi- nent painter of flowers and fruit. He painted similar subjects to those of his instructor, and also excelled in painting vases with bas-reliefs, and other objects of still-life, in which he acquired a celebrity which occasioned him to be invited to the court of Brus- sels, where he was engaged in ornamenting the palaces, and in painting for the collections of the principal nobihty. The pictures of Morell are ele- gantly composed; his pencil, though precious, is facile and spirited ; and there is a freshness in his colouring particularly adapted to the subjects he represented. His works were highly esteemed in his lifetime, and though his prices were consider- .able, he met with constant employment, which ■ enabled him to maintain a magnificent establish- Vient, and to live in terms of intimacy with persons of the first rank, by whom he was greatly respected. He died at Brussels at a very advanced age. [Not so very advanced, if Balkema be correct; he says that N. Morell died in 1732.] MORELLI, Bartolomeo, called II Pianoro. This painter was born at Pianoro, a small town in the Bolognese state, about the year 1629, and studied at Bologna under Francesco Albano. He painted history with great reputation, particularly in fresco, and some of his works are compared by Crespi to those of Albano. Among his numerous pictures at Bologna the most temarkable are, his S. Teresa, in the church of La Madonna delle Grazie ; and the Resurrection, in Buon Gesu. But his most admired performance is the chapel of the Casa PepoU, in S. Bartolomeo di Porta, in which the elegance of the 492 design, and the beauty of the colouring, is little in- ferior to his instructor. He died.in 1683i. MORELLON. See Cave. MORETTO, II. See Bonvicino. [MORGENSTERN, Johann Ludwig Ernst, an excellent painter of perspective views of the inte- riors of churches, was born at Rudelstadt in 1738, and died at Frankfort in 1819. His subjects are similar to those of Peter Neefs, but have no appear- ance of imitation. They are painted with a full, rich pencil, a spirited touch, and a true knowledge of light and shade. They are also ornamented with elegant figures very skilfully introduced. Some few were brought to England about thirty years ago, and were much prized ; since that time they have become rare, and are considerably increased in com- mercial value.] MORGHEN, John Elias, a German engraver, who flourished about the year 1757. He resided chiefly in Italy, and was employed by the Marquis Gerini to engrave part of the plates after the works of the Florentine artists, in the Ducal Gallery, In 1767 he published six plates of the Antiquities of Pestum, after the designs of Antonio Joli. MORGHEN, Philip, was the son of the pre- ceding artist, born at Naples about the year 1730, and was instructed in engraving by his father, in conjunction with whom he executed part of the plates for the Antiquities of Herculaneum, pub- lished at Naples in 1/57. We have also by himr A set of the Twelve Apostles; after the Statues by Baccio JBandinelli, at Florence. Thirty-one Views and Ruins in the environs of Naples. [It is probable that he was brother to the preceding engi-aver, and certain that he was father to the celebrated Raphael Morghen. MORGHEN, Raphael. This celebrated artist is presumed, by M. Huber, to be the son or the nephew of Philip Morghen. He was born at Na- ples about the year 1755. After receiving some in- struction in his native city, he was sent to Rome, where he became a pupil of Giovanni Volpato. Under that able artist he became one of the most accomplished burinists of the day, and has engraved several plates after the most distinguished works of art in Italy. The following are his most esteemed prints: PORTRAITS. Francesco Moncado, Duke of Ossono, on horse- back ; after Vandyck. The Family of Earl Spencer • after Angelica Kauffman. The Family of Holstien Beck ; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Miracle of the Mass of Bolsena; after Raf- ■faelle. The Transfiguration ; after the same. The celebrated Madonna della Seggiola; after the same. La Madonna del Sacco ; after A. del Sarto. The Virgin and Infant with a Book ; after Fra. Bartolomeo. St. John crying in the Wilderness; after Guido. The Aurora; after the celebrated painting by Guido, in the Rospigliosi palace. The Seasons dancing before Time ; after N. Pous- sin. The Holy Family reposing ; afiei- the same. Diana and her Nymphs ; after Domenichino. MORI] PAINTERS AND ENGRAVERS. [MORI Apollo and the Muses on Mount Parnassus ; after [Raphael Morghen, one of the most celebrated en- gravers of recent times, was bom at Florence, June 19, 1758, by his own account, according to the authority of Niccolo Pahnerini, his pupil, who pub- hshed a complete Catalogue of his works. Joubert and others say that he was born at Naples in 1760 ; and Melchior Missirini says the 14th of June, 1761. As Palmerini was in the confidence of the artist, and published his account of him during his life, the first date may be considered the correct one. By his father, Filippo, who was an engraver, he was very early instructed in the first principles of his art, and he could engrave a tolerable plate even in his twelfth year. His first engravings, however, of consequence, were seven plates from the Masks of the Carnival of 1778, the Pilgrimage of the Grand Signior to Mecca; a work of such extraordinary merit for a youth of twenty, that his father was de- sirous he should receive the best instruction that could be procured, and sent him accordingly to the celebrated Volpato at Rome. His first employment was copying a print of E. Sadeler, Christ and Mary Magdalene in the Garden, and shortly after Gavin Hamilton's allegoric figure of Painting, for the bro- thers Hackert. In 1781 he engraved Raphael's figures of Poetry and Theology, in the Vatican; and in the same year married Volpato's only daugh- ter, Dominica. He now worked in conjunction with his father-in-law, and assisted him in his plate of the Parnassus of Raphael, or the historical illustration of Poetry, in the Vatican. In 1787 he engraved the Aurora of Guido, in the Rospigliosi Palace, which, for some time, was considered his finest work. Many other important works rapidly followed, among which, the Last Supper, after Lumardo Sa Vinci, the Transfiguration, and the Madonna della Seggiola, after Raphael, the Duke de Moncada, after Van Dyck, the Portraits of Ra- phael, the Fomarini,. Lionardo da Vinci, the Five great Poets of Italy — Dante, Boccaccio, Petrarch, Ariosto, and Tasso, are brilliant specimens. Many others might be named, but the whole of his works have been fully described by his scholar, Palmerini, to whom it was his custom to give an impression, in every state of the plate, from the first outline to the finished proof. Nagler has copied Palmerini's Catalogue in his Kunstler Lexicon, and added some discriminating particulars^ and the collection was purchased by the late Duke of Buckingham for £1200: it may be considered the most complete and valuable in Europe. Raphael Morghen died at Florence, April the 8th,.1833. Dr. Giulio Fer- rario has written largely and critically on Raphael Morghen's principal productions, and has given an account of the increased prices that several obtained after publication for their particular beauty, or for some distinguishing peculiarity that gave them value with virtuosi and collectors.] MORIER, David. This artist was bom at Berne, in Switzerland, about the year 1705. He came to England soon after the battle of Dettingen, and was presented to the Duke of Cumberland, by Sir Ed- ward Faulkener, who settled on him a pension of two hundred pounds a year. He distinguished him- self as a painter of battles, managed horses, &c., and also painted portraits, in which he was exten- sively employed. He died in 1770, and was buried in St. James's, Clerkenwell. MORIN, John, an eminent French painter and engraver, born at Paris about the year 1612. He was a disciple of Philip de Champagne, and for some time practised painting, which he afterwards abandoned, to apply himself entirely to engraving. His plates are executed in a singular style, being a mixture of strokes and dots; and they are har- monized with each other, so as to produce a very pleasing effect. They are chiefly executed with the point. His best prints are his portraits, many of which are executed in a masterly manner; and though they are not finished with all the neatness and delicacy which the graver is capable of pro- ducing, they are etched with uncommon taste, and freat freedom of hand. The extraordinary merit of is portraits will render an ample hst of them ac- ceptable to the collector. The following are his principal plates : PORTRAITS AFTER PHILIP DE CHAMPAGNE. Louis XIII. King of France ; octagon, Anne of Austria, Regent; octagon. Armand, Cardinal de Richelieu. John Baptist Amador, Abbe de Richeheu. Julius, Cardinal de Mazarin. Cornelius Jansenius, Bishop of Ypres. John Paul de Gondy, Cardinal de Retz. Francis de Sales, Bishop of Geneva. S. Charles Borromeus, Cardinal, and Archbishop of Milan. John Peter le Camus, Bishop of Bellay. John du Verger, Abbe de St. Siran. Michael de MoriUac, Keeper of the Seals. Michael le Tellier, Secretary of State. James Tuboeuf, President of the Chamber of Ac- counts. Rene de Longueuil, President a Mortier. Henry de Lorraine, Count d'Harcourt. Nicholas de Neufville, Marquis de VUleroy. Charles de Valois, Duke d'AngoulSme. Robert Arnauld, Seigneur d'AndiUy. Vincent Voiture, of the French Academy. James le Mercier, Architect to the King. Anthony Vitre, celebrated Printer of Paris. PORTRAITS AFTER VARIOUS MASTERS. James Augustus de Thou, President of the Par- liament ; after Ferdinand. Francis Augustin de Thou, President; after the same. Guido, Cardinal de Bentivoglio ; after Vandyek. The Countess de Bossu ; after the same. Margaret Lemon ; after the same. Charles de Mallery, Engraver and PrintseUer; cfter the same. Jerome Franck, Painter; se ipsepinx. SUBJECTS AFTER VARIOUS MASTERS. The Adoration of the Shepherds; after Ph. The Virgin and infant Jesus ; after the same. The Cmcifixion, in three sheets ; after the same. The taking down from the Cross ; after the same. The Assumption of the Virgin ; after the same. Two half-lengths of St. Peter' and St. Paul; after the same. The Virgin, with the infant Jesus on her knee, holding a bouquet of flowers, inscribed, Dilectus mens mihi ; after RaffaeUe. The Virrin adoring the infant Christ; after Ti- tian. This is a fine specimen of the artist's ability. The Virgin, with the dead Christ ; after Caraca. A Landscape, with Ruins; after Claude Lorraine. 4yo MORl] A DICTIONARY OF [morl A Landscape, with a Man driving two Cowsj after Fouquteres. Another Landscape, with figures ; after the same. A set of four Landscapes, with Ruins and Fi- gures ; after Cornelius Poetemburg. A Landscape, with Ruins and a Fountain ; after J. B. Corneille. [According to the best authorities, he died in 1666, Nagler has given a copious descriptive list of his woAs ; and dso Dumesnil, P. G. P. torn, ii.] MORINA, GiULio. According to Malvasia, this painter was a native of Bologna, and was first a scholar of Lorenzo Sabatini ; but he owed his best improvement to an attentive study of the works of the Caracei. He painted history with considerable reputation, and appears from the airs of his heads to have been emulous of imitating the expression of Coreggio. There are many of his works in the churches at Bologna, of which the most worthy of notice are, the Crucifixion, in SS. Sebastiano e Roc- co ; the Visitation of the Virgin to St. Elisabeth, in S. Uomobono ; and the Presentation m the Temple, at the Servi. [MORIS, R , a scholar of Godfrey Schalken. There is a cabinet picture by him, re- presenting an old Man holding a small Owl in his hand. He died young.] MORL AND, George. This ingenious artist was the eldest son of Henry Morlind, a reputable painter in crayons, born in 1764. The young Morland dis- covered very early symptoms of decided genius ; and it was highly gratifying to his father to perceive so marked an inclination for a pursuit, to which he had destined him from his birth. He had no other instructor than his father, to whom he was articled when he was fourteen, and during his pupilship his application was assiduous and exemplary. He was not permitted by his father to prosecute his studies regularly at the Academy ; and it is asserted by his biographer, that he drew there only three nights, though he occasionally attended the lectures. On the expiration of his indenture he left his father's house, and the remainder of his life is the history of genius degraded by intemperance and immorality, which alternately excites our admiration of his un- common ability, and our regret at the profligacy of his conduct. In • estimating the faculties of Morland, it is ob- servable, that notwithstanding the shortness of his life, the periods of preparation, maturity, and de- clension, are more decisively marked than in those of most other men, and do not comprehend a space of more than six years, during which he produced the pictures that have established his reputation. In these he has described the manners and habits of the lower class of people in this country, in a style pecuharly his own. Of his powers as a painter, we cannot give a more satisfactory account, than by inserting an abstract from his Life, published by Mr. Dawe, where a particular and interesting account of him will be found, written with intelh- gence and impartiality. Most painters who have arrived at eminence, have marked their outset by finishing highly ; this was the case with Morland, who surmounted those difficulties of execution in his youth, which too many are obliged to encounter after they have acquired a taste for higher excel- lencies in their profession. His productions when a boy were hard, formal, and laboured ; even after he had rejected the style in which his father had instructed him, his pictures were carefully finished, 494 and every object was painted immediately from na- ture, with considerable attention to detail. He, however, imperceptibly neglected the parts, and adopted a broader style; and finding that it pleased others, it pleased himself. About the year 1790, he appears to have arrived at his meridian: he was then able to paint whatever he chose, and to bestow on his pictures as much time as he thought proper. He had acquired con- fidence in his powers, and a knowledge of nature, which he had not yet ceased to consult. At this period, we find truth in his representations, without the particularity of individual imitation ; and free- dom, without the looseness and manner of his latter productions. He had learned, in some degi'ee, to generalize his ideas of form and character ; his facul- ties were mature, and invigorated by success and applause. But even at this period his pictures sel- dom possessed sufficient interest when of a large size ; and he never chose an action that was import- ant enough to give energy and employment to any considerable number of figures. His subjects were, however, well adapted to his talents : of powerful exertion, or refined expression, he was in a great degree incapable, for his knowledge of anatomy was slight, and the habits of his life must have destroyed all nice discrimination of passion or sentiment, whatever he might have once possessed. In his landscapes, the scene is seldom intrinsically fine, or rendered so by accidents of nature, as in the works of Rubens and Rembrandt. Indeed he was ignorant of the principles of extensive landscape ; nor was his colouring or effect appropriate to subjects of that description. His studies were confined to the animals, the figures, and the more obvious parts of his pictures ; and he neither had a sufficiently ex- tensive knowledge of nature, nor bestowed time enough on his paintings to avail himself of that which he possessed. His scenes are such as he was most accustomed to, and seldom having visited mountainous countries, excepf Derbyshire, he did not attempt romantic subjects. He generally exhi- bits with truth the most common but interesting species of English scenery, consisting of fields and hedges, with ponds of water and clay banks. His storms, though not grand, are sometimes replete with familiar incidents, local circumstances, and partial effects, that denote observation. In short, he was little capable of landscape, except as a back- ground and accompaniment to his figures; but there it often possessed considerable merit. Morland's best productions are his interiors. In- deed, the more confined the subject, the greater was his success, and his faults increase as the scene ex- tends. He was peculiarly happy in the description of the stunted dwarf pollard oak, with a group of sheep under it. In the general conception of such subjects he has scarcely been excelled. He suc- ceeded best in those animals that required least correctness of drawing, such as pigs, guineapigs, sheep, asses, &c. In mese he is often extremely happy ; for no artist ever painted such subjects with greater feeUng : he avoided the delicate proportions of the horse, by selecting such as were old, rough, and cliimsy. A white horse was a favourite object with him, as it must be with every painter, from its aflbrding a mass of Ught, with a most desirable opportunity for the display of colouring, owing to the variety of yellow, and other tints, with which it is diversified. Indeed, an old white horse, of this description, is one of the most picturesque objects to be met with in rustic scenery. But tne pig was morl] PAINTERS AND ENGRAVERS. [moho his favourite animal, and that which he introduced most frequently, and ■with great success. His touch was well adapted to the representation of its bristly hide, and he seldom fails faithfully to depict the gluttonous and lazy character of the animal. The innocence of the sheep he has also pourtrayed with considerable success. It may be interesting to compare Morland with a painter of his own country. The rural pieces of Gainsborough are more highly esteemed than those of Morland ; and in sentiment, composition, and effect, greatly surpass his best perforinances. In genius, Morland might perhaps be equal to Gainsborough ; but the latter best cultivated his talents. In oolouring, each artist had his respective excellencies and defects. Gainsborough is rich, but by endeavouring at transparency, often becomes flimsy, Morland is natural, but ochrey. The one had too little solidity, the other carried it to excess ; but in effect of light and shadow, Gainsborough had greatly the advantage, for he preserved fine keeping, which, when Morland attempted, he pro- duced only mist and fog, representing his extreme distance no farther off than his middle ground, and there is no depth in his pictm'es. In each artist too great a sameness of colouring and chiaro-scuro is observable, and both are incorrect in drawing, and loose in execution, Gainsborough in all his works displayed refined feeling and an elegant mind, and he nas given to the eye the most interesting repre- sentations of rustic innocence ; while the taste of Morland was of a lower kind, though he delineated the characters he selected with equal success. Those who have visited the cottage of the peasant, who have enjoyed riural sports, or engaged in rustic occupations, will feel a pecuHar charm in the works of Morlan^ arising from associations which the truth of his pencil never fails to excite. But Gains- borough seems most calculated to deUght those whose ideas of such employments have been refined by the descriptions of pastoral poetry. Towards the latter part of his life ms defects rapifiy increased : he then worked merely to supply the exigencies of the moment, and grew more confident and careless. His paintings declining from their original peculiar excellence, fell to vapid imitations of his former works, poor, meagre, and monotonous, deprived of force and character, with all the defects of manner and negligence. These feeble glimmerings of ex- piring genius show, according to their dates, a regular decay. His earlier works evince an intui- tion into the feelings of nature, and display com- binations that few could produce. Upon me whole, Morland's paintings indicate a mind which, with due cultivation, was capable of very high attain- ments, and excite our admiration, that so much could be effected during a life spent like his. He died the 29th of October, 1804. [It is said that George Morland painted upwards of 4000 pictures ; no doubt there are as many bearing his name or in- itials. But it should be known that he permitted his cronies, Hands, Taylor, and diriy Brooks, to use that privilege when it suited his or their purpose. The dealers of the day also found it to he a good specu- lation to pay him handsomely for one genuine pic- ture, whicn they increased seven-fold. His brother Henry has frequently boasted that he kept a regu- lar manufactory of them; and he would gravely assure the purchasers that he knew them to be genuine, as he saw them painted. Indeed the pub- He may be assured that no modem artist's pictures have been so surreptitiously multiplied as those of George Morland. Pine pictures by him are still in request, and obtain larger prices than during his liftetime.] [MORLAND, Henry Robert, the father of the celebrated George Morland, was an excellent por- trait painter in oil and crayons, and also an en- graver in mezzotinto. He did not confine himself to portraiture, but produced several interesting do- mestic subjects ; and was particularly successful in representing scenes by candlehght. His por- traits are carefully finished, and in the management of the chiaro-scuro he is superior to most of his contemporaries. He died in 1797, at upwards of 70.J MORO, II. See Torbido. MORO, Giovanni Batista d'Angeli. This painter was bom at Verona about the year 1512. He was a scholar of Francesco Torbido, called II Moro, but improved his style by studying the works of Titian. He painted several pictures, both in oil and fresco, for the churches at Verona, and some- times in competition with Paolo Veronese. In S. Eufemia he had painted a fresco of Paul before Ananias, which, on the demohtion of the wall on which it was painted, was sawed out with great precaution and expense, and removed to another part of the church. His colouring is more vigorous than that of his instructor, and his design more graceful. Such is his picture in S. Stefano of an Angel presenting the Palms of Martyrdom to the Innocents. We have several slight but spirited etchings by this master, in which the extremities of the figures are drawn in a very masterly style. In conjunction with Batista Vicentino, he engraved a set of fifty landscapes, mostly after Tdian, which are executed in a bold, free style.. We have also the following by him : The Nativity, or Adoration of the Shepherds ; after Parmigiano. The Virgin, with the infant Chnst and St. John ; S. A. del Moro, fee. The Holy Family, with St. Elisabeth and St. John ; after Saffaelle. Another Holy Family ; after the same. The Martyrdom of St. Catherine ; after Bernar- dino Campi. The Baptism of Christ by St. .fohn ; after the same. MORO, Marco and GinLio d'Angeli, the son and brother of the preceding artist. By the latter is the Quattro Coronati, in the church of S. ApolUnari at Venice ; and by the latter a picture of Paradise, in S. Bartolomeo. Marco died young. MORONI, DoMENico, 'was born at Verona in 1430, and was instructed in the art by some of the disciples of Stefano Veronese. In the church of S. Bernardino at Verona is an altar-piece by this mas- ter, which was highly esteemed, and preserved with great care. MORONI, Francesco, was the son and disciple of the preceding artist, bom at Verona in 1474, and is said by Vasari to have greatly excelled his father in the graceful style of his design, and in the tendemess and suavity of his colouring. The latter part of his hfe was passed at Rome, where he was employed in painting several altar-pieces for the churches and convents, which hold a respectable rank even in that emporium of art. He died at Rome in 1529. [There are several interesting pic- tures with Moroni's name inscribed on them in the Museum at Berhn ; the subjects are Madonnas and 495 MORO] A DICTIONARY OF [mosb saints. They are simple and well painted, and have a character of mild seriousness.] MORONI, Giovanni Batista. This painter was a native of Albini, in the Bergamese state, and flourished from the year 1557 till 1578. He was a scholar of Alessandro Bonvicino, called II Moretto, and, according to Tassi, was one of the most as- siduous of his disciples, and the most successful fol- lower of his style. That author gives a detailed account of his numerous works in the churches of Bergamo and the vicinity. His pictures are, how- ever, inferior to those of his instructor in invention and design, and particularly in the graceful expres- sion which distinguishes the productions of II Mo- retto. He was, nowever, an excellent colourist. Among his most esteemed works are his picture of the Crowning of the Virgin, in the church of La Trinity ; the Assumption, with the Apostles, in S. Benedetto ; and at the Cappuccini, the dead Christ in the arms of the Virgin, with several saints. He was one of the best portrait painters, except Titian. [The picture of a Jesuit, in the Duke of Sutherland's collection, called Titian's Schoolmaster, will give a good idea of the talent of Moroni as a portrait painter.] MORONI, PiETRO, was the son of the preceding artist, and, according to Averoldi, was first mstructed by his father, but afterwards became a disciple of Paolo Veronese, and also studied after the works of Titian. He was esteemed one of the most correct designers of the Venetian school, and yielded to none of his contemporaries in the impasto and lu- cidity of his colouring. Such is his picture of Christ bearing his Cross, in the church of S. Bamaba ; and in his several works in the public edifices at Brescia. He died at Riva di Soldo about the year 1625. MOROSINI, Francesco, called II Muntb Pul- ciANO. According to Baldinucci, this painter was a Florentine, and a scholar of Orazio Fidano, in whose style he painted a picture of the Conversion of St. Paul, for the church of S. Stefano at Florence. MORTIMER, John Hamilton. This ingenious artist was born at Eastborne, in Sussex, in 1739. His father was collector of the customs of that port, and his uncle is said to have been a painter of ta- lents above mediocrity. As he was frequently ad- mitted into the painting-room of his relation, he conceived an early inclination for the art, and with the assistance of his uncle, arrived at a proficiency in drawing suflUcient to enaljle him to sketch what- ever objects appeared to him to be interesting. It is not improbable that he originally imbibed his taste for the terrific from the romantic scenery which was the haunt of his youth, and the savage hardihood which marked the countenances of the bands of ferocious smugglers by which the place was infested. He was sent to London, and placed as a pupil under Hudson, from whose instruction a mind of his cast could derive no advantage. He was indebted for his greatest improvement to his constant attendance in the Duke of Richmond's gallery, to design after the select objects of art in the possession of that nobleman, which were liberally opened for the study and advancement of the young artists of the time. He was encouraged and assisted in his studies by the benevolent Cipriani, who recommended him to the particular patronage of the Duke, who was desirous of detaining him in his house, but the ofier was rejected. He soon afterwards gained the pre- mium of one hundred guineas given by the Society for the Encouragement of Arts, Manufactures, and Commerce, for the best historical picture, which was 496 adjudged to his painting of St. Paul converting the Britons, which some time afterwards became the property of Dr. Bates, who presented it, in 1778, to the church of Chipping Wycombe in Buckingham- shire. The reputation of Mortimer was now estab- lished, and he successively increased his celebrity, by the production of his pictures of King John granting Magna Charta to the Barons, the Battle of Agincourt, Vortigern and Rowena, and his other admired works. He was for some years a member of the society of artists, who exhibited at the room now called the Lyceum, in the Strand; but in the year 1779, without solicitation or expectation, was created a royal academician, by the especial grant of his Majesty ; but he did not live to receive his diploma. After an illness of a few days, he died at his house in Norfolk Street, the 4th of February, 1779- We have several etchings by Mortimer, mostly from his own designs, which are executed in a bold, free style. Among others are the following : The Virgin teaching St. John to read; after Oueroino. A set of twelve circular plates of characters from Shakspeare. Nature and Genius introducing Garrick into the Temple of Shakspeare. A set of fifteen Studies j after S. Rosa, Zairesse, and others. MORTO DA Feltro. This artist was bom at Florence in 1468, and was instructed in the first rudiments of design in his native city ; but he went early in his Ufe to Rome, where he devoted himself to the study of what are called grottesche, in which he arrived at a great perfection. In 1505 he re- sided at Venice, where he was employed by Gior- gione to paint the grotesque ornaments in some of the important works he was engaged in. From an unsettled and capricious disposition, he abandoned painting when he was about forty years of age, and entered the army. He was killed in battle at Zara, in the year 1513, in his forty-fifth year. [MOSCA, (Giammaria ?) As there are accounts of Giammaria Mosca, who is called of Padua and of Milan, and spoken of for some works of sculpture at Orvieto ; and of a Mosca of Mantua, a painter, who flourished at the same period, namely, the early part of the sixteenth century, it is probable that they re- late to one and the same artist. Lanzi says men- tion is made of one Mosca, whether a native or foreigner I know not, as a disciple of this school (the Roman). Christ on his way to Mount Calvary, now in the Academy of Mantua, is certainly a Majfaellesque picture, but we may rather consider Mosca an imitator and copyist than a pupil of Raphael. In the curious collection of ancient pic- tures in the possession of Messrs. Woodbum, is one of the Virgin and Child in a landscape, which is supposed to be by this master, as it is marked with a fly, his rebus. Attention is drawn to this circum- stance in the hope that it may throw some hght on the history of this artist and his works ; the first being involved in uncertainty, and the latter com- paratively unknown from ignorance of his distin- guishing mark.] MOSER, George Michael,, was a native of Switzerland, but came to England very ^oung, to follow the profession of a chaser in gold, in which art he anived at great eminence. But his talents were not confined to that branch ; he likewise paint- ed in enamel with considerable success. He was well skilled in the construction of the human figure, mose] PAINTERS AND ENGRAVERS. [mouc which perfectly qualified him for the office he held of Keeper of the Royal Academy, to which he was appointed at its foundation in 1768, the business of which situation principally consists in superintend- ing and instructing the students, who draw and model from the antique figures. Mr. Moser con- tinued to fill that place with the gi-eatest respect- ability till his death, which happened January 23, 1783. [His daughter. Miss Moser, was a painter of flowers, and was also a member of the Royal Acade- my. She died in 1803.] MOSES, called little Moses. See Uyten- BROECK. MOSIN. See Mouztn. MOSLEY, Charles, an EngUsh engraver, who resided in London about the year 1760, and was chiefly employed by the booksellers. His best prints are his portraits, of which the following are the most worthy of notice : Charles I. on horseback; from the picture by Vandych at Kensington. Marshal Belleisle on horseback. MOSNIER, John. According to Pelibien, this artist was born at Blois in 1600. He was the son of a painter on glass, by whom he was instructed in the rudiments of design. He afterwards travelled to Italy, and resided some time at Florence, where he studied under Cristofano Allori. On his return to Prance he distinguished himself as a reputable painter of history. Some of his most esteemed works are in the church of St. Martin, at Paris, where he died, in 1656. MOSTAERT, John. This painter was born at Haerlem in 1499. He was a disciple of Jacob van Haerlem, an artist of some reputation, under whom he became a very eminent painter of history and portraits. Van Mander describes several of his works, which remained, in his time, in the churches and public edifices in Holland. He particularly commends a picture by him of the Nativity, in the church of the Jacobins at Haerlem, and an Ecce Homo, in another church in that city, a grand com- position of several figures. But one of his most esteemed productions was a Feast of the Gods, in the possession of the Count de Borsele. At the Hague were two celebrated pictures by him, of Abraham and Sarah, and Hagar and Ishmael. His talents recommended him to the patronage of Mar- faret, sister to Philip I. of Spain, in whose service e remained till his death. He was not less suc- cessful in portraits than in historical subjects, and painted that of his pah-oness, and the principal per- sonages of his time. He died in 1555. [Immerzeel and Balkema both state that Jan Mostaert was bom in 1474 ; in which they differ fi-om all others, who place his birth as in the text.] [MOSTAERT, Franz and Gillis, twin brothers, bom at Hulst, near Antwerp, in 1520. Gillis was a scholar of Van Mandyn, and Franz of Joachim Patenier and Henri de Bles. Franz excelled in landscape, and Gillis in figures, so they mutually assisted each other. Franz died in 1557, and Gillis in 1598, or according to some in 1601. In the Mu- seum at Antwerp is a picture by the latter, repre- senting Christ on the Cross, between the Virgin and St. John, and eight other figures.] MOUCHERON, Frederick. This painter was bom at Embden in 1633. At an early age he showed a strong inclination for the art, which, not meeting with any obstacle on the part of his parents, and as his genius seemed to lead him to landscape painting, 2 K he was placed as a pupil with John Asselyn. Under that able master he was indefatigable in his studies, and his advancement was commensurate with his assiduity. - "When he was little more than twenty years of age, he found himself able to undertake a joumey to France, on the produce of his talents, where he passed some years, and met with the most flattering encouragement. It was his intention to have visited Italy, by the advice of his instructor, who had studied at Rome ; but his works were so much admired at Paris, that he abandoned his pro- ject. After a residence of several years in that capital he returned to Antwerp, and afterwards set- tled at Amsterdam, where his pictures were held in equal estimation. He had now the advantage of having his pictures embellished with figures by Adrian Vandevelde and John Lingelback ; and his best productions are those which he painted in the latter part of his life. The landscapes of Moucheron exhibit very pleasing scenery ; the forms of his trees are generally well chosen, and his foliage is light, and apparently in motion. He frequently intro- duced a waterfall rushing through the different plans of his pictures, and enriched them with pic- turesque buildings and architecture. Though the works of Moucheron are unequal to those of Both, Berghem, and other distinguished artists of the Dutch school, they are considered worthy of a place in the choicest collections in Holland. He died in 1686. MOUCHERON, Isaac, was the son and scholar of the preceding artist, born at Antwerp in 1670. When he was only sixteen years of age he had the misfortune of losing his father, but he was already sufficiently advanced to be able to dispense with any other assistance than that of studying after nature. In 1694 he visited Rome; and the en- chanting environs of that city became the object of his admiration and study, particularly the vicinity of Tivoli, of which he made a number of designs ; and after a residence of four years in Italy returned to Holland, with a rich assemblage of drawings, from the most remarkable views near Rome. He was well versed in perspective and architecture, with which he embelUshed his works. On his re- turn to Amsterdam he was chiefly employed in painting large landscapes for the ornaments of sa- loons, in which the figures were generally intro- duced by Nicholas VerkoUe, and others. In the scenery, as well as the style of his landscapes, he appears to have emulated the grand manner of Gas- par Poussin. He possessed a prompt and com- manding facility, his forms are always select, and his coloming is fresh and clear. Isaac Moucheron etched several plates, in a neat, spirited style, among which is a set of nineteen views of Heemstede, in the province of Utrecht, from his own designs. We have also the following by him : A set of four Views of Gardens, with Buildings and figures, inscribed J. Moucheron, inv. pinx. etfec. Another set of four Views of Gardens and Build- ings, inscribed /. Moucheron, inv. etfec. Four Landscapes, with Figures ; after Gaspar Poussin; inscribed Einige Landschapen, gescJiel- dert door Q. Poussin, Sfc. He died at Amsterdam in 1744. MOUCHY, Martin de, a French engraver, bom at Paris in 1746. He was a pupil of Augustine de St. Aubine, and engi-aved several plates for the booksellers : among which are sixteen prints for the 497 MOUZ] A DICTIONARY OF [mudo Histoiy of Telemachus, after the desit/m nf Monnet and Cochin. We have also the following by him : A pair of Views in the environs of Triel ; after Hackert. A View of Marienherg, near Stockholm ; after the same. Another View in Sweden; after the same. MOUZYN, or Mosin, Michael, a Dutch en- grater, born at Amsterdam about the year 1630. He endeavoured to unite the point with the graver in the execution of his plates, but with no great suc- cess. His style is laboured and heavy, and his drawing incoiTect. We have, among others, the following prints by him : PORTRAITS. Jacob van Wassenaer, Admiral of Holland. Michael Ruyter, Dutch Admiral; after H. van Aide. Cornelius de Witte, Pensionary of Holland ; after the same. John van Galen, Admiral of Holland ; after J. Lirius. SUBJECTS. Venus sleeping; after J. A. Backer. The Four Elements under the empire of Venus ; after C. Holsteyn. A Satyr presenting a Bunch of Grapes to a Woman and Child; after the same. MOYA, Pedro de, a Spanish painter, born at Granada in 1610. He was for some time a disciple of Juan del Castello. A desire to see the works of Rubens, and other distinguished painters of the Flemish school, induced him to visit - Antwerp, where he was particularly captivated with the works of Vandyck, who was at that time in England. He resolved on visiting London, for the purpose of be- coming his pupil, where he had not arrived many months, when his intentions were frustrated by the death of Vandyck. He returned to Granada, where he painted several pictures for the churches, of which the most esteemed is an altar-piece of the Conception, in the church of Nuestra Sennora de Gracia. He died at Granada in 1666. [MOYAERT, or MOOJAERT, Nicolas, or Claas, a Dutch painter of history, landscapes, and animals, was born about the year 1600; he was in high repute in 1624, and flourished till 1652. He was one of the best imitators of Adam Elsheimer, Rembrandt, and Lievens, several of his pictures being mistaken for their works. Among his scholars may be named N. Berchem, Vander Does, Salomon De Koning, and Jan Baptist Weeninx ; the pictures of the last bear a strong resemblance, in many re- spects, to those of his master. It is not stated when or where he died.] MOYART, Christian Louis, a Dutch painter and engraver, born at Amsterdam about the year 1600. He engraved a set of emblematical plates of the History of Mary of Medicis, consisting of eight subjects from his own designs. They are marked with the cipher ^^ . M • [Zani a,nd Brulliot both assert that this is the same as Nicolas Moyaert, and that the cipher ($■ a - signifies Claas (Nicolas) and not Chiistian Louis. It is certain that the prints of the History of Marie de Medicis were pubUshed by Blaeu at Amsterdam, from designs by Claas, en- graved by Pieter Nolpe, in the year 1639.] MOYREAU, John, a French engraver, born at 498 Paris in 1^12. His principal works are his plates after Philip Wouwermans, consisting of eighty-nine prints, which are very unequal in point of merit. It is indeed to be regretted, that so few of the pic- tures of this admirable painter have been engraved by the Visschers, the Danckerts, and the other able artists of his country; and that it should have fallen to the lot of the most exquisite of his works, to be handed down to us by the tame and heavy graver of Moyreau, so incapable of exhibiting the spirit and elegance of his pencil, and the correctness of his design. He engraved various prints after other masters, among which are the following : Rebecca receiving the Presents from the Serv?,nt of Abraham ; after Paulo Veronese ; for the Crozat collection. The Resurrection of Lazarus ; after Bon Bou- longne. The Parting of Hector and Andromecha ; after the same. Bacchus and Ariadne ; after the same. A Halt of Hunters ; after Van Falens. The Rendezvous of the Chase ; after the same. The two last plates were engraved for his reception into the Academy in 1736, and are among his best prints. A Sea-port; aftei- Claude. La Partie Quarree ; after Watbeau. A Waterfall ; after the same. Of his best prints after Wouwermans, may be men- tioned those entitled, Le Colombier du Marechal. La grande Chasse a I'oiseau. La Fontaine du Dauphin. La Fontaine de Neptune. MUDO, Juan Fernandez Zimenes de Nava- rette, called El. This eminent Spanish artist was born at Logrono in 1526, and was called El Mudo, from his being deaf and dumb from his infancy. The defects of nature were in some degree compen- sated to him by the endowment of a quick and lively imagination, which enabled him to arrive at a celebrity in the art, which acquired him the hon- ourable appellation of the Titian of Spain. He re- ceived his first instruction in design from Fray Vi- cente de Santo Domingo, a monk of the order of the Geronomytes; and such were the marks of early genius he displayed, apd his progress under that master, that his instructor recommended his parents to send him to Italy for improvement, and he ac- cordingly visited Rome, Florence, and Naples, but Eassed the greater part of his time at Venice, where e formed his style, by an attentive study of the works of Titian. On his return to Spain, his talents recbmmended him to the favour of Philip II., who appointed him one of his painters in the Escurial, where there are many of his principal works. Of these the most remarkable are his celebrated picture of the Nativity, in which, like the Notte of Coreg- gio, the principal light emanates from the infant Saviour ; the Baptism of Christ; the Twelve Apos- tles, on the great pillars of the church, near the principal altar; and his last work, representing Abraham entertaining the Angels. There are also several of his works at Valencia and Salamanca. He died in 1579. [The name of this painter was Juan Fernandez Natarhete. He was not bom deaf and dumb, but an acute malady at the age of three years deprived him of the sense of hearing, and consequently of the power of learning to speak. MUDO] PAINTERS AND ENGRAVERS. [muli Having received instructions in the elementary parts of painting, as above related, he was sent to Italy, and became a pupil of Titian, with whom he remained for a considerable time. His sojourn in Italy lasted for at least twenty years, and he availed himself of the opportunity of visiting the ateliers of the most renowned masters there. Although there is no account of any production of importance by him during his stay in that country, yet it is certain that he obtained a great reputation among the art- ists, which no doubt was augmented by the circum- stance of his infirmity. The fame of el Mudo, by which name he was known in Italy, reached Philip II., who was commencing the decorations of the Escurial, and he was commanded to attend at Ma- drid for the purpose of being employed on that work. He arrived there in 1568, and was appointed painter to the king, with an annual pension of 200 ducats, in addition to the price of his works. He had scarcely commenced his labours, when a serious malady compelled him to retire to the country for the benefit of air, and he remained for three years at his native place, Logroiio, on leave of absence, but receiving his pension as painter to the king. In 1751 he returned to the Escurial, bringing with him four large pictures which had been commanded, and for whiwi he received 500 ducats. These were an Assumption, The Martyrdom of St. James the Great, a St. Philip, and a St. Jerome. It is believed that in the first the face of the Virgin was the por- trait of his mother, Dona Catalina Ximenes, who in her youth had been beautiful. When this picture was about to be placed, el Mudo, who was severely critical with regard to his own works, wished to de- stroy it, because he considered the principal group defective, and that the Angels pressed too closely on the Virgin ; but Philip would not permit it. There was also a fabricated story, founded perhaps on those related of Michael Angelo and Lionardo da Vinci, that in the Martyrdom of St. James, in revenge for some supposed injury received from Santoyo, the king's secretary, he had introduced his portrait as the executioner, and that Phihp pro- tected this picture also, against the resentment of his secretary. But Siguenza, who has written much respecting el Mudo, and who at that time resided in the Escurial, affirms that the figure of the execu- tioner is that of an artisan at Logroiio. In addition to the four pictures mentioned, he painted for the Escurial The Nativity, Christ at the Pillar, a Holy Family, and St. John writing the Apocalypse : these he finished in 1575, and received 800 ducats. These eight pictures were Navarrete's principal works : unhappily three of them. The Assumption, St. Philip, and St. John, were destroyed by a fire ; the other five were saved and placed in the principal cloister of the monastery. Besides their unques- tionable merit, each picture is remarkable for some pecuhar circumstance. Thus the Martyrdom of St. James and the St. Jerome are most minutely finish- ed ; a manner which he did not continue in his other compositions. The Christ at the Pillar, seen in front, is an admirable head, which, by its meek- ness and beauty, contrasts marvellously with the ignoble features of the flagellators. In the Holy Family, the heads are equally beautiful and expres- sive ; but, by a strange caprice, the painter has placed on one side of the fore-ground of the picture a partridge, and on the other, a dog and cat contest- ing for a bone, with such comical contortions that it IS impossible to regard them without laughing. In the Nativity, el Mudo essayed to vanquish a for- 9 K 2 midable difficulty in painting. He has introduced three hghts in the picture: the effluence from the holy Infant ; that which proceeds from the glory above, and which extends over the whole compo- sition ; and that emitted from the torch which Jo- seph holds in his hand. The group of shepherds is the best part of the picture. It is related that Pelli- grino Tibaldi, on seeing it, cried out in raptures, ''Oh! gli belli pastori!" This exclamation gave name to the picture, and it continues- to be known as the beautiful Shepherds. In 1576, he painted his famous picture of Abraham and the three Angels, for which he received 500 ducats. About this time he entered into a contract with the prior, inspector, and treasurer of the Escurial, to paint thirty-two pictures, which he engaged to deliver in the course of four years. Twenty-seven of these pictures were to be seven feet and a half in height and seven feet and a quarter in breadth, and the other five thirteen feet high and nine feet broad. In the con- tract, which is preserved in the archives of the monastery, all the details are specified: for example, the canvass of each is to be of one piece without seam ; the work to be entirely by the hand of Juan Fernandez Navarrete ; it is to be done either at the convent, at Madrid, or at Logroiio ; the figures to be just six feet and a quarter in height; if the same Saint is repeated several times in the pictures he is always to have the same visage and the same vest- ments ; the painter shall not put in the pictures ei- ther cat, or dog, or any immodest figure. He did not, however, live to complete this vast undertaking; he painted in 1577 and 1578 the eight which represent the Apostles, the Evangelists, St. Paul, and St. Bar- nabas ; the rest were finished in the following years by Alonso Sanchez Coello and Louis de Caravajal. El Mudo's health had always been dehcate, and he was now attacked by an obstruction of the stomach, and he died at Toledo in 1579. It may be said that the works of this eminent Spanish painter are alto- gether unknown to the world in general. The pic- tures above referred to having been commanded for the Escurial, have remained to the present time bu- ried in the royal solitude, and almost inaccessible. All his Spanish works are there ; even the Museum at Madrid has been able to obtain only the Uttle pic- ture of the Baptism of Christ, which he presented to Philip on- his arrival from Italy. His name, however, shines in the accounts of many collections visited and described by tourists. The limits of this work will not allow of further details respecting this artist, else many interesting circumstances might be related of him that would probably be gratifying to the reader. Note. There were two other S.panish painters who were dumb, and are surnamed el Mudo : one is Diego Lopez ; the other is only known under the name Pedro il Mudo: their works must not be confounded with those of the illustrious Navar- rete.'] MULDER, J., a Dutch engraver, who resided at Amsterdam about the year 1720. He engraved a set of plates of subjects from the Bible, published in that year, entitled Figures de la Bible, from the de- signs of Picart and others. They are executed with the graver in a stiff, tasteless style, and are very in- correctly drawn. We have also by him several views of churches and public buildings, which are his best performances. He also engraved a set of small plates, entitled, Vues de Ounterstein, inscribed J. Mulder ad vivum del. et fecit. MULIER. See Moiyn. 499 MUH] A DICTIONARY OF [mull [MULINARI, or MOLINARI, Stefano, an Italian engraver, known for his numerous prints after drawings by the early Itahan masters. He was born at Florence towards the middle of the eighteenth century, and was the pupil of A. Scac- ciati, whom he assisted in a series of engravings after the most beautiful drawings in the Florentine collec- tion. Forty-one only were executed during Scacci- ati's life -, the remaining fifty-nine were engraved entirely by Mulinari. These were succeeded in 1775 by a collection of prints after drawings of the ear- liest masters, from Cimabue to Pietro Perugino, under the title " Istoria pratica dell' Incomincia- mento e Progressi della Pittura ; o sia Raccolta di 60 stampe estratte da ugual numero di disegni ori- ginali esistenti nella Galleria di Firenze." This was followed in 1780 by a still more interesting work on the great Italian schools of painting ; " Sag- gio delle cinque Scuole di Pittura Italiana." Muli- nari died near the close of the eighteenth century, aged about 55. Among the above-mentioned works are four after Lionardo da Vinci, five after Michel- angelo, twenty-two after Raphael, eight after Giulio Romano, six after Pohdoro da Caravaggio, twenty- six after Parmigiano, five after Daniele da Volterra, eight after Barocci, seven after Giulio Cesare Pro- •caccini, three after Guido, three after Andrea Sac- chi, thirteen after Guercino, and many others. Nagler has given a list of about 200 of them in his Kunstler Lexicon.'] MULLER, Herman. This artist is said by Huber to have been a native of Amsterdam, though he resided the greater part of his life at Antwei-p, where he engraved several plates, in conjunction with Cornelius Cort, for Jerome Cock. He flourish- ed about the year 1585, and is supposed to have been a disciple of Henry Goltzius, and to have stu- died afterwards in Italy. The plates of Herman Muller are executed entirely with the graver, in the laboured, formal style which distinguished the Flemish school at that period. His drawing is tolerably correct, and some of his best prints are not devoid of expression. In conjunction with the Galles, the Sadelers, and others, he engraved several subjects of the Bible, after John Stradan, Martin de Vbs, and other masters. We have also the follow- ing by him : The Fates; afler Cornelius van Saerlem. The Four Cardinal Virtues ; after Martin Ilems- kerh. The Ten Commandments ; after the same. A set of seven plates of the Creation ; after H. Goltzius. The Death of Cleopatra jafie*' C van Ilaerlem. The Death of Lucretia ; after Cornelius Ketel. MULLER, John. This eminent engraver is supposed to have been of the same family with the preceding artist. He was born at Amsterdam about the year 1570, and was a disciple of Henry Goltzius, whose vigorous style he followed with an enthusiasm bordering on extravagance. John Muller is, per- haps, the artist who has handled the graver with the most daring facility, and his works are worthy of the admiration of those who wish to distinguish themselves in the free use of the burin, though it is to be regretted that his design was not more tasteful and correct. His plates are numerous ; and though they are inferior to those of Goltzius, they are very estimable and extraordinary productions. Many of his prints are from his own compositions ; and they are very creditable to his talents as a designer. 600 He engraved several portraits, which are highly esteemed. The following are among his most ad- mired works : PORTRAITS. ^ Bartholomeus Spranger, Pictor celeberrimus ; /. ab Ach,pinx. Maurice, Prince of Orange ; after Mirevelt. John Neyen, of Antwerp, his hand resting on a skull ; after the same. Ambrose Spinola ; after the same. Albert, Archduke of Austria ; after Muiens. Isabella, Infanta of Spain ; after the same. Christian IV. King of Denmark; after P. Isachs. SUBJECTS FROM HIS OWN COMPOSITIONS. The Baptism of Christ. An Ecce Homo, with angfils. Balthasar's Feast ; fine and rare. The Adoration of the Magi ; fine and rare. SUBJECTS AFTER BARTHOLOMEW SPRANGER. Hagar in the Desert, comforted by an Angel. Lot and his Daughters. The Nativity ; J. Muller, scul. 1606. The Holy Family, with two Angels. Venus and the Graces. Venus, Bacchus, and Ceres. A Satyr taking a Thorn from the Foot of a Faun. Venus and Mercury. Perseus armed by Minerva and Mercury ; one of his finest plates. Cupid and Psyche. The Apotheosis of the Arts. Fortune distributing her Gifts. SUBJECTS AFTER VARIOUS MASTERS. The Raising of Lazarus ; after Ab. Bloemam-t; fine. Cain slaying Abel ; after Cornelius van Haej-lem. The Rape of the Sabines ; cfter the sculpture of A. de Fries. Mercury and Pandora ; after the same. The Martyrdom of St. Sebastian ; after J. van Achen ; fine. MULLER, Solomon, was probably of the same family, and flourished about the year 1610. From the style of his engraving, it is probable he was brought up in the schoc3 of the Wierixes, whose neat manner he imitated with some success, though his drawing is not correct, and his heads are some- times without expression. He engraved a set of small prints of sacred subjects, which, ah they are without the name of the painter, are probably from his own designs. MULLER, G. A. This artist was bom at Vienna about the year 1700. He was a contempor- ary of Andrew and Joseph Schmutzer, and in con- junction with them executed a. part of the plates of the life of Decius, from the designs by Rubens, in the possession of the Prince of Lichtenstein. We have also, among other prints, the following por- traits by him : Philip Louis, Count de Sintzendorf, Minister of State. Jacob van Schuppen, Director of the Academy at Vienna. The two Children of Rubens ; from a picture by that master, in the Lichtenstein collection. MULLER, Jacob. The name of this artist is affixed to the frontispiece and plans for a book of gardening, from the designs of George Hatzel, pub- lished at Augsbourg by Jeremiah Wolf. They are neatly executed with the graver, in a dry, tasteless mull] PAINTERS AND ENGRAVERS. [mull style. He also engraved some landscapes, in the style of PereZfe. MULLER, John Gotthard, [von,] a modern German engraver, born at Bernhausen, in th& dnchy of Wurtemberg, in 1747. He was favoured with the protection of the Duke, and was sent to Paris in 1770, where he became a pupil of J. G. Wille. His progress under that master was con- siderable, and his talents procured him a reception into the Academy at Paris in 1776. He soon after- wards returned to Stuttgard, and was appointed Di- rector of the Academy of Design. We nave by hira several plates, engraved in the neat, finished style of his instructor, among which are the following : PORTRAITS. touis XVI. full-length j one of his finest plates. John Geprge Wille, Engraver ; after Greuze. Louis Galloche, Painter ; engraved for his re- ception into the Academy. Louis Leramberg, Sculptor to the King; the same. Augustus Gottlieb Spanganberg ; A. Cfraff,piruc. F. Schiller ; after the same. SUBJECTS. Ceres; after Goltziits. The Nymph Erigone ; afier JoUain. A Lady playing on the Guitar; after P. A. Wille. Lot and his Daughters ; after Gerard Honthorst. A subject from the Life of Alexander ; after G. Flinck. [Miiller engraved only thirty-three plates, a small number, but some of them are large and elaborate works ; they are, however, chiefly portraits. His principal pieces, in addition to those above men- tioned, are — The Battle of Bunker's Hill, after Trum- hull, engraved in 1799; the Madonna della Seg- giola, for the Musee Francais, engraved in 1804, and by many considered superior to the print of the same subject by Raphael Morghen ; a St. Catharine with two Angels, after Lionardo da Vinci; and St. Cecilia, after Domenichino. He was elected suc- cessively a member of the principal German Acade- mies ; was presented in 1808 by the king, Frederick of Wiirtemberg, with the order of Civil Merit ; and in 1818 was made a knight of the Wiirtemberg Crown. He died at Stuttgard in 1830.] [MtJLLER, Christian Friedrich von, son of the preceding, surpassed his father, but owing to the shortness of his career his prints are even less numerous than those of the elder Miiller. He was born at Stuttgard in 1783, and he died at Pirna, near Dresden, in 1816. He was carefully educated by his father in all those branches of the art, which he knew by experience to be essential to constitute an excellent engraver ; and in 1802 he sent him to Paris to complete his studies. In 1808 Miiller en- graved the St. John about to write his Revelation, afier Someniehino, in which the eagle brings him his pen ; and Adam and Eve under the Tree of Life, after Raphael. He was commissioned shortly after by Rittner, a printseller of Dresden, to engrave his last and greatest work, the Madonna di San Sisto of Raphael in the Dresden gallery. He was occu- Eied for the remainder of his life on this plate, which e just lived to complete, but he never saw a finish- ed print from it. His existence seems to have been almost wrapped up in the execution of this plate ; he was occupied with it day and night ; and being of a sickly constitution, the infallible result of such constant application and excitement soon made its appearance. He completed the plate and sent it to Paris to be printed ; but with it the artiiicial ex- citement which supported him departed also : he had just strength enough' left to admit of his being carried to the Sonnenstein, near Pirna, where he died in 1816, only a few days before the proof of his plate arrived from Paris. It was suspended over the head of his bier as he lay dead ; thus re- minding the spectators of the similar untimely fate of the great master of the original. C. F. Miiller engraved only eighteen plates, but the Madonna di San Sisto is in itself a host ; his other works are nearly all portraits.] MULLER, John Sebastian, a German en- graver, born at Nuremherg about the year 1720. He resided in London in 1760, and engraved several plates for the collection of Boydell, which possess gi-eat merit. He is generally known in this country by the name of Miller. We have, among others, the following prints by him : The Holy Family ; after Federigo Baroceio. Another Holy Family ; after Murillo. Nero depositing the Ashes of Britannicus ; after Le Sueur. A Landscape, with Apollo and Marsias ; cfter Claude. A Moonlight ; after Vander Neer. Two Views in Rome ; after Gio. Paolo Panini. [It is probable that he came to England at an early age and worked for the booksellers : he engraved the plates for Newton's edition of Milton.] [MULLER, William John, an eminent land- scape and costume painter, was born at Bristol in 1812 ; his father, a native of Germany, was Curator of the Bristol Museum, and from him he acquired a taste for science, especially botany and natural his- tory, which continued with him during his whole career, and enriched his sketch books beyond those of any of his contemporaries. From J. B. Pyne he received the primary instructions in painting ; and soon after made the tour of Germany, Switzerland, and Italy, studying only under the guidance of na- ture, and hence his works bear the impress of ori- ginality in a greater degree than those of most mo- dem landscape painters. On his return to his native city he pursued his profession, but with very partial success. Bristol has the character of producing men of talent, but they must look elsewhere for sup- port, if that talent should be allied with genius, and disposed to more elevated pursuits than manufacture or commerce : refinement does not flourish there as an indigenous plant. He therefore visited Greece and Egypt, enriching his portfolio with a large number of sketches of the most interesting objects. In 1839 he settled in London, where his pictures found ready purchasers. Two years afterwards he published "Picturesque Sketches of the Age of Francis I.,'' which extended his fame beyond his own country. He next, at his own expense, joined the expedition to Lycia, projected by the government, and from the valuable sketches he made there pro- duced the pictures which were exhibited at the Royal Academy and British Institution during the three last years of his life. Of the treatment he re- ceived at both places, from the improper positions in which his pictures were placed, he complained with bitterness, and, it must be admitted, with jus- tice. There is yet too much of favouritism, caprice, or ignorance, shown in both establishments, if half the complaints of the rising generation of artists be founded on truth. In 1845 Muller left London for Bristol for the benefit of his health ; but his strength. 501 muna] A DICTIONARY OP [mura gradually failed, and he died, of disease of the heart, on the 8th of September, in that year. At the sale of his oil pictures, finished and unfinished, and the series of sketches made by him in Lycia, (which took place in the following year,) competition to possess them was extreme ; the sketches sold at prices varying from £20 to £60 sterling for each, and the total amount of the three days' sale was about £4600. These were not factitious prices, for the dealers reaped a rich "harvest by the purchases they made at the sale ; and his works are still in- creasing in value. Copies and imitations are being palmed already on the unwary, at exorbitant prices, by unprincipled traffickers in the Fine Arts.] MUNARI, Pehegrino. See Modena. MUNIEB, John, a French engraver on wood, who resided at Toulouse about the year 1553. He executed several wooden cuts, in conjunction with John Perrin. Among others, we have by these artists the prints for a small octavo volume of em- blems, entitled La Morosophie de Guillaume de la Perriere Toisain, contenant cent Umhkmes, published at Lyons in 1553. MUNNICKHUYSEN, John, a Flemish en- f raver who flourished about the year 1680. We ave several plates iby him, executed with the graver, which possess considerable merit, among which are some portraits, engraved in a neat, clear style. Among others, we have the following prints by him : PORTRAITS. Hendrick Dirksen Spiegel, Burgomaster ; after lAmburg. Francis Buimann, Professor of Theology ; after C. Maas. Henry Vander Graft. Corpelius Tromp, Admiral of Holland ; after D. Vander Plaaa. Peter van Staveren, of Amsterdam ; after W. Mieris. Peter Zurendonk, Rector of the Latin School at Amsterdam. He also engraved an upright plate of two boys, em- blematical of Autumn and Winter; after Gerard Lairesse. The companion print, of Spring and Summer, was engraved by H. Bary ; after Vandych. MUNOZ, Sebastian. This Spanish painter was bom at Navalcarnero in 1654, and was a disciple of Claudio Coello. In 1680 he visited Italy, and studied six years in the school of Carlo Maratti. On his return to Spain, he first settled at Saragossa, where he executed some considerable works, in con- junction with Coello. He visited Madrid in 1688, and was made painter to the king. He was em- ployed in the royal palaces, where he painted a series of frescoes of the history of Cupid and Psyche. He painted in the flimsy style of the modern Italians, in which all is sacrificed to gaudiness and frivolity, without sobriety in the composition, beauty in the forms, or expression in the characters. He is said to have died, in consequence of a fall from a scaffold, in 1690. MUNTINCK, Gerard, a Dutch engraver, born at Groninguen, who flourished about the year 1640. He engraved several portraits, which are executed with the graver in a neat style, but without much taste. [MUOLTSCHER, Hans, a painter of Ulm in Suabia, of whom there are no particulars recorded in any of the writers on early painting. Ottley mentions an altar-piece by him, with the date 1436, 502 which was in the Truchsessian Gallery of Pictures, exhibited and sold at London, more than forty years ago. Lord Lindsay conceives that he was the parent of the succession of painters at Ulm; it is therefore surprising that he has not been noticed by any of the German writers. This hint may awaken their attention.] MURA, Francesco de, called Franceschielio. This painter was a native of Naples, and flourished about the year 1743. He was one of the numerous scholars of Francesco Solimene, and was much em- ployed in ornamenting the public edifices in his nar tive city ; but perhaps his most celebrated perform- ances are his frescoes in the royal palace of Turin, which he painted in competition vidth Claudio Beau- mont, where he represented the Olympic Games, and the Life of Achilles. [He died in 1759.] I>IURANO, Natalino da. According to Ridolfi, this painter was a disciple of Titian, and fiourished about the year 1558. He painted historical subjects of an easel size, but was more celebrated as a por- trait painter, in which he particularly excelled. He died young. MURANT, Emanuel. This artist was born at Amsterdam, according to Descamps, in 1622; this is, however, disputable ; it is probable that his birth . was at a later date, as he was the scholar of Philip Wowermans, who was born in 1620. Though he did not adopt the same subjects as those painted by his master, he acquired somewhat of the neatness of his pencil, the truth and purity of his colouring, and the correctness of his design. Instead of horse-fairs and huntings, the usual representations of Wower- mans, he painted the views of towns and ruined buildings in Holland, which he finished with a pre- cision and accuracy, which has only been surpassed by the extraordinary productions of John vander Heyden. He visited France, and resided some time at Paris, where his works were greatly admired for the delicacy of his style. On his retui-n to Holland, he settled at Lewarde, in Friesland, where he died, in 1700. The works of E. Murant have the rare merit of exhibiting the most exquisite finish, with- out the appearance of stiffness or labour, and with- out the interruption of that harmony of colour, and union of effect, which are almost exclusively the attributes of a process less tedious and precise. His tones are artfully broken, and there is i vagueness and neutrality in his tints, which are only to be found in the works of the most intelhgent colourists. His pictures are not frequently to be met with, and are highly esteemed. MURATORI, DoMENico Maria, was born at Bologna in 1662, and was a scholar of Lorenzo Pasinelli. He resided chiefly at Rome, where he was much employed for £he churches and public edifices. In the church of the SS. Apostoli, the principal altar-piece is by him, representing the Martyrdom of St. Philip and St. James, one of the largest pictures in Rome, composed and designed in a grand style, with a fine effect of chiaro-scuro, though not equally successful in the colouring. His picture of Christ crowned with Thorns, in the church of the Stimate, is not less creditable to his talents, which were of sufficient respectability to procure him the commission to paint one of the prophets in the Basilica of St. John of Lateran. At the Primaziale, at Pisa, is a fine picture by him re- presenting S. Ranieri working a Miracle, which is considered by Lanzi as one of his most esteemed works. We have by him a few etchings, which are executed in a spirited and masterly style. He died mura] PAINTERS AND ENGRAVERS. [muri in 1749. [There is an etching by him of a Holy- Family, after Cantarini, with the date 1685. Zani says he was born in 1655, and died in 1742.] MURATORI, Teresa. This lady was born at Bologna in 1662. She was the daughter of an emi- nent physician, and at a very early age discovered an uncommon genius for drawing and music. She was first instructed in design by Emilio Taruffi, was afterwards a scholar of Lorenzo Pasinelli, and lastly studied under Giovanni Gioseffo dal Sole. She proved a very reputable paintress of history, and executed several considerable works for the churches at Bologna, of which the most deserving of notice are, S. Benedetto resuscitating a dead Child, in the church of S. Stefano ; the Annuncia- tion, in S. Trinita ; and the Incredulity of St. Thomas, in La Madonna di Galeria. She died in I7O8. MURILLO, Bartolome Estevan. With the works of this admirable artist the English collector is more intimately acquainted, than with those of any painter of the Spanish school; and their in- trinsic merit amply justifies the admiration which is bestowed on them. Bartolom6 Estevan Mmillo was bom at the small town of Pilas, about five leagues from Seville, in 1613. He was descended from an ancient family, who had formerly held ample possessions in the province of Andalusia. Don Juan del Castillo, a painter of some eminence, was his uncle by his mother's side, and had estab- lished an academy at Seville, which was in con- siderable reputation. The young Murillo having discovered an early inclination for the art, he was placed under the tuition of his relative, where he received his first instruction. On leaving the school of that master, his manner was dark and inky, distinguished by a blackness and heaviness in his shadows, by which defects the works of Castillo were characterized, who was an indifferent colourist, though in all other respects was competent to the profession of a teacher. The first subjects he painted were rustics and beg- gar-boys, in which he discovers a faithful and ac- curate attention to nature, and a charming simplicity of character, ^hich is peculiar to him. His pictures of this description are vigorously coloured, though without the tenderness and suavity which after- wards distinguished his more important productions in historical painting. Sandrart, with his usual inaccuracy, has stated that Murillo made a voyage to South America, where he passed some years, and on his return to Europe travelled to Italy, in search of improvement. Both these assertions are un- founded. At the time when Murillo left the school of Cas- tillo, it was customary for the young artists to ex- pose their works for sale at the fair held annually at Seville, and many of his earliest productions were purchased in this manner, and exported to Spanish America, which probably gave rise to the false tradi- tion of his having gone thither in person. The fal- lacy of the report that he studied in Italy is com- pletely proved by all the Spanish biographers, who have satisfactorily ascertained that he never left Spain. The fame of Don Diego Velasquez, who was then in the height of his reputation, reached Seville, and Murillo conceived the project of visiting Madrid, and of endeavouring to introduce himself to the no- tice- of that distinguished artist. On his arrival in that capital, he paid his court to Velasquez with success, and he not only admitted him into his academy, but treated him with the gi-eatest kindness and hberality. He procured him the best means of improvement, independent of his own instruction, and obtained for him access to the rich treasures of art deposited in the royal collections. A new scene was now opened to his view, and his zeal for ad- vancement was increased by the continued contem- plation of such admirable productions. His atten- tion was particularly directed to the works of Titian, Rubens, and Vandyck, whose works he studied and copied, by which he greatly improved his style of colouring. After a few years passed under such favourable circumstances, and with the advantage of the counsels of Velasquez, Murillo returned ta Seville, and resumed the practice of his art with re- doubled alacrity, and with the most flattering suc- cess. He was now engaged in his first great work in fresco, in the convent of San Francisco, or the Capuchins ; it consists of sixteen compartments, among which is his celebrated work of St. Thomas of Villanueva, distributing alms to a group of poor, which he is said to have distinguished by the name of his favourite picture. In this subject, the par- ticular bent of his genius had full scope for the dis- play of its powers, which were peculiarly adapted tq the representation of nature in her most simple and unsophisticated forms. The group of paupers who surround the Saint, and are eagerly pressing for- ward to partake of his charity, is admirably com- posed, and the varied character of their wretched- ness is portrayed with wonderful art and expression. At the principal altar, in the same church, is a large picture representing the Jubilee of the Porciuncula, representing Christ holding his Cross, and the Virgin interceding for the grant specified in the picture, with a group of angels, of extraordinary beauty. He was about this time engaged by the Marquis of Villamanrique, to paint a series of pic- tures of the Life of David, in which the back- grounds were to be painted by Ignacio Iriarte, an eminent landscape painter of Seville. Murillo pro- posed that the landscapes should be first. painted, and that he should afterwards put in the figures, but Iriarte contended that the historical part should be first finished, to which he would adapt the back- ground. To put an end to the dispute, Murillo undertook to execute the whole, without the assist- ance of Iriarte, and changing the history of David to that of Jacob, he produced the famous suite of pictures now in the possession of the Marquis of Santiago at Madrid, in which the beauty of the landscapes contends with that of the figures, and which remain a monument of his powers in the dif- ferent departments of the art. In the same collec- tion are two pictures, which are said to be among the finest of his works, and superior to those in the royal collection: one represents Saint Francis Xavier, in a dignified and sublime attitude, his eyes devoutly raised to heaven, with great fervour and devotion, with a stream of light beaming on his breast, as if receiving the divine inspiration previous to his entering on his mission to the Indians, a group of which is seen in the distance ; the other represents St. Joseph leading by the hand the young Saviour, apparently of the age of eight or ten years, over their heads is a glory of beautiful angels, and a fine landscape in the back-ground. He painted for the cathedral at Seville his admired picture of San Antonio, with the infant Christ, and a glory of angels, with a back-ground of admirable architecture ; a Miraculous Conception; and his two portraits of Leandro and Isidore, Archbishops of 503 MURl] A DICTIONARY OF [musi Seville, which are painted in his finest manner. In the church of the hospital of the Charity is one of his highly esteemed works, representing St. John supporting a poor man, who is aided in nis charit- ahle office by an angel, whom the Saint regards with a look of reverence and gratitude, which is beautifully expressed. In the same sanctuary are two other fine pictures, representing Moses striking the Rock, and the Miracle of the Multiplication of the Loaves and Fishes, a composition of a numer- ous assemblage of #gures, exhibiting a striking variety of character, and grouped with surprising ability. Murillo painted several pictures for the churches of Cadiz, Granada, and Cordova. At Cadiz, in the church of San Philipe Neri, is an altar-piece of the Conception ; and at the Capuchins, a picture of St. Catherine. In the chapel of the Nuns of the Angel at Granada, is one of his most interesting produc- tions, representing the good Shepherd. His works had been hitherto chiefly confined to Seville ; but in the year 1670, a picture by him of the Immaculate Conception was carried in procession on the great festival of Corpus Christi, which excited universal surprise and admiration, and was regarded as a phenomenon. Charles II. directed him to be in- vited to Madrid, with a promise of appointing him one of his painters; but MuriUo, whose natural humility, and love of retirement, with his attach- ment to his native city, prevailed over every con- sideration of advantage or promotion, excused him- self from accepting the invitation, on account of his age. He was at all times equally insensible to the allurements of ambition or interest ; and such was his charitable disposition, that though economical in his habits, constantly employed, and not illiberal- ly remunerated, he is said to have died in narrow circumstances. His last work was his picture of St. Catherine, in the church of the Capuchins at Cadiz ; and when he was painting it, he fell from the scaffold, which brought on a complaint that put an end to his life in 1685, in his seventy-second year. Few painters have a juster claim to the originality of style than Murillo. It is distinguished by a close and liyely imitation of nature. His forms have a national peculiarity of air, habiliment, and counte- nance. His pictures of the Virgin, his Saints, and even his Saviours, are stamped with the features of his country, and a characteristic expression of the eye, which is remarkable. There is little of the academy discernible in his design or composition ; it is a chaste and faithful representation oi what he saw, or conceived ; truth and simplicity are never lost sight of. His colouring is clear, tender, and harmonious ; and though it possesses the truth of Titian, and the sweetness of Vandyck, it has no- thing of the serviUty of imitation. Though he sometimes adopts a beautiful expression, there is usually a portrait-like simplicity in the airs of his heads, in which there is seldom any thing of the ideal. His style may be said to hold a middle rank between the unpolished naturaUty of the Flemish, and the graceful and elegant taste of the Italian school. [Bartolome JEsteban Murillo was born at Seville in 1618. There are numerous fine specimens of his works in England, particularly in the collec- •' -tions of the Duke of Sutherland, Lord Ashburton, the Marquis of Westminster, Mr Tomline, Baron Roths- child, and other noblemen and gentlemen. In the Dulwich Gallery there are several ; and the National Gallery possesses two, a Holy Family, which cost about 4000 guineas, and St. John and the Lamb, 504 purchased at Sir Simon Clarke's sale for 2000 guineas.] [MURPHY, John, an excellent engraver in mezzotinto, was born in 1748, and flourished till the early part of the present century. He engraved some of the prints m the Houghton Collection, and after other works of the Italian masters ; and also after Reynolds, Northcote, Romney, Stothard, Ramberg, and B. West. Though all his produc- tions are good, perhaps the most esteemed, especially by foreign amateurs, are Mark Antony's Oration over the body of Csesar, after West; Elisha restor- ing the Widow's Son, after Northcote ; the Tiger, after the same ; the Brothers of Joseph showing his bloody Garment to Jacob, and Joseph interpreting Pharaoh's dream, both after Guercino,'] MURRAY, Thomas. This painter was a native of Scotland, born about the year 1666, and was a scholar of John Riley, at the time he was painter to William and Mary. He was ' one of the most eminent artists of his time, and was employed to paint the portraits of the royal family, and many of the principal nobility. His pictures had the merit of a faithful resemblance, and were freshly and chastely coloured. The portrait of Murray, painted by himself, is among those of the great artists in the Florentine Gallery. He died in 1724. MUSIS, Agostino de, called Agostino Vene- ziANO. This eminent engraver was born at Venice about the year 1490, and was a disciple of Marc Antonio Raimondi, of whose fine style he was one of the most successful followers. Several of his earliest plates were executed in conjunction with Marco da Ravenna, who had been his fellow student under Marc Antonio. After the death of Rafiaelle, in 1520, they separated, and each of them worked on his own account. On the sacking of Rome, in 1527, the artists resident in that capital sought re- fuge in the other cities of Italy ; and Agostino went to Florence, where he applied to Andrea del Sarto for employment. But having engraved, in 1516, a plate from a picture by him, representing a dead Christ, supported by Angels, which did not meet with the painter's approbation, he would not permit any more of his pictures to be engraved. The earliest dated print by Agostino is in 1509 j and as none of his works bear a later date than 1536, it may be presumed, that he did not long survive that period; and he is said by Huber to have died at Rome about the year 1540. This artist claims a distinguished rank among the engravers of his time. His graver is equally neat and finished with that of Marc An- tonio ; but he is very inferior to that celebrated art- ist in the purity and correctness of his drawing, and in the tasteful expression of his heads. The prints of Agostino de Musis are extremely scarce, par- ticularly fine impressions of them. He sometimes marked them with a tablet similar to that used by Marc Antonio, and more frequently with the initials A. V. with the date. The foUovring are his principal plates : PORTRAITS. Pope Paul III., in profile ; inscribed Paulus III. Pon. Max. 1534. The same Pontiff, with the papal crown ; dated 1536. Charles V. holding a sword ; after Titian. Another Portrait of Charles V. ; dated 1536. Ferdinand, King of the Romans; inscribed Proximus a summo Ferdinandus, S;c. 1536. Francis I. of France ; dated 1536. The Emperor Soliman ; dated 1535. MUSi] PAINTERS AND ENGRAVERS. [muss SUBJECTS OF SACRED HISTORY. The Creation ; engraved in conjunction with Marco da Ravenna j after Raffaelle. The Sacrifice of Isaacf after the same. The Benediction of Isaac; dated 1522; after the same ; very scarce. The same subject ; dated 1524. The Israelites passing the Red Sea; after the The Israelites gathering the Manna ; after the same. This plate is supposed to have been be- gun by Marc Antonio. Samson bound by the Philistines ; circular ; from his own design. The Nativity; after Giulio Somano. 1531. The Four Evangelists ; in four plates ; afier the same. 1518. The Murder of the Innocents ; copied from the print by Marc Antonio. A. V. ; very scarce. The Nativity ; copied from a wooden cut by A. Surer ; very scarce. Christ bound to the Pillar ; the same ; very scarce. The Last Supper; tlie same ; 1514. The dead Christ, with Angels ; after A. del Sarto. 1516. The Archangel Michael ; after Raffaelle. The Virgin and infant Christ, with St. John ; afier Francia. St. Jerome, with the Lion ; after Raffaelle. HISTORICAL AND MYTHOLOGICAL SUBJECTS. Diogenes seated by the side of a River ; aftei- Bac- do Bandinelli. Tarquin and Lucretia ; after Raffaelle. The Death of Lucretia ; copied from the print by Marc Antonio ; after Raffaelle. Cleopatra; after Baccio Bandinelli. 1518. Vulcan giving Cupid's Arrows to Venus ; after Raffaelle. 1530. - Venus riding on a Dolphin, with Cupid holding a Torch ; i^ier Raffaelle. Jupiter and Leda. Apollo and Daphne ; after Raffaelle ; attributed by some to Marc Antonio. The Fall of Phaeton ; marked A. V. on a tablet. The Triumph of Silenus ; after Raffaelle ; the same mark. The infant Hercules destroying the Serpents; after Giulio Romano. Hercules strangling Anteus ; after M. Angela Buonaroti. Hercules destroying the Nemean Lion; after Raffaelle. VARIOUS SUBJECTS. The Burying-place, an assemblage of emaciated figures with skeletons, and a figure of Death holding a book ; after Baccio Bandinelli ; in- sciiheS Augustinus Venetus de Musis faeiebat. 1518. A large print, called the Climbers ; after the famous cartoon of Pisa, by M. Angelo Buonaroti, dated 1523. This print is very different from that of the same subject engraved by Marc Antonio, which consists of many more figures. It is marked with the name of the painter on a tablet, and dated 1524. The Academy of Baccio Bandinelli, in which that artist is represented in the midst of his dis- ciples. 1531. The Battle of the Sabre, so called from a sword which lies on the ground, fallen from the hand of a warrior, who is represented as dead, on the right-hand side of the print. An Emperor on horseback, with attendants, called by some the Triumph of Marcus Aurelius. This print is marked with the tablet used by Marc Antonio, who is supposed to have partly engraved it. An old Philosopher, or Magician, seated on the gi-ound, measuring with his compasses a circle, in which are seen the sun and moon; dated 1509 ; after Bom. Campagnola. He also engraved a variety of plates of grotesque subjects, after Raffaelle, and several busts and an- tique vases. MUSIS, Lorenzo and Giulio de. These artists are supposed to have been the sons of Agostino de Musis. They engra,ved some plates in the style of their father, but with no great success. By the former we have a portrait of Barbarossa, King of Algiers, inscribed Lorenzo de Musi, Faeiebat. 1535. By the latter there is a large print lengthways, en- titled Autiqua Species Urbium, Portus,par Pyrrhum lAgorium facta, SfC. Julius de Musis in aes incidit. 1554. MUSSCHEB, Michael VAN, a Dutch painter, born at Rotterdam in 1645. He was first placed under the tuition of Martin Zaagmoolen, an obscure artist, with whom he did not continue long, and was afterwards successively the scholar of Abraham Vanden Tempel, Gabriel Metsu, and Adrian van Ostade. He did not, however, exactly follow the style of any of his instructors, but adopted one more resembling that of Francis Mieris, without arriving at the harmony of his colouring, or the exquisite pohsh of his finishing. He painted conversations and small portraits, which are clearly and agreeably coloured; and though his figures are not very cor- rectly drawn, his portraits have the merit of fidelity and ti-uth. Accorchngto M. Descamps, he occasion- ally attempted historical subjects, which he pre- sumes were above mediocrity, as he was liberally paid for them. His works of that description, like those of the other painters of his country, are estima- ble for the beauty of the colour, and the neatness of the penciling, though greatly deficient in character, expression, and the propriety of costume, so essen- tial to the dignity of historical painting. His prin- cipal residence was at Amsterdam, where his pictures are to be met with in the choicest collections. They are httle known out of his own country. He died at Amsterdam in 1705. [At the time Bryan wrote Musscher's pictures were scarcely known in Eng- land ; since that period several fine specimens have been imported, and the amateur's knowledge of them enlarged by visits to Holland. His conversation pieces sometimes blend the qualities of Jan Steen and Metsu. His portrait, with his wife and son, is in the Museum at the Hague.] MUSSO, NiccoLo, was a native of Casalmon- ferrato, and flourished about, the year 1618. Ac- cording to Orlandi, he went to Rome when he was very young, and entered the school of Michael Angelo Caravaggio. After passing ten years at Rome he returned to his native city, where he painted several altar-pieces for the churches, of which Lanzi particularly mentions a picture of St. Francis kneeling before the crucified Saviour, in the church dedicated to that Saint. His style re- sembles that of Caravaggio, though less violent in his chiaro-scuro, and more select in his forms, and in the expression of his heads. 505 This artist is mentioned by mute] MUTEL, Mr. Strutt as the engraver of a portrait of Thomas Pantel de Lagny. [MUYS, GuiLLAUME, was born at Schiedam in 1712, and resided at Rotterdam. He painted por- traits and other subjects of large dimensions ; and also cabinet pictures in the taste of Mieris and Vander Werf. He died at Rotterdam in 1763.] [MUYS, Nicolas, son of the preceding, was born at Rotterdam in 1740. He was instructed by his father, and also by Aart Schouman at the Hague. He painted portraits and cabinet pictures, chiefly in- teriors. His pictures exhibit a fine genius in com- position, eoiTect design, and freedom of touch, with careful finish. He died in 1808.] MUYS, R., an obscure Dutch engraver, by whom we have, among others, a portrait of WilHam, Prince of Orange. MUZIANO, GiRoiAMO. This reputable artist was born at Aquafredda, in the territory of Brescia, in 1528. After receiving some instruction in the art in his native city, under Girolamo Romanino, he went to Venice, where he studied the works of Titian, and the other great masters. When he was about twenty years of age he visited Rome, accom- panied by Federigo Zuccaro, where it was not long before his abilities recommended him to the notice of Gregoiry XIII., who employed him in the Capella Gregoriana, and commissioned him to paint two pictures for the church of St. Peter, representing St. Jerome and St. Basil, which procured him con- siderable celebrity. Muziano distinguished himself also as a landscape painter, and acquired at Rome the appellation of II Giovane de' paesi. The Car- dinal Farnese employed him to decorate his Vigne at Tivoli, in conjunction with Federigo Zuccaro and Tempesta, where he evinced the superiority of his talents over both his competitors. He now produced his celebrated picture of the Resurrection of Lazarus, painted for the church of S. Maria Mag- giore, afterwards removed to the pontifical palace of the Quirinal, and now among the spoils in the gal- lery of the Louvre. This capital production ex- cited the admiration and procured him the esteem of Michael Angelo Buonaroti, who assisted him with his instruction and advice. He soon after- wards painted his pictm'e of the .Circumcision, for the church del Gesu ; the Ascension, for Ara Caeli ; and St. Francis receiving the Stigmata, for the church della Concezione. His other esteemed works at Rome are, the Descent of the Holy Ghost, in the hall of the Consistory ; a picture of the Nativity, in S. Maria de Morti ; and Christ giving the Keys to St. Peter, in S. Maria degli Angeli. The works of Muziano exhibit a grandeur of design, and an inti- mate acquaintance with muscular anatomy, in which he appeai-s to have emulated the learned design of Buonaroti. His compositions are copious and in- genious, and the characters of his heads are digni- fied and expressive. His colouring partakes of the truth and harmony of the Venetian school, and the back-grounds of his pictures are frequently embel- lished with landscapes, which remind us of the fine style of Titian. Girolamo Muziano was much em- Eloyed in designing after the antique ; and it is to ira we are indebted for the accomplishment of the design of the bas-reliefs of the Trojan column, which had been begun by Giulio Romano, and which were afterwards engraved. He died at Rome in 1592. [MY, Jerome Vander, born at Leyden in 1688, was a scholar of WiUiam Mieris. He painted his- tory, portraits, and familiar subjects. His portraits 506 A DICTIONARY OF [mynd are painted in the manner of his master, with great attention to the finishing, but in some parts deficient in vigour.] [RIYIN, Henri Arnauld, bom at Antwerp in 1760, was instructed by B. P. Ommeganck, whose manner he followed both in his landscapes and ani- mals. There were two landscapes, with sheep, by him in the Brentano collection at Amsterdam, a proof of their merit ; and others may be found in the cabi- nets of the tasteful amateurs of Holland.] MYN, A. Vander, a Dutch engraver, who re- sided some time in London, by whom we have a portrait of Richard Leveridge. [MYN, George Vander, born in 1725, resided at Amsterdam, where he died in 1763. He painted portraits, and subjects in the manner of Watteau, which are very cleverly handled.] MYN, Herman. Vander. Herman Vander Myn was born at Amsterdam in 1684. He was the son of a clergyman, who intended him for the church, and with that project bestowed on him a suitable education. His love of the arts, however, was more prevalent than his attention to his studies ; and his father, yielding to his natural propensity, placed him under the tuition of Ernest Stuven, an eminent painter of fruit and flowei-s, under whom he con- tinued until he surpassed his master. Aspiring to a higher department of the art, he quitted Stuven and flower-painting, and devoted his studies to the more elevated branch of historical subjects. It is not known by whom he was instructed in his new pur- suit ; but he acquired sufiicient celebrity to be in- vited to the court of the Elector Palatine, in 1716, where he passed some time. He returned to Hol- land, where he painted a picture of Jupiter and Danae, which excited universal admiration. The applause bestowed on this performance, instead of contributing to his advantage, proved extremely prejudicial to his interest, by prompting his avarice to demand so unreasonable a price for it, that it was left on his hands. He afterwards visited Antwerp, and from thence, in 1718, went to Paris, where he was patronized by the Duke of Orleans, and where he painted a picture of Peter denying Christ, which is considered as his most capital work. By the re- commendation of Lord Cadogan, he came to Eng- land about the year 1722, and was employed in painting the portraits of several of the nobihty, in which he carried to excess the laborious minuteness of his countrymen ; faithfully imitating the details of lace, embroideiy, and fringes, with the most patient precision. Frederick, Prince of Wales, and the Prince of Orange, sat to him ; and he painted a picture of the Duke and Duchess of Chandos, for which he is said to have received five hundred guineas. Vander Myn died in London in 1741. He had a sister, Agatha Vander Myn, who, ac-, cording to Lord Orford, came with him to England, and painted fruit, flowers, and dead game. [MYN, Robert Vander, a painter of portraits, landscapes, and flower-pieces, was born in 1724. He painted a great number of pictures of each sort in London, where they are occasionally met with ; for this reason he is selected from the numerous painters of the same name who exercised their talent on similar subjects, and nearly at the same period.] MYNDE, J. This artist resided in London about the year 1760, and engraved several plates for the booksellers. His prints are very indifferently executed. We have by him some anatomical fi- gures, and a few portraits, among which are, MYRl] PAINTERS AND ENGRAVERS. [nada Roger, Earl of Orrery, and William Harris, D. D. MYRIGINUS, or MYRICINUS, Peter, a Flemish engraver, who flourished about the year 1550. He engraved several eccentric and strange compositions, after Jerome Bos, Breughel, and others. There is also a portrait of Albert Durer at the age of 56, copied by him from a larger print. He marked his plates with the cipher j^^ • [This artist is said to be the same as Peter Martini, a printseller of Antwerp. The name appears on se- veral prints published by Jerome Cockj one has the date 1567 ; it is signed Pet. Merecinus, sc] MYTENS, Arnold. This painter was born at Brussels in 1541. After receiving some instruction in his native country, he travelled to Italy, in com- pany with Anthony de Santwort, and studied some years at Rome. He afterwards visited Naples, where he painted an altar-piece, which gained him great reputation, representing the Assumption of me Virgin, with the Apostles ; and in the church of S. Lodovico, a picture of the Miraculous Conception. On his return to Rome he was employed in some considerable works in the church of St. Peter, and died in that city in 1602. [MYTENS, A , a portrait painter of great merit, who resided at the Hague from 1612 to 1660, but of whom there is no other record ex- cept in his works. He painted the portraits of the eminent Dutch poet, Jacob Cats, and his house- keeper, named Havius ; and of the Prince of Orange Nassau. At the Hague is The Celebration of the Marriage of the Elector of Brandenbourg with the daugliter of Frederic Henri, Prince of Orange, by this artist. This was formerly in .the Lormier collection. The conformity that exists in these works and those of Daniel Mytens, and the epoch in which both hved, would warrant the sup- position that this artist was the father and master of Daniel, were it not that little dependence is to be placed on the accounts by the Dutch writers, who too often ascribe to one artist of the name what be- longs to another. Immerzeel felt the difficulty of giving an authentic and satisfactory account of the many painters of the name of Mytens, and has therefore placed them under one head.] MYTENS, Daniel, the elder. This artist was a native of the Hague, and, according to Lord Or- ford, was an admired painter in the reigns of King James and Charles I. The date of his arrival in England is not certain ; but it was probably in the latter part of the reign of James. Although he drew several of the court, he was not formally em- ployed as painter to the King, until the first year of the reign of King Charles. His patent was dated the 30th of May, 1625. He had studied the works of Rubens previous to his coming. His landscape, in the back-grounds of his portraits, is evidently in the style of that school ; and some of his works have been taken for those of Vandyck. At Hamp- ton Court are several whole-lengths of the princes and princesses of the House of Brunswick Lunen- burg, and the portrait of Charles Howard,'Earl of Nottingham. At Kensington is a Head of himself; and at St. James's is a fine picture by Mytens, of Hudson, the dwarf, holding a dog with a string, in a landscape, warmly coloured and painted freely, like Rubens or Snyders. Mytens remained in gi'eat reputation till the arrival of Vandyck, who being appointed the King's principal painter, the fonner, in disgust, asked his Majesty's leave to retire to his own country ; but the King, learning the cause of his dissatisfaction, treated him with much kindness, and told him that he could find sufficient employ- ment both for him and Vandyck. Mytens consented to stay, and even grew intimate with his rival ; for tile head of Mytens is one of those painted among the professors by that great master. Whether the same jealousy operated again, or real decline of busi- iiess influenced him, or any other cause, Mytens did not stay much longer in England. We find none of his works here after the year 1630; yet he lived many years afterwards. Houbraken quotes a regis- ter at the Hague, dated in 1656, at which time Mytens painted part of the ceiling of the town-hall there. [In the notices of Van Dyck and his con- temporaries, by Mr. W. H. Carpenter, there is a let- ter from Daniel Mytens addressed to Sir Dudley Carleton, dated the 18th of August, 1618 ; it relates to the portraits of Lord Arundel and his Lady, and hints at his endeavour to find occasion "to draw the Princes highnes picture." As it is written in good English, the probability is that he had lived pre- viously in England for some time. The original letter is in the State Paper Office.] MYTENS, Daniel, the younger, was the son of the preceding artist, born at the Hague in 1636. After being instructed for some time by his father, he travelled to Rome, where he studied in company with his countrymen Doudyns and Vander Schuur. The works of Carlo Maratti were particularly the objects of his admiration ; and he formed an ac- quaintance with that master, whose advice and instruction contributed in no small degree to his ad- vancement. Having inherited a considerable proper- ty from his father, he was riot very assiduous in his application, but divided his time between his amuse- ment and his studies. His abilities were, however, respectable, and he distinguished himself at Rome, both as a painter of history and portraits. In 1664 he returned to the Hague, where he continued to exercise his profession with reputation, and was re- ceived into the Academy there, of which he after- wards was appointed director. His principal work at the Hague is the ceiling in the hall of the paint- ers, which is ingeniously composed, and designed in the style of Maratti. Towards the latter part of his life he sunk into a state of dissipation and intem- perance, which degraded his talents and injured his health. He died in 1688. [MYTENS, Jan. See Meyssens, John.] MYTENS, Martin, a Swedish artist, bom at Stockholm in 1605. He is said to have distin- guished himself as a portrait painter at the difierent courts of Europe, and to have died at Vienna in 1755. [This painter seems to have visited every city of note in Europe, for the purpose of studying his art, and finally settled at Vienna as court painter. One picture by him is mentioned as a capital performance ; it is taken from the history of Esther and Ahasuerus. As his portraits are chiefly of crowned heads, they are probably confined to the places where they were painted.] N NACHTGLAS, This artist was an indifierent engraver of portraits, which are executed with the graver, in a stifij tasteless style. They are probably from his own designs, as he usually adds the word fecit to his name. NADAT, a German engraver, who flourished about the year 1530. We have by him a consider- 507 nage] A DICTIONARY OP [rjAiw able number of prints, marked with a mouse-trap, and his name N A DAT. Some authors doubt this being his name, from the apparent division between the two first letters and the three last. The prints thus marked are executed entirely with the graver, and consist chiefly of small prints, representing pro- cessions, and armies on their march. From the re- semblance of the style of this engraver to that after- wards adopted by Theodore de Bry, it is probable that the latter was his pupil. Among others are the following prints by him : The Virgin and Child, with St. Elisaheth ; in an arch to the right is the Angel appearing to St. Joseph, and to the left an Angel appearing to St. Joachim. An Army on the march ; dated, 1530. An Army exercising. [A Monstrous Infant, or two Infants joined back to back, inscribed Duo Gemini, &c. ; H. Hn.f "W. 6i ; not men- tioned by Bartsch, It is feared that Bryan committed himself by the expression, " We have by him a considerable num- ber of prints, marked with a mouse-trap, and his name NA DAT:" if so, where are they to be found? Bartsch was acquainted with two only. The Virgin and St. Anne, and The two Armies, which he has described. A third, A monstrous Infant, inserted above, has been discovered since by Messrs. Smith, brothers, of Lisle Street, London ; and these three constitute all at present known. With regard to the name of the artist, there are va- rious opinions. He was formerly designated " The Master of the Rat-trap," because that figure, accom- panied by the two syllables Na Dat, appears on the two known prints. Zani calls him Natalia Datt ; but others suppose that Na dat emd the rat-trap to- gether form a rebus, of which it is difficult to dis- cover the sense. Bartsch states that in the impe- rial library at Vienna there is a first proof of Tlie two Armies, on which is written with a pen, in a very ancient hand, Rota de Ravena. 1512. These words, no doubt, designate the name of the en- graver, or that of the designer after whom the piece was executed. The rat; Rato, he says, appears to have allusion to it. What is very remarkable, the year 1512, written by the same ancient hand, proves that this print is more ancient than that by Agos- tino Veneziano. It is true that a second proof bears the date 1530, but that date was added after the plate Was much used, as may be supposed by the bad im- pressions on which it appears. The letters T N, which are on a stone in the same print, require ex- planation, but at present their .signification is un- known. It is somewhat surprising that the accurate Bartsch should endeavour to solve the enigma by substituting Rato for Rota, a word that he did not find written.] NAGEL, Petek, a Flemish engraver, who flour- ished at Antwerp about the year 1580. He is said to have been a disciple of Philip Galle, whose style he imitated, but without much success. His plates are coarsely executed, and his drawing is generally incorrect. He engraved several sacred subjects after Martin Hemskerk, and other Flemish painters. He sometimes signed his prints with his name at length, but more frequently marked them with a cipher composed of a P. and an N. joined thus, 5^. FE., or with the initials P. N., fee. or P. Na. fee. Among other prints by him we have. The Seven Works of Mercy ; after M. Hemsherh. NAGTEGEL, Arnold. The name of this artist is affixed to a very indifferent print in mezzotinto, representing the portrait of Isnach Aboab Rabin. 508 It is apparently from a design of his own, as he adds to his name the word's delin. et fecit. [NAIGEON, Jean, a French historical and por- trait painter, was born at Baune (Cote d'Or) in 1757, and was a scholar of the Academy at Dijon, and,of David. His priticipal pictures are, The In- fant Pyrrhus presented at the Court of Closiasj Eneas going to Battle; NumaPompilius consulting the nymph Egeria ; two bas-reliefs in the gallery of the Luxembourg, being allegories (en grisaille) of the glory of Rubens and Le Sueur ; the design for the grand Vignette engraved by Rdger for the bre- vets and acts of the government of the French re- public. He also painted theatrical decorations, and portraits of distinguished persons of the day. He was conservator of the Museum of the Luxembourg, and a member of the Legion of Honour. He was living in 1831.] NAIN, Le, . This artist was a native of France, and flourished about the year 1650. He excelled in painting domestic subjects and assem- blages of peasantry, which are ingeniously grouped, and painted in a sweet and simple tone of colounng, which is extremely interesting. There is an ap- pearance of truth and nature in the' expression of his heads, which is admirable, and in a manner pe- culiar to himself. [NAIN, Louis, Antoine, and Matthieu le, three brothers, supposed to be natives of Laon, in France, and born respectively in the years 1583, 1585, and 1593 ; and that the two i^rst died about the year 1648, and Matthieu at a much later period, but the date is uncertain. It is probable that the very interesting and pleasing subjects known as the works of Le Nain, were painted by Louis and Aw- toine conjointly. T?hey consist of familiar objects and incidents, such as interiors of inns, rustic habit- ations, domestic enjoyments, card-players, and vil- lage pastimes. Their pictures have characteristic peculiarities that distinguish them from those of all other masters. They are unequalled for natural ex- pression and an air of truth. The subjects are generally simple, and the story is manifest ; it re- quires no explanation. Their young persons are specimens of unsophisticated nature. Their man- ner of painting is broad ; their colouring clear and sober, at the same time rich and juicy ; it partakes more of the Dutch than of the French school, and there is an occasional approach to the Spanish. The pictures by them, which are best known, are of the cabinet size. There was one of unusual large dimensions in Watson Taylor's collection, and is probably still in England ; it represented the inte- rior of an inn, with a party of travellers, an itin- erant performer on the hurdy-gurdy, and several other figures. Specimens are to be found in some of the richest cabinets in England, Prance, and Germany. Matthieu, it is conjectured, was more occupied in painting portraits and historical sub- jects for churches ; whether he was assisted in the latter by his brothers, has not yet been ascertained. Antoine is supposed to have been the most eminent, and Louis the next in degree ; but how are their performances to be distinguished ? It is surprising that so little should be recorded of artists whose works must have been popular at all times, as speak- ing directly to the apprehension of all. Some of their pictures have been engraved by Lebas, DauUe, Strange, Earlom, and others,] NAIWINCK, or NAIWYNCX, Henry, a Dutch painter and engraver, born at Utrecht about the year 1620. He painted landscapes in the style nald] PAINTERS AND ENGRAVERS. [nant of Anthony Waterloo, which are little known out of his own country, but he has distinguished himself as an engraver by some admirable etchings, which are deservedly esteemed by the intelligent collector. They are executed in a free and original style, and produce a picturesque and charming- effect. They consist of two sets of landscapes, eight in each, one of upright plates, and the other length-ways. They are both numbered 1 to 8. The plate No. 1 in each set is inscribed, H. Naiunnck,fe. et inv. [Balkema, who writes the name Naeuwincx, says he was born at Schoonhpven, and that he painted woody and mountainous landscapes, views of villages, and for- tifications ; • and that the figures and animals in his pictures are by Jan Asselyn. Bartsch, who has de- scribed the two sets of landscapes above men- tioned, says it is uncertain what was his baptismal name, as some call him Henry, and others Herman, merely at a venture, from finding the letter H preceding his family name.] NALDINI, Batista. This painter was born at Florence in 1537, and was first a scholar of Jacopo Carrucci, called II Pontormo, but afterwards studied under Angioli Bronzino. According to Baglione he visited Rome in the pontificate of Gregory XIII., where he painted several altar-pieces for the churches, of which the following are particularly noticed by that writer. In la Trinita de Monti, is a picture by him of the Baptism of Christ, and several subjects in fresco, of the life of St. John ; and in the church of S. Giovanni Decollate, the Martyrdom of St. John the Evangelist. On his return to Florence he was engaged by Giorgio Vasari, as his coadjutor, in the works in lyhich ne was employed in the Palazzo Vecchio, where he was occupied fourteen years. He is commended by Vasari as a bold and ready de- signer, and as possessing uncommon facility of hand. His pictures of the Purification and Deposition from the Cross, in S. Maria Novella, at Florence, are ex- tolled by Borghini for their composition and design, as well as the beauty of his colouring, and the ele- gance of his attitudes. He was living in 1590. [Zani supposes that he died about 1600.] NANNI, Giovanni da Udine. See Udine. NANNI, GiROLAMO. This painter was a native of Rome, and flourished about the year 1642, during the pontificate of Sixtus V., by whom he was em- ployed in several considerable works. He was ge- nerally known by the name oipoco e buono, from the following circumstance. Being of a very studious disposition, and rather slow in his operation, he was reproached for his tardiness by Giovanni da Modena, a contemporary artist, when he replied, facciopoco e huono ; and he bore that name ever afterwards. His works are to be seen in several of the public edifices at Rome. In the church of the Madonna dell Anima is a picture by this master, representing the Annunciation; and in S. Bartolomeo dell' Isola, two subjects from the hfe of S. Bonaventura. NANTEUIL, Robert, a celebrated French en- graver, and painter in crayons, born at R helms in 1630. He was the son of a merchant, who gave him a classical education, but a decided inclination for the art of design induced him to adopt it as a pro- fession. He was instructed in engraving by his brother-in-law, Nicholas Regnesson, and became one of the most distinguished artists of his countiy. He acquired considerable reputation as a painter of por- traits in crayons, and his talent in that branch recom- mended him to the protection of Louis XIV., whose portrait he painted, and was appointed designer and engraver of the cabinet, with a pension. In his first works, as an engraver, he appears to have imitated the style of Claude Mellan, in single strokes only, without being crossed ; but he afterwards adopted one infinitely superior.which in clearness and beauty of efiect has never been surpassed. His portraits will ever hold a rank among the most admired pro- ductions of the art ; and their extraordinary merit will authorize our giving an ample list of them. Nanteuil died at Paris in 1678, at the age of 48, and it appears extraordinary, that in so short a life he could accomplish so many plates in so finished a style. Mariette possessed two hundred and eighty prints by this artist. The follovdng are his most esteemed plates : PORTRAITS. Anne of Austria, Queen of France ; after Mignwrd. Several Portraits of Louis XIV. ; from his own designs, Mignard, and others. Louis, Dauphin ; son of Louis XIV. 1677. Louis Bourbon, Prince de Cond6 ; after his own designs, 1662. Henry Julius de Bourbon, Duke d'Enghien ; after Mig- nard. 1661. Christina, Queen of Sweden ; after S. Bourdon. 1654. Lousia Maria, Queen of Poland ; after Juste. 1653. Charles Emanuel, Duke of Savoy. 1668. Charles, Duke of Lorrain. 1660. John Frederick, Duke of Brunswick Lunebourg. 1674. Charles II., Duke of Mantua. 1652. 'William Egon, Prince of Furstenberg, Cardinal. 1671. N. Duke of Albret, 1649 ; scarce. Louis Dony d'Attichy, Bishop of Autun. 1663. Antonio Barberini, Cardinal, and Archbishop of Bheims. 1663. Pomponne de BeUievre, President of the Parliament ; fine. Peter de Bonsy, Archbishop of Narbonne. 1678. J. B. Bossnet, Bishop of Meaux. 1674. Louis de Boucherat, Chancellor of France. 1676. Emanuel Theodore, Duke de Bouillon, Cardinal. 1670. Leon le Bouthellier, Minister of State ; after Champagne. 1662. John Chapelin, the Poet. 1656. Charles d'AUly, Duke de Chaulnes. 1676. Francis de Clermont, Bishop of Noyon. 1655. Peter du Cambut, Bishop of Orleans, afterwards Cardinal. 1666. James Nicholas Colbert, Archbishop of Kouen. 1670. John Baptist Colbert, Minister of State. 1676 ; after Champagne. Francis de Bonne, Duke de Crequy. 1662. Ferdinand de Foix de la Valette, Duke d'Espernon. 1650. CaBsar d'Etr^e, Bishop of Loudon, afterwards Cardinal. 1660. Francis de Harley de Chanvallon, Archbishop of Paris. 1675. Louis Hesselin, Counsellor of State; engi*aved in the style of C. Mellan. "William de Lamoignon, President of the Parliament. 1659. Dominick de Ligny, Bishop of Meanx. 1654. Ben6 de Longueil, Minister of State and President of Parliament. Henry d'Orleans, Duke of Longueville ; after Cham- pagne. John Loret de Carenton. 1658 ; scarce. Francis Mallier, Bishop of Troves ; after Velut. Leonor de Matignon, Bishop of Lissieux. Julius Mazarin, Cardinal. 1655. Edward Mole, President of the Parliament. Charles de la Porte, Duke de la Melleraye. 1662. John Francis Paul de Gondy, Cardinal de Retz. 1650. Armand John du Plessis, Cardinal de Richelieu ; after Champagne. Henry de Savoye d'Aumale, Archbishop of Rheims. 1651. Peter Scguier, Chancellor of France ; after Le Brun. 1656. John Baptist Steenbergen, called the Adiioeate of Hol- land; one of his finest portraits. 1668. Charles Maurice le TelUer, Archbishop of Rheims. 1663. Michael le Tellier, Chancellor of France. ■ 1662. 509 NAPO] A DICTIONARY OF [nata Henry dc la Tour d'Auvergne, Viscount Turenne. 1665 ; fine, [For a critical account, and a full catalogue raisonne of the works of Robert Nanteuil, see Le Peintre Graveur Fran^ais, par Dumesnil, torn, iv.] NAPOLITANO. See Angelo. NAPPI, Francesco. According to Baglione, this painter was a native of Milan, and visited Rome, with some proficiency in the art, during the pontificate of Urban VIII. He was employed for some of the public edifices at Rome ; but his works do not rank above mediocrity. His best produc- tions are, his pictures of the Resurrection, and the Assumption of the Virgin, in the cloister della Mi- nerva ; and the Annunciation, in the Monasterio dell' Umilta. [He was born in 15^3, and died in 1638.] NARDI, Angelo. This painter was an Italian ; but, according to Palomino, passed the gi'eater part of his life in Spain, where he was painter to Philip IV. He is said by that author to have been a scholar of Paolo Veronese, whose style he imitated in all his works. Of his pictures in the churches of Madrid, the most esteemed are the Nativity and the Conception, in the church of the Franciscans ; the Archangel St. Michael, and the Guardian An- gel, in the church of the Barefooted Carmelites ; and the Annunciation, in the Society of San Justo. He died at Madrid in 1660. NASELLI, Francesco, was born at Ferrara, and flourished about the year 1610. When young, he studied the works of Caracci and Guercino, which he copied with surprising success, but after- wards devoted himself to the manner of his country- man Giuseppe Mazzuoli, called Bastaruolo. He became an eminent painter of history, and was em- ployed for several of the churches in Ferrara. In the cathedral is an altar-piece by him, representing the Nativity ; in the church of S. Maria de Servi, a large picture of the Last Supper; and in the church of S. Francesca, the Assumption of the Virgin. He died at Ferrara in 1630. NASINI, Cavaliere Giuseppe [Nicolo.] This painter was born at Siena, in 1664. His father, Francesco Nasini, an artist little known, instructed him in the first rudiments of the art ; but he after- wards became one of the ablest disciples of Ciro Perri. He possessed a fertile imagination, and a resolute and commanding execution, which particu- la. 15. The Sacrifice, in which there are eight figures. The letters B. P. on the left at bottom. A Charity, mentioned by Gori. The Marriage of Isaac and Rebecca ; eifter Pertigino ; mentioned by Rost. A Holy Family, doubtful. St. Peter deliTered from Prison by an Angel, St. Peter is seated, and the Angel, Avithout wings, has placed the left hand on Peter's shoulder, and directs the way with the right. At the bottom in the corner are the letters B.P. Zani mentions this print in vol. ix. parte seconda, of his Enciclopedia. He also says that he is called il maestro al Passero, (the master of the Sparrow,) from having used a sparrow between the letters B. P. as his rebus or mark ; but it does not appear on any in the foregoing list, nor has it been dis- covered by Brulliot. Such a mark would be equally applicable to Bernardino Passero, if not more so ; but Bartsch does not mention it.] PASSEROTTI, TiBURZio, was the eldest son and the disciple of the preceding artist, bom at Bo- logna in 1575. He painted history and portraits, in the style of his father. Of his works in the public edifices at Bologna, the following are the most de- serving of notice. In the church of S. Maria Mas- carella, a picture of the Assumption ; in S. Cecilia, St. Francis and St. Jerome kneeling before the Vir- g'n; in S. Cristina, the Annunciation; and in S. iacomo Maggiore, the Martjn-dom of St. Cathe- rine, his most celebrated performance. He died at Bologna, in the prime of life, ia 1612. [Zani de- signates him an amatmir painter.^ [PASSEROTTI, Ventura, the fourth son of Bartolomeo, was bom at Bologna about 1586. He was instructed by his father, and assisted by his brother Tiburzio. He, however, chiefly delighted in making drawings with the pen of imaginary sub- jects, wherein he aspired to express the proportions of the naked figure, and the muscular actions in the grandiose style of Michael Angelo. His practice as a professed painter was confined to portraiture, in which it is said that he was equal to any of his contemporaries. There is no account of any public work by him. He died in 1630.] PASSIGNANO, Cavaliere Domenico Cresti, called. This painter was born at Passignano, near Florence, in 1558. He was first a scholar of Ba- tista Naldini, but afterwards studied under Federigo Zuccaro, to whose style his manner is more con- formable. He resided some time at Venice, and was so fascinated with the works of the great mas- ters of that school, that, according to Boschini, he used to observe, that whoever had not seen Venice, could not hope to become a painter. Though neither select in his forms, nor correct in his design, he is ingenious and abundant in his compositions, and in the splendour of his habiliments, and the richness of his architecture resembles more the style of Paolo Veronese, than any other of the Florentine painters. He sometimes reminds us of Tintoretto, in the strained attitudes of his figures, and, like that master, painted many of his pictures with so thin and oily a substance in colouring, that several of both their works have already perisned. Such has been the fate of his picture of the Cru- cifixion of St. Peter, and the Presentation in the. Temple, painted for the Basilica of St. Peter, in the pontificates of Paul V. and Urban VIII. There are, nowever, some of his pictures remaining, which are painted with an excellent impasto of colour. Of these may be mentioned a dead Christ, in the Ca- pella di Mondragone at Frascati ; a Descent from the Cross, in the Palazzo Borghese, at Rome ; and Christ bearing his Cross, in the CoUegio S. Giova- ninno at Florence. He died in 1638. [He was one of the most influential of those painters who con- tributed towards the reform of the Florentine school by improving the taste for colour, and ren- dering the mannered anatomical school less popu- lar. He was the friend and associate of Cigoli, and is said to have been the master of Ludovicp Caracci while in Florence.] PASTI, Matteo, an old Italian engraver, who flourished about the year 1470. He executed a set of prints for a folio volume, entitled De Re MUitare, by R. Valturius, published at Verona in 1472. [He was a native of Verona, and flourished from 1446. He was a painter, sculptor in bronze and marble, medallist, and gem engraver. Neither the year of his birth nor his death is correctly ascertained.] PASTILL, J. DE, a French engraver, who ap- pears to have been chiefly employed in copying the prints of other artists, which he did in a veiy indif- ferent manner. Among other plates of that descrip- tion, we have the Murder of the Innocents, after the engraving by Louis Audran; from Le Brun. PASTORINI, B., a modern Italian engraver, who resided in London about the year 1770. He engraved some plates in imitation of the style of Bartolozzi, assisted by his instruction. We have, among others, the following by him : L' Allegro ; Angel. Kaufman, pinx. B. Pastorini, fee. II Penseroso ; the companion. A View of London ; from his own design. Guntherus and Griselda ; J. F. Sigaud, pinx. B. Pasto- rini, fee. Giiselda returning to her Father ; the companion. PATAROL, Lawrence. This artist engraved some book plates, and among them a frontispiece for a book of coins, published at Venice in 1702. PATAS, John Baptist, a French designer and engraver, born at Paris in 1744. He has engraved several small plates after various French painters, and from his own designs; among which are the following : The Judgment of Paris ; after Queverdo. The dangerous Model ; ajier the same. Henry IV. permitting Provisions to enter Paris whilst he was besieging it ; after Careme. An allegorical subject on the Accession of Louis XVI. to the throne of France ; from his own design. [He was born in 1748, and died in 1817, according 551 pata] A DICTIONARY OP [PATO to Nagler. He engraved several of the plates for the Galleries de Florence and Orleans, Musee Fran- 9ais, Cabinet PouUain, and other works of import- ance. Nagler has given a hst of his principal plates.] PATAVINUS. SeeAviBus. PATCH, Thomas, an English engraver, who flourished a,bout the year 1770. He engraved a set of twenty-six plates, from the pictui'es of Masaccio ; dated in that year. [He engraved also after Oiotto, Frd Bartolmneo, and other old Italian masters. He spent much of his time in Italy, and probably died there after 1772.] PATEL, a French landscape painter, who flour- ished about the year 1680. It is not known by whom he was instructed in the art, but he appears to have visited Rome, from the subject of his pic- tures, which generally represent views in the vicinity of that city. He had evidently adopted the fine style of Claude Lorraine, and in some of his works has not been unsuccessful in his imitation. The scenery of his pictures is grand and striking, and his distances retire with a pleasing degradation. His landscapes are usually embellished with the ruins of ancient architecture, and decorated with figures correctly drawn, and touched with spirit. His skies are clear and brilliant, and his verdure is fresh and agreeable, though occasionally too green and monotonous. Though unequal to his admirable model in the purity of his aerial tints, and the grandeur of his compositions, the works of Patel possess sufficient merit to entitle him to an eminent rank among the landscape painters of his country. [Patel, the elder, was born, according to Einigen, in 1648, and, according to Andern, in 1654. He was killed in a duel in 1703, says Dumesnil, in 1705, says Nagler. He is sometimes called Peter, sometimes Paul; but Dumesnil asserts that he signed the greater part of his pictures with his name followed by the year, and preceded by a monogram com- posed of the letters APT. and he marked the two prints etched by him AP. PATEL, in. et fecit. It is strange, therefore, that his real name is not known. Felibien calls him Patel only. His pic- tures are not uncommon in England; the editor has examined many, but none with the name and date. The two prints described by Dumesnil are a Landscape with Architectural Ruins, and the View of a Forest, with Travellers. His son, who is called Bernard, imitated his manner of painting, but is very inferior to his father. Some of his pictures have been engraved by Daulle, Vivares, Benezech, and others.] PATENIER, Joachim. This painter was born at Dinant, in the principality of Liege, in 1480. He chiefly resided at Antwerp, where he acquired con- siderable reputation as a landscape painter, and was admitted a member of the Academy there in 1515. His pictures are usually of a small size, very highly finished, in a laboured style, into which he generally introduced a great number of small figures, designed with tolerable correctness, and neatly touched. He also painted huntings and battles, which, at that early period, were held in considerable estimation. [The date of the birth of Joachim Patenier is not accurately known ; several writers of credit place it in or about 1490. He was one of the first of the Flemish painters who painted landscapes independ- ent of history. Many of them exist, and justify the commendations of Van Mander, considering them as the earliest productions of that class, of his coun- try. In most of them will be found a small clownish 552 figure, naturally employed, but indecently exhibit- ed. Some historical pictures are attributed to him ; but they should be received with caution. Those that are, perhaps, least Uable to doubt are in the gallery at V ienna ; one in the possession of Melchior Wijntges at Middelbourg, representing a battle, so delicately wrought that no miniature can surpass it in the finishing; and one that was in the late Wil- ham Beckford's possession, the OflTering of the Wise Men, which Waagen pronounces to be one of the best pictures of this master for colouring and exe- cution. He was a man of very low, dissolute habits ; yet he was the painter which the elegant-minded and sensitive Albert Durer found to be the most agreeable of all the Flemish artists, and with whom he formed the closest intimacy ; Albert painted his portrait. It is said that Patenier died in 1548, but of this there is no certainty.] PATER, John Baptist, a French painter, born at Valenciennes in 1695. He went early in his hfe to Paris, where he became a scholar of Anthony Watteau ; and under the tuition of that master, dis- tinguished himself as an excellent colourist, though a negligent and incorrect designer. He painted similar subjects to those of Watteau, representing balls, gallant assemblies, and pastorals ; but he is very inferior to him in the spirited touch of his pencil, and in the expression of his heads. He died in 1736. PATIGNY, Giovanni, an Italian engraver, who flourished about the year 1650. He executed a few plates, in which he appears to have imitated the style of'Agostino Caracci, but with little success. Among others, is a print of the Virgin and infant Christ, with St. John; after Annibale Caracci. The drawing is not very correct, and the effect feeble and heavy. [He was a Frenchman, and flourished from 1650 to about 1670.] [PATIN, Jacques. This artist, who was painter in ordinary to Henry III. of France, and to his Queen, Louise de Lorraine, had been entirely forgot- ten till Robert Dumesnil rescued him from the gulf of oblivion. He was employed by the queen to Eaint the decorations necessary for a masque, or allet, given by her on the marriage of her sister Marguerite de Vaudemont with the Duke de Joyeuse, in 1581 ; and he acquitted himself as happily as any other painter of the kingdom could have done. The circumstances atef 'related by Baltazarini, called Seaujoyeux, valet de chambre to the king and the queen mother, in a book describing the ballet, pub- lished conjointly with Patin,in 1582. This book is illustrated with tweilty-seven etchings by Patin, ex- ecuted with the point in a spirited manner. Du- mesnil has described them in the seventh vol. of " Le Peintre Graveur Frangais." They consist of ingenious devices, the greater part with appropriate mottoes. To obtain the whole of these it is neces- sary to possess the book, which is very rare, and also very precious, as being the record of a right royal and splendid entertainment, to which ten thousand spectators were admitted. It also contains the notes of the airs performed on the occasion, composed by Baltazarini, and by Beaulieu and Salmon, two cele- brated musical composers of the time.] PATON, Richard, an eminent English painter of marines and combats by sea, who flourished about the year 1758. Several of his sea-fights have been engraved by Canot, and other celebrated art- ists ; and we have a few etchings by himself, exe- cuted with taste and spirit. Among others, are the following : PATO] PAINTERS AND ENGRAVERS. [PAUT The Victory gained by the English over the French, 21 September, 1767. The Engagement of the Monmouth with the Foudroyant, in which the French ship was taken, 28 February, 1758. The Engagement between the Buckingham and the Flo- rissant, supported by two Frigates, 3rd Nov. 1758. [He was born in 1720, and died about 1795. His works were very popular, as he painted most of the great sea-fights that occurred during his time. Many of them have been engraved by WooUett, Fittler, Lerpeniere, and Canot.] PATOUR, John Augustine, a French engraver, bom at Paris about the year 1 760. He was a pupil of Halle and FUpart, and has engraved several plates in a neat style, among which are the following : The little Lyar ; after Albert Durer. Le doux Sommeil ; after Halle. Le doux Bepos ; after the same. FHercules and Omphale ; after the same.^ Two Views of La Rochelle ; after LaUemand. [He was bom about 1730; and flourished from about 1766 to 1784.] PATTE, [Pierre,] a French architect, who is stated by Basan to have engraved several plates of architectural ornaments. [He was bom at Paris in 1723, and flourished about 1750 to 1780. He wrote several works on architecture, and engraved some of the plates for Blondel's "Architecture Fran- caise ; " also Perspective Views, after Piranesi ; and the Temple of Venus, after Claude. It is said that he was living as late as 1812.] PAUDITS, [Christopher.] This artist was a native of Lower Saxony, about the year 1618. After receiving some instruction in design from an obscure German painter, he visited Amsterdam, where he entered the school of Rembrandt, of whom he be- came one of the ablest disciples. On his return to Germany he was taken into the protection of Albert Sigismund, Duke of Bavaria, in whose employment he remained several years, andfor whom he painted some of his finest works. He was also favoured with the patronage of the Bisliop of Ratisbon, and distinguished himself as a painter of history and portraits. His historical subjects are well com- posed, his colouring is both vigorous and harmoni- ous ; and his heads, especially those of old men, are marked with dignity and expression. He particu- larly excelled in portrait painting, in which he was much employed ; and his pictures of that descrip- tion are full of character and life. Sandrart reports, that his death was occasioned by the unfortunate issue of a contest he had engaged in with a con- temporary artist, who had challenged him to paint a picture in competition with him. Although the production of Plaudits was greatly superior to that of his rival, the ignorance of the judges giving the preference to the work of his antagonist, their deci- sion aflected him so sensibly, that he did not long survive it. [It is supposed that he died in 1666; one of his pictures, marked C. P., is dated 1665. His works are to be found at Munich, Vienna, and other principal cities of Germany.] PAVIA, GiACOMO. This painter was born at Bologna in 1655, and was a scholar of Antonio Cres- pi. He painted history with some reputation, and was employed in several works for the churches in his native city ; of .which the most esteemed are his picture of St. Anne teaching the Virgin to read, in S. Silvestro ; and the Nativity, in S. Giuseppe. Lanzi states that he visited Sjpain, where he distin- guished himself. He died m 1740. [Xianzi and Zani place his death in 1750. He may have painted with the Crespis, Giuseppe and Antonio, father and son ; but he was born ten years before the one, and twenty-six years before the other ; it is not likely, therefore, that he was pupil to Antonio Crespi. Zani says he was born in 1699 ; this, if correct, would make it probable. In the Felsina Pittriee it is said that he was instructed by Gio. Oioseffo dal Sole ; this is more in accordance with the first date ; still there is this difficulty : G. G. dal Sole was his junior by four years, and was instructed by his father, Antonio dal Sole ; perhaps he and Pavia were fellow pupils.] PAUL, or DE PAULIS, Andrew, a Flemish engraver, who flourished about the year 1640. He engraved several plates, among which are the fol- lowing : Peter denying Christ ; after Gerard Severs. Titian and his Mistress ; after the etching by Vandyck. The Tooth-drawer ; after Theodore Roetants. [Nagler says he was born in Holland in 1598, and gives a list of his works.] PAUL, I. S., an English mezzotinto engraver, who flourished about the year 1760, and by whom we have a few portraits, among them that of Mrs. Barry, the actress, after Kettle ; [Lady Georgiana Spenser and her daughter, aftier Reynolds ; and several others.] PAUL, Robert. This artist was probably a na- tive of Scotland. He resided at Glasgow about the year 1762, when he engraved some views of that city. They are neatly executed, and bear the above date. PAULINI, [orPAOLINI,] Giacomo, an Italian engraver, who apparently resided at Venice. We have a few prints by him, among which are the fol-- lowing : St. Peter ; probably from his own design, as he has added the •vroTcifidt to his name. A View of the Ponte di Kialto, at Venice ; [and an al- phabet.] [He was a native of Naples, and flourished about 1600.] PAULYN, HoRATius. This painter is introduced by M. Descamps among the artists' bom about the year 1643. He was a native of Amsterdam, but it is not said under whom he studied. He excelled in painting conversations and gallant subjects, in which he occasionally gave way to a culpable breach of decorum and decency. [According to Balkema, he died in 1686. Some of his pictures are in the manner of Rembrandt. He affected great piety, and exhibited outward signs of devotion, while he painted subjects so gross as caused avowed liber- tines to blush.] PAULYN, Isaac. This artist is called, by Lord Orford, Paling. He was bom at Amsterdam about the year 1630, and was a scholar of Abraham Vanden Tempel. He was an eminent portrait Eainter, and in that capacity visited England, where e resided many years. In 1682 he returned to Holland, and established himself at the Hague, where he met with great encouragement. PAUTRE, Jean le. This eminent artist was born at Paris in 1617. In the early part of his hfe he was placed with a carpenter and builder, under whom he learned to draw plans and ornamental de- signs, in which he discovered an inventive genius, and extraordinary facility. He afterwards turned his attention to engraving, both with the point and the graver, and has executed a prodigious number of plates, consisting of architectural decorations, friezes, ceilings, vases, and other ornaments, which, 553 PAVO] A DICTIONARY OF [PEAC except a few prints from the drawings of Paolo Farinati, are all after his own designs. He also engraved several historical and devout subjects; but they are inferior to his other plates. He was made a member of the Academy at Paris in 1677i and died there in 1682. The works of Le Pautre, as an engraver, are very numerous, and are so well known, that a detailed account of them will not be deemed necessary. They are usually marked with the initials I. P. or I. le P. The following are his most esteemed prints : PORTRAITS. John le Pautre, with a border of flowers, supported by Genii. 1674. Louis XIV. in a Boman attire. 1684. John Robert. VARIOUS SUBJECTS. A set of ten plates of the History of Moses. Twenty-two of Mythological SuWects. Twelve of Landscapes, views of Gardens and Grottos. Six plates of Italian Fountains. Six of Friezes, Mythological Subjects. Twelve of Antique Vases. Six plates of Sea-ports and Vessels. The Sacre of Louis XIV., in the cathedral at Rheims ; in three sheets. The Baptism of the Dauphin. Two perspective Views of the Canal of Fontainbleau. [So numerous are the prints of Jean le Pautre, that Mariette reckons them at fourteen or fifteen hundred. Mariette published in 1659, and following years, four small folio volumes, containing about 700 plates, consisting of almost every description of exterior and interior ornament for houses, pleasure grounds, chapels, mausoleums, altars, tombs, foun- tains, ceilings, chimneys, panels, doors, grottos, fa- cades, &c., a treasury from which much of the renaissance, as it is called, of the present time has been drawn.] [PAVON, Ignatius, a scholar of the celebrated •RaphcCeJ Morghen, who imitated the manner, and copied several of the fine engravings of his master. It is not said when he was born, nor when he died. The following are considered to be his principal works : Mater Amabilis ; after Sasso Ferrato. The Virgin and infant Christ, with St. John, in a land- scape ; after Raphael; but copied from the engraving by R. Morghen. La Madonna del Trono ; after Raphael. La Madonna di Foligno ; t^er the same. La Vierge au Papillon ; after the same. La Vierge a I'Oiseau ; after the same; copied after R. Morghen. The Transfiguration ; after the same ; copied after R. Morghen. The Communion of St. Jerome ; after Domenichino. St. John Writing ; after the same. The Magdalene ; after Schidone. Leda ; f^er Coreggio : and several others after Caracci, JH. Poussin, 4rc.] PAYNE, John, an English engraver, bom about the year 1606. He was a disciple of Simon de Pass, and is considered as the first artist of this country that distinguished himself by the graver. Had his application been equal to his genius, he would have ranked among the first of his profession ; but he was indolent and dissipated, and though recommended to King Charles I., ne neglected his fortune and his fame, and died in indigence before he was forty, in 1647 or 1648. He engraved portraits, frontispieces, and other book-plates, as well as a variety of other subjects, such as landscapes, flowers, fruit, birds, beasts, &c., but his portraits are the most esteemed of his prints. They are executed entirely with the graver, in a free, open style, and produce a very 554 pleasing effect. In, Mr. Evelyn's Scultwra, he is commended for his engraving of a ship, which Vertue informs us was the Royal Sovereign, built in 1637, by Phineas Pett. It was engraved on two plates, and when joined, was three feet long, by two feet two inches high. The following are his most esteemed portraits : Henry VII., prefixed to his Life by Lord Bacon. Henry VIII. Robert Devereux, Earl of Essex, with a hat and feather. Sir Benjamin Rudyar^ ; after Mytens. Doctor Alabaster ; after Co/rnelius Jansen ; scarce. Hugh Broughtou. Alderman Leate; afier C. Jansen; scarce. Roger Bolton. 1632. Arthur Lake, Bishop of Chichester. Sir Edward Coke. 1629. Algernon Percy, Earl of Northumberland. George Withers, the Poet, with a hat on, [for his Em- blems, published in 1635.] WiUiam Shakspeare. Ferdinand of Austria; qfier Vandyck. Count Ernest de Mansfeld. [Elizabeth, Countess of Huntingdon.] PAZZI, PiETRO Antonio, an Italian engraver, born at Florence about the year 1730. He en- graved several portraits of artists for the Museo Fiorentino, and various subjects from the pictures in the Florentine Gallery. Among others, we have the following by him : portraits. Francesco Albano, Bolognese Painter ; se ipse pinx. Federigo Baroccio, Painter; se ipse pinx. Giacomo Bassano, Painter. Giovanni Bizelli, Painter; from a picture by himself. Andrea Boscoli, Painter ; the same. SUBJECTS AFTER VARIOUS MASTERS. The Holy Family ; after L. Cambiasi. The Assumption of the Virgin ; after Raff'aelle. The Virgin and infant Christ ; after Vandyck, St. Zanobi resuscitating a dead Person ; after Betti. St. Philip refusing the Popedom ; after the same. A Sibyl ; after Crespi. [Pazzi was born much earlier than 1730. Zani and Nagler say in 1706, which is probably correct; for we find his works in the Museo CapitoUno, pub- lished in 1741 ; and in Gori's Museo JEtrusco, printed in 1737. The prints above noted are but a, small portion of what he engraved. Nagler gives a good account of them. He was Uving in 1766.] PEACHAM, Henry. In the Anecdotes, this gentleman is said to have engraved a portrait of Sir Thomas Cromwell, afterwards Earl of Essex, [after Holbein.] He was the author of a book called TAe Complete Gentleman, [pubUshed in 1633. He was bom at South Mimms in Hertfordshire, and took the degree of M. A. at Trinity College, Cam- bridge. He was an amateur, not a professed artist, and was skilled in music as well as painting and engraving. In his book entitled The Complete Gen- tleman, and another entitled The Gentleman's Exer- cise, he lays down rules for drawing and painting in oil ; for making of colours, blazoning coats of arms, &c. He died about 1650.] PEACKB, Edward, an English engraver, who flourished about the year 1640. In conjunction with Robert Peacke, who was probably his brother, he executed some plates of friezes, and other archi- tectural ornaments, published in 1640. PEACKE, William. Strutt mentions this artist as the engraver of two portraits of the Earl of Hol- land and the Earl of Warwick. As the prints he alludes to are marked Peacke, exc, it is probable that he was rather the publisher than the engraver of them. peak] PAINTERS AND ENGBAVERS. [PELE PEAK, James, a modern English engraver, who flourished from about the year 1760 till 1777. We have several plates of landscapes by this artist, some of which were engraved for Mr. Boydell ; and he also etched a few plates from his own designs. Among others, the foUowing are by him : A View of Waltham Abbey, in Essex. Two Landscapes ; after Pillement. Two Views of Warwick Hall, in Cumberland, and Ferry Bridge, in Yorkshire ; after Sellers. A Lajadscape, with Mercury and Battus ; after Claude. Morning, a Landscape ; after the same. A Landscape, with Ruins ; a^er G. Smith. A Landscape, with a Waterfall ; the companion ; after the same. Four Views ; c^ier R. Wilson. Banditti in a rocky Landscape ; after Borgognone. The Beggars ; the companion ; after the same. [He was born in 1732, and died in 1782.] [PEATISON, Margaret, daughter of Samuel Paterson, the book auctioneer, distmguished herself by her skill in painting on glass. She was the wife of Mr. Pearson, who also excelled in the same depart- ment. She painted two sets of the Cartoons, after IRaphael, one of which was purchased by the Mar- quis of Lansdowne, and the other by Sir Gregory Page Turner. There is also another set, but whether by the husband or wife, or by both, is not certain. She died in 1823. Her husband died in 1805. His works were various, but mostly copied from pictures by other masters.] [PECHWELL, Carl von, a German engraver, who flourished at Vienna in the latter half of the 18th century. He engraved the portrait of the em- peror, Joseph II., after P. Batoni, and of several German princes and nobility; also the following subjects are particularly noticed as by him; La vieille Amoureuse ; after J. Toomvliet. The Judgment of Paris ; after A. Vander Werff^ with a dedication to the Graces of Europe. Venus uncovered by a Satyr. The Magdalene in a grotto ; after P. Batoni' s picture at Dresden. The angry Mother and her Daughter; after P. delta Vecchia.} PEDRETTI, Giuseppe. This painter was born at Bologna in 1694, and was a scholar of Marc An- tonio Pranceschini. He resided some time in Po- land ; and on his return to Bologna painted a great number of pictures and altar-pieces for the churches and public edifices, of which the most esteemed are the Martyrdom of St. Peter, in St. Petronio ; Christ bearing his Cross, in S. Giuseppe ; and S. Mar- garita, in the Anunziata. He died in 1778. [PEE, Emanuel, Jean, Theodore van, three Dutch painters of little or no account but as copy- ists and picture dealers. Emanuel painted familiar subjects, and copied the works of other masters with considerable success ; Jean, his son, was born in 1640, and copied for the dealers the works of Itahan painters; Theodwe was the son of Jvuslus van Pee, and painted ceilings, portraits, and various subjects, but with so little profit that he changed his avocation and came to England as a picture dealer. Here, of course, he reahzed a pretty little fortune, with which he returned to his own country, and died at the Hague in 1747. There was also an Engelhart van Pee, a portrait painter, who flourished at the commencement of the 17th century. He was a native of Brussels, but exercised his talent chiefly in Germany, and was patronized by the court at Munich, where he died about 1605.] PEHAM, George. By this artist, who was pro- bably a German, and flourished about the year 1594, we have a few bold etchings, executed in the style of a painter. He sometimes signed them with his name at length, and sometimes -wdth the initials G. P. Among others are the following : Neptune rising from the Sea ; with his name. Hercules and Anteus; with the initials. [Zani says he operated from 1545; and Nagler gives the date of 1604 on one of his prints. He quotes but nine, and the dates are 1592 to 1604 in- clusive. He was of Munich, and sometimes signed his prints Georges Peham Monaehi.'] PEINS.G. SeePENZ. PEIROLERI, Pietro, an Italian engraver, who was a native of Turin, and flourished about the year 1760. Among othetprints we have Bacchus seated on a Tun ; after Rubens. [Zani quotes his birth in 1741, and says he operated in 1777. Nagler says he was born in 1738, and gives a list of 20 prints by him. Neither of them mentions the time of his death. The principal prints appear to be. Portrait of the Fomarina ; after Raphael. Portrait of Raphael ; after me same. Philip de Champagne ; copied from Edelinck. The Holy Family ; after Scarsellino. The finding of Moses ; after Lazzarini. The Roman Charity ; after the same. Abraham's Offering ; after Bellucei. Jupiter and Calisto ; after Amiconi. Zephyrus and Flora ; after the same. And others, after Rembrandt, Mieris, Nogari, Beau- mont, and C. Ruthart. PELAIS. The name of this very indiflfei-ent en- graver is afiixed to a wretched print of St. John preaching in the Wilderness. It is signed Palais, fee. [This engraver is called by Fiissli Michel Pelais ; he signed his prints K/O fe. according to Brul- liot, and therefore had an additional name. It is supposed that he flourished at Rome about 1625. He engraved the portraits of Cardinal d'Ossat and J. de Gastebois. His mark is also found on prints after Palma the younger, and Federigo Zuccaro, and his manner approaches that of Cornelius Cort. He was, therefore, not " a very indifierent engraver."] [PEL^E, Pierre, a native of Courtedoux in the Canton of Bern, and a scholar of von Schenker, engraved from 1820 to 1838. The following prints by him are noticed by Nagler : The ETangelist St. John ; after Domeniehino. The President Duranti ; after P. Delaroohe. Several Portraits and Vignettes for the works of Voltaire and Rousseau ; after Desenne and Detieria. Neither the year of his birth or death is mentioned.] [PELEGBBT, Tomas, a Spanish historical paint- er in fresco and en grisaille, was born at Toledo, where he studied the elements of his art, but afterwards went to Italy and placed himself under Balthasar de Siena, and Polidoro de Caravaggio, from whom he derived his knowledge of chiaro-scuro ; and whom he made his model for imitation. Having advanced greatly in the art by practising under such able masters, he returned to Spain, in the time of Charles v., and established himself at Sarafiossa, where he acquired considerable reputation. He had a fertile invention, was Well versed in the knowledge of per- spective, and, above all, was an excellent designer. Hence his drawings were highly prized, not only by amateurs, but by artists. They were purchased with avidity by painters, sculptors, decorators, and goldsmiths. Unfortunately few or none of his works in fresco exist, which he painted on the 555 pelh] A DICTIONARY OF [PENA fa9ades of the churches and palaces : the only ex- amples of his ability that can be mentioned with certainty, are some beautiful pictures in the manner of Polidoro Caravaggio in the Monastery of Santa Engracia, in Saragossa. He died at the age of 84, (the date is not mentioned,) and with him died, in Spain, the art of painting in chiaro-scuro. He had many scholars ; among them was Cuevas, who as- sisted him in painting the sacristy of the cathedral of Huesca, and some other works.] PELHAM, Peter, an English engraver, who flourished about the year 1730. He engraved se- veral portraits in mezzotinto ; among which are the following : King George I..; after Kneller. King George II. ; after the same. Anne, consort of the Prince of Orange ; after the same. Oliver Cromwell ; after Walker. Thomas Holies, Duke of Newcastle. Rohert, Viscount Molesworth ; after Gibson, John, Lord Carteret ; after Kneller. James Gibbs, Architect ; after Hysing. [Peter Paul Kuhens ; after Rubens. Edward Cooper ; after Vander Vaart. Dr. Edmund, Bishop of London ; after Murray. Peter Pelham was born about 1684, and died about 1738. J. C. PeJJiam, a painter, born in \T^\, was' his son. W. Ward scraped a mezzotinto of the Finding of Moses, after him : it is dated 1787, when probably he was living.] PELKIN, Cornelius, a very indifferent Dutch engraver, who lived about the year 1663. Among other plates which he engraved for the booksellers, is a frontispiece to a book, entitled Spiegel der Spaensche Tirannie, published at Middleburg in 1663. PELLEGRINI, Antonio. This painter was born at Venice in 1674. He was a scholar of Se- bastiano Ricci ; and is said to have received some instruction from Paolo Pagani. He distinguished himself among the modern Venetians, by a ready and ingenious invention, and an unusual facility of execution, though the effect of his works is im- poverished by a feeble and languid colouring, and a total neglect of the principles of the chiaro-scuro. The reputation he had acquired at Venice recom- mended him to the notice of the Duke of Manches- ter, who invited him to England, where he resided some years. He executed several ornamental works for the mansions of the nobility. [He died in 1741. He is noticed in the " Guida di Venezia," as Gianan- tonio, with this addition, " Fu Pittore piu di fortuna che di merito." Some of his pictures have been engraved by V. Green, J. B. Cathelin, P. Simon, and T. Park.] PELLEGRINI, Felice, was bom at Perugia in 1567, and was a scholar of Federigo Baroccio. He painted history, and became an artist of sufficient celebrity to be invited to Rome by Pope Clement VIII., who employed him in the Vatican. After having exercised his talents at Rome with con- siderable reputation, he returned to Perugia, where he died, in 1630. PELLEGRINI, Vincenzio, was the brother of Felice Pellegrini, born at Perugia in 1575, and was also educated in the school of Baroccio. He painted several pictures for the public edifices in Perugia, which are to be seen in the churches of S. Antonio, in the Chiesa Nuova, and in other places. [He was called ilpittor hello for the beauty of his person, not for that of his painting. He died in 1612.] PELLEGRINI, Francesco. According to Ba- rotti, this painter was a native of Ferrara. He was 556 a scholar of Giovanni Batista Cozza, and flourished about the year 1740. There are many of the works of this master in the churches at Ferrara. In the cathedral is a picture representing St. Bernard ; and in S. Paolo the Last Supper. PELLEGRINO, da Bologna. See Tibaldi. PELLEGRINO, da Modena. See Munaei. PELLEGRINO, di San Daniello. See Udink. PELLET, David, a French engraver, whose name is affixed to a plate representing Louis XIII. when young, on horseback, with the portraits of Henry IV. and Mary of Medicis, in small ovals at the top. It is executed with the graver in a neat, but formal style. PELLETIER, John, [Jean,] a modem French engraver, born at Paris about the year 1736. We have several plates by him of various subjects, en- graved in a neat, pleasing style, among which are the following : The Watering-place ; after Berghern. Ruins and Figures ; after the sam£. The Fish-Maiet ; after Pierre. The Green-Market ; after the same. Diana Reposing ; after Boucher. The Rape of Buropa ; after the same. Two Pastoral subjects; after the same. The Union of Design and Painting ; after Natoire. Young Bacchus ; after C. Vanloo. The Travellers ; after Wowermans. Ladies going to the Chase ; after the same. The Tipplers ; after Ostade. [Nagler mentions about 20 more, after Claude, A. Vanaevelde, Teniers, Bega, F. Millet, Metsu, and others. His wife also engraved two after A. Ostade, and one after Wouicerman. There is no account of the death of either.] [PELLI, Marco, an engraver, born at Venice about 1696. His principal engravings are heads of saints ; a few portraits ; a Charge of Cavalry, after Borgognone ; and a landscape, after D. B. Zilotti, signed M. Pelli, exc. There are no particulars con- cerning him.] [PELLIER, Nicholas Francois, a native of Besancon, born in 1782, by whom there are a few small landscapes engraved with the point in a spi- rited manner. They are from his own designs, and marked with the monogram I/IP , He died in 1804.] PEN, or PENN, Hispel. Mr. Stmtt has been led into an error with respect to this supposed art- ist, by the inaccuracy of the Padre Orlandi, who, in his Abecedario, attributes to him the same mono- gram as that used by Hans Sebald Beham. The numerous mistakes of the Italian authors, respect- ing the German engravers, are well known ; and it is satisfactorily ascertained, that the prints bearing that cipher ought to be included in the works of Beham. [PEN, Jacob, or James, a Dutch painter, men- tioned by Balkema as being particularly employed by Charles II. He says that he composed with in- telligence, and to correct drawing added beautiful colouring; but he does not say any thing of the subjects. He adds, " all his pictures are in England." He died in 1674.] [PENALOSA, Juan de, an historical painter, of the school of Seville, was bom at Baeza in 1581. He was one of the best scholars of Pablo de Cespedes at Cordova, whose works he assiduously imitated, as is evinced in the magnificent picture in the cathe- dral of Cordova, representing St. Barbe. He also painted a St. Jago for the convent of Arizafa ; se- veral pictures for the Minimes, and many others PENC] PAINTERS AND ENGRAVERS. [PENN for private collections in Cordova, where he died in 1636.] PENC HARD, J., a Dutch engraver, who resided at Leyden about the year 1678. His plates are chiefly confined to frontispieces, and other book ornaments. He engraved also the anatomical plates for the works of Reg. de Graaf, with the portrait of the author, published' at Leyden in 1678. [PENNEMAKERS, the Recollet, a scholar of Rubens, according to Balkema. In the Museum at Antwerp there is the Ascension of Christ at- tributed to nim.] PENNENSUS, P. We have by this artist, who was probably a painter, and a native of Italy, a few slight, but spirited etchings, executed in a neat, free style. There is a fine expression in the heads of his figures, though he is negligent and incorrect in the design of the extremities. The following, among others, are by him : The Holy Family, with St. Catherine, and an Angel in the air ; after Parmigiano. The Marriage of St. Catherine ; from his own design. PENNEY, N., a French engraver, by whom we have some plates of devout subjects, executed with the graver in a very neat style, but without much taste. Among others is the following, which is ap- parently from his own design, as he adds fecit to his name : The Virgin appearing to St. Bartholomew. PENNI, Giovanni Francesco, called Ii Fat- tore. This painter was born at Florence in 1488. He went to Rome when he was very young, and was received into the school of RafFaelle, of whom he became a favom-ite disciple ; and being intrusted by that great artist with the management of his do- mestic affairs, he acquired the appellation of II Fat- tore. His talents and assiduity induced his master to employ him in many of his most distinguished works, particularly in painting from his designs the cartoons for the tapestry, and in the Loggie of the Vatican. Taja informs us that the histories of Abraham and Isaac were executed by II Fattore. In these important undertakings, he acquitted him- self so mucn to the satisfaction of Raflaelle, that he appointed him his joint heir with Giulio Ro- mano. He was employed by Clement VII., in con- junction with Giulio, to finish the frescoes of the History of Constantine, which had been begun in the Saloon now called by his name. Constantine's Vision of the Cross, and his Battle with Maxent^us, were painted by Giulio ; his Baptism, by S. Silves- ter ; and his Donation of Rome to that pontiff, by G. F. Penni. He had also a principal share in the history of Cupid and Psyche, in the Farnesina. Of his own compositions, those executed in fresco have now almost entirely perished; and he painted so few pictures in oil, that they are rarely to be met with. He possessed an admirable taste of design, which he had imbibed from his illustrious instructor, and his execution was graceful and facile. He par- ticularly excelled in landscapes, and was well ac- quainted with the beauties, of architecture. In 1525 he was invited to Naples by the Marquis del Vasto, and took with him an admirable copy he had made of the Transfiguration, by RafFaelle, which he sold to that nobleman, for whom he executed some con- siderable works. The air of Naples proving inju- rious to his health, he died in 1528. [According to Kiigler, G. F. Penni could work well only when imder the direction of his master Raphael ; when left to his own resources he was weak and ineffec- tive. He must have been an admirable copier of Raphael's designs and pictures, if it be true, as Kiigler and Passavant conjecture, that the picture in the Brid^ewater gallery, known as The Madonna del Passeggio, is by him.] PENNI, LucA, was the brother of the preceding artist, born at Florence about the year 1500. He is said to have frequented, for a short time, the school of Raffaelle ; and after the death of that master at- tached himself to Perino del Vaga. After painting some pictures for the churches at Lucca and Genoa, he visited England, in the reign of Henry VIIL, by whom he was for some time employed, and after- wards went to France, where he painted at Pon- tainbleau, in conjunction with II Rosso. On his return to Italy he applied himself to engraving, and executed several plates, both with the ppint and the graver. His prints are chiefly from the works of II Rosso and Pnmaticcio, of which the following are the principal : Two Satyrs presenting Wine to Bacchus ; after II Rosso. Leda drawing out the Arrows from Cupid's Quiver; after the same. Susanna and the Elders ; ajier the same. Abraham sacrificing Isaac ; after Primaticdo. The Marriage of St. Catherine ; after the same. Penelope at work, surrounded by her Women ; after the same. He occasionally used the cipher ^ or J|^ * [Many prints and marks are attributed to Lucas and Laurence Penni, which may, with equal pro- priety, be ascribed to other engravers of their time, whose initials are L.' P. The inquirer will do well to consult Brulliot on the subject] [PENNING, Nicolas Louis, born at the Hague in 1764, was a scholar of Dirk Vander Aa, and painted landscapes, interiors of stables, and marine subjects. He died at the Hague in 1818. His drawings are held in estimation by the amateurs.] PE^fNY, Edward, was born at Knutsford, in Cheshire, in 1714, and having, at an early period of his life, discovered an inclination to painting, he was sent to London, where he was placed under the tuitionof Hudson, who was at that time eminent. He afterwards went to Rome to complete his education, where he studied some time, under Marco Benefial. On his return to England Mr. Penny became a member of the incorporated Society of Artists of Great Britain, of which he was for some time vice- president. At the foundation of the Royal Academy he was one of the original members, and was ap- pointed their first Professor of Painting. He con- tinued to fill that situation with great respectabiUty, and read an annual course of lectures, which were well received, until the year 1783, when, in conse- quence of declining health, he was obliged to resign the professorship, and was succeeded by Mr. Bany. About this period he went to reside at Chiswick, and having married a lady of property, lived in quiet retirement until his death, which happened on the 15th of November, 1791. Mr. Penny was principally employed in painting small portraits in oil, which were very generally admired. He also painted sentimental and his- torical subjects, many of which were publicly ex- hibited. Among others, were the Death of General Wolfe, from which a mezzotinto print was published by Mr. Sayer, and met with a very extensive sale ; the portrait of the Marquis of Granby relieving a sick Soldier, from which there is a print; Virtue rewarded, and Profligacy punished, two pictures which are also engraved. 557 PENO] A DICTIONARY OF [PEPI PENOZZI, B. This artist is mentioned by Pa- pillon as an engraver on wood, but he has not par- ticularly specified any of his prints. [PENSABEN, Pba Marco, and FrA Marco Maraveia, his assistant, both of the order of the Dominicans at Venice, painted at Trevigi in 1520 and 1521. The former was born about 1485, and is registered in the bills of mortality for 1530. Lanzi, enumerating the scholars, followers, and imitators of the models of Gian Bellini, mentions the altar-piece in the Dominican church at Treviso, painted by Marco Pensaben, and his assistant, in which the cupola, the columns, and the perspective, with the throne of the Virgin seated with the infant Jesus, and suiTounded by saints standing, the steps ornamented with a harping seraph, (an angel play- ing on the guitar,) all discover Bellini's composition. Rossini has given an outline of the subject, plate 158 of his Storia della Pittura Italiana, which will justify what Lanzi says; "I believe Pensaben to have been an excellent artist in the Bellini manner, though not commemorated in history, nor by his order." It seems that for some unknown reason Pensaben fled secretly from his convent in 1521 ; but was found in 1524, as before, a Dominican friar in Venice. In 1530 he is registered, in au- thentic books belonging to the order, among those who had either hft it, or were dead. If he left the order, it may account for their silence respecting his talents.] PENTZ, or PEINS, Gregory, called George. This eminent artist was born at Nuremberg in 1500, and was instructed in design, painting, and en- graving, by Albert Durer. His real name was Peins, as appears from his inscription on his por- trait, and that 'of his wife, which will be found in the list of his prints. On leaving the school of Albert Durer, he went to Italy, where he acquired a correct and tasteful design, which distinguishes him from the contemporary artists of his country. Of his works as a painter little is known. Huber informs us, that there are some of his cabinet pic- tures in the gallery at Vienna, which are highly and deservedly esteemed. In conjunction with Marc Antonio, he engraved several plates from the works of Rafiaelle, and his style of engraving resembles the best manner of Raimondi. His plates are exe- cuted with the utmost neatness and delicacy, and though they are wrought with great care and pre- cision, they have nothing of the stifihess and for- mality which distinguishes the productions of the artists of his time. His drawing is correct, and the characters of his heads are finely expressed. The greater part of his plates are of a small size, on which account he is ranked among what are called by the collectors, the little masters. He was, how- ever, perfectly competent to accomplish plates on a large scale, as is evident from his admirable print, after Giulio Romano, described among his works, the greater part of which are from his own composi- tions. He usually marked his plates with a cipher, composed of a G. and a P. joined together thus The following are his principal prints : E PORTRAITS. The Artist and his Wife, on the same plate, inscrihed Imago Gregori Peins. Imago Duxore Gregori Peins. John Frederick, Elector of Saxony, inscribed ^es meus in Deo est. 1543 ; scarce. BIBLE SUBJECTS FROM HIS OWN DESIGNS. Two small prints. Job tempted, and Esther before Aha- suerus. 558 Two, Judith in the Tent of Holofemes, and Judith with his Head. Two, the Judgment of Solomon, and Solomon's Idolatry. Two, Lot and Ms Daughters, and Susanna and the Elders. Four, of the History of Joseph. 1544. Seven, of the History of Tobit. 1543. [Considered amongst his best.] Two, the Merciful Samaritan, and the Conversion of St. Paul. 1545. The Four Evangelists. The seven works of Mercy ; circular. Twenty-iive plates, of the Life and Miracles of Christ ; very fine. VARIOUS SUBJECTS. Two, Tarquin and Lucretia, and the Death of Lucretia. Cephalus and Procris. Medea and Jason. The Death of Dido. Thomyris causing the Head of Cyrus to be put in a vessel of blood. The Death of Virginia. Mutius Scevola putting his hand into the Brasier. Marcus Curtins precipitating himself into the Gulf. The Death of Regulus. Sophonisba drinkmg the Poison. — Artemisa drinking the Ashes of her Husband. — [Both highly esteemed by amateurs,] The Triumph of Bacchus. A set of six plates of the Triumphs of Human Life. The Five Senses. The Seven Liberal Arts. The Seven Mortal Sins. A large plate of a City taken by assault ; after Giulio Romano, inscribed Georgius Pentz Pictor Nurem- berg faciehat, anno 1549 ; an admirable specimen of his great ability. [Generally called The taking of Carthage.'] [His name is also written Pencz and Pens. Bartsch, P. G. torn. viii. describes 126 prints by him, to which Nagler has added three. Some writers say that he was bom in 1510 ; and Dopplemayer states that he died at Breslau in 1550. There are pictures by him at Nuremberg, and a few in the galleries of Berlin, Munich, and Schleissheim. Peins, also, holds a distinguished rank among the portrait painters of his time ; there are three in the Itfuseum at Berlin, two of which are in the German and one in the Italian manner.] [PENZEL, JoHANN Georg, a painter and en- graver, born at Hersbruck, near to Nuremberg, in 1764, according to Brulliot ; but Zani and N agler say in 1754, and died at Leipsic in 1809. He commenced with Schellenberg at Winterthur, and after studied at Dresden, where he entirely devoted himself to en- graving. He worked much for the publishers there, and engraved many of Chodowiecki's designs.] PEPIN, Martin. This painter was born at Antwerp in 1578. It is not said under whom he studied, but he went to Italy when he was young, where he remained several years, and distinguished himself as an artist of extraordinary abilities. Wey- ermans describes a picture by this painter, repre- senting the taking down from the Cross, which he greatly extols ; the composition was in the grandest style, it was designed with the greatest correctness, and the colouring was rich and harmonious. Such was the reputation this artist had acquired at Rome, that when Rubens, who was then in the zenith of his celebrity at Antwerp, heard of Pepin's intention to return to his native country, it occasioned that distinguished master considerable uneasiness; but on finding that he had married in Italy, and in- tended to continue his residence there, he was heard to declare, that as Pepin remained at Rome, he no longer feared a diminution of his fame from the rivalship of any other painter. He certainly may pera] PAINTERS AND ENGRAVERS. [PERE be regarded as one of the greatest artists of his country. In the church of the hospital at Antwerp, are two admirable works by this master; they are two altar-pieces, with folding doors, as was cus- tomary at that time. In the centre picture of one of them, he has represented the Baptism of St. Augustine ; on one of the doors, that Saint giving alms to the poor; on the other, St. Augustine curing the SicK. The centre picture of the other represents St. Elisabeth giving charity to a group of miserable objects, who are struggling to approach her. This composition is wonderfully ingenious, every figure appears in movement, and it is drawn in the most correct and grand style. The colouring is no way inferior to the greatest painter of his time. On one of the doors is the death of that Saint, and on the other her Ascension to heaven, with a choir of angels. Most of the works of this excellent artist are in Italy, and the above-mentioned are the only productions by him in the Low Countries. They are sufficient to warrant the jealousy expressed by Rubens, and to place him on a level with the most able painters of his country. [Martin Pepin, or Pepyn, was born in 1574. His portrait by Van Dyck, in the king of Holland's private collection, is described by Mr. C. I. Nieu- wenhuys in his excellent Catalogue. On it is in- scribed Me Pictorem Pictor Pinxit D. Ant. Van Dyck Eques illustris. A". D. 1632. mr. me lviii. Mr. Nieuwenhuys, who has had several of his pic- tures, says that his talents were but second-rate. His first manner partook of the school of Otho Venius ; but those painted in Italy are in a more elevated style. Balkema says that he died in 1641, but he is not supported by any other writer.] PERAC, Stephen [Etienne] dit, an old French painter and engraver, born at Paris about the year 1540.'' He went to Italy when he was young, and resided some time at Rome, where he made many designs from the vestiges of ancient architecture, and views of Tivoli and TFrascati, which he engraved and published at Rome in 1569, 1573, and 1575. On his return to Prance, he was appointed archi- tect to the king, and painted some architectural views for the palace at Fontainbleau. We have a few slight etchings by this artist, after Michael An- geh, JRaffaelle, and other masters ; among which are, The Last Judgment; after M. Angela. The Capitol ; after a a/rawing by the same. The Judgment of Paris ; after Saffaelle. Four plates, of various sizes, of views and Ruins near Kome. [Nagler describes 29 prints by him ; the latest date IS 1583. Zani places his death in 1601.] PERANDA, Santo. This painter was born at Venice in 1566. According to Ridolfi, he was first a scholar of Giacomo Palma the younger, and after- wards studied under Leonardo Corona, of Murano. In his first performances he followed the prompt and hasty manner of Palma; but he afterwards visited Rome, where, by studying and designing the antique statues, and the works of the great mas- ters, he adopted a style more finished and correct. He executed several considerable designs for the Ducal palace at Venice, and for the Diies of Mi- Tandola and Modena. Lanzi considers, as his most estimable performance, the Descent from the Cross, in the church of S. Procolo at Venice. He died in 1638. [A picture by him in the Ducal palace re- presents the defeat of the Turks by the Venetians.] PERCELLES, John. See Parcelles. [PEREDA, Antonio, a great Spanish historical painter, was born at ValladoUd in 1599. He was a scholar of Pedro de las Cuevas, and gave early proofs of his ability in art. After making consider- able progress in the school of Cuevas he was placed by his patron, Don Francisco de Texada, with Don Juan Bautista Crescenci, Marquis de la Torre, who had been a jjupil of Pomerancio. This gave him the opportunity of seeing and copying the pictures in the royal collection, to which the Marquis, as a professor, had free access, and by these means he perfected himself in the Venetian manner of colour- ing which he finally adopted. At the age of eighteen he produced and exhibited to the public a picture of the Immaculate Conception, in which the Virgin appeared on a throne of clouds supported by angels, of such surpassing beauty that no one could credit its being the work of so young an artist, but rather of one of the principal painters of the court. Sur- prise, admiration, and envy, were equal on the oc- casion. The reputation he acquired by this per- formance induced the Duke de Olivares, who was then occupied in ornamenting the palace of the Retire with the works of the best Spanish paint- ers, to place Pereda among those- of the highest rank. He performed his part to the satisfaction of his, patron, and was munificently rewarded. Pe- reda's works were much in request, and he exercised his talent on a great variety of subjects. History, familiar circumstances, still-life, vases, tapestry, musical instruments ; all were within the compass of his ability. Venetian colouring, freshness; beauti- ful impasto, and correct drawing, are the charac- teristics of the master. He died at Madrid in 1669. His works were formerly to be found in all the galaces and churches of Madrid, Toledo, Alcala, 'uenca, Valladolid, and in many private collections. At present it can only be said, with certainty, that there are two in the Madrid gallery, one a St. Jerome meditating on the last Judgment; in Mar- shal Soult's collection, a Christ asleep on the Cross, with flowers and skulls about him; in the Esterhazy gallery, at Vienna, a St. Anthony and Christ ; and three or four in the gallery at Munich. Formerly it was considered that no Spanish collection was complete that had not a specimen of Pereda.] [PEREGRINI DA CESENA, or PELLEGRI- NO DA CESIO, a goldsmith, engraver, and worker in niello at the latter part of the 15th and commence- ment of the 16th century. Bartsch has given a de- scriptive account of ten prints by him in P. G. torn, xiii., five of which have his mark P abbreviated, thus tS, three others are defective in the part where the mark is usually found, and two have the addi- tional letters O. P. D. C. These letters are inter- preted by Duchesne, Opera Peregrini da Cesina^ and by Zani, who says that he has read on some prints by this artist, Opus Perigrini de Ces. Bartsch says this engraver is entirely unknown, (as regards his history,) but the date on the first print, 1511, in- forms us when he worked as an engraver. Duchesne, Essai sur les Nielles, has discovered the name, and describes several admirable works by him in niello. As it is a matter that will interest only a few, it may be better to refer the inquirer to Duchesne, Essai sur les Nielles ; ^artsch, Peintre Graveur, torn. xiii. ; Zani, Encielopedia metodica delle belle Arti, Parte prima, vols. vi. and xv., in the notes, where he will find all that is at present known, and some curious speculations. Ottley describes ten, which he sup- poses to be by the artist who used the above marks, but he does not mention Peregrini. Nagler, from 559 peee] A DICTIONARY OF [PERE these authorities, and from Sir Mark Sykes's Cata- logue and others, has given an account of sixty-four pieces, of which the following are the suhjects. List of Peregrines Prints, from Nagler. (Where it is stated that the print is marked with the let- ter P. it is to be understood in the form indicated above; a P. crossed in the middle, as an abbreviation.) 1. Abraham loading an Ass for his journey to Mount Moriah. 2. Abraham, Isaac, and two servants, on their way to the Mount. 3. Abraham and Isaac on the Mount, the servants sitting below. 4. Abraham with a knife and torch, Isaac bearing a bundle of wood. 5. Abraham about to immolate Isaac, is prevented by an angel ; the head of a ram is seen at the right hand corner. 6. David conquering Goliah; a very fine plate. Ac- cording to Duchesne it is probably by Peregrini. 7. Judith with the head of Holofemes in her left hand. This print has not Peregrini's mark ; but the words Ivde te on a scrap of paper. 8. The Holy Virgin with the Infant on a throne ; at- tended by S. S. Paul and Francis d'Assisi. Peregrini's mark in the centre. 9. The Baptism of Christ. In the foreground, to the right and left, are St. Stephen and St. Francis. 10. The Kesurrection of our Lord, signed de — opvs — PEREGRINI — CE8. An impressiou of the unfinished plate, in which some parts of the figure of Christ are white, was sold in Sir Mark Sykes's sale, in 1824, for about £20 sterling. 11. The Annunciation ; in two small medallions. 12. John the Baptist with the Cross, on which is a medal- lion with the lamb and the words ECE agnus. Du- chesne is of opinion that this is the work of Peregrini. 13. St. Sebastian standing by a Tree, his hands tied above his head. 14. St. Jerome kneeling before a Crucifix, the Hon behind him. Peregrini's mark in the margin, 15. St. Koch. On the right hand the first person of the Trinity blessing him. Attributed to Peregrini by D\i- chesne. 16. St. Margaret seated on a large winged Dragon, holding in one hand a cornucopia, and in the other a cake. In the dark back-ground are four trees, and the mark P. Bartsch calls the subject Providence. 17. The Triumph of Neptune ; marked 0. P. D. C. ( Opera Peregrini da Cesena.) 18. Minerva, with Lance and Shield,; on the latter the head of Medusa. Duchesne considers this a work of Pere- grini, though it has not his mark. 19. The Triumph of Mars. On a globe, surmounted by a figure of Cupid, is the letter P. Nagler notices that on an early impression of this subject it is difficult to distinguish the figure on the shield of Mars ; on a later it is seen plainly. The back-ground is very dark. A second impression sold in Sir Mark Sykes's sale for £31. 20. A Sacrifice in honour of Mars. Bartsch describes this among the prints of the old Italian masters, P. G. tom. xiii. p. 139, N°. 69 ; but Duchesne considers it to be the work of Peregrini. An impression sold in Sir Mark Sykes's sale for 17 guineas. 206. A Muse playing on a Flute ; around her are other instruments. Attributed to Peregrini by Duchesne. 21. A Muse playing on the Lyre; with other musical in- struments lying around her. Attributed to Peregrini by Duchesne. 22. A winged Cupid standing on a Vase, which is orna- mented with four iigures of children; attributed to Peregrini. 23. Two Cupids by a Monument. Duchesne thinks it is by Marc Antonio. 24. Psyche at the foot of a Tree, Cupid behind her ; in the back-ground, on the sea, a monster about to devour her. At the bottom is a, mark which resembles that of Peregiini. 25. Leda and the Swan. According to Duchesne, by Pe- regrini ; in the centre is a mark resembling Peregrini's. 26. A Nymph bound to a Tree by a Satyr and a Faun. 27- A Triton caressing a Nymph. The workmanship of this niello is fine, and resembles that of Peregrini. 560 28. A "Woman with three Men and » Satyr. Duchesne considers it to be by Peregrini. 29. Hercules strangling Anteus. Attribvited to Peregrini. 30. Hercules and Dejanira. herovle— dejanira. with Peregrini's mark. 296. Hercules combating the Hydra, With Peregrini's mark, 306. Hercules killing the Hydra. Duchesne says certainly by Peregrini. 31. Orpheus with a Guitar, surrounded by Animals. On the margin the letters 0. P. D. C. 32. Arion on the Dolphin ; in the back-ground the ship from which he was cast Duchesne is certain that it is by Peregrini. 33. Arion on the Dolphin, with a violin in his left hand, arriving at Piraeus. 34. Diomede naked, armed with helmet and shield, hold- ing the Palladium in his left hand. O. P. D. C. in the margin. 35. Mutius Scaevola before Porsenna, holding his hand over the fire. The letter P. by the throne. 36. An Apotheosis. On the right hand a naked man with a helmet before an altar, on which is an eagle, and a woman on the left preparing a libation. In the centre of the margin the letter P. 37. A Standard-bearer, with Peregrini's mark, P. by the trunk of a tree. Ottley thinks this piece was copied from the drawing of a German master. 38. ' Two Knights fighting. Duchesne thinks it is by Pere- grini. 39. Two naked Men fighting with Boughs of Trees. At- tributed to Peregrini. 40. Three Women dancing. In the margin below the mark P. 41. Three Children dancing. At the bottom the mark P. 42. An Allegory of War. 'Three naked men with helmets on their heads, &c. The mark P. in the margin. 43. An Allegory of Union. A king on a throne ; a young man and two soldiers before him. On the throne is written VN. eg. bi. p. Duchesne interprets these Un fcmdamento di Fratemita. 44. An Allegory of Fame, Considered by Duchesne the work .of Peregrini. 46. An Allegory of Seamanship. In the margin 0. P. D. C. 46. An Allegory of Plenty. In the margin 0. P. D. C. 47. A Woman with a Sword and an Apple, Bartsch, tom. xiii. p. 206, N°. 2. 48. A naked Man sitting under a Tree, a Snake in each Hand. The mark in the margin. 49. Half-length figure of a Man with a fur Cap ; ornaments on both sides. 50. Half-length figure of a young Man with a Cap. No mark. 51. Arabesque, with Acanthus and Grapes. No mai'k. 62. Arabesque, with winged Sphynx under two Satyrs. The mark P. 63. Arabesque, with flying Chimera carrying a Veil. The mark P. on the shield. 54. Arabesque, with two Boys riding on Chimajric Birds. The mark P. 55. Arabesque, with Helmet and Cuirass in the centre, above a winged Sphynx, The mark and the initials S, C. . 56. Arabesque, with the Symbols of Seamanship ; in the lower part two marine deities on dolphins ; between them a ship. 57. Arabesque, with two Goats. In the margin a mark, which may be taken for P. 58. Arabesque, with a female Satyr suckling two Children. 59. Arabesque, with the mark of a river Deity. Duchesne thinks this nieUo is by Peregriiii, although without the mark. 60. Arabesque, with two Dolphins ; in the centre above a winged head. 61. Arabesque, with two Trophies, chimajric birds, a faun sitting on a basket and playing a flute. On a tablet the letters SCOF. 62. A Coat of Arms with three Nails. On the right hand the letter C, on the left Z or S. Therefore only pro- bably by Peregrini. 63. Two Knife-handles with Arabesques. On one a head of Medusa in a medallion, and at the end two satyrs with the initials P. C. 64. A Knife-handle, with two Gviitars and two Rings. The letters S, C. in tablets, identify this piece as the work of Peregrini, in the opinion of Duchesne.] pere] PAINTERS AND ENGRAVERS. [peri PERELLE, Gabriel, an eminent French de- signer and engraver, bom at Paris about the year 1620. He excelled in drawing and engraving land- scapes and views, of which we have a prodigious number, which prove the fertility of his invention, and an extraordinary facility of execution, rather than an observant sfiidy of nature. They are, how- ever, composed in a very pleasing style, and exe- cuted with neatness and taste. He usually enriched them with ruins and other objects, which give an agreeable variety to his scenery. His principal defect is in the management of his masses, and his lights are scattered and in spots, by which the general effect of his prints is materially injured. Although by far the gi-eater part of his plates are from his own compositions, he also engraved from the designs of several other masters, particularly Paul Bml, Gaspar, Poussin, Asselyn, and above all, after Silvestre. He was assisted in his numerous works by his sons, Adam and Nicholas Perelle, who, after his death, engraved a great number of jilates of architectural views, landscapes, &c., but which are inferior to those of their father. The Perelles worked both with the point and the graver. Their works, especially those from their own de- signs, are so multifarious, and so frequently to be met with, it will not be thought requisite to specify them ; the following are the principal plates they engraved after other artists : A set of four Views, the Church of St. Michael at Dijon, the Palace in that City, the Bridge of Grenoble, and the Porte Royale at Marseilles ; after Silvestre. Four Views in Paris, the Arsenal du Mail, the Pontneuf, the Louvre, the Mail, and surrounding country ; after the same. A set of four Views, the Baths of Bourbon d'Archam- baud, the Castle of Bourbon Lancy, with the Baths of Julius CsBsar, and the great Chartreuse near Grenoble ; after the same. Six Views of the Garden de Kuel ; after Israel Silvestre. Two Mountainous Landscapes, with biblical subjects; after P. Brill. Six Views of the Vestiges of Rome and its Environs ; after J. Asselyn. A View of Ruins, with the Adoration of the Magi ; ajier Poelemberg. [Gabriel Perelle, according to Nagler, was born in 1610, and died in 1675; Zani says in 1680. He is considered the Hollar of France, both in his style of engraving, and the esteem in which his views are held. His large views of public buildings and gar- dens in Prance, Italy, and Spain, were published, with those of Silvestre, in 1680; and there is a set of smaller views by these artists. His son Adam was born in 1638, and died in 1695, according to. Nagler ; but Zani applies these dates to Nicholas.'\ PERERIETTE. The name of this artist is affixed to a coarse, incorrect etching, after Paolo Veronese, representing the Holy Family, accom- panied by two angels. [PEREZ, Andres, a Spanish historical and flower painter, was born at Seville in 1660; and was instructed by his father, Francisco Perez de Pineda, one of the members of the Society of Pro- fessors who established the Academy in that city, and who, as a scholar of Murillo, knew how to in- culcate a knowledge of colouring as practised by that master. In the sanctuary of S. Lucia, at Seville, there were three scriptural subjects relating to the holy sacrament, signed Andres Perez, 1707; and in the sacristy of the Capucins of the same city another with the date 1713, representing the Last Judgment, taken in part from that of Michael An- gelo. Perez was, however, most successful in paint- 2 o ing flowers and other objects after nature. In his historical works may be seen how soon the painters of the school deviated from the good rules and maxims which their master, Murillo, had endea- voured to establish. Andres Perez died in 1727.1 PERJECOUTER, S. This artist was either a native of Italy, or resided there about the year 1535. We have some plates by him executed with the graver, in which he appears to have imitated the style of Marco da Ravenna. He also etched several plates, consisting of architectural ornaments. He marked his prints with the cipher [This article appears to be altogether erroneous. See Serwodter.] PERIGNON, Nicholas, a French painter and engraver, born at Paris about the year 1730. He painted flowers and landscapes in distemper; and has etched some plates from his own designs, among which are the following : A set of six pleasing Landscapes ; etched in the style of a painter. Four larger Landscapes ; msanheiPerignon, fecit. Villi [From the diflferent accounts given by the several writers respecting Nicholas Perignon, it may be reasonably concluded that there were two of the name, probably father and son, who practised the same style of art. BruUiot, quoting from Rigal's Catalogue, says he was born at Nancy in 1616, (this is probably a misprint for 1716,) and died at Paris in 1782. According to Fiissli, he says, he died in 1802, at the age of 56. Zani places his birth in 1727, and his death in 1782. It should be noticed that there is no such statement in Fiissli's All- ffemeines Kunstler Lexicon ; he merely says that N. Perignon flourished about the middle of the 18th century. As Fiissli's work was published in 1779, Brulliot has made an egregious mistake.] PERINl, Giuseppe, [Sforza,] a modern Italian engraver, born at Rome about the year 1748. He executed some of the plates for the Scuola Italiea, of Gavin Hamilton, and engraved some of the statues in the Clementine Gallery. The following, among others, are by him : The Frontispiece to the Scuola Italiea, with two figures by M. Angela. Jupiter and Antiope ; after Jacopo Palma. Charity ; afterBa/rtolomeo Schidone. Chi'ist bearing his Cross ; after Lanfranco. [He was living in 1795.] PERINl, LoDovico, an indiflferent ItaKan en- graver, by whom we have some prints very poorly executed with the graver, among which is one repre- senting two men playing at cards, and a woman overlooking them. PERINO, DEL Vaga. See Vaga. PERISIN, or PERSINUS, or PERRISIM, James, [or Jacques,] an old French engraver, who flourished about the year 1570. In conjunction with J. Tortorel, he designed and engraved, partly on wood and partly on copper, a set of twenty-four large prints, representing subjects of French his- tory, from the death of Henry II. 1559 to 1570. His copper plates are etched in a coarse, incorrect style ; the wooden cuts are executed with more at- tention. He sometimes signed his prints J. Perris- sim, fecit, or J. Persinus, fecit, and sometimes marked them with the monogram ^ , [Zani thinks that he was a German by birth, an opinion in which Nagler seems to concur. The latter says he was born in 1530, and quotes the work referred to as 561 pern] A DICTIONARY OF [perk being published in 1567 and 1574. Brulliot has given his monogram thus /p which agrees with Nagler, who calls him C. JaJcob. When he en- graved conjointly with Tortorel the monogram is Dumesnil, who has given a description of 41 prints, including the History of the Mas- sacres, so tenderly alluded to by Bryan, however, denies that these monograms are strictly correct. As many of the prints have the marks of both en- gravers they should have been included in one article. See Tortorel.] PERN A, Peter. This artist, according to Strutt, was an engraver on wood, to whom the prints marked P. P. are usually attributed. [He lived to the latter end of the 16th century.] PERNET. Mr. Strutt mentions this artist as an obscure engraver, who lived about the year 1620, and who executed a few indifferent plates of portraits. PERONI, Giuseppe. According to Abbate Affo, this painter was born at Parma about the year 1700. He first studied at Bologna, under Felice Torelli and Donato Creti, and afterwards w^t. to Rome, where he became a scholar of Augustino Masucci. He was a tolerably correct designer, and, in his best performances, resembles the style'.of Carlo Maratti. Such are his pictures in the church' of S. Satiro, at Milan ; and the Conception, at the Padri dell' Oratorio, at Turin. In competition with ^^^Pompeo Batoni,he painted in fresco for the church ^of S. Antonio Abbate, the Crucifixion, which ranks him among the most respectable artists of his time. He died in 1776. [Zani places his birth in 1710; but as it is said that he died at an advanced age, and all agree that he died in 1776, the first date is probably the true one.] PERRET, Pedro. Accordiijg to Basan, this artist was a native of Flanders, and flourished about the year 1590. His principal residence was at Madrid, where he wa? appointed engraver to Philip 111. He worked with the graver in a neat, stiff style, in which he discovers more patience than taste. He engraved several plates of historical sub- jects, among which are : The "Woman taken in Adultery ; aftor Breughel. The Chastity of Joseph ; after Spec/cart. But his chief performance was a set of portraits of the Kings of Portugal, published in 1603, which he inscribed Pedro Perret sculptor Regis, fedt. [Pieter Perret was born about 1550 ; it is uncertain whether he was a native of France, or of the Low Countries. He studied at Rome under Cornelius Cort, and was engraver to the Duke of Bavaria and the Elector of Cologne. He engraved the plates of the monastery of St. Lorenzo in the Escurial, from the designs of Juan de Herrera, which gave so much satisfaction to Philip 11. that he invited him to Spain, and appointed him his engraver; an office which he retained under Phihp III. and IV. Nagler enumerates 24 different works by hira ; and Bermu- dez many others. He was called to Spain in 1595, and resided there till his death in 1637- When at Rome he signed his prints Pieter Perref] PERRIER, Francis, a French painter and en- graver, born at Macon, in Burgundy, about the year 1590.. He was the son of a goldsmith, who had him instructed in the elements of design ; but opposing his desire of becoming a painter, the young Pcrrier secretly left his paternal home, and being 562 without the means of subsistence, he associated himself with a blind mendicant, as his conductor, who was on his way to Italy, and by those means arrived at Rome. He accidentally became acquaint- ed with Lanfranco, who encouraged him in his pursuit, and admitted him into his school. After a residence of several years at Rome, he returned to France, and passed some time at Lyons, where he painted a set of pictures for the cloister of the Car- thusians. Not content with the reputation he could acquire as a provincial artist, Perrier visited Paris. Simon Vouet, who was then in possession of every commission of importance, employed him in paint- ing the chapel of the chateau of Chilljr, from his de- sign. Finding Uttle employment in Paris, he returned to Rome in 1635, where he applied himself to en- graving the principal antique statues and bas-reliefs, and executed several plates after the Italian masters, as well as from his own designs. After the death of Simon Vouet, he returned to Paris in 1645, when he was employed to paint the gallery of the Hotel de la Vrilliere, and was received into the Academy. He died at Paris in 1660. We have by this artist a considerable number of etchings, from his own de- signs, and after other masters. They are executed in a slight, hasty style, and the drawing is neghgent and incorrect. He sometimes signed his name Paria, and occasionally used the cipher JT . The fol- lowing are his principal plates : A set of one hundred prints from the antique statues, published at Rome. A set of fifty, taken from the ancient bas-reliefs. Ten plates of the Angels in the Famesina ; after Raf- Two plates of the Assembly of the Gods, and the Mar- riage of Cupid and Psyche ; from the paintings by Raffaelle, in the Famesina. The Communion of St. Jerome ; after Agoa. Caraeei. The Flight into Egypt ; after the same. The Nativity ; after S. Vouet. The Portrait of Simon Vouet; F. Perrier, fecit. 1632. SUBJECTS FROM HIS OWN DESIGNS. The Holy Family, with St. John playing with a Lamb. The Crucifixion; inscribed Franciscus Perrier, Bur- gundus, pinx. et scut. St. Roch curing the People afflicted with the Plague. The Body of St. Sebastian, supported by two Saints. Venus and the Graces. Time clipping the "Wings of Love, engraved in chiaro- scuro ; fine. [A descriptive catalogue of his prints will be found . in Dumesnil, tom. vi. D'Argenville places Per- rier's death in 1650.] PERRIER, William, was the nephew and scho- lar of Francis Perrier, whose style he followed. Of his works as a painter the most considerable are his pictures in the sacristy of the Minimes at Lyons, where he took refuge, having killed his antagonist in a duel. We have by this artist several etchings, executed in the style of his uncle. He died in 1655.' [Dumesnil describes four: a Holy Family; the Death of the Magdalene ; portrait of Lazarus Meysonnier ; and an emblematical subject.] PERRIN, John, an obscure engraver on wood, who, conjointly with John Munier, executed a set of cuts for a work entitled La Morosophie de Ouil- lawme de la Perriere Tolsain, contenant cent Em- blemes, published in 1553. PERRISSIM. SeePERisiN. PERRONEAU, John Baptist, a French en- graver, by whom we have a few prints; among others, two of the four elements. Air and Earth, after Natoire ; the companions. Fire and Water, are perr] PAINTERS AND ENGRAVERS. [PERU engraved by P. Aveline. [He was born in 1731, ' and died in 1796. He was instructed by L. Cars. He engraved also after Boucher, Vanloo, and Bou- chardon. He was a painter in crayons, and was for a short time in England, where he exhibited some portraits done in that manner.] PERRY, Francis, an English engraver, men- tioned by Strutt from the authority of Mr. Grosse. He was born at Abingdon in Berkshire, and was a pupil of one of the Vanderbanks. He afterwards was, for some time, under Richardson, but made little progress as a painter. He afterwards com- menced engraver, and for some time worked for the magazines. His best plates are coins and medals, which he copied with neatness and precision. He also engraved some portraits, among which we have the following : Dr. Ducarrel, affixed to his Anglo-Norman Antiquities. Matthew Hutton, Bishop of Durham. Alexander Pope, Poet. PERSON, Nicholas, a German engraver, who flourished about the year 1696. He executed a set of indifferent prints, consisting of twenty portraits of the Archbishops of Germany ; published in 1696. PERSYN, Regnier'de. This artist was a na- tive of Amsterdam, and flourished about the year 1650. He went to Rome, where, in conjunction with Cornelius Blomaert, Theodore Mathan, and M. Natalis, he engraved the statues in the Palazzo Giustiniani. He worked with the graver in a neat, clear style. We have also the following plates by him : The Portrait of Ariosto ; after Titian. That of Balthazar, Count Castiglione ; after Eaffaelle, [Nagler says that Regnier de Persyn, or Perzyn, surnamed Narcissus, was born at Amsterdam in 1600; Zani says 1639, and that he was living in 1690. But Zani names another Renato, or Reniero, Perzyn, whom he calls a Roman, and who operated in 1642. He quotes two inscriptions; JJ. a Persyn sculp. — R. a Persyn fee. 1642. This date may ac- cord with that given by Nagler, but certainly not with that given by Zani, as regards the first-named Persyn. But another difficulty presents itself. On the print of Leander taken to the Shore by marine Deities, engraved by Regnerus a Persyn, is added, after sculptor, — Lusit. Was he a Portuguese ? Nagler enumerates this among the other prints by Persyn, but does not mention the circumstance of its being so signed : the late Mr. Lloyd, however, has noted it. The inquirer must reconcile as well as he can the uncertain dates respecting Persyn, or Perzyn; and trace, if it be worth the pursuit, whether he was a Dutchman, an Italian, or a Portu- guese ; or, in fact, whether the«e" existed only one or three of the same name. Nagler has given a list of his works, commencing with the two mentioned in the text.] PERUGlNI, Petruccio. See Montanini. PERUGINO, LuiGi. See Scaramuccia. PERUGINO, Pietro. The family name of this painter was Vannucci ; but he is generally distin- guished by the appellation of Pietro Perugino. He was born at Citta dellaPieve, near Perugia, in 1446. His parents, who were extremely poor, placed him with an obscure painter at Perugia, >by whom he was taught the elements of design. He has befin fenerally believed to have afterwards studied at 'lorence, under Andrea Verocchio ; but this is dis- puted by il Padre Resta, in the Galkria Portatile, who has ascertained that Verocchio was never his master. It is asserted, with more probability, by '> n 9 Mariotti, in his Lettre Pittoriche Perugine, that he received his principal instruction at Perugia, under Benedetto Bonfigli. He first distinguished himself by a picture he painted for the church of S. Chiara, at Florence, representing a Deposition from the Cross, vrith the Virgin, St. John, and other %ures, which was considered one of the finest productions of the art at that early period. The reputation he acquired by this admirable performance, induced Sixtus IV., who was at that time desirous of orna- menting the Sistina, to invite him to Rome, where he executed several considerable designs in the Sistine chapel, of which one of the most admired is Christ giving the keys to St. Peter. Although the style of Perugino retains somewhat of the dryness and crudity which prevailed before him, his works claim our esteem for the precision with which he imitated nature, the simplicity of his compositions, and a certain grace which distinguishes his forms from those of his contemporaries, particularly in his female figures, in which we discover the germ of that transcendent beauty, which afterwards charac- terized the productions of Raffaelle, his illustrious disciple. His colouring is equal to any artist of his time, though there is a want of gradation in his plans, and too great a uniformity in his tones. He was little acquainted with aerial perspective, and was ignorant of the principles of the chiaro-scuro. But these were the defects of the era in which he : lived, when every object was treated with a scrupu- lous individuality, approaching to servility. In his altar-pieces there is little variety of invention ; his numerous pictures of the Ascension of our Saviour, and of the Assumption of the Virgin, in the churches of Bologna, Florence, Perugia, and at Citta di S. Sepolcro, are nearly of a similar composition. In his frescoes he discovered more fertility of inven- tion, and more delicacy and harmony in his colour- ing. Of these, the principal are in the Sala del Cambio, at Perugia, representing subjects from the Old and New Testament. Of his cabinet pictures, one of the most esteemed, representing the Holy Family, is preserved in the sacristy of S. Pietro, at. Perugia. He died in 1524. PERUNDT, George. This artist was a native of Pranconia, and flourished about the year 1640. According to Sandrart, he engraved a considerable number of architectural and geographical subjects. [The name should be written PJrUndt. He was an architect, sculptor, and steel engraver. He was born in 1603, and died in 1663.] PERUZZI, Baldassare, called Baldassare DA Siena. According to Delia Valle, in his Lettere Senesi, this distinguished artist was born at Ae- cajano, in the territory of Siena, in 1481. He is counted, by Lanzi, among the many illustrious artists whose merit is riot to be measured by their fortune. After receiving his first instruction in the art from an unknown master, he went to Rome, in the pontificate of Alexander VI. He formed an acquaintance with Raffaelle, whose style he admired and imitated, particularly in his works in fresco. In his Judgment of Paris, in the Castello di Belcaro, and in his picture of the Sibyl's Prediction to Augustus, at Fonte Giusta, in Siena, he has shown a divine enthusiasm, which, according to Lanzi, neither Raffaelle himself, in treating the same sub- ject, nor Guido, nor Guercino, who have painted so many admirable Sibyls, could have surpassed. He was not less excellent in large machinal composi- tions ; such is his celebrated fresco of the Presenta- tion in the Temple, in la Madonna della Pace, at 563 PERU] A DICTIONARY OF [PERU Rome, in which he has shown himself a perfect master of the delineation of the passions, and the magnificence of the architecture is hardly to be equalled : this admirable production was a favourite study of Annibale Caracci His altar-pieces in oil are extremely rare. Lanzi recollects one at Torre Babbiana, near Siena, representing the Virgin, with St. John Baptist, and S. Jerome, half-length figures. But the branch in which he particularly distin- guished himself was in perspective and architec- tural views, which he represented with such fidelity and precision, and with so judicious a management of the chiaro-scuro, as to become perfect illusion. He was also celebrated for ornamenting the exte- riors of the palaces at Rome and Siena, with sacri- fices, bacchanalian subjects, battles, &c., in imitation of the antique bassi-riKevi, which was afterwards practised by Polidore Caravaggio, and Maturino, with such success. One of his most admired works at Rome, is at the Farnesina, in the apartment where is the celebrated Galatea, by Raffaelle, in which he has represented the History of Perseus, em- bellished with ornaments, in imitation of stucco, so admirably executed, that it is reported that Titian himself was deceived by them, and could only be convinced of the deception by changing the point of view. He was one of the most eminent archi- tects of his time, and is said to have received some instructions from Bramante, the friend of Raf- faelle. The life of this estimable artist was a continued series of misfortune and injustice. The offspring of indigence and obscurity, he was deprived of the means of prosecuting his studies with eclat. In- sulted by his fellow students, who were insolent and arrogant in proportion as he was modest and unassummg ; constrained by parsimony, or injustice, to work for a miserable stipend at Siena and Bo- logna ; plundei'ed of the little he had saved at the sacking x)f Rome; and finally cut off in the prime of life, when his talents were beginning to be known, by poison, administered by the jealousy of a rival. His death unveiled the extent of a genius, too little appreciated whilst he was living ; and his sepulchral eulogy, which almost equals him with the greatest artists of antiquity, has been resounded by all pos- terity. He died at Rome in 1536, and was buried in the Rotunda, near the tomb of Raffaelle. Baldassare Peruzzi is said to have engraved on wood, and a print is attributed to him representing Apollo, Minerva, and the Muses, with Hercules driving before him a female figure, loaded with treasure, supposed to represent Avarice. It is exe- cuted in a fine, bold style, on three blocks, and is inscribed Bal. Sen., and at some distance the word Perugo, Papillon informs us, that he wrote a Treatise on the Antiquities of Rome, and a Com- mentary upon Vitruvius, which he intended to em- bellish with engravings on wood, but he died before it was ready for- publication. [It is difficult to reconcile the different accounts that are given of Baldassare Peruzzi. While some state that he was of noble extraction, others say that he was the child of indigence and obscurity. The children of obscurity and indigence are rarely so instructed in the sciences and arts, as to exhibit at an early age acquirements equal to the most eminent professors. He was Raphael's senior only by two years, and, it appears, studied with him in the school of Bramante ; their congeniality of taste and sentiment, with regard to the arts of painting and architecture, united them in the stiictest friend- 564 ship ; and, as there was rivalry without jealousy, it may be readily supposed that they were equally noble in disposition. Peruzzi had executed some excellent works, both in architecture and painting, before he entered the school of Bramante; and when he was selected by Agostino Chigi to erect for him a magnificent palace, (now the Farnesina,) Raphael co-operated with him, and decorated the wafis with some of his finest imaginings. It was there that he painted his Galatea, and the History of Cupid and Psyche. Peruzzi has been emphatically styled the Raphael of Architecture. To deserve that title in a science that requires the knowledge of so many others as components, instruction and assiduous study must be the handmaids of genius. Professors of high reputation do not afford their in- structions gi-atuitously ; and an indigent and ob- scure person without instruction arrives at excel- lence but by slow degrees : poverty retards his progress, though it may stimulate exertion. Peruzzi was little more than thirty when he commenced the Chigi palace. His ability as an architect, however, does not come within the scope of this Dictionary, or many other noble erections by him might be enumerated. As a painter, by general concurrence, he was only second to his illustrious friend. Time, unfortunately, has been less favourable to him in the preservation of his works in that department. It is surprising that an artist possessed of such su- perior talents should, in those days, have fallen into a state of indigence ; but most writers record the fact. Pope Clement VII., hearing of his necessities, sent him fifty pieces of gold. It is not extraordinary that his countrymen, who suffered him to die in want, should give him a pompous funeral, and erect a monument to his memory ; that is a common affair with nations, as regards men of genius that do them most honour. It was an oversight of Zani to deny that Peruzzi ever engraved in wood, and to reprove the cavalier Puccini for having said that he did so in a superior manner, and afterwards to describe a wood print by him, which he designates legno Jinissimo apiu taglj, B. B. irreperihile. It re- presents Christ and the two Disciples at Emmaus ; four othfr figures and a dog are introduced. This print, says Zani, forms one of the four Banquets by Peruzzi, the other three being the Marriage at Cana, the Feast in the House of the Pharisee, and the Last Supper. See Enciclopedia Metodica, parte prima, vol. xv. note 42, and parte seconda, vol. ix. Eage l25. There is a drawing in chiaro-scuro by im in the English Natiotial Gallery ; it represents the Adoration of the Magi!] [PERUZZINI, DoMENico, an engi'aver, born at Pesaro, and supposed to be the elder brother of Giovanni Pemzzini. He flourished from 1640 to 1661, according to the dates on the prints attributed to him by Bartsch. There is, however, consider- able uncertainty respecting him, these prints having been pre^dously ascribed to Domenico Piola, which Bartsch repudiates ; the style being entirely differ- ent, both in design and execution. It is supposed that, like his brother Giovanni, he was a scholar of Simone Cantarini da Pesaro, and his etchings re- semble those of that master, and of Guido Reni. Bartsch adduces several cogent reasons to prove him entitled to the honour of being the engraver of ihe prints which be assigns to him. Subjoined is a list of their titles. For full descriptions see Bartsch, Peintre Graveur, torn. xxi. 1. The Holy Virgin, half-length, with the infant Jesus. D. P. 1661. PERU] PAINTERS AND ENGRAVERS. [PESN 2. The Virgin seated, -with the Infant on her knees. D. P. 1661. 3. Christ tempted by the Devil, in the form of aai old man. D. P. 1642. i. Christ hearing his Cross, with other figures, half- . lengths. D. P. P. F. engraved on the cross. (Circular.) 5. The Holy Family and Saints. Dom": Per"". Anconae 1661.. The fibres in this print ai-e half-lengths. Heineken, in lus Dictionaire des Artistes, .attributes this print to Gw. Dom, Cerinif known under the name of II Cavaliere Perugino. 6. St. Anthony of Padua praying, and the infant Jesus appearing to him on a cloud supported by three cheru- bim. Dom. P. F. This print has been eiToneously at- tributed to D. Cresti. 7. The Assassination. A man in his shirt on a bed, availed by three soldiers, one of whom thrusts a lance into his body. D. P. 1640. 8 to 11. Landscapes. The first is signed D. P. f. An- conae ; the others, D. P. only. 12. St. Jerome doing Penance in the Desert. The letters D. P. F. are on a plant to the right. Bartsch, how- ever, considers it doubtful whether it belongs to Do- menico Peruzzini, as there is a sensible difference in the style from that of the others. It would seem that both brothers, though natives of Pesaro, preferred being called of Ancona, their adopted country, to which they had transferred their services. Domenico remained there longest, perhaps died there ; Giovanni, being of a lively dis- position, was enamoured of an erratic life, and, after various peregrinations, died at Milan.] PERUZZINI, Giovanni. This artist was born at Ancona, [or at Pesaro,] in 1629, and was a scholar of Simone Cantarini, called da Pesaro. He pos- sessed a lively genius, and became a reputable painter of history. There are several of his pic- tures in the churches of his native city, of which the most esteemed are the Decollation of St. John, at the Spedale ; and a picture of S. Teresa, at the Carmelitani. He resided some time at Bolpgna, where there are some of his works in the public edifices, particularly the Descent of the Holy Ghost, in the church of S. S. Vitale ed Agricola ; and a picture of St. Cecilia, in the church dedicated to that Saint. He was invited to the court of Turin, where he executed several works, both in oil and in fresco, so much to the satisfaction of his protector, that he made him a knight of the order of St. Maurice. He died [at Milan] in 1694. [He was vain of his facility of execution, and inscribed on one of the lunettes of the portico de' Servi in Bo- logna, Opus 24 Sor. JEg. Jo. P. The work of twenty-four hours by Gio. Peruzzini, knight. Carlo Cignani, on reading it, observed, Le minchionerie si fanno presto. The witty remark of a brother painter, perhaps a rival, must not be allowed to deprive Peruzzini of the praise to which he is justly en- titled. In the picture of S. Teresa, says Lanzi, there are traces of Baroccio's manner ; that of the beheading of St. John is extremely beautiful, and here he appears a scholar of the Bolognese. After forming a style participating of those of the Ca- racci, of Guido, and of Cantarini, he took to a wandering life, and painted in various theatres and churches, if not with much study, with tolerable correctness, a knowledge of perspective, in which he was excellent, and with a certain faciUty, grace, and spirit, which delight the eye.] PESARO, NiccoLo Teometto, called Niccolo DA. This painter was a native of Pesaro, and visited Rome when young, during the pontificate of Gregory XIII. He became a scholar of Federigo Zuccaro, and was a successful follower of the style of that master. There are many of his works in the public edifices at Rome, of which, according to Baglione, the following are the most esteemed. In the Basilica of S. Giovanni Laterano, the Nativity ; in S. Praur cesco a Ripa, a Pieta, with two laterals of S. Nic- colo and S. Antonio ; and in S. Maria d'Aracseli, two pictures of the Nativity and Circumcision. His- most celebrated performance is in the Chiesa del Sacramento, at Pesaro, representing the Last Sup- per, one of the most admirable works of art in that city. Towards the latter part of his Ufe he sunk into a mannered and feeble style; and his last works are extremely inferior to his earlier produc- tions. He died at Rome, in the pontificate of Paul v., at the age of 70, [in 1612.] PESARO, SiMONE DA. See Cantarini. [PESCIA, Mariano da, also called Graziadei. The time of his birth and death is uncertain ; Zani says he died about 1520; others, that he wag' bom in 1525, and died in 1550: It is also said that he was a scholar of Ghirlandajo, and assisted him in his works ; if he was not bom till 1525, he could not have been a scholar of Domenico Ghirlandajo, who died in 1493 or 1495. Perhaps it was his son, Ridolfo, who received instruction from Raphael and Era Bartolomeo, and practised at Florence. In the chapel della Signoria, in the Palazzo Vecchio at Florence, there is an altar-piece by him ; and, in the gallery, the Virgin and inmnt Jesus, with Elisa- beth and the young St. John,, of which Rosini has ^ven an outline in plate 153 of his " Storia della Pittura ItaUana ;" the style is between that of An- drea del Sarto and Innocenzio da Imola. It is agreed by all that he died young, and his known works are very few.] PESELLO, Peselli. This painter was born at Florence in 1404, and was for many years a scholar of Andrea Castagno. He painted history in the style of his instructor ; and at the time of Vasari there were several of his works in the churches and public edifices at Florence, of which the most esteemed was a picture of the Adoration of the Magi, which is preserved in the gallery at Florence. But his principal talent was in painting animals, in which he surpassed every artist of his time. He is said to have kept a collection of wild beasts, and other curiosities, in his house, for the purpose of painting them from nature. He died in 1481, aged 77. [By Lanzi and Zani he is called Francesco Pesello, senior; but Rossini asserts that this is a mistake, and that his real name was Giulibaio, and that he was of Arrigi. Lanzi, Zani, and Rosini agree that he was born in 1380, and died in 1457, which would make him 77 years old. But this militates against his being for many years a scholar of Andrea Castagna. Castagna was born about 1403; so that when Pesello was thirty Castagna would be only seven years old. Nor, by the same rule, is it likely he could have been a scholar of Filippo Lippi, as some have asserted; the elder Lippi was twenty years his junior ; and the younger was not born till three years after Pesello's death.] PESELLO, Francesco, called Pesellino, was the son and disciple of the foregoing artist, bom at Florence in 1426. This promising painter had given proof of uncommon ability, in a series of frescoes, at the Noviziato di S. Croce, representing the hves of S. S. Cosmo e Damiano, and S. S. Antonio e Francesco, when he died in 1457. [Lanzi and Zani agree in these dates.] PESNE, John, a French engraver, born at Rouen in 1623, [and died at Paris in 1700.] It is not ascertained by whom he was instructed, but he reached an eminent rank as an artist, particularly 565 pesn] A DICTIONARY OP [pete as a designer; in which he arrived at a higher de- gi'ee of perfection than the generality of engravers. His execution is neithei: dexterous, agreeable, nor picturesque ; but he compensates for these defi- ciencies by the correctness of his outline, and the fidelity with which he has rendered the precise character of the diflferent painters, whose works he engraved. His principal plates are from the pictures of Niccolo Poussin, and a due portion of the merit of his prints, after that distinguished master, will be justly attributed to the perfection of his models. The following are his most esteemed prints : PORTRAITS. Two of Niccolo Poussin ; after pictures by himself. Louis le Comte, Sculptor to the King. Francis Langlois ; after Vandyck. SUBJECTS AFTER POUSSIN. Esther before Ahasuerus. The Adoration of the Shepherds. The dead Christ, with the Virgin and St. John. The Entombing. The Death of Ananias. The Holy Family, with a dedication to Le Brun. The Vision of St. Paul. The Triumph of Galatea. The Testament of Eudamidas ; one of his best prints. The Seven Sacraments, in seven plates, of two sheets each. The Labours of Hercules, in nineteen plates ; from the paintings in the Louvre. SUBJECTS AFTER ITALIAN MASTERS. The Holy Family ; after Saffaelle. A set of fifteen Landscapes ; after Guercino, and other masters; fine. [Dumesnil has described 166 prints by Jean Pesne, and has indicated the foregoing as being the prin- cipal.] [PESNE, Antoine, according to several, the son of Thomas Pesne, a portrait painter, and brother of Jean Pesne ; according to Dumesnil, the son of Jean Pesne; was born at Paris about 1683, and died at Berlin in 1757- He painted history and portraits, and was appointed principal painter to Frederic of Prussia, called the Great, who gave him a considerable pension. His works were much ad- mired by the connoisseurs of the court ; and as a specimen of the taste of his admirers here are two apostrophizing lines from an epistle : " Quel spectacle etonnant vient de frapper mes yeux ! Cher Pesne, ton pinceau d'egale au rang de dieux ! " Like many other deified personages, he finds very few worshippers in the present day; indeed if it had not been for those two magniloquent lines he would have been overlooked on the present occa- sion ; so true it is that poetiy, like amber, preserves the smallest creatures from corruption. Many paint- ers who lived before Antoine Pesne were praised by their contemporaries, and many since; but, alas! " they had no poet, and are dead." Jervas survives in Pope's epistle, and in that only.] PETERS, [orPEETERS,] Bonaventura. This eminent artist was born at Antwerp in 1614. It is not known by whom he was instructed in the art, but he distinguished himself as the most celebrated painter of marines and sea-storms of the time in which he lived. His pictures of tempests and hur- ricanes are faithful and impressive representations of the hoiTovs of shipwreck. The lowering sky, the awful and terrific agitation of the waters, the light- ning's glare, the alarm and movement of the marin- ers, the vessels dashed to pieces on the craggy shore, or swallowed up in the devouring deep, are described with a fidelity and feeling which prove 566 that he must have frequently witnessed these dis- astrous scenes, to enable him to delineate them with a precision so afiecting. He was not less success- ful in his representations of the element under a more lucid and tranquil dominion. His pictures frequently represent the sea in its calm, with fishing boats at anchor, or views of the Scheldt, with ves- sels saihng under an easy breeze, in which he ex- hibits a freshness of atmosphere, and a transparent purity of colour, that is admirable. His best works are justly held in the highest esteem in Flanders ; and if his pictures are not more duly appreciated in this country, it is because veiy inferior productions are continually attributed to him, which are every way unworthy of his estimable talents. He died in 1652. [Most writers, following Descamps, have placed his death as above ; but as there is a picture by him in the Museum at Amsterdam, dated 1667, it must be a mistake. Balkema, with more proba- bility, says he died in 1671. Nagler describes two etchings by him.] PETERS, John, was the brother and scholar of the preceding artist, born at Antwerp in 1625. He painted similar subjects to those so admirably treated by his brother, though in general his works are very inferior to those of Bonaventura. He some- times painted combats at sea, in which he showed great ingenuity in the composition, and his small figures are correctly and spiritedly drawn. Though his colouring is clear and transparent, and his pen- ciling deUcate and neat, he is very unequal to his brother in grandeur of effect, and in his judicious management of the chiaro-scuro. [He died in 1677.] PETERS, Francis Lucas. This artist was born at Mecklin in 1606. He was the son of an obscure painter, from whom he learned the elements of de- sign, but he afterwards entered the school of Gerard Segers. He did not, however, follow the style of that eminent master, but abandoned historical paint- ing to devote himself to landscapes, which he paint- ed in a pleasing style, and decorated them with figures, correctly drawn, and touched with neatness and spirit. He was taken into the service of the Archduke Leopold, in whose employment he passed the greater part of his life. He died at Brussels in 1654. PETERS, Gerard. This artist was born at Amsterdam in 1580. He received his first in- struction in design from an eminent glass painter, named James Lenards, who, perceiving in his pupil an uncommon genius for the art, advised him to put himself under a more able master. He conse- quently became a disciple of Cornelius Cornelisz, under whom he studied five years, and, at the recommendation of that master, visited Italy in search of improvement. After a residence of some years at Rome he returned to Holland, where he distinguished himself as one of the ablest artists of his time. Van Mander extols him as a correct de- signer of the figure, and commends some of his historical pictures ; but he is more celebrated as a painter of gallant assemblies and conversations, which he composed in a very agreeable style, and finished with great neatness and delicacy. He also painted portraits with considerable success. [His name should be written Peeters, or Pieters. Accord- ing to Balkema he died in 1626. It is supposed that he etched three landscapes. Immerzeel calls him Pieterzen.'] PETERS, Matthias. This artist, who flour- ished at Amsterdam about the year 1660, in con- ■ junction with his brother Nicholas Peters, en- bete] PAINTERS AND ENGRAVERS. [PETH graved the plates for the Atlas Major, published by Blaeu, in that city, from drawings by the pub- lisher. [PETERS, William, (the Reverend?) flour- ished during the latter half of the 18th century. He is better known by the prints engraved for Boy- dell's Shakspeare and Mackhn's Gallery than by his paintings, though some of his pictures have all the impasto of Sir Joshua Reynolds, and in rich- ness of invention and fancy far surpass him. His Resurrection of a Pious Family; the Guardian Angel and the Spirit of a Child j his scenes from the Merry Wives of Windsor, and from Much Ado about Nothing, and other theatrical subjects, were very popular. He painted many fancy subjects from his own invention, some pleasingly senti- mental, some not strictly in accordance with just notions of propriety. A few of the latter class have been engraved. He also painted portraits with gi-eat taste and elegance. It is supposed that he exer- cised the art more as an amateur than as a pro- fessional painter ; but he was pati-onized by some of the nobiUty of his day, for whom he painted sub- jects very different from those of his Resurrection of a Pious Family, or The Cherubs. The Lady in Bed, of which there are two, must not be attributed to Sir Joshua Reynolds, though in the quality of the painting it resembles his manner. It is sup- posed that he died about 1800. There are engravings of several of his fancy pieces and portraits by Bar- tolozzi, Marcuard, Simon, Thew, Dickinson, and J. R. Smith. He was called the Meverend W. Peters ; perhaps he preferred painting to preaching.} PETERZANO, Simone. This painter was a native of Venice, and was brought up in the cele- brated school of Titian. He flourished about the year 1590. His picture of the Pieta, in the church of S. Fedele, at Milan, is signed with his name, to which he has added litiani discipulus. In the church of S. Bamaba, at Milan, he painted some frescoes of the life of St. Paul, in which he appears to have been desirous of ingrafting on the Venetian colouring, the expression, the foreshortening, and perspective of the Milanese school. There is a fine picture by this master representing the Assumption, in the Chiesa di Brera, at Milan. PETHER, Abraham. This ingenious artist was bom at Chichester in 1756. In the early part of his life he applied himself to the study of music, and at the age of nine years, is said to have occasionally performed the organist's duty in his native city. He afterwards turned his thoughts to painting, in which he was instructed by George Smith, and attained a considerable rank in the art as a landscape painter, particidarly in the effect of moon-hght. In his day j)ictures his scenery is usually pleasing and luxu- riant ; his colouring is clear, and his distances are remarkably tender and sweet. He does not, how- ever, appear to have paid much attention to the arrangement of his masses, and there is a want of judgment in the distribution of the Ught and shade. Hence the effect in his pictures is sometimes flut- tered, and, as he did not often resort to nature for his materials, his forms are frequently repeated, and exhibit the characteristics of a mannerist. Mr. Pether not only distinguished himself as an eminent painter, and an excellent musician; his philosophical and mathematical researches are par- ticularly deserving of notice. He also possessed ex- tensive powers as a mechanic, and constructed va- rious optical instruments, such as telescopes and microscopes, as well as air pumps, and other ma- ■ chines relative to science ; and once read lectures on electricity, exemplified by instruments made by himself. With an ardent thirst after knowledge, he pos- sessed a happy and contented disposition, and his manners were affable and unassuming. A lingering disease, which had confined him during the space; of three years, terminated his existence, at South- ampton, the 13th of April, at the age of 56. [He was the son of W. Pether, the engraver, and scholar of the Smiths of Chichester, but far surpassed them in execution. His day scenes are sometimes dry and hard in the penciling, but there is no want of judgment in the distiibution of the light and shade; on the contrary, his best pictures are remarkable for his observance of natural effects, although thei'e is no attempt at striking contrasts. His moon-light pieces exhibit his knowledge of astronomy ; in them may be discerned the age of the luminary, the hour of the night, and the period of the year which the picture is intended to represent] [PETHEJB, Sebastian, was the son of Abraham Pether, and was probably instructed by his father, as he painted similar subjects. His pictures con- sist of moonlights, conflagrations, and sun-sets, and exhibit fine feeling and judgment in the selection, and harmony in the colouring. The narrowness of his circumstances, and the largeness of his family, reduced him to the necessity of working for picture dealers, and beyond them it does not appear that he ever had a patron, .except in one instance. That patron was Lord de Tabley, who commissioned him to paint a subject quite out of his line, a Cara- van overtaken by a Whirlwind. Such patronage is more detrimental to a necessitous artist than entire neglect; a failure throws discredit on his talents. He had considerable knowledge in the mechanical arts, and, it is said, was the first that suggested the idea and construction of the stomach-pump to Mr. Jukes, the surgeon, who introduced it to the medical profession. His pictm-es are not numerous; but they were a source of great emolument to his friends the dealers, as they could be readily copied, and the copies disposed of to country gentlemen j thence it is that his name so frequently appears in catalogues of picture sales. His real works are worth obtain- ing. He died in 1844, at the age of 54.] PETHER, William, an English painter and mezzotinto engraver, who flourished about the year 1770. He engraved several fine plates after Rem- brandt and other masters, as well as a few from his own works. Among others, we have the following prints by him : PORTRAITS. The three brothers, Smith, Painters of Chichester ; W. Pether, pinx. etfec. 1765. Benjamin West ; after Lmmranson. Samuel Chandler, D.D. ; after Chamherlin. Francis du Quesnoy, Sculptor ; aft^er C. Le Brun. Carlo Tessarini, Musician ; after Palthe. Kembrandt's Wife, as the Jew Bride ; after Rembrandt. Kubens's second Wife ; after Rubens. SUBJECTS AFTER VARIOUS MASTERS. The Babbi ; after Rembrandt. *An Officer in Armour ; after the same. An old Man with a beard ; after the same. The Lord of the Vineyard ; after the same. A Village Festival ; after Tenters. A Warrior ; half-length ; after Giorgione. The Descent from the Cross ; after the picture in King's College, Cambridge ; by Daniello da Volterra. The Philosopher; (^er Jos. TTn^fAi. The Statuary ; after the same. The Academy ; after the same. 567 PETl] A DICTIONARY OF [PETI The Coutinence of the Chevalier Bayard ; after Penny. The Hermit ; after the same. The Alchymist ; after the same. [William Pether was bom at Carlisle in 1731 ; was a scholar of Thomas Prye, the mezzotinto engraver, and became the most eminent of his time in that style of engraving. He was admitted into the Academy in 1778, and died about the year 1795.] PETIT, Giles Edme, a French engraver, born at Paris in 1696. He was a pupil of J. Chereau, and engraved several plates in the neat style of his insti-uctor, of which the most esteemed are his por- traits. Among others, we have the following prints by him : PORTRAITS. Francis I. King of France ; after Titian; fortheCrozat collection. Louis Philip, Begeut of France : after Liotard. Louis XV., King of France ; after C. Vanloo. Charles Edward Stuart, the Pretender ; after Dupra. Philibert Papillon, Canon of Dijon. Ren6, Charles de Maupeon, President of the Parliament. Peter Bayle, Author of the Historical and Critical Dic- tionaiy. Maria Theresa, Queen of Hungary. Armand Julius, Prince of Rohan ; after Rigaud. Henry Charles de Pomponne, Abb6 of St. Medard. John Frederick Philipeaux, Count of Maurcpas. Joachim Francis Potier, Duke of Gesvres. SUBJECTS. The Disciples at Emmaus ; after J. Andre. The Visitation ; after tlie same. Xhe Virgin of the Rosary ; after the same. St. Catherine of Siena ; after the same. [In Nagler may be found a list of 52 prints by him. He died in 1760.] [PETIT, Louis, a designer and engraver, born at Paris in 1760, was a scholar of N. Ponce. He was much employed in designing vignettes and other book illustrations, which he etched with con- siderable ability. He died about 1812. Among his detached engravings the following are most deserv- ing of notice : The Portrait of Peter Bayle, author of the Dictionary. La belle Jardiniere, jointly with Massard; after Ra- phael. The infant Jesus asleep, finished by Boiiinet ; after the same. Aurora ; after the same. A Holy Family ; after the same. St. Romualdus ; after A. Sacchi; finished hj Damhrune. The dancing Nymphs ; after Vander Werff. And several for Ligni's History of the Life of Christ ; among which are the Transfiguration, after Raphael ; and the Last Supper, after Lionardo da Vinci. PETITOT, John, the elder. This distinguish- ed enameller and miniature painter was born at Geneva in 1607. He was the son of a scidptor and architect, who designed him for the profession of a jeweller, and having frequent occasion to make use of enamel, he attained such a tone of colour, that he was advised to apply himself to portrait painting, which he afterwards carried to a perfection that may be said to be unexampled. He was patronized by the two monarchs, who, in their time, gave the most liberal encouragement to art, Charles I. and Louis XIV. ; and his extraordinary ability was deserving of their protection. In company with Peter Bordier, who afterwards became his brother- in-law, he- visited Italy, where, during a residence of some years, they had the opportunity of studying the treasures of art, and of frequenting the best chemists, for improvement in the preparation of 'their colours. Petitot painted the heads and hands, and Bordier the hair and back-grounds. In this 568 intercourse of social labour, they visited England, and had the good fortune of forming an acquaint- ance with Sir Theodore Turquet de Mayerne, physi- cian to the king, 'an inteUigent chernist, who had, by his experiments, discovered the principal colours to be used in enamel, and the proper means of vitrifying them in such a manner, that they sur- passed the boasted enamelling of Venice and Limoges. Mayerne introduced Petitot to King Charles I., who retained him in his service, and gave him apartments at Whitehall. He painted the portrait of that monarch, and the royal family, several times. He copied several pictures after Vandyck, who assisted him with his advice, and they are considered the finest of his works. The beautiful whole-length of the Countess of South- ampton, in the collection of the Duke of Devonshire, is painted from the original, in oil, by Vandyck, and is considered one of the most capital works of enamel that exists. It is nine inches three quarters high, by five inches three quarters wide, and the execution is the boldest, and the colouring the most rich and beautiful, that can be imagined. It is dated 1642. King Charles often went to see him at work, as he took great pleasure both in painting and chemical experiments. The tragical death of his royal protector was a dreadful stroke to Petitot, who did not quit the exiled family, but followed them in their flight to Paris, where he was looked ■ upon as one of their most faithful adherents. Charles II., during his abode in France, took great notice of Petitot, and introduced him to Louis XIV., who appointed him his painter in enamel, and ordered him apartments in the Louvre. He painted that monarch several times, Mary Anne of Austria, his mother, and Mary Theresa, his queen. Being a zealous Protestant, and dreading the consequences of the revocation of the edict of Nantes in 1685, he solicited the king's permission to retire to Geneva. Louis, unwilling to part with so favourite an artist, and perhaps supposing that the religion of an enameller was not likely to be " composed of sterner stuff" than that of the great Turenne, for some time evaded the demand, and employed the celebrated Bossuet, bishop of Meaux, to endeavour to convert him. This not succeeding, he was at length per- mitted to leave France, after a residence of thirty- six years, and he returned to Switzerland. He settled at Geneva, but the concourse of his admirers, and the resort of the curious, who came to see him, was so great, that he was obliged to quit Geneva and retire to Vevay, a small town in the canton of Berne, where he continued to exercise his art till he had reached the advanced age of 84, and died in 1691. Petitot may be called the inventor of painting in enamel; or at least he. was the first artist who brought it to complete perfection. He was much assisted in his works by his relation, Bordier, whose fame is almost absorbed in that of his brother-in- law. Bordier is said, in the Anecdotes, to have remained in England after Petitot left this country, and was employed by the parliament to paint a memorial of the battle of Naseby, which they pre- sented to Fairfax, their victorious general. This is the only work which can with certainty be allotted to Bordier alone. [In the Apollo Gallery of the Museum at Paris are about sixty of Jean Petitot's finest enamels, consisting of portraits of Louis XIV., and several members of his family ; of ladies of the court cele- brated for their beauty, attachments, or literary ac- PETl] PAINTERS AND ENGRAVERS. quirements ; and some of the statesmen and militaiy commanders of France. The following are perhaps the most interesting : Several of Louis XIV., at differeut periods. Three of Aime of Ausb-ia. Two of Madame de Maintenon. Three of Maria Theresa of Austria. La Buchesse de la VaUiere. Ninon de L'Enclos. Madame de S^vign^. Madame Deshouli^res. The Duchess of Portsmouth. Madame de Ludre in the character of a Magdalene. Christina of Sweden. The Duchesse de Mazarin. The Cardinal EicheUeu. Madame de Montespan. Mademoiselle de Montpensier. Marechal de Villars. Jean Chardin, the Traveller.] PETITOT, John, the younger, was the son of the preceding artist, by whom he was instructed in enamelling. He settled in London, where he exer- cised his art with considerable success. His works are very inferior to those of his father, though they possess great merit. PETRAZZI, AsTOLFo. This painter was a na- tive of Siena, and flourished about the year 1635. He was a scholar of Francesco Vanni, and, accord- ing to Baldinucci, painted some pictures for the public edifices and private collections at Siena, which were justly esteemed. One of his principal works is the Communion of St. Jerome, at the Agostiniani, at Siena, in which he exhibits some- what of the style of. the Caracci. He excelled in painting children, which he introduced very happily into his emblematical subjects. Such are his Four Seasons in the Villa Chigi, which are admired for the playfulness and ingenuity of the groups. He died in 1665. [He was not a scholar of Francesco Vanni, but, like him, a pupil of the younger Salim- beni, and of Sorri.] PETRI, PiETRO DE. According to Orlandi, this artist was born at Premia, in the Novarese state, in 1671. He studied at Rome, in the school of Carlo Maratti. He painted histoiy with some reputation, and united with the style of Maratti somewhat of the taste of P. da Cortona. One of his principal works at Rome is a picture of the Crucifixion, in the church of S. S. Vincento ed Anastasio ; he also painted some frescoes in the tribune of S. Clemente. We have a few etchings by this artist from his own designs, executed in the style of a painter, among which are. The Assumption of the Virgin. St. Laurence Justinian. [According- to Zani he was bom in 1663, and died in 1716. He distinguishes him from Pietro Antonio de Petri, or Pitri, by whom Bartsch has given an ac- count of four engravings in addition to the two ' above named. Zani says the latter was born at Rome, but it may be a mistake, from his having practised much there. See Bartsch, tom. xxi. p. 289.] PEUTEMAN, Peter. This artist was bom at Rotterdam in 1650. He excelled in painting ob- jects of still-life, such as musical instruments, books, vases, &c., which he represented with surprising precision. Though the objects he made choice of are in themselves little interesting, they please by the beauty of his finishing, and his judicious manage- ment of the chiaro-scuro. His death is said to have been occasioned by a sudden fright brought on by an earthquake, which happened m 1692. [Balkema [PHIL calls him Nicolas Peuterman, and says that he painted history. He gives the same dates.] [PEYRON, Jean-Fhancois-Pierre, a French historical painter and engraver, born at Aix in 1744, and died in 1820, was a scholar of the elder La- grenee. His subjects are from the ancient poets, and from Greek and Roman history, and occasion- ally of events occurring in his own time, such as the death of General Walhubert at the battle of Auster- litz. The greater number were painted from 1780 to 1800; but he continued to exhibit till 1812. He engraved several subjects after Raphael, Poussin, and after his own designs. He was a member of the Academy of Painting and Sculpture in 1783, and was named Director of the Gobelin Manufactory in 1787, and executed many paintings for that establishment.] PFEFFEL, John Andrew,, a German engraver, who flourished about the year 1720. He resided at Vienna, where he followed the business of a print- seller. His works, as an engraver, were chiefly confined to architecture and ornamental foliage, which he executed in a neat style. In conjunction with C. Engelbrecht, he engi'aved a set of plates of jewellery ornaments, from the designs of A. Morison ; and executed part of the plates for the History of Architecture, published at Vienna in 1721, by John Henhard Fischers. [There were two of the names Johann Andreas Pfeffel, father and son. The elder died in 1750, at the age of 76 ; the younger in 1768, at the age of 53. For a full account of their works see Nagler.] [PFEIPFER, Carl Hermann, an engraver, was born at Frankfort in 1769. He studied at the Royal Academy at Vienna, under the Professor Ch. Brand. He worked with the point, in the English manner, and was a very industrious artist. His engravings are numerous, particularly of por- traits, which are chiefly of German nobility, and persons of science and letters, of his time. He also engraved after some of the older Italian and Flemish painters, such as Raphael, Coreggio, Fra Barto- lomeo, Giuliano da Parma, Sasso Ferrato, and Rubens. Though his death is not recorded, it is presumed his artistic career is ended.] , PFENNINGER, Henry, [or Heinrich,] a Swiss painter and engraver, born at Zurich in 1749. He was a scholar of John Balthasar Bul- linger, under whom he passed five years, and after- wards went to Dresden, where he had access to the Electoral Gallery, and devoted himself to an as- siduous study of the works of the best masters, par- ticularly Vandyck and Rembrandt, and became a reputable painter of portraits. On his return to Switzerland, he was engaged by Lavater to make the designs and engrave part of the plates for his work on Physiognomy. He was much employed as a portrait painter ; and has etched a great num- ber of plates of portraits and views in Switzerland, which are executed with spirit and taste. He en- graved some of the portraits for Fuesshn's Supple- ment to the Lives of the Swiss Painters. We have also the following by him : A set of seventy-five Portraits of Illustrious Personages of Switzerland, accompanied with an abridged history of their Uves hy Leonard Meister. 1781. Thirty-four Porti'aits of the most celebrated German Poets, with their characters, by L. Meister. 1785. A set of six Views in Switzerland, [He died in 1815.] PHILESIUS, Rigmann, a German engraver on wood, who, according to Papillon, resided at Stras- 569 PHIL] A DICTIONARY OF [PIAT burg about the year 1508. He executed a set of twenty-five cuts of the Life and Passion of our Sa- viour, pubhshed at Strasburg, by John Knoblauch, in 1508. These cuts are said to be extremely scarce. [He was also a carver in wood. Zani notices him under the names Migman, PhUesius, and Philery, or Phillery. See a curious note to vol. xv. parte prima, of his Enciclopedia delle belle Arti. See also Phil- lery, Anton., in Nagler, an engraver, who flourished at Antwerp in 1530, to whom is ascribed the print alluded to by Zani ; it represents two soldiers and a woman, and is inscribed Gheprint t'Antwerpen by my Phillery de Jigwsnider. See Phillery.] PHILIPPE, Peter, a Dutch engraver, who flourished- at the Hague about the year 1660. We have by him a few plates' of portraits and festivals, among which are the following : PORTRAITS. Louis Henry, Prince of Nassau ; P. Philippe, fee. Henry Chailes de la Tremoile, [Tremouille,] Prince of Tarente ; after Vanderbank. SUBJECTS. The Assembly of the States-General of Holland ; after Tornvliet. A grand Festival ; after the same. A set of Merty-makings ; after Vander Venne. 1660. PHILLERY, an old engraver on wood, by whom we have a middle-sized print representing two Soldiers standing before a Woman, who is seated, holding a dog upon her lap. It bears the following inscription in old Flemish characters, ffiijcprint t'Snttoerpctt ig mg ^IjilUtE ie figuisiniiier, printed at Antwerp, hy me Phillery, the iiyure-cutter. The cut is neatly executed, and the hatchings are cai-e- fuUy represented. Heineken supposes this print to be very ancient, which it appears to be fi'om the inscription. [See note to Philesius.] PHILLIPS, Charles, an Enghsh mezzotinto engraver, who flourished about the year 1765. We have, among others, the following prints by him : A Boy holding a Pigeon ; after Mola. A Woman plucking a Fowl ; after Remhrandt. The Philosopher ; after the same. The Holy Family ; after Parmigiano. Venus and Cupid ; after Salviati. Isaac blessing Jacob ; wfter Spagnoletto. [And others, after iMUtherbourg and Sir Joshua Reynolds. He was born in 1737, but there is no account of his decease. The latest date noticed is 1770.] [PHILLIPS, Thomas, a very eminent portrait painter, was born at Dudley, in Warwickshire, in 1770. He was placed early with a glass painter at Birmingham, and came to London in 1790 with a letter of introduction to Benjamin West, who em- ployed him on the glass paintings in St. George's chapel at Windsor. In 1792 he commenced an ex- hibitor, with a View of Windsor Castle; and in the two following years he exhibited the Death of Talbot, Earl of Shrewsbury, at the battle of Cassil- lon; Ruth and Naomi; Elijahrestoring the Widow's Son ; Cupid disarmed by Euphrosyne ; and others of a like character. Afterwards he devoted himself chiefly to portrait painting. Notwithstanding that he had to compete with Hoppner, Owen, Jackson, Lawrence, and Beechey, he kept steadily progress- ing in public favour ; and if he had not the advan- tage of court patronage, he seemed to be the selected painter for men of genius and talent. In 1808 he became a member of the Academy; and in 1824 succeeded Henry Fuseli in the professorship of painting, which ofiice he held till 1832. On his appointment to the professorship he made a tour in Italy, in the company of Hilton, in order, as hg 570 said, to enable him to discharge the duties of the ofllce more efficiently. He delivered ten " Lectures on the History and Principles of Painting," which he after- wards published in one volume (in 1833). These lec- tures are clear and simple in their style, and instruc- tive in substance and arrangement, especially in those parts where he gives an exposition of his views of' the principles of art. He died April the 20th, 1845. As the life of a portrait painter of great practice is confined to his workshop, the best record is, perhaps, an account of what he has produced there ; and if it be found that he was chosen by persons distinguished for talent to preserve their likenesses for posterity, it may be concluded that he possessed qualities superior to the more fashionable painters, who owed much of their employment to the favour of a court. A few of the names of those who sat to him may be found useful hereafter, as an assurance to posterity that they are faithful re- semblances, without meretricious accessories and embellishments; and they will justify the appel- lation which a foreign artist of great talent (Nicaise De Keyser) bestowed on him, that of the Van Dyck of England. The names are given nearly in the chronological order in which the portraits were painted. Lord Thurlow, Blake the painter, (en- f-aved by Schiavonetti,) Lord Byron twice. Count latoif, the poet Crabbe, Earl Grey, Lord Brougham,, Sir Joseph Banks, Joshua Brookes, the celebrated lecturer on surgery. Major Denham, the African traveller. Lord Stowell, Sir E. Parry, Sir J. Brunell, David Wilkie, (now in the National Gallery,) Sir F. Burdett, Lord Lyndhurst, Dr. Arnold, the Dvdie of Sussex, Sir Nicholas Tindal, chief justice of the Common Pleas, Dr. Shuttleworth, bishop of Chichester ; the portraits of Sir Walter Scott, Thomas Moore, Thomas Campbell, Southey, and Coleridge, for Mr. Murray ; Dr. Buckland, Professor Sedgwick, Davies Gilbert, Mrs. Somerville, Mr. Hallam the historian, Francis Baily the astronomer, Faraday the chemist, Sir Humphrey Davy, and many other really illustrious characters : one of his last was a portrait of himself, an excellent likeness, which the editor saw on the easel while he was finishing it. In 1802 he painted by stealth, but with the connivance of Josephine, a portrait of Napoleon, which is now at Petworth; it has been engraved. Phillips wrote many of the articles on the fine arts in Rees's Cyclopsedia, and in other pub- lications. He was one of the great promoters of the society called " The Artists' general Benevolent Institution."] PIAGGIA, Teramo, [or Erasmo de ZoagliJ This painter was a native of Zoagli, in the Genoese state, and flourished about the year 1547. He was a disciple of Lodovico Brea. In conjunction with Antonio Semini, he painted several works for the churches at Genoa, of which one of the most esteemed was the Martyrdom of St. Andrew. In this fine picture, the style of Brea is discernible, but modernised and embellished; the design is more easy and flowing, the airs of the heads are expres- sive, and the colouring is harmonious. PIANORO. SeeMoRELLi. PIATTI, Francesco. This artist is said by Fuessh, in the Appendix to his Lives of the Swiss Pa,inters, to have been born at Teglio, in the Val- teUne, in 1650. He does not acquaint us by whom he was instructed, but informs us that he painted a gi-eat number of altar-pieces and pictures for the churches and galleries of the neighbourhood, and highly commends a picture of Cleopatra, by him, in PIAZ] PAINTERS AND ENGRAVERS. [pica [Zani the possession of a noble family at Delebio. says he was living in 1690.] PIAZZA, Callisto. This painter was a native of Lodi, and flourished, as appears from the dates on his pictures, from 1524 till 1556. He was one of the most successful followers of Titian, as is manifest in his fine picture of the Assumption of the Virgin, at the Collegiate di Codogna, which Lanzi asserts is worthy of the ablest disciple of his school. In the church of the Incoronata, at Lodi, he painted three chapels in fresco ; in one, he repre- sented the Mysteries of the Passion ; in another, the Life of St. John the Baptist ; and in the third, the Life of the Virgin. The extraordinary beauty of these admirable productions is sufl5.ciently estab- lished, by its having been for some time beUeved that Titian himself had painted them. He appears to have sometimes imitated the style of Giorgione ; such is his picture of the Virgin and Infant, sur- rounded by several saints, in the church of S. Fran- cesco at Brescia. One of his earliest pictures, signed Calixtus Laudensis, 1524, is in the church of S. Clemente, at Brescia ; his Marriage at Cana, in the refectory of the Padri Cisterciensi, at Milan, bears the date of 1545 ; and in the Monastery of S. Maurizio, in the same city, are two large pictures representing the Adoration of the Magi, and the Baptism of Christ by St. John, inscribed with his name, and dated 1556. PIAZZA, Padre Cosimo. Paolo Piazza, called Padre Cosimo, was bom at Castel Franco, in the Venetian territory, in 1557. He was a scholar of the younger Palma, although he did not imitate the style of that master, but formed a manner of his own, which, though not distinguished by great vigour or energy, was pleasing and agreeable, and he had acquired considerable reputation as a painter of history, when he became a Capuchin friar, and took the name of Padre Cosimo. He continued, however, to exercise his talents as a painter, and visited Rome in the pontificate of Paul v., where he executed several considerable works for the churches and public edifices, particularly a picture of the Deposition from the Cross, in the Campidoglio, and in a saloon of the Palazzo Borghese, the history of Anthony and Cleopatra. He was invited to the court of Germany by Rodolphus II., by whom he was employed some years, and on his return to Venice was patronized by the Doge Antonio Priuli. He died at Venice in I62I. [Zani places his birth ten years earlier.] PIAZZA, Cavaliere Andhea, was the nephew of the preceding artist, by whom he was instructed in the art, and he accompanied his uncle to Rome, where he had the advantage of studying after the great masters. He passed some years in the service of the Duke of Lorraine, and on his return to Venice painted a large picture of the Marriage at Cana, for the church of S. Maria, which, according to Lanzi, is his most celebrated work. He died at Venice in 1670. [There is a picture by him dated 1649.] PIAZZETTA, Giovanni Batista. According to Zanetti, this artist was bom at Venice in 1682. He was the son of a sculptor in wood, by whom he was taught the rudiments of design j nor does it appear that he had the advantage of any other in- stmction. His first style was distinguished by a clear and brilliant tone of colouring ; but on visit- ing Bologna he was so struck with the extraordinary efiect of the works of Guercino, that he adopted the Vigorous opposition of light and shadow, and the boldness of relief, which characterize the pictures of that eminent artist, in which he was not entirely unsuccessful ; but his drawing is mannered and in- correct, and the tones of his colouring false and dis- cordant. One of his best pictures is the Decollation of St. John, in the church dedicated to that Saint, at Padua. He died at Venice in 1754. [His pic- tures partake of the fluttered manner of his contem- porary, Tiepolo. He is best known in England by his chalk drawings of heads, which are not held in great estimation. He may be reckoned among the last of the Venetian painters of any note. Nagler has given a list of en^'avings after his pictures, and of two etchings by himself.] PICART, John, a French engraver, who resided at Paris about the year 1640. He is supposed to have been a pupil of Crispin de Passe, as he en- graved from the designs of that master, and imitated his style, though not very successfully. He appears to have been principally employed in engraving ornaments for books, and a few portraits. We have by him a portrait of Edward, infant of Portugal, a half-length, with emblems. That of Erasmus, a whole-length, standing in an arch, a frontispiece to part of his" works, published at Paris in 1639. Several other book plates of monuments, &c. PICART, Stephen, [Etienne,] called the Ro- man. This emineiit artist was born at Paris in 1631. He is said by some to have assumed the ap- pellation of the Roman, on account of his long resi- dence at Rome ; others assert, that it was to distin- guish his works from those of an indifferent engraver of the same name. On his return to Paris he was employed, with other celebrated artists, to engrave the pictures in the king of France's collection. His plates are sometimes executed with the graver only, in the style of Poilly ; but he also engraved several prints, in which the point is predominant. His drawing is not very correct, and there is frequently a want of harmony in the effect of his engravings. His prints are extremely numerous, of vmich uie following are the most deserving of notice : PORTRAITS. John Frauds Paul Gaudy, Cardinal de Eetz. 1652. Bust of Cardinal Fachenettus ; after Morand. Melchisedeck de Thevenot, famous traveller ; after Cha- veau. Francis Tallemant, Abb^ de Vlacliretien; after Nanteuil. Andrew Hameau, Doctor of the Sorbonne. Nicholas Pavilion, Bishop of Aleth. Nicholas Choart de Busanval, Bishop of Beauvais. Claude de Brion, President of the Parliament. Peter Loisel, Doctor of the Sorbonne. Frances Athenais de fiochechouart, Marchioness de Montespan. SUBJECTS AFTER VARIOUS MASTERS. The Ecce Homo, with three Angels ; after Alhano. The Birth of the Virgin ; after Guido. The Marriage of St. Catherine ; after Coreggio. Virtue triumphant over Vice ; after the same. The Sensualist ; after the same. St. Cecilia ; after Domenichino. A Concert of Music ; after the same. The infant Jesus sleeping, with the Virgin holding up her finger to St. John ; called the Silence ; after An. Caracci. The Holy Family ; after Palma. The Separation of &t. Peter and St. Paul ; after Lan- franeo. The Plague among the Philistines ; after N. Poitssin. Christ curing the Blind ; after the same. The Adoration of the Shepherds ; after the same. The Martyrdom of St. Gervais and St. Protais ; after Le Sueur. St. Paul directing the burning the Books of the Ephe- sians ; after the same. .571 pica] A DICTIONARY OF [PICC The Martyrdom of St. Andrew ; after Le Brun. The Stoning of St. Stephen ; after the same. The Adoration of the Magi ; after Courtois. The Virgin and Infant ; c^ter Noel Coypel. St. Anthony of Padua adoring the infant Jesus ; after Vandyek, He died at Amsterdam in 1721. PICART, Bernard. This ingenious artist was the son of Stephen Picart, born at Paris in 1663. He was instructed in design and engraving by his father, and at the age of sixteen gained the prize at the Academy of Paris. He distinguished himself as a designer as well as an engraver; and the great number of plates he executed from his own com- positions, evince the fertility of his genius and the excellence of his taste. He used both the point and the graver ; but in his larger plates the execution was not equal to the drawing. His works chiefly consist of book-plates, and other ornamental en- gravings. In 1710 he left Paris, and settled at Amsterdam, where he was greatly employed by the booksellers, and died there in 1733. He engraved a set of seventy-eight plates, in imitation of the differ- ent styles of the old engravers, which were pub- lished after his death, in 1738, in one_ volume, en- titled Les Impostures Innocentes. The following are his most esteemed works : PORTRAITS. Charles I. ; after Vandyck. V]'2A. Charles II. ; after Knelter. 1724. J&me&ll.; after LargilUere. \T2A. "WiUiam III. ; after Vander Werf. George I. ; after Kneller. Edward Hyde, Earl of Clarendon ; after Zoust. 1724. William, Lord Russell ; after Kneller. 1724. Frederick, Duke of Schomberg ; after the same, 1724. Gilbert Burnet, Bishop of Salisbury ; after Hoadly. 1724. Eugene Francis, Prince of Savoy j after Van Schv^en. 1722. Don Louis, Prince of Asturias. John de Wit, Pensionary of Holland. 1727. Francis Peter, Cardinal de Foix. 1713. PhiKp, Duke of Orleans, supported by Minerva and ApoUd ; after A. Coypel. 1706. Stephen Picart, the Koman, Engraver to the King. Roger de Piles ; ipsepinx. B. Picart,fec. aguaforti. 1704. SUBJECTS FROM HIS OWN DESIGNS. The Murder of the Innocents. The iirst impressions are before the crown was placed upon the head of Herod ; fine. A set of twelve Prints, called the Epithalamiums ; line. Ti*uth, the Research of Philosophy ; a Thesis in honour of Descartes. The Triumph of Painting. The Death of the Infants of Niohe. The Feast of the Gods and the Caesars. A set of Prints of the Annals of the Republic of Holland. The Frontispieces to Ceremonies Religieuses, 11 vols. 1723—1743. to the Bible of Vander Marck. to the Roman Antiquities. to Ovid. 1732. to Temple des Muses. 1733. to the Historical Dictionary. SUBJECTS AFTER VARIOUS MASTERS. Time ■discovering Truth ; after the pictiire hy Poussin, in the Louvre. An Allegory on human Life ; after the same. The Arcadian Shepherds ; after the same. Two Prints of the Muses, Calliope and Terpsichore ; after Le Sueur. Abraham pending away Hagar ; after Le Brun. The Discovery of the Pregnancy of Calisto ; after An. Caracei. Neptune calming the Sea ; after An. Coypel. [His prints are said to amount to 1300; those above enumerated are among the best. His work en- titled Les Impostures Innocentes is certainly the most innocent imposture ever attempted; no one 572 with the smallest degree of knowledge of the works of the masters he pretends to counterfeit can be de- ceived by it. His book illustrations are very pleasing, and add much to the value of the works in which they appear.] PICAULT, Peter, a French engraver, born at Blois in 1680. It is probable that he was a pupil of Gerard Audran, as he copied, on a smaller scale, the celebrated Battles of Alexander, from the plates engi-aved by that distinguished artist, ajier Le Brun. He also engraved some portraits, and the Visitation of the Virgin to St. Elisabeth, after Carlo Maratti. This promising artist had acquired considerable re- putation, when death put a stop to his career, in 1711. He usually signed his plates P. Picault, Slesensis, sculp. PICCHIANTI,. Giovanni Domenico, an Italian designer and engraver, born at Florence about the year 1670. He was taught the rudiments of draw- ing by Gio. Batista Poggini, a sculptor, and applied himself to engraving, both with the point and the graver. In conjunction with Lorenzini, Mogallr, and other artists, he executed several plates from the pictures in the gallery of Florence. We have, among others, the following prints by him : portraits. Sebastiano del Piombo ; ^er Titian. Cardinal Bentevoglio ; afier Vamd/yck. Pope Leo X. with the Cardinals Rossi and Giulio di Medici ; after Raffaslle. SUBJECTS after VARIOUS MASTERS. The Madonna della Seggiola ; after Raffaelle. The Virgin and infant Jesus, with St. John ; after An. Caracei. The Tribute Money ; after Titiam. The Virgin and Infant ; after the same. Abraham sending away Hagar ; after P. da Cortona, [Nagler enumerates 27 prints by him, of which the preceding form part] PICClNI, GiACOMO. This artist was born at Venice in 1617, but it is not known by what master he was instructed in the art of engraving. We have several plates by him, executed in a stiff, disagreeable style. He engraved a set of thirty portraits of the principal painters of the Venetian school, for the account of their Lives, published by Ridolfi, in 1648. We have also the following prints by him : The Portrait of Alessandro Famese. Diogenes, with his Lantern ; after P. Liberi, The Holy Family ; after the same. Judith, with the Head of Holofernes at her feet; after Titian. The Holy Family ; after the same. [Zani says he operated in 1669 ; the latest date on his prints is 1655.] PICCINI, GuGLiELMO, was the brother of the preceding artist, and among other prints etched a plate of a Pieta, after Rubens. He had a, daughter, Isabella Piccini, who was a nun, and engraved a set of portraits of the illustrious personages of Italy, for the Conchilia Celeste, of G. B. Fabri. PICCIONI, Matteo, an Italian painter and en- graver, born at Ancona about the year 1630. Of his works as a painter little is known ; but he was made a member of the Academy of St. Luke, in 1655. We have a few spirited etchings by him, among which are the following : St. Luke painting the Virgin ; after Raffaelle. The Adoration of the Shepherds; after P. Veronese. The Holy Family ; after the same. The Virgin and infant Jesus, with St. John ; after A. Camassei. The exposing of Moses in the Waters of the Nile ; after the same. pick] PAINTERS AND ENGRAVERS. [pier [Nagler says he was boi-n in 1615; and Zani, that he operated in 1641. Bartsch says nothing of the date of his birth, but gives a list of 23 of his prints, amon" which are two with the date 1641 . It is also said that he wrought in mosaic.] PICKAERT, P. [PiETER.] This artist was ap- parently a native of Holland. His name is affixed to a set of coarse, incorrect etchings, representing the flight of James II. from England, which were published in Holland. They are probably from his own designs, as he adds the -word, fecit to his name. [Neither the time of his birth or death are recorded, but he must have been living about 1688.] [PICOLET, Cornelius, a painter of portraits and conversations, flourished at Rotterdam from about 1670 to 1690; his reputation rests rather on the circumstance of his having been the first in- structor of Adrian Yander Werf than on any particu- lar work that can be with certainty ascribed to him.] PICOT, Victor Maria, a French engraver, born at Abbeville in 1744. He came to London about the year 1770, and engraved several plates, some of which were for the collection of Boydell. We have, among others, the following prints by him : The Four EyangeKsts ; after Suiens. Diana and her Nymphs ; after the same. The Nurse and Child ; after Schidone. A young Man holding a Flute ; after B. Luti. Apollo holding a Branch of Laurel ; after S. Cantarini. A Landscape and Figures ; after Zuccarelli. Two Sea-pieces ; after D. Serres. Two Landscapes, Morning and Evening; after Bar- ralett. Several other Subjects ; aft^r the same. [His engravings are of a miscellaneous character ; Nagler has given a list of 36. He died about 1805.] PICOU, or PIQUOT, Robert, a French en- graver, who flourished about the year 1630. He engraved some plates after pictures by Bassano, in a neat, but laboured style. We have also several frontispieces and other book ornaments by him, from his own designs. [According to MaroUes, Robert Picou was a native of Tours. He had the title of Peintre du Hoi; he visited Italy, and remained some time at Rome. Dumesnil describes seven prints by hini, which he says are so rare that the Abbe MaroUes could only collect three. The last, executed from a picture by Jacopo da Ponte, called Bassano, is the best ; the others are evidently from his own designs. They are executed with a firm point, and a mixture of httle dots, and finished with the graver. The fol- lowing are the titles as given by Dumesnil, P. G. F. tom. vi. 1. Love asleep ; JJ. Picmt. fe. 2. Two Cupids caressing ; S. Picou. fe. Romee. 3. Two Infants; R. Pwou.fe. Romee. 4. Three Infants; R. Picmt. fe. 6. The little Wrestlers ; R. Picon, fecit. 6. Two couples of Infants ; R. P. |e. 7. Jesus Christ delivered to his Enemies. On the margin to the left inscribed Jacobus de poto Bassan pinxit, R. Picmi smlpsit ; and on the right, dartres formis Cum PriuUegio. In a second impression, dartres formis is erased, and Mariette Excudit substituted.] PICQUET, J. In Dubrayet's drawing-book is a print by this artist, representing Juno, Pallas, and Venus, half-length figures. It is executed with the graver, in a hard, dry manner, and appears to have been an early attempt of this engraver. It is in- scribed Joan Picquet,ft. [PICQUOT, Thomas, an engraver of goldsmiths' work, designs for embroidery, damasking, and other ornaments^ flourished about 1637. Dumesnil con- jectures that he was a scholar of Marin Le Bour- geois, painter and valet de chambre to Henry IV. and Louis XIII., of whom but Httle is known. Dumesnil describes fourteen prints by Thomas Picquot, the first of which is a portrait of the afore- said Marin Le Bourgeois, with his name and titles set forth ; the others consist of ornamental designs, arabesque or moresco, for goldsmiths' and armourers' work, book and other decorations. The portrait is etched in the manner of a painter, and is the best piece ; the ornaments are etched with an extremely delicate point, and appear in white on a dark ground, as does the monogram of the artist 33^. Zani, who marks him B. B., says he operated from 1623 to 1645.] [PICQUOT, Henri, supposed to be the brother of Thomas Picquot, was a scholar of Simon Vouet, at Paris, and flourished about 1640, as appears by that date on one of his prints. Dumesnil describes three prints by him ; the two first after Chapron, etched with the point in a style analogous to that of Michel Dorigny, the other from his own design, also with the point, in a very hght and spirited manner. 1. The young Virgin ascending the steps of the Temple ; a composition of many figures, with a gloiy of angels and cherubim above. In the margin, on the left, is inscribed Chappronjnuen. etpinxit; and on the right, H. Picquot jncidit Cum PriuUegio Regis. The date 1640 is in the middle at bottom. There is a second impression from which the inscription on the right has been erased, and Coypel, ex. avec privilege, substi- tuted. 2. The Virgin giving the breast to the infant Jesus; Joseph, Elisabeth, and the infant St. John are intro- duced. Although this print bears the name of Gueri- neau, and not of H. Picquot, Dumesnil is of opinion that it is by the latter. 3. A sick Frog attended by others ; one acts as a physi- cian, two appear praying, another is bringing a potion, and four frogs are dancing to the sound of a violin. In the margin are six lines of French verse, moralizing on the bmtalizing propensities of man. H. Picquot jnven. ei fecit. F. L. D. dartres excudit avec Privilege du Roy. PIEMONT, Nicholas, was bom at Amsterdam in 1659, and at first passed some time under Martin Saagmolen, an obscure artist, but he afterwards be- came a scholar of Nicholas Molenaer. He visited Italy, and improved his talents for landscape paint- ing, by designing the beautiful views in that coun- try. After remaining several years at Rome he returned to Holland, where he painted some views in Italy, which gained him great reputation. His landscapes bear a strong resemblance to the works of John Both, and although not equal to that cele- brated painter, his pictures are deservedly admired. [He died in 1709.] PIENE, A. DE, a French engraver of little note. He engraved, among other plates, a portrait of the Duchess of Savoy, after Sacchetti, for a book pub- lished in 1672. PIERCE, Edward, an Enghsh artist, who flour- ished in the reigns of Charles I. and II. He was eminent both as a painter of histoiy and landscapes, and also excelled in architectural and perspective views. , Few of his works are now remaining, the far greater part of them, which consisted of altar- pieces and ceilings of churches, being destroyed in the flre of London, in 1666. Lord Orford attributes to this artist a book of fiieze-work, in eight plates, etched in 1640. PIERRE, John Baptist Maria, [Jean Bap- tists Marie.] This artist was born at Paris in 1715. He went to Italy when young, and studied 573 pier] A DICTIONARY OP [pill some years at Rome. On his return to Paris he distinguished himself as a painter of history, and was employed for some of the public edifices, par- ticularly a large ceiling in the chapel of the Virgin, in St. Roch, by which he gained great reputation. He painted an admired picture of St. Nicholas and St. Francis, for the church of St. Sulpice, which has been engraved by Nicholas Dupuis. He was made a member of the Academy at Paris, and was appointed principal painter to the king, in which capacity he died in 1789. We have by this artist several etchings, among which are the following : The Village Entertainment; after his oum design. Several Studies of Heads ; made by him in Italy. Some Plates of subjects from Fontaine's Fables ; after designs by Subhyras. [Basan says he was born in 1714; others say in 1720.] PIERI, Stefano. This painter was a native of Florence, and a disciple of Batista Naldini. Ac- cording to Baglione, he visited Rome in the pon- tificate of Clement VIIL, and was taken under the protection of Cardinal Alessandro Medici, by whom he was employed in the church of S. Prassede, where he painted some pictures of the Apostles, and the Annunciation. In S. Maria in Via, is a picture by him of the Assumption of the Virgin. He assisted Giorgio Vasari in the Cupola of S. Maria del Fiore, at Florence, and painted for the Palazzo Pitti, the Sacrifice of Isaac, one of his best works. [Zani places his birth in 1513, and his death in 1600. He ranks him with the painters of mediocrity.] PIERSON, Christopher. This artist was born at the Hague in 1631, and was destined by his pa- rents to mercantile pursuits, but his strong partiality for the art induced them to permit him to indulge his propensity, and he became a scholar of Barto- lomeo Meyburg, under whom he had studied some time, when he accompanied his instructor to Ger- many, and after an absence of three years returned to Holland, and established himself at Gouda, where he met with immediate employment as a painter of history and portraits. Notwithstanding the re- putation he had acquired, the encouragement given to the pictures of Leemens, a painter of dead game, guns, powder-horns, pouches, &c., induced him to adopt similar subjects, in which he not only sur- passed his model, but has perhaps scarcely been equalled in that branch. He usually represented those objects on a white ground, producing a sur- prising and illusive effect. He died [at Gouda] in 1714. PIET. This artist was a native of the Low Countries, and flourished about the year 1608. He engraved the plates for a work entitled Le Manie- ment d'Armes de Nassau, &c., by Adam V. Brien, published in 1608. They are very indifferently ex- ecuted. PIETERS, John. This painter was bom at Antwerp in 1667, and was a scholar of Peter Eykens, an historical painter of some eminence. He came to England in 1685, when he was eighteen years of age, and finding no employment for a painter of history, he offered his services to Sir Godfrey Kneller, who employed him to paint the draperies and back-grounds of his portraits. He excelled in copying the works of Rubens. He died in London in 1727. PIGNlfe, Nicholas, a French engraver, born at Chalon in 1690, and is said to have been a pupil of Bernard Picart. We have by this artist a few 574 plates executed with the graver, among which are the following : The Virgin, with the Infant sleeping in a cradle, with St. John standing by her side, attended by four angels ; after F. Trevisani; for the Crozat cellection. The "Woman of Canaan kneeling at the feet of Christ ; after Ann. Caracci. He appears to have been in England, as there is a portrait with his name, of Richard Fiddes, B. D., prefixed to his Divinity, dated I7I8. [Zani and Nagler say he was born in 1700 ; but as he en- graved the portrait of Fiddes in 1718, and published ninety heads from the Cartoons in 1722, it may be conjectured there is a mistake.] PIGNONE, SiMoNE. This painter was born at Florence, according to Oretti, in 1614. After being instructed in the elements of the ai-t by Domenico Cresti, called Passignano, he became a scholar of Francesco Furini, of whom he was the most distin- guished disciple. He afterwards visited Venice, where he improved his style of colouring by study- ing the works of Titian and Tintoretto. On his return to Florence he painted several pictures for the churches, of which the most admired are the pictures of St. Michael discomfiting the Evil Spirit, in the church of the Nunziata ; and S. Luigi dis- tributing his Wealth to the Poor, in S. Felicita. He also excelled in painting subjects of the fable, which he sometimes treated with an unwarrantable licentiousness. He died in 1698. PILAJA, Paolo, an Italian engraver, who flour- ished at Rome about the year 1737. He executed a set of plates for a book entitled Storia di Volsena, by the Abbate Adami, with a portrait of the author, published at Rome in 1737. We have also, among others, the following prints by him : The Portrait of Pope Benedict XIII. ; after Brughi. The Martyrdom of St. Fedele ; after S. Conca. 1 A Miracle wrought by S. Thoribio ; after the same. St. Liberale, with two Children ; after the same. The Statue of the Prophet Elias ; after the sculpture by Ag. Comachini, in St. Peter's at Eome. [He flourished from 1727 to 1747.] [PILGRIM, John Ulric, an ancient engraver on wood, and supposed to be the inventor of engraving in chiaroscuro. There is no certain account of him, nor of the time in which he operated. He marked his prints with two pilgrims' staves crossed, between the letters J? V. ; but whether this is in allusion to his name is not satisfactorily ascertained. The French writers call him Le Maitre aux bourdons Croisea. Bartsch, P. G. torn, vii., has described ten prints by him, of which the following are the subjects : 1. Christ on the Cross, with the Magdalene kneeling at the foot, and the Virgin and St. John standing, one on each side. 2. The Virgin seated in a Garden, with the Infant on her knees. 3. The Virgin, half-length, with the Infant in her arras. i. St. Jerome in the Desert, with a book in one hand, and a stone in the other, 5. St. Sebastian tied to a tree. 6. A Death's Head seen in front, in a niche, with the in- scription, Mundanae foelidtatis gloria. 7. Thisbe and the dead body of Pyramus, with an inscrip- tion, Quid Venus in vents possit, &c. 8. Orpheus charming the Brutes : inscription, Orpheia votes. 9. Alcon, a famous Archer of Crete, delivering his Son from a monstrous Serpent. 10. A Warrior on horseback, armed cap-a-pie, accom- panied by a Halberdier on foot. For other marks by this master, see BruUiot, Diet, des Monogrammes, Part II. No. 2873.] PILLEMENT, John. This artist was a native PILO] PAINTERS AND ENGRAVERS. [pine of France, and resided some time in London, about the year 1760. He painted a few pictures of land- scapes and fancy subjects, which were composed and coloured in a theatrical, gaudy style ; but his chief employment was in making drawings of similar sub- jects, which were finished with gi-eat neatness and labour. Several of his designs have been engraved by Canot and Ravenet. He etched himself a few plates of flowers, &c. [Pillement's works are chiefly in water or body colours ; the subjects are well known by the numerous engravings that have been made of them, a proof that they were popular in his time. Some of them had the honour of being done by WooUet, Mason, Elliot, and other eminent en- gi-avers. He was very industrious, and lived to a great age. It is said that he died at Lyons in 1808, at the age of 80 ; but some say a year or two later, at the age of 90.] PILOTTO, GiROLAMO. This artist was a native of Venice, and flourished about the year 1590. He was a scholar of the younger Palma, and, according to Zanotti, a faithful follower of his style. One of his admired performances is a picture of S. Biagio, at the great altar of the Fraglia at Rovigo ; but his most celebrated work is a large picture in the gi'and saloon in the ducal palace at Venice, representing the Ceremony of the Marriage of the Adriatic by the Doge. [Zani places his death in 1649.] PILSEN, Francis. This artist was born at Ghent in 1676. He studied painting and engraving under Robert van Audenaerde. We have, among others, the following prints by him : The Virgin and infant Jesus ; after Rvhens. The Conversion of St. Bavon ; after the same. The Judgment of Midas ; after the same. The Martyrdom of St. Blaize ; after G. de Crayer. [He was living in 1744. There is a print, not men- tioned by Nagler, of St. Francis after Rubens, in- scribed F. Pilsen, Sculp. G. 1770. {Lloyd,.) PIN AS, John, a Dutch painter, born at Haerlem, according to Descamps, in 1597. It it not known under whom he learned the rudiments of the art, but he travelled to Italy, in company with Peter Lastman, where he studied some years. On his return to Holland, he distinguished himself as a painter of history and portraits. Of his historical productions, one of the most esteemed was a picture in the great church at Haerlem, of Joseph and his Brethren, which is spoken of as a work of consider- able merit. [Nagler says that Jan Pinas was bom in 1570 ; Ihis would make him eleven years older than Peter Lastman, and the date in the text would make him his junior by sixteen years. Rembrandt was the scholar of Peter Lastman, and, it is said, imitated the style of Pinas. In 1623 a landscape with the story of Salmacis and Hermaphroditus, by Jan Pinas, was engi'aved by Magdalen Passe, a proof that he was then eminent. It must be con- fessed, however, that there is much uncertainty re- specting the birth of both Jan and Jacob, as they are frequently confounded with each other.] PINAS, Jacob, was the younger brother of the foregoing artist, bom at Haerlem about the year 1601. He was instructed in the art by his brother, whose style he imitated, but never rose above medi- ocrity. [See preceding note.] PINCHARD, P. This artist is said by Mr. Strutt to have resided at Genoa, about the year 1687, where he engraved several book plates. PINE, John. To this gentleman, who was a native of England, and a man of letters, we are in- debted for several splendid and interesting works, for which he engraved many of the plates. The principal of them aTe the ceremonies used at the re- vival of the order of the Bath, by King George I. ; the prints from the tapestry in the House of Lords, representing the Destruction of the Spanish Ar- mada; a superb edition of Horace, the text en- graved, and illustrated with ancient bas-reliefs and gems. The Pastorals and Georgics of Virgil were published by his son, after his death, ornamented in a similar manner, with a printed type. Mr. Pine also engraved a few portraits, among which are an etching of himself, and a mezzotinto bust of Mr. Garrick, taken from a cast. He died in 1756. PINE, Robert Edge. This artist was born in London about the year 1742. It is not known by whom he was instructed, but he gained the premium for the best historic design, given by the Society for the Encouragement of Arts, &c., in 1760, and again in 1762. He afterwards practised as a por- trait painter, and was considered a respectable colourist. In 1782 he exhibited a series of pictures of scenes from Shakspeare. He afterwards went to America, where he died in 1790. [Nagler says he was born in 1730, and died in 1795. His prin- cipal works are subjects from Shakspeare, and the- atrical portraits, which have been engraved by M'Ardell, V. Green, C. Watson, Aliamet, Lomax, and Dickinson.] PINEDA, Antonio Perez de, a Spanish paint- er, born at Seville about the year 1640. He was a scholar of Murillo, whose style he followed with considerable success. There are several of his works in the churches and convents at Seville, which bear testimony of his being an able disciple of that distinguished artist. [This should be Fran- cisco Perez de Pineda ; Antonio lived about 100 years previously. The one flourished in 1564, the other in 1673.] PINELLI, Antonia. According to Malvasia, this lady was a native of Bologna, and was instruct- ed in the art by Lodovico Caracci. She painted some pictures for the churches ; among others, the Guardian Angel, in S. Tommaso ; and St. Phihp and St. James, in the church dedicated to those saints. But her most celebrated performance is her picture of St. John the Evangelist, in the Annun- ziata, painted from a design of Lodovico Caracci. She died in 1640. [She was called Antonia Ber- tucci-Pinelli. Her maiden name was Pinelli, but she married Giambatista Bertucci. Zani places her death, and that of her husband, in 1644.] [PINELLI, Bartolomeo, an eminent Italian painter and etcher of recent times, who resided chiefly at Rome, and whose etchings of Roman history, and Italian manners and costumes, are very generally known. His etchings of these subjects, and of views of the environs of Rome, with groups of banditti, amount to more than two hundred. Be also engraved after other artists. His drawings in chalk and in water-colours are much esteemed for the very spirited style of their execution. His etch- ings are bold and free, and there is great vivacity in his figures, though in some respects they resem- ble the ancient hassi rilievi. The works by which he is best known to foreigners are, Istoria depli Iin- peritori inventata ed incisa in cento rami ; Raccolta di Costumi pittoreschi ; Nuova Raccolta di cinquanta Costumi pittoreschi ; Istorica Greca, with 100 etch- ings ; Istoria Romana, 152 etchings ; Illustrations to Virgil, Dante, and Tasso ; and some others, of which the'plates were brought to England, and printed here. He also engraved the frescoes painted by Pintu- 575 PINO] A DICTIONARY OF [PINZ ricchio in the dome of St. Maria Maggiore ; the il- lustrations of the Life and Miracles of St. Francis di Paula, after Marco da Faenza and Qthers ; the friezes by Giuho Romano in the Farnesina; Picturesque Views of Tivoli, &c. He died at Rome in 1835. PINO, Marco da, [or Marco da Siena,] was born at Siena about the year 1520, and, according to Baglione, received his earhest instruction in the school of Domenico Beccafumi, called Mecherino, and afterwards studied under Daniele da Volterra. Baldinucci places him among the disciples of Bal- dassare Peruzzi. It is, however, universally agreed that he studied some time at Rome, where Tie is stated by Lomazzo to have profited by the lessons of Michael Angelo Buonaroti. He painted some pictures for the churches at Rome, of which one of the most esteemed was a dead Christ, with the Vir- gin and St. John, in S. Maria di Araceeli. But the theatre of his fame is Naples, where he established himself in 1560. During a residence of twenty- seven years, he decorated the principal churches with several of his finest works, which are particu- larly described by Dominici. Of these, the most celebrated, and which he himself esteemed his best performance, is a Deposition from the Cross, in the church of S. Giovanni di Fiorentini, painted in 1577- In the same church is a fine picture of the Annun- ciation. His Assumption of the Virgin, and the Adoration of the Magi, in the church of S. Seve- rino, are considered among the finest works of art in that city. He died in 1587. PINSON, Nicolas, was born at Valence, in the department of Drome, about the year 1640. He studied at Rome, where he remained a considerable time, and imitated the manner of Pietro da Corto- na. Scarcely anything more of his history, or of his works, is known, except that Coelemans has en- graved his picture of Tobit and the Angel, which was in the collection of Boyer d'Aguilles ; and that he etched two prints, a dead Christ and the As- sumption of the Virgin, which are both of extreme rarity. The first is marked N, P. In.f., and the se- cond N. Pinson. Inuent. et Sculp. PINSSIO. This artist is mentioned by Mr. Strutt as the engraver of a few portraits. He lived about the year 1750. [Sebastian Pinssio was born at Paris in 1721, and engraved in 1755 ; after which year there is no account of him.] PINTURICCHIO, Bernardino. This painter was born at Perugia in 1454. He was a scholar of Pietro Perugino, whom he assisted in many of his principal works, both at Rome and Perugia. Va- sari, with his usual prejudice and partiality, speaks in less favourable terms of the talents of this artist than he deserves. Though he had somewhat of the dryness of his instructor's design, and retained too much of the tawdry style of gilding in his orna- ments and draperies -, he is expressive in the airs of his heads, graceful in his attitudes, and magnificent in his architecture. He lived in habits of intimacy with Rafiaelle, when that great artist frequented the school of Perugino, who is supposed to have assist- ed him in his most important work, in the library of the Dome at Siena, where he has represented, in ten compartments, the most memorable events of the Life of Pope Pius II. Rafiaelle is supposed to have designed and prepared the cartoons for the greater part of them ; and there is a grace and ele- gance discernible throughout which are the charac- teristics of that illustrious artist. In his picture of S. Lorenzo, at the Franciscans, at Spello, is a figure of the infant John Baptist, which is believed by 576- some to have been designed by Raffaelle. He ex- celled in perspective and grottesque ornaments, and decorated one of the loggie of the Vatican with ar- chitectural views of the principal cities of Italy. Some of his most esteemed fresco works are in the Dome at Spello, where he has represented the An- nunciation, the Nativity, and Christ disputing with the Doctors. This artist was remarkable for his avarice, and his death is said to have been occa- sioned by a very whimsical circumstance. He was employed to paint an altar-piece for the church of the Franciscans at Siena, and was accommodated by the monks with an apartment to paint in, from which they had, for his better accommodation, re- moved every thing except an old chest, which ap- peared to be in so fragile a state that it was not judged safe to displace it. The painter, who was not less remarkable for peevishness than cupidity, insisted on its being taken away, and on their en- deavouring to move the box, it fell to pieces, when a discovery was made of several hundred pieces of gold, which had been long concealed in it, unknown to any person. His chagrin and disappointment at not being himself the finder of the treasure, so strongly afiected him, that he only survived the ac- cident a few months. He died in 1513. [The kindness of Pinturicchio to Raphael, and the discernment which he evinced in selecting so young an artist to be his coadjutor in painting the memor- able events in the life of Pius II. in the library of the Duomo at Siena, has operated most injuriously to his reputation. Most writers, from Vasari to the present time, have ascribed aU that is excellent in liis works to the hand, or the mind, of his highly gifted and cherished friend. If Raphael did not al- together paint the pictures, he made the designs ; if they are compelled to allow Pinturicchio a large share in the execution, they select the most grace- ful figures and attribute them to Raphael ; nay, in pictures on which they were not jointly engaged, if the drawing, or expression, be a refinement on the manner of Perugino's school, then it must be by Raphael and not by Pinturicchio. Pinturicchio was Raphael's senior by thirty years, and if he had not acquired a gi-eat reputation, would not have been selected by Cardinal Piccolomini to execute so great a work as that of the illustrations of the Life of his uncle Pius II. It would argue great modesty and self-denial on his part to devolve on another, who might be considered his pupil, the honourable task of making the designs ; and a rare instance of artistic condescension, to allow a young assistant to make alterations in the drawing of the figures by his principal. Not only have writers detracted from Pinturicchio's merit as an artist, but they have yihfied his moral character by accusing him of be- ing remarkably avaricious. The tale of the old chest is very amusing, though the result of the dis- covery is said to have been so serious to Pinturic- chio ; but he is not the only one to whom it has been applied. He was called II Sordicchio, (perche era piccolo e tondoj because he was little and corpu- lent; in famiUar language, a little punchy man. This has, probably, been mistaken for Sordido, and he has been stigmatized as being very avaricious. The charge, however it may have originated, is not supported by any writer of credit. With regard to the time of his death, it may be observed that Zani says he operated in 1527.] PINZ, [or PINTZ,] John George. This artist is supposed by Mr. Sti-utt to have been a native of Germany. He is said to have been chiefly employ- PIO] PAINTERS AND ENGRAVERS. [PIOM ed by the booksellers, for whom he engraved several prints, in the style of those which ornament the nu- merous pubUcations of Vander Aa. He engraved, among others, an emblematical print, in honour of the King of France, after P. Decker. [He was an engraver of Augsburg, and died in 1767, at the age of 70. The emblematical print after P. Becker is entitled Gallus und Germanus.] PIO, Giovanni. See Bonatti. PIOLA, Pellegro, was born at Genoa in 1617. It is not said under whom he studied ; but, although the world was deprived of his talents at the prema- ture age of 23, as Lanzi informs us, by the villany of some one jealous of his extraordinary genius ; a Madonna, painted by him, which was in the collec- tion of the Marchese Brignole, was judged by Fran- ceschini to have been painted by Andrea del Sarto ; and his picture of S. Elogio, in one of the churches of Genoa, was mistaken by Mengs for a work of Lodovico Caracci. He aspired, however, to a higher flight than that of an imitator, and would have reached a transcendent rank among the ablest art- ists, if he had been permitted a longer career. He died in 1640. PIOLA, DoMENico, was the younger brother of Pellegro Piola, born at Genoa in 1628, and received his first education in the art from his brother. Af- ter the death of his instructor he became a scholar of Giovanni Domenico Capellini. In conjunction with Valeric CasteUi, he executed some works for the pubUc edifices in Genoa and the state, and for some time attached himself to the style of that painter. His ideas, for the most part, are not with- out beauty, though he is not very successful in the conduct of the chiaro-scuro, and the character of his design is occasionally heavy and inelegant. He emulated the style of P. da Cortona, in the lustre of his colouring, in the splendour of his composi- tions, and his uncommon facility. He was parti- cularly happy in the representation of children, which he designed from the casts of Piammingo. One of his most esteemed works is the Miracle of St. Peter at the gate of the Temple, at Carignano, which is not degraded by its vicinity to an ad- mirable picture by Guercino. He died in 1703. [Bartsch says that he etched sometimes in the man- ner of Castiglione, sometimes oi Biscaino; and that his design showed more taste than firmness. He describes five of his etchings ; two Nativities ; the Virgin on a throne with the infant Jesus on her knees, and St. John kneeling; Paris holding the Apple ; and an old Man with a long beard. Others have been attributed" to him, but Bartsch assigns them to Domenico Pervzzini. See P. G. torn. xxi. Nagler mentions another, St. Anthony of Padua, which has the date 1640, when D. Piola was only twelve years old.] PIOMBO, Fai, Sebastiano del. This distin- guished artist is called by Vasari, Sebastiano Vene- ziano, by which name he was designated, until the Pope bestowed upon him the office of the keeper of the seal of his chancery, to fill which it was neces- sary for him to take the religious habit, and he as- sumed the title of Fra Sebastiano del Piombo. He was born at Venice in 1485, where his first occupa- tion was the study of music. He afterwards turned his thoughts to painting, and at first was a disciple of Giovanni Bellini, who was then far advanced in years ; but jjreferring the great style of Giorgione, he became his scholar, and was the most successful imitator of the harmony of his tones, and the breadth of his chiaro-scuro. He first distinguished 2 p himself as a portrait painter, to which his powers were peculiarly adapted. His portraits are boldly designed and full of character ; the heads and hands are admirably drawn, with an exquisite tone of colouring, and extraordinary rehef. The first historical picture which established his reputation was the altar-piece in the church of S. Gio. Crisos- tomo, at Venice, in which he so nearly approached the rich and harmonious colouring of Gnorgione, that it was for some time supposed to be the work of that master. He had acquired considerable cele- brity at Venice, when he was invited to Rome by Agostino Chigi, who employed him in ornamenting his palace of the Famesina, in conjunction with Baldassare Peruzzi, and where Raffaelle had painted his celebrated Galatea, and given the designs for the history of Cupid and Psyche. In this competition Sebastiano discovered his inferiority in design, and endeavoured to remedy the defect by studying the antique, and by the instruction of Michael Angelo Buonaroti. That great artist had felt some uneasi- ness at the growing fame of Raffaelle, and he readily availed himself of the powers of Sebastiano as a colourist, in the hope, that, assisted by his designs, he might be enabled to enter theUsts with his illus- trious antagonist, if not drive him from the field. With this view, he furnished him with the designs for the Pieta, in the church of the Conventuah, at Viterbo ; and the Transfiguration and Flagellation in S. Pietro, in Montorio, at Rome, which, as he was very tedious in his process, occupied him six ' years. The extraordinary beauty of the colouring, and the grandeur of M. Angelo's composition and design, in these celebrated productions, were the objects of universal surprise and applause. It was at this juncture that the Cardinal GiuUo de Medici commissioned Raffaelle to paint his immortal pic- ture of the Transfiguration, and being desirous of presenting an altar-piece to the cathedral of Nar- bonne, of which he was Archbishop, he engaged Sebastiano del Piombo to paint a picture of the same dimensions, selecting for the subject the Rais- ing of Lazarus. On this occasion, he was again assisted by the powers of Buonaroti, by whom it Weis composed and designed. The picture was pub- Ucly exhibited at Rome, in competition with the Transfiguration ; and it is no mean proof of its ex- traordinary merit, that, notwithstanding the trans- cendent beauty of Raffaelle's chef d' oeuvre, Sebas- tiano's performance excited universal admiration. This celebrated work of art was removed, by the Regent of France, from the cathedral at Narbonne, into the Orleans' collection, of which it was one of the most important ornaments. After the death of Rafiaelle, he was reputed the most distinguished artist at Rome. He was particularly favoured by Clement VII., who remunerated his services by ap- poiftting him to a lucrative benefice, which occa- sioned him, in the latter part of his life, to relax in his labours as a painter. His last undertaking was the chapel of the Chigi family, in S. Maria del Po- polo, which he left imperfect, and it was afterwards finished by Francisco Salviati. He died in 1547. [His name originally was Sebastiano Luciano ; but on his appointment to be keeper of the Chancery Seal, which was of lead, he assumed del Piombo in Ueu of Luciano. The picture of the Raising of La- zarus is in the EngUsh National Gallery ; as also his own portrait, holding the seal of his office, with that of the Cardinal Ippohto de' Medici ; and ano- ther of Giuha Gonzaga. There are, however, some doubts expressed by writers respecting both.] 577 pior] A DICTIONARY OF [PIEA PIORT, v., an obscure artist, mentioned by Mr. Strutt as the engraver of a plate from Rubens, re- presenting an old woman holding a pot with fire, from which a boy is taking a lighted coal. PIPER, Francis le, was the son of a Kentish gentleman of Flemish extraction, and was bom about the year 1740. His father, who was in pos- session of a considerable estate, gave him a liberal education, intending him for a merchant, but his in- clination leading him entirely to drawing, he ram- bled over great part of Em'ope to study painting. He was of a gay and facetious turn of mind, and the subjects he treated were usually humorous and co- mical, and were chiefly painted in black and white. Most of his performances were produced over a bot- tle, and the theatre of his exertions was the Mitre Tavern, at Stock's Market, or the Bell, in Westmin- ster, which were adorned by the productions of this jovial artist. He drew landscapes, which he etched on silver plates for the tobacco-bo^es of his friends. Towards the latter part of his life his circumstances were sufficiently reduced to make it necessary for him to think of turning his talents to some account. Becket employed him to design his mezzotintos,-and he drew several of the heads of the Grand Signiors, for Sir Paul Rycaut's History of the Turks. On the death of his mother, his fortune being re-estab- lished, he launched again into a course of pleasure, contracted a fever, and being bled by an ignorant surgeon, who pricked an artery, he died in 1698. PIPPI, GiuLio. See Romano. [PIRANESI, Giovanni Battista, a very emi- nent designer and engraver of ancient architecture and other monuments of antiquity. According to Gandellini and Milizia, he was born at Venice in 1 707, but Zani says it was in 1 713, and that he died in 1 778. On his monument, however, is inscribed, that he was born in 1721, and died in 1779. Others say that he was born at Rome, and died there. Gandel- lini and Milizia state that he first studied drawing and architecture at Venice, and afterwards went to Rome, where he received instructions in engraving from Giuseppe Vasi, a Sicilian. All writers concur in describing G. B. Piranesi as one of the best design- ers and engi'avers of architectural subjects and an- cient ruins, and the most picturesque in his arrange- ments and combinations, of the artists of his time. He had many imitators, but none arrived at that de- gree of skill which would entitle them to be called his rivals. He has been charged, and perhaps justly, with sometimes substituting, in the restorations of ancient edifices , the conceptions of his ardent imagin- ation in lieu of the original form of construction. His admirers, however, dispute the justice of the charge, so far as it implies a censure, and think that it would be difiicult to disprove the accuracy of the restorations, as the buildings had been so many cen- turies in a state of dilapidation. They maintain that if he has not altogether revived the primitive forms, he has exhibited the same genius, taste, and magnificence, as the original designers ; and that in his works of imagination it is difficult whether to admire most the fecundity and spirit of the compo- sition, or the ardour and brilliancy of the execution. His skill in congregating objects from different lo- calities, and arranging them for picturesque effect, is admirable ; and the force and vigour which he gave to the most important, by the scientific distri- bution of light and shade, obtained for him the de- signation of The Memhrmtdt of Architecture. Of his multifarious works it is difficult to speak without going into a lengthened critical detail ; they fill 578 upwards of twenty folio volumes, mostly published during his life, but several subsequently by his son, Francesco Piranesi, who had an establishment at Rome for the express purpose. The following list of his works is taken from Mr. Henry Bohn's Catalogue, where the inquirer will find a" detailed account of what should constitute a complete set of the Roman editions. Antichita Romane, 4 vols. 17S6. Kaccolta di Tempi Antichi, viz. di Vesta ; della Sibilla ; dell' Onore e della Virtu, 1776. Panteon di Marco Agrippa, detto la Rotonda. Mouumenti degli Scipioni, 1785. Romanorum Magnificentia et Architectura, 1761, Gpere Varie di Architettura Grotesclia. Trofei di Ottaviano Ai^^sto. Carcere. Vedute di Archi Trionfali. Rovine del Castello del Acqua Giulia, 1761. Lapides Capitolini, sire Fasti Consulares, &c. Antichita di Cora, 1762. Campus Martius, 1762. Antichita d'Albano e di Castel Gandolfo, 1764-5. Vasi, Candelabri, Cippi, Sarcofagi, Tripodi, Lucerne ed Omamenti Antichi, 2 vols. 1778. Colonna di Trajano, 1770. Colonna Antonina. Colonna dell' Apoteosi di Antonino Pio. Rovine di Pesto. Vedute di Roma, 2 vols. Teatro d'Ercolano, 1783. Diverse Maniere d'Adomare i Camini, 1769. Statue Antichi, 1781-84. VariiB Tahulse celeberrimorum Pictorum: Raccolta
  • er, born at Paris in 1653. He was a scholar of Noel Coypel, and painted history in the style of his instructor. By the patronage of M. Mansard, he was introduced to the notice of Louis XIV., and was employed in painting some historical subjects, in the hospital of the Invalids. The undertaking, however, did little credit to his abilities, as they were .soon afterwards destroyed, and replaced by some frescoes by Bon BouUongne. He was afterwards appointed Director of the French Academy at Rome, where he died in 1725. POILLY, Francis, the elder, a very eminent French engraver, born at Abbeville in 1622. He was foil] PAINTERS AND ENGRAVERS. [foil the son of a goldsmith and engraver, who instructed him in the rudiments of the art. He afterwards went to Paris, where he became a pupil of Peter Daret, under whom he remained three years, and afterwards visited Rome, where he adopted the fine style of Cornelius Bloemaert as his model. During a residence of seven years, he greatly improved his design, and engraved several plates after the works of the great Italian masters. Oil his return to Paris he distmguished himself as one of the most cele- brated engravers of his country. His plates are ex- ecuted entirely with the graver, which he handled with uncommon firmness and dexterity. The cor- rectness of his design corresponds with the beauty of his burin, and there is a fine expression in his heads. Though he had the assistance of some able pupils, it is surprising that he could have finished so many plates in a manner that required both time and patience. The following are esteemed his best prints : PORTRAITS. Pope Alexander VII. with accessories. Louis XIV. when young ; after Nocret. Cardinal Mazaiine ; after Mignard. Henry D'Amaud, Bishop of Angers. Jerome Bignon, Counsellor of State ; after Champagne. Abraham i abort, Marshal of France ; after Ferdinand. William de Lamoignon, with Allegorical Figures ; after Mignard. Bust of William de Lamoignon ; after Le Brim. SUBJECTS FROM HIS OWN DESIGNS. The Virgin and Child. The Holy Family, witi St. John embracing the infant Christ. St. Ignatius of Loyola. The Death of St. Francis Xavier. The Crucifixion. The Triumph of Augustus. SUBJECTS AFTER VARIOUS MASTERS. The Vision of Ezekiel ; after JRaffaelle. The Holy Family, in which the mfant Christ is standing upon the cradle ; after the same. The Virgin lifting up a veil, to show to St. John the in- fant Christ sleeping ; after the same. The Fligtht into Egypt ; after Guido. The Nativity, or Adoration of the Shepherds, in an octa- gonal border ; after the same. The first impressions of this plate are before the two angels which appear above were inserted. Christ praying in the Garden ; after the same. The dead Christ on the lap of the Virgin, at the foot of the Cross ;' after L. Caracci. The Repose in Egypt, in which the Virgin is represented sleeping, with two Angels kneeling; after An. Ca- racci. The Holy Family ; after N. Poussin. The Marriage of St. Catherine ; after P. Mignard. The Holjr Family ; after the same. The Baptism of Christ ; after the same. St. Charles Borromeus administering the Communion to the Persons infected with the Plague ; after the same. The Visitation ; after C. Le Bnen. St. John in the Isle of Patmos ; after the same. The Crucifixion ; after the same. The Parable of the Wedding Garment ; after Cham- pagne. The Crucifixion ; a large print, in three sheets ; after the same. The Trinity ; after the same. Joseph's Bloody Garment presented to Jacob ; after An- tonio Coypel. Nymphs Bathing ; after Giulio Romano. A variety of emblematical and other subjects, from various masters. He died at Paris in 1693. [There are about 400 prints that bear his name ; of course these include the works of his pupils while under his direction. Nagler describes 10/ that may be considered as being entirely by him. There is so little variety in his manner, that it is difiicult to establish a ground for preference ; perhaps the sub- ject may determine it. St. Charles Borromeus ad- ministering the Sacrament, after Mignard' smcixite.; the Holy Family, after Raphael; the Plight into Egypt, after Ouido, are most frequently quoted.] TPOILLY, Nicholas. This artist was born at Abbeville in 1626. He was the younger brother of Francis Poilly, by whom he was instructed in the art of engraving, and executed several plates in the style of his brother, which, though inferior to those of Francis, possess considerable merit. We have several prints by him of portraits and historical subjects, executed with the graver, in a neat, clear manner. The following are his principal plates : PORTRAITS. Louis XIV., in a frame of laurels, with Children bearing emblems ; after N. Mignard. Bust of Lovus XIV., as large as Ufe. 1683. Maria Theresa, Queen of France ; the same. 1680. Louis, Dauphin, the son of Louis XIV. ; the same. Louis Bourbon, called the Great Cond6 ; the same. Francis de Coetlogon, Bishop of Rennes. Ren^ Potier, Duke de Gesvre ; after Le Fevre. Nicholas Edward Olier ; Counselilor of State. SUBJECTS AFTER VARIOUS MASTERS. St. Augustine holding a Crucifix . The Holy Family, with two Angels holding a Basket of Flowers ; after S. Bourdon. The Marriage of St. Catherine ; after the same. The Presentation in the Temple ; after C. Le Brun. The Holy Family returning from Egypt ; after the same. The Holy Family, with the infant Jesus sleeping on the knee of the Virgin ; after the same. The Repose in Egypt ; after Chapron. The Crucifixion ; after N. Poussin. He died at Paris in 1696. POILLY, John Baptist, was the son and pupil of the preceding artist, born at Paris in 1669. Hav- ing made some progress in engraving under his fa- ther, he went to Rome, where he studied some' years. On his return to Paris he executed several plates, by which he gained considerable reputation, and was made a member of the Royal Academy in 1714. His style of engraving differs greatly from that of his father or his uncle. He forwarded his plates with the point, and finished them with the gi'aver, in a pleasing and picturesque style. His drawing is generally correct, and there is a fine expression in nis heads. We have several portraits and histo- rical subjects by him, of which the following are the most deserving of notice : PORTRAITS. Clement XIII. Pontifex Max. Louis XIV. ; after Mignard. Charles James Edward Stewart, son of the pretender ; after Dupra. Francis de Troy, Painter ; from a picture by himself; his reception plate at the Academy. Cornelius van Cleve, Sculptor ; after Vivien ; the same. SUBJECTS AFTER VARIOUS MASTERS. The Nativity ; after Gaudentio Ferrari ; for the Crozat collection. The Virgin adoring the infant Jesus, who is sleeping ; after Benvenuto Garofalo; for the same collection. The Martyrdom of St. Cecilia ; after Domenichino. The Adoration of the Shepherds ; after C. Maratti. The Rod of Aaron devouring the Rods of the Magicians ; after N. Poussin. The Israelites worshipping the Golden Calf ; after the same. The Holy Family ; after the same. The Judgment of Solomon ; after A. Coypel. Susanna and the Elders ; after the same. Jupiter and Danae ; after Giulio Romano ; for the Cro- zat collection. Eleven Plates from the paintings by P. Mignard, in the saloon of St. Cloud. 585 foil] A DICTIONARY OF [foil The Four Seasons ; from the paintings in the gallery of St. Cloud ; after the same. He died at Paris in 1728. POILLY, Francis, the younger, was the younger son of Nicholas Poilly, horn at Paris in I67I, and was instructed in engraving hy his fa- ther. He afterwards travelled to Rome, with his brother, where he engraved a plate representing St. Cecilia distributing her wealth to the poor, after Domemehino, a companion print to the Martyrdom of that Saint, by John Baptist Poilly. POILLY, N. B. [Nicholas Jean Baptist de.] According to Basan, this artist was the son of John Baptist Poilly, and was intended by his father for an engraver, who gave him some instruction in the art, but he did not long apply to it. He engraved a few portraits, after Cochin, some of which are dated 1/53. [According to Nagler he was born at Paris in 1712 ; one of his prints is da:ted 1758.] [POINDRE, Jacob de, a portrait painter of Ma- lines, born about 1527, was a scholar of Schwagers Marc Willems. He painted a few historical pic- tures, but attached himself more particularly to por- traiture. He went to Denmark, and painted por- traits of some of the kings, probably as historical recollections, and died there in 1570.] POINSART, J., a French engraver, who flour- ished about the year 1630. He was principally em- ployed by the booksellers, for whom he executed several plates of views of cities, castles, &c. They are neatly executed, but in an incorrect, tasteless style. Among other prints by him, is the Entry of Charles VII. into Rheims. POINTE, F. DE LA. By this artist, who was a native of France, and flourished about the year 1678, we have a plan of the environs of Paris, in nine parts. He also engraved some of the views of the palace of Versailles, in conjunction with Israel Sil- vestre. [POL, Chretien van, a flower and arabesque painter, was born at Berkenrode, near Haerlem, in 1752. In 1782 he went to Paris, where he obtained a great reputation for his paintings in arabesque, which he rendered very agreeable by the introduc- tion of birds, fruit, and flowers. He ornamented in this manner the chateaux of Bellevue, Chantilly, and St. Cloud. He also painted flower-pieces in oil, which are beautiful in composition and colour- ing, but required a little more attention to the finishing. He occupied himself occasionally in painting on snuff-boxes groups of flowers, which are so delicately executed that they may be mis- taken for the work of the most celebrated masters in that class. He died in 1813.] [POLANCOS, . Two brothers of this name are mentioned among the Spanish painters of history. Scarcely any thing is recorded of them, except that they studied under Francisco Zurbaran, and flourished about 1646 or 1649. It is, however, said that their works bear so near a resemblance to those of Zurbaran, that they are often mistaken for his. This is particularly the case with regard to the pictures in the church of S. Esteban, at Seville, where Zurbaran painted the St. Peter and St. Ste- phen, but where the martyrdom of the patron saint, the Nativity, which is above the St. Hermenegildo, aftd the S. Fernando, are by the brothers Polancos. They also painted several large pictures for the sa- cristy of the convent of St. Paul, in the same city; and also the Angels appearing to Abraham, Tobit and the Angel, Jacob wrestling with the Angel, Jo- seph's Dream, and St. Teresa conducted by Angels ; 586 the last for the church of the Guardian Angel, be- longing to the unshod Carmelites and Franciscan Friars.] POLANZANI, Francesco, an Italian engraver, bom at Andale, near Venice, about the year I7OO. He chiefly resided at Rome, where, he engraved a set of twenty-two plates, representing the Life of the Virgin, from designs which are by some attri- buted to iV. Poussm ; but from their resemblance to the style of J. Stella, they are more probably after the works of that painter. He also engraved the following prints : The Bust of a Woman; after C. Cignani. The Bust of a hlind Musician ; after Marco Benejiali. The Virgin and infant Christ ; after G. Nogari. An old Man holding a Money-bag ; after the same. An old Woman warming her hands ; after the same. [This is probably Felice Poland, or Polanzani, who engraved after Vandyck, and various other masters. He flourished from 1745 to 1766. It is supposed that he was living in 1771. For a list of his works see Nagler. There is a Francesco Polanzani men- tioned, who lived about 1750, but he was of Verona.] POLESTANUS, Andrea. By this artist, who was a native of Italy, and apparently a painter, we have a slight etching of a Bacchanalian subject, a composition of many flgures, from his own design. It is signed with his. name, and dated 1640. POLBTNICH, a modern engraver, who resided at Paris about the year 1760. He engraved several plates after the works of Vandyck, Boucher, La Grenee, and others. [J. F. Poktnich sculpsit 1769. He was living in I78O.] POLIDORO, DA Caravaggio. See Caravaggio. POLIDORO, Veneziano. This painter was born at Venice in 1515, and was one of the numer- ous scholars of Titian. Although he had the ad- vantage of studying under that admirable master, he never rose to great celebrity in the art ; and his pictures in the church of the Servi, and in other public situations at Venice, do not rank his talents above mediocrity. He died in 1565. POLLAJUOLO, Antonio and Pietro. Anto- nio, the elder of these brothers, was born at Florence in 1426. He was brought up to the profession of a goldsmith and designer, under Bartolucci, and af- terwards learned the art of casting figures in metal of Lorenzo Ghiberti, whom he assisted in executing the celebrated gates in the church of S. Giovanni, at Florence, so much extolled by Michael Angelo. He exeeuted in bronze the tomb of Sistus IV. and that of Innocent VIII. His younger brother, Pie- tro, born in 1428, studied painting in the school of Andrea Castagna, and having distinguished himself by several admirable portraits at Florence, Antonio became his disciple. He painted some pictures for the public edifices at Florence, which gained him the reputation of one of the ablest artists of the pe- riod at which he lived. One of his most celeljrated works is a picture of the Martyrdom of St. Sebas- tian, in the chapel of the Marchese Pucci, in the church of the Servi, at Florence, which is consider- ed by Lanzi one of the ablest productions of the 15th century, in respect to composition and design, though not equally admirable for the colouring. He was perfectly master of the anatomy of the hu- man figure, in which he showed himself superior to all his contemporaries. Pietro chiefly distinguished himself in portrait painting. The two brothers died at Rome in the same year, J 498. Antonio PoUajuolo was one of the earUest of the ItaUan en- gravers. Contemporary with Finiguerra, he is sup- polo] PAINTERS AND ENGRAVERS. [pond posed to have learned the firt from him, and en- graved several plates, executed in a similar style, we have the following prints by him : A large plate, representing ten Naked Figures fighting •with Swords and other weapons. It is inscrihed, Opua Antonii PollajoU Ftorentini, without a date. The hack-ground is a forest, very rudely represented. The design shows that he had paid some -attention to the figure, and the heads are not without expression. The Holy Family, in which the "Virgin is seated, with the infant Jesas on her knee ; St. Joseph appears on the right hand leaning on his stafi', on the left is St. Elisabeth with St. John presenting a flower to the Child. Hercules strangling Anteus. [Bartsch and Ottley describe a print of Hercules combating the Giants, which, though it does not bear the name of PoUajuoli, there is every reason to believe is by him. Ottley has described a Battle of Centaurs as by PoUajuolo, but which Bartsch has given to Gasparo Reverdino ; there seems to be no doubt among connoisseurs that it is by the former. It was purchased from the Riccardi palace by Mr. Lloyd, was afterwards in Sir M. M. Sykes's collec- tion, and is now in the British Museum. The niello of the Martyrdom of St. Lawrence, mentioned by Duchesne, is attributed to PallEtjuolo by con- jecture.] [POLO, Bernardo, a painter of fruit and flow^er pieces, who resided near Saragossa towards the end of the seventeenth century. He painted his sub- jects from nature, and his pictures were highly esteemed both at Saragossa and Madrid, and are still preserved in the collections of amateurs. Ac- cording to Zani, he operated in 1680 and died about 1700.] POLO, DtEGO, THE ELDER. According to Palo- mino, this Spanish painter was born at Burgos in 1560. He studied at Madrid, under Patricio Caxes, and was a reputable painter of history. There are some of his works in the Escurial, and in the palace at Madrid, which prove him to have been an excel- lent colourist, and a tolerably correct designer; He died at Madrid in 1600. [The pictures by which he gained reputation are the portraits of the kings of the Goths ; a painting of St. Jerome chastised by an Angel for taking too much pleasure in reading Cicero ; and a penitent Magdalene.] POLO, Diego, the younger, was the nephew of the preceding artist, born at Burgos in 1620, and was a scholar of Antonio Lanchares. He acquired an admirable style of colouring, by studying the works of Titian, in the royal collection ; and paint- ed several pictures for the churches at Madrid, of which the most esteemed are the Baptism of Christ, in the church of the Carmelites; and the Annun- ciation, in S. Maria. He died in 1655. [He was an artist of great promise, and excelled in portrait- ure, a quality he acquired by copying those by Titian and other Venetian masters.] POLONY, ZiARAKA, an obscure engraver, who resided at Paris about the year 1615. Among other prints, we have by him a slight etching, represent- ing Queen Margaret lying in state, in the Paux- bourg St. Germain at Paris. POMARANCE, Cristofano. See Roncalli. POMARANCE, Niccolo and Antonio. See Circignano. POMAREDE, Sylvius. This artist is said by Professor Christ to have been a native of Italy, and to have engraved some plates, which he marked with the initials S. P. F., the P. for fecit. Mr. Stnitt says he flourished in 1620, instead of 1720. [This is probably the same as Silvio or Silvestro Pomarede mentioned by Zani, and Silvestre Po- marde by Nagler, of whose prints he gives a list ; if so, he flourished from 1740 to 1768, according to both those authorities. He engraved the four pic- tures, said to be by Titian, called The Triumphs 0/ Time, Fame, Death, and the Christian Religion.'] POMPADOUR, the Marchioness of. This ce- lebrated lady amused herself with engraving, and has executed several small plates, after Boucher, Eisen, and others. She also engraved a set of six- ty-three prints after gems, by Gay. [PONCE, Nicolas, a French engraver, was born at Paris in 1746, and died in 1831. He was a pupil of M. Pierre, the painter, and of Fessard and De- launay, the engravers. His works are rather nu- merous, as he was employed on several of the grand publications which do nonour to the French nation ; such as Le Musee Laurent ; Le Cabinet de Choi- seul ; La Galerie du Palais Royal ; Les Campagnes d'ltalie; the folio edition of Racine, by Didot; the edition of Ariosto by Dussieux, of which all the prints after Cochin's designs are by Ponce; Les illustres Fran9ais, avec les Notices historiques, with 56 plates ; Les Bains de Titus et du Livie, in 75 plates ; La Guerre d'Amerique, conjointly with Go- defroy. He was the editor of the Bible with 300 figures after Marillier ; and dedicated to Louis XVIII. the beautiful edition in qiiarto of the Char- ter. In addition to these works, he executed seve- ral detached pieces, among which are. Restoring the blind Man's Sight, after Le Sueur ; the Battle of Marengo, after C. Vernet; the Virgin and Child, after Vowt ; the Marriage of the Virgin, after Van Loo ; and a scene from the tragedy of Mithridate. He also wrote and translated several works relative to the arts, was a member of various academies and literary societies, one of the Legion of Honour, and corresponding member of the Royal Institute of France.] [PONCE, RoQUE, a Spanish landscape painter, was a scholar of Juan de la Coste, at Madrid. He flourished about the year 1690, and painted land- scapes in a very graceful manner, which he embel- lished with suitable incidents. In some of his pic- tures the figures are by Antonio Castrejon, but those are most esteemed in which the latter had no hand.] PONCHEL, C. DU, a French engraver, who re- sided in England about the year 1779. Among other prints he engraved a plate of a view of Water- ford, from a design by Paul Sandby. [His -name was Charles Eugene. He was born at Abbeville in 1748, and was a scholar of N. Tardieu. He en- graved the Madonna della Seggiola of Raphael ; a Holy Family after A. del Sarto ; and several other historical subjects and portraits. He was living in 1804.] PONCHINO, Giovanni Batista, called 11 Boz- ZATO. This painter was born at Castelfranco in 1500. He was a disciple of Titian, and, according to Lanzi, was a reputable painter of history. His picture of the Limbo, in the church of S. Liberale, at Castelfi'anco, is superior to any work of art in that city, except the admirable productions of Gior- gione. He also painted several altar-pieces for the churches of Venice and Vicenza. [He died in 1570. According to Zani, he was a prelate with the title of Monsignore.] POND, Arthur, an English painter and en- graver, who resided in London about the year 1740. He painted portraits both in oil and in crayons, and Oof' pons] A DICTIONARY OF [PONT contributed greatly to the encouragement of the arts. In conjunction with George Knapton, he published the collection of heads of illustrious per- sons, engraved by Houbraken and Vertue, and other interesting undertakings. Among others, they engraved a set of ninety-five plates from the draw- ings of the great Italian masters, in imitation of the originals, which are executed with taste and spirit. We have also by him a set of twenty-five caricatures, after Cavaliere Ghezzi, and other masters. He etch- ed several portraits, in a style resembling that of Rembrandt, among which are the following : His own Portrait. Lord Bolingbroke. Alexander Pope, Esq. [He had also the honour of paint- ing his portrait.] Doctor Mead. Thomas Sadler, Antiquary. [He died in 1758.] [PONSE, JoRis, a painter of birds, fruit, and flow- ers, was born at Dort in 1723. He was a scholar of A. Schouman. His cabinet pictures are more esteemed for their elaborate finishing, than for skill in the composition. He died at Dort in 1783.] [PONT, Nicolas du, born at Brussels in 1660, painted landscape and architecture. The figures in his landscapes are attributed to Bout, or Baut, the coadjutor of Bodewyns, with whom he painted in conjunction the perspective of a grand palace, now in the Museum at Ghent. He died at Brussels in 1712.] PONTE, Francesco da, the elder. This painter was the head of the family of the Bassans, and the founder of the school distinguished by their name. He was born at Vicenza about the year 1475, and after receiving his technical education at Venice, he established himself at Bassano, a small town situated on the Brenta. If he was not a dis- ciple of Giovanni Bellini, he was in the early part of his life one of the most precise followers of his style. Such is his picture of St. Bartholomew, in the cathedral at Bassano, which retains much of the hard and laboured finishing of Bellini. In the middle of his life his style became less dry and Go- thic, as appears in his altar-piece, in the church of S. Giovanni, and his last works approached to the mellowness and freedom of the modem style, as is evident in his picture of the Descent of the Holy Ghost, in the church of the village of Oliero, a grand composition, with a rich and hafmbnious. tone of colour, and a fine expression in the heads. He died at Bassano about the year 1530. PONTE, GiACOMo DA, usually called II Bassa- no. This eminent artist was the son of Francesco da Ponte the elder, born at Bassano in 1510. He received his first instruction in the art from his fa- ther, and afterwards studied at Venice, under Boni- fazio Veneziano ; but his best improvement was de- rived from contemplating the works of Titian, and copying the designs of Pai-migiano. He has been supposed by some to have been a disciple of the former ; and Lanzi asserts, that some of his juvenile works seemed to promise to the world another Ti- tian, so much had he adopted his style in his Flight into Egypt, in the church of S. Girolomo ; and a Nativity, painted for Signer Larber. At this pe- riod he drew his figures larger than life, and aspired to a greatness of style, of which he showed himself not incapable, in some paintings still preserved on the exterior of the Casa Michieli, at Venice, where he represented Samson destroying the Philistines, designed with a boldness and enthusiasm that re- 588 minds us of the grandeur of Michael Angelo Buo- naroti. But this energy was not of long duration, and he eventually contracted his scale to smaller proportion, as he abandoned the dignity of history, to familiarize his ideas to the meaner and more do- mestic subjects which afterwards occupied his pen- cil. He also distinguished himself as a portrait painter, in which he followed the style of Titian and Tintoretto, and painted several of the most celebrat- ed personages of his time ; among whom were Se- bastiano Venerio, Doge of Venice, Ariosto, Tasso, and others. He had acquired considerable celebrity at Venice, when the death of his father made it ne- cessary for him to return to Bassano, where he established himself for the remainder of his life. The picturesque situation of his family mansion, on the fertile banks of the Brenta, environed with pasturage and cattle, led him to paint from nature the rural objects which surrounded him, and he se- lected such subjects for his pictures as admitted of the introduction of animals and rustic occupations, which he painted with a truth and simplicity which may be truly said to be his own. His scriptural pictures usually represent the Animals going into the Ark, the History of Jacob, the Adoration of the Shepherds, and others of a similar kind. His works of this description were readily disposed of in the neighbouring cities of Vicenza, Brescia, Tre- vigi, and Padua. When he did not confine himself to devout subjects, he made choice of those of a pas- toral kind, markets and fairs of cattle, farm-yards, the pursuits of husbandry, &c. As he possessed an extraordinary facility of execution, and as his com- positions, are neither complicate nor much varied, the number of pictures despatched by him, his sons, and scholars, is astonishing. When his works were not painted by order, and when he had accumulated a certain number, it was his practice to send them for sale to the several fairs held in the neighbouring towns. This will account for the multifarious pro- ductions of the school of Bassano, which are to be met with in every country, and in every collection. He was invited to the court of Rodolfus II., but his attachment to his retreat at Bassano induced him to decline the invitation. He painted for the Em- peror the Twelve Months of the yeay, and the Four Seasons. Of his historical pictures and altar-pieces, some are deserving of particular attention, and prove that the defects discernible in the generality of his works are rather to be attributed to negligence and manner, than want of ability. The Entombing of Christ, in the church of S. Maria in Vanzo, at Pa- dua, is a grand and solemn scene, represented with great feeling and expression. His picture of the Nativity, now in the gallery of the Louvre, in which the light emanating from the infant produces a charming effect, is a chaste and studied composition ; the airs and attitudes of the shepherds are simple and natural, and there is a dignity in the characters of the Virgin and St. Joseph, seldom to be found in his productions ; the animals are admirably paint- ed. One of his most important works is a large picture of St. Roch interceding with the Virgin for the Persons infected with the Plague, in the church dedicated to that saint at Vicenza. Deprived of the advantage of visiting Rome, and of studying the an- tique and the great masters, he was confined in his models to the works of the best Venetian painters, where he looked in vain for correctness or elegance of design, sublimity of conception, or the select beauty of forms, but he availed himself of their most seductive attributes ; his colouring is as har- font] PAINTERS AND ENGRAVERS. [PONT monious and captivating as any of the great mas- ters of his country, and his handling evinces the most decided and commanding faciUty. His heads, without dignity or beauty, charm by an indescrib- able truth and naiveU, which is peculiar to himself. The constant repetition of domestic subjects, and representations of ordinary nature, undoubtedly de- graded his ideas, and impoverished his fancy. His contracted acquaintance with the naked obUged him to load his figures with draperies, which, even in his historical pictures, are usually rather the habili- ments of peasants, than characterized by the pro- priety of costume. His compositions are frequently fantastical and incongruous, and his want of pre- cision in perspective deteriorates the effect of his landscapes, which in other respects are deserving of admiration. He died in 1592. PONTE, Francesco da, the younger. Fran- cesco was the eldest of the four sons of Giacomo da Ponte, born at Bassano, according to Ridolfi, in 1548, and was brought up in the school of his fa- ther. He afterwards established himself at Venice, where he was employed by the government to deco- rate the public palace with a series of pictures, re- presenting subjects from the history of the republic. It is no slight proof of the eminence of his talents, that these mgenious productions sustain their claim to admiration, in the vicinity of some of the most esteemed worlss of Tintoretto and Paolo Veronese. He painted several pictures for the churches at Venice and in the state, which, though less vigorous and harmonious in the colouring than those of Uiacomo, are deservedly admired. One of his most esteemed works is his picture of S. Apollonio, in the church of S. Afra, at Brescia. This able artist was afflicted with occasional attacks of melancholy, which were probably increased by his assiduous ap- Elication. In a paroxysm of mental derangement, e precipitated himself from a window and was killed, in 1591, in the forty-ninth year of his age. PONTE, Giovanni Batista da. Gio. Batista, the second son of Giacomo da Ponte, was bom at Bassano in 1553. He was chiefly employed in copying the works of his father, which he did with a precision that deceived the most experienced. The only picture noticed of his own composition, is an altar-piece in the church of Galho, signed with his name, which is said, by Lanzi, to be painted in the style of his brother Leandro. He died in 1613. PONTE, Leandro da. This artist was the third son of Giacomo da Ponte, born at Bassano in 1558. He was also educated under his father, whose style he for some time followed, until some portraits he had painted at Venice were so highly celebrated, that, in the latter part of his life, he confined him- self almost entirely to portrait painting. Of his historical pictures the most deserving of notice are, the Birth of the Virgin, in the church of S. Sofia, at Venice ; and the Raising of Lazarus, formerly in La Carita, now in the gallery of the Louvre. Among other distinguished portraits he painted was the Doge Grimani, who conferred on him the order of knighthood. He died in 1623. [He was born in 1555, according to an inscription on one of his paintings : An. A. Virginis partu 1586. mense Fe- britario Leander JBassanus pinxit An. suce tstatis 31.] PONTE, Girolamo da, was the youngest son of Giacomo, born at Bassano in 1560, and, with his brother Gio. Batista, copied the pictures of his father so perfectly, as to pass at the time, as they have done since, for the originals. He painted, however, some pictures from his own designs ; among others, an altar-piece, in the church of S. Giovanni, at Bassano, representing St. Barbara kneeling be- fore the Virgin. He died in 1622. PONTIUS, Paul, a very eminent Flemish en- graver, bom at Antwerp about the year 1596, and was instructed in the art of engraving by Lucas Vostermans ; but he improved his design by the ad- vice and friendship of Rubens, from whose works he engraved many admirable plates. Few artists have equalled him in the correct and faithful delineation of his model ; and in the character and expression of his figures, he appears to have possessed himself of the mind of Rubens. He was not less successful in the fine portraits he has engraved after Vandyck, in which he seems to have adapted his style to the particular character of the person represented. His plates are executed with the graver in a clear, bold style ; and, though he did not possess the facility of Bolswert, or the dehcacy of Vostermans, his plates will ever be esteemed among the ablest productions of the Flemish artists. The following is an ample list of his principal works : portraits after vandyck. Paul du Pont, or Pontius, Engraver. Peter Paul Rubens. James de Breuck, Architect. John Wildens, Painter, of Antwerp. John van Kavesteyn, Painter, of the Hague. ^ Falemedes Falamdessen, Dutch Painter. Theodore Vanloo, Painter, of Louvain. Theodore Kombouts, Painter, of Antwerp. Cornelius vander Gheest, celebrated Connoisseur. Gerard Honthorst, Painter, of the Hague. Henry van Balen, Painter, of Antwerp. Adrian Stalbent, Painter, of Antwerp. Daniel Mytens, Painter, of Holland. Gerard Seghers, Painter, of Antwerp. Simon de v os. Painter, of Antwerp. Gaspar de Grayer, Painter, of Ghent. Henry Steenwyck, Painter, of Antwerp. Gaspar Gevartius, Jurisconsult, of Antwerp. Nicholas Rockox, Magistrate, of Antwerp. John van den Wouwer, Counsellor of State. Gsesar Alexander Sc^lia, Abbot of Stophard. GustaTus Adolphus, King of Sweden. Mary of Medicis, Queen of France. Francis Thomas, of Savoy, Prince of Carignan. John, Count of Nassau. Don Alvarez, Mai-quis of Santa Cruz. Don Carlos de Colonna, Spanish General. Don Diego Philip de Gusman, Marquis de Leganez. Mary, Princess of Aremberg. Henry Count de Berghe, in armour. Sir Balthasar Gerbier, Ambassador from Spain. Frederick Henry, Prince of Orange. PORTRAITS AFTER RUBENS. Philip IV. King of Spain. 1632. Elizabeth of Bourbon, his Queen. Isabella Clara Eugenia, Infanta of Spain. Ferdinand, Infant of Spain, on horseback. Gaspar Gusman, Duke of Olivarez ; very fine. Chnstoval, Marquis of Castel Rodrigo ; iine and scarce. Manuel de Moura Cortereal, Marquis of Castel Rodrigo ; the same. ' The Mother of Manuel, Marquis of Castel Rodrigo ; the various subjects after RUBENS. Susanna and the Elders. 1624. The Adoration of the Shepherds. The Murder of the Innocents. In two sheets. 1643; very fine. The Presentation in the Temple. Christ bearing his Cross ; fine. The Crucifixion with Angels, one of which is overcoming Sin and Death. The dead Christ supported by the Virgin, with Mary Magdalene, St. Francis, and other figures ; very firife. 589 PONT] A DICTIONARY OF [pope The Descent of the Holy Ghost. The Assumption of the virgin. The Virgin suckling the Infant. St. Eoch interceding with Christ for the Persons afiUcted with the Plague ; Tery fine. Thomyris causing the Head of Cyrus to be put into a Vessel of Blood ; fine. .SUBJECTS AFTER VARIOUS MASTERS. The Flight into Egypt ; after Jmdaem. Twelfth-Night ; i^er the same ; fine. The Adoration of the Magi ; after G. Seghers. The Virgin with the infant Christ and St. Anne ; after the same, St. Francis Xavier kneeling before the Virgin and Child ; after the same. St. Sebastian, with an Angel drawing an Aitow from his breast ; after the same. A dead Christ, supported by the Virgin ; after Vandyck. St. Rosalia, receiving a Crown from the infant Jesus ; after the same. The Holy Family ; after J. van Hoeek. The Entombing of Christ ; after Titian. [Those who wish for a more copious list of his works, will find it in Nagler.] PONTONS, Pablo, a Spanish painter, born at Valencia, in 1606. He was a scholar of Pedro Orrente, and followed the style of his instructor, who had been a scholar of Bassano : his colouring bears the character of the Venetian school. There are several of his works in the churches and con- vents of his native city, of which the most consider- able is a series of subjects from the life of San Pedro de Nola, in the church and cloisters of the convent de la Merced. He also painted some altar- pieces for the monastery de la Cartuja del Puche ; and in the church of S. Maria de Morella, are two pictures, representing the Nativity, and the Adora- tion of the Magi. He was also a reputable painter of portraits. He died in 1670. PONTORMO, Jacopo Careucci, da. This painter was born at Poritormo, in the Florentine state, in 1493. His family name was Carrucci, but he is generally called da Pontormo, from the place of his nativity. His parents dying before he was thirteen years of age, he was taken to Florence by a relation, who, perceiving his inclination for the art, placed him in the school of Lionardo da Vinci, under whose tuition he only remained a short time, and afterwards successively became the scholar of Pietro Cosimo and Mariotto Albertinelli. Whilst he was a disciple of Albertinelli, he painted a picture of the Annunciation, which excited the greatest admiration, and being shown to Raffaelle, was con- sidered by that great painter as an uncommon effort of genius, as a juvenile performance. He after- wards became a pupil of Andrea del Sarto; and some of his early productions having received the most marked commendation from Michael Angelo Buonaroti, the iUiberal disposition of his instructor conceived an unworthy jealousy of his powers, and dismissed him from his academy. This ungenerous and unwarrantable treatment only served as a stimu- lus to his exertions ; and it was not long before he met with considerable occupation. One of his first productions, on leaving Andrea del Sarto, was a picture of the Visitation of the Virgin to St. Elisa- beth, for the church of la Nunziata, which disputed the preference with many of the works of Andrea. He was not less successful in his Holy Family with St. John, painted "for the church of S. Michele, at Florence; and his picture of S. Agostino giving the Benediction, with a beautiful choir of Angels, in the church of S. Clemente. It is surprising that, with the possession of such pow^ers, he should vitiate his principles, and degrade his talents, by stooping 590 to a mean and servile imitation of the dry and meagre style of Albert Durer. But whether from a diffidence in his own resources, or from the incon- stancy of his disposition, he forsook the path which he had trod with such ability, to wander fi-om one manner to another, until he found it impossible to return to that from which he had so indiscreetly departed. The compositions, in the series of pic- tures he painted for file cloister of the Carthusians at Florence, are undisguisedly copied from the prints of Albert Durer. His last works were the frescoes he painted in the chapel of S. Lorenzo, representing the Deluge, and the Last Judgment, which, from his indecision and want of energy, had occupied him eleven years. Great expectations had been formed of this important undertaking; but when they were exposed to public view, they were found to be totally unworthy of his reputation ; and it is perhaps fortunate for his fame, that they have since been obliterated. He did not long survive this mor- tifying failure, and died in 1556. [According to Zani, and others, he died in 1558. Manni says he was born in 1504, and died in 1556. Kiigler says there are excellent portraits by him in the Berlin Museum.] PON ZONE, Matteo. This artist was a Vene- tian, and a scholar of Santo Peranda. He was a painter of history, and several of his works are in the churches and public places at Venice, particu- larly in S. Maria Maggiore, and in the church of the Padri Crociferi. He surpassed his instructor in the delicacy of his colouring, though inferior in the elegance of his design. [He was born in Dalmatia, and hved between 1630 and 1700. A Holy Family by Ponzone, in the Houghton Gallery, was engraved by Valentine Green.] POOL, JuRiAEN. This artist was bom at Am- sterdam in 1666. He distinguished himself as a portrait painter, and passed the early part of his life at the court of the Elector Palatine, by whom his works were much esteemed. After the death of his patron he returned to Holland, where he abandoned painting, and applied himself to mercantile pur- suits. He was the husband of Rachel Ruysch, the celebrated paintress of flowers and fruit. He died in 1745. POOL, Matthew, a Dutch engraver, bom at Amsterdam about the year 1670. He was instructed in the art at Paris, and on his return to Holland en- graved several plates after various masters, in a style resembling that of Bernard Picart, We have among others the following prints by him : The Portrait of Barent Graat, Painter. The Infancy of Jupiter ; ^er B. Graat. Cupid taken in a Net by Time ; after Guercino. A Bacchanalian subject ; after N. Poussin. A set of twelve subjects ; from designs by RemirancU, A set of one hundred and three plates, entitled The Cabinet of the Art of Sculptvre, by Francis van Bos- suit y from drawings by B. Graat, Three burlesque representations of the Ceremonies adopt- ed by the Flemish painters at Rome ; from the same. [The date of his death is not recorded, but he en- graved in 1727, as appears by a work published in that year. Nagler has given a list of his works, which are of a rather miscellaneous character, after some of the best masters of the Italian, Dutch, and French schools.] POOL, Rachel. See Ruysch. POOST, Francis. See Post. [POPE, Alexander, a tragedian, well known for his performances in the characters of Othello, Henry VIII., and Oroonoko, was also an excellent painter pope] PAINTERS AND .ENGRAVERS. [PORP in miniature, and had considerable practice. He painted the portrait of Michael Bryan, the first compiler of this work, the engraving of which stood at the head of the quarto edition ; a very excellent likeness of an amiable man, and a good judge of works of art of the hirfier order.] POPELS, John. This artist was bom at Tour- nay about the year 1630. He engraved some plates from the pictures in the gallery of the Archduke at Brussels, for the Collection of prints called The Cabinet of Teniers ; among which are the following : Hagar and Ishmael ; after Titian, St. George and St. Stephen ; after Gio. Bellini. St. John Baptist and St. Koch ; after Palma Vecchio. The Virgin and infant Christ, with St. John and St. Catherine ; after PaZma Giovine. A dead Christ, supported by Joseph of Arimathea ; after Schiavone. He also engraved a plate of the Triumph of Bac- chus, after JRnbens. POPPI. See MoRANDiNi. PORBUS, [or POURBUS,] Peter. This paint- er was born at Gouda in 1510. He distinguished himself as a geographer as well as a painter. In the great church at Gouda was a picture by him repre- senting St. Hubert. He afterwards established him- self at Bruges, at that time the most flourishing city in the Low Countries, where he painted several altar-pieces for the public edifices, particularly the Crucifixion, still preserved in the church of Notre Dame. He died at Bruges in 1583. [Others place his birth in 1513, and nis death on the 30th of January, 1584. The altar-pieces painted by Pierre Pourbus are numerous ; the most beautiful are to be found in the principal church at Gouda. His portraits are of a rare perfection ; the Academy at Bniges possesses two painted in 1551. He was also a good geome- trician. He painted for the magistrates of Bruges a large chart or picture, on canvass and in oil, of the whole of the territory within their jurisdiction, in which he represented the minutest details. This immense work still exists in the Hotel de Ville. He was originally a mason ; and when he became emi- nent as an architect and painter he marked all his works with a trowel. He married the daughter of Lancelot Blondeel, and was president of the Corpor- ation of Painters at Bruges. There are three pic- tures by him in the private collection of the King of Holland, described at large in Mr. C. I. Nieuwen- huys's Catalogue : one is an allegorical subject, which shows that he possessed a lively and poetic imagination ; the others are portraits of persons of distinction. Michiel, in his '.' Histoire de la Peinture Flamande et HoUandaise," tom. iii., has given a catalogue of fifty pictures by Pierre Pourbus, be- sides some poetical detailed descriptions of his prin- cipal altar-pieces.] PORBUS, [or POURBUS,] Francis, the eld- er, was the son of the preceding artist, born at Bruges in 1540, and was first instructed by his father ; but he afterwards had the advantage of studying under Francis Floris, and eventually sur- passed both his instructors. He painted history, landscapes, and animals, and was one of the most distinguished portrait painters of his time. There are several of his works in the churches at Antwerp, where he chiefly resided, and where he was received into the Academy in 1564. In the cathedral is an altar-piece representing the Circumcision, with two shutters, on which he painted the portraits of the donors of the picture. One of his most esteemed works is the Adoration of the Magi, in the church of the Convent at Oudenarde. Though the produc- tions of this artist retain somewhat of the dry, formal style which preceded him, his colouring is clear and chaste, particularly in his portraits, which are full of life and character. He died in 1580. [Though Fran9ois Pourbus the elder is entitled to commendation for his other works, yet his chief excellence is in portraiture. The picture of St. Aloisius Preaching, in the Academy at Antwerp, is distinguished for the good effect produced by the introduction of several portraits. There are por- traits by him in the collections in England; par- ticularly at Castle Howard, and at Luton.] PORBUS, [or POURBUS,] Francis, the YOUNGER, was the son of the foregoing artist, born at Antwerp in 1570. After receivmg some instruc- tion in his native city, he travelled to Prance, with the intention of visiting Italy, but he met with such encouragement at Paris as a portrait painter, that he took up his residence in that city for the re- mainder of his Ufe. He painted the portraits of the royal family, and the most distinguished personages of the court. His talents were not confined to portraits; there are several of his pictures in the churches at Paris, which establish his reputation as a painter of history. He painted for the church of the Jacobins the Annunciation, and a picture of St. Francis ; but his most esteemed performance is the Last Supper, formerly in the church of St. Leu, now in the gallery of the Louvre ; it is a grand and simple composition, the figures correctly designed, and the colouring rich and harmonious. In the Hotel de Ville are two pictures by Porbus of the Minority and Majority of Louis XIll., which he has treated with great ingenuity, and the portraits he has introduced have an admirable appearance of truth and nature. The portrait of Henry IV. was formerly in the collection of the king of France, it is now in the French Museum. He died at Paris in 1622. [Of the pictures of Fran5ois Pourbus the younger, there are six in the Louvre : a portrait of Guillaume du Vair; a small portrait of Henry IV. in armour; another of the same in black velvet; portrait of Marie de Medicis, in a blue velvet robe covered with fleurs de lis, and enriched with diamonds and pearls ; the Last Supper ; and St. Francis in ecstasy. In England there are portraits by him in various collections. There are two at Hampton Court, Henry IV., and Mary de Medicis; at Althorp a whole-length portrait, by some called the Duke of Guise, sumamed le balafre, by others, his son Henry.] PORDENONE. See Licinio. PORPpRATI, a modem Italian euOTaver, bom at Turin in 1740. He went to Paris when he was young, and became a pupil of Beauvarlet, under whom he made great progress, and acquired con- siderable celebrity by his first productions, in the neat, finished style of his instructor. In 1773 he was made a member of the Royal Academy at Paris, and engraved, for his plate of reception, Susanna and the Elders, after Santerre. He had executed several fine plates at Paris, when he re- tumed to Turin. We have the following prints by him, some of which are executed in a finished and beautiful style : Abraham sending away Hagar ; after Philip Vandyck. Tancred and Clorinda ; after C. Vanloo. Erminia asking shelter of a Shepherd ; after tJie same. Cupid in Meditation ; after Angelica Kmiffman. The Death of Abel ; after A. vander Werff. 591 porr] A DICTIONARY OF [poet Veniis caressing Cupid ; after Vompeo Battoni. . Jupiter and Leda ; after Coreggio ; very fine. [Carlo Antonio Porporati studied also under the celebrated J. G. Wille ; but his style of engraving does not partake of that of either of his masters : his manner is entirely his own, particularly in the carnations. He was the first of the Italian en- gravers that availed himself of the purity and grace- fulness produced by the graving instrument alone. Longhi, while he admits his excellence in many respects, endeavours to detract from his merit in others; but Joubert maintains that his beauties more than counterbalance any deficiencies. In ad- dition to the prints quoted above may be named the following : The Madonna with the Kabbit; after Correggio. Leda and the Swan, and Leda bathing ; after the same. La Zingarella ; after the same. The young Girlwith a Dog ; after Greuze. The Lady preparing for Bed, and Paris and Helen. Porporati died at Turin in 1816.] PORRO, GiROLAMO, an Italian engraver on wood and on copper, born at Padua about the year 1520. He executed the plates for the Orlando Furioso of Ariosto, published at Venice in 1548. He also en- graved- in a tasteful and delicate style, the vignettes, amounting to nearly one hundred, for a book en- titled Impressi degli uomini illustri, by Camillo Ca- milli. His last work was a set of wooden cuts for the Funerali degli Antichi, by Tommaso Porcacchi, pubUshed at Venice in 1591. [This work was published in 1574, after which there is no account of any other by Porro ; but Zani says he operated in 1604.] PORTA, Baccio della, called FrA. Baetolo- MEO Dj S. Marco. This eminent painter was born in the territory of Savignano, near Florence, in 1469. When he was very young, he became a dis- ciple of Cosimo Roselli, at Florence, whose resi- . dence being near the gate of St. Peter, he acquired the name of Baccio della Porta. After passing some years under that master, he applied himself to an assiduous study of the works of Lionardo da Vinci, whose grandeur of relief, and admirable chiaro-scuro, were the particular objects of his ad- miration. In company with his friend, Mariotto Albertinelli, he njodelled and copied from the an- cient bassi-relievi, by which he acquired a breadth of light and shadow, which is one of the most striking characteristics of his style. His first works were of a small size, and very highly finished, gracefully composed and designed. Such are his two cabinet pictures in the Florentine Gallery, re- presenting the Nativity and the Circumcision ; but he afterwards aspired to a grander style, and in his fresco of the Last Judgment, in a chapel of S. Maria Nuova, evinced powers of a superior cast. He was the particular friend of the celebrated Dominican Savonarola, and is said to have been urged, by the too rigid scruples of that mifortunate zealot, to de- stroy all his studies and designs, on account of their nudity. He was employed in the convent of St. Mark, when the ofiicers of justice, by order of Alexander VI., broke into the monastery to seize the person of Savonarola previous to his execution ; and the tumult it occasioned, by the resistance of the monks, is said to have intimidated him to such a degree, that he made a vow to devote himself to a monastic life, if he should escape the danger. In 1500 he took the habit of St. Dominick, and was afterwards usually called by the name of II Frate. When Rafiaelle visited Florence, in 1504, he 592 formed a friendship with Fri Bartolomeo, from whom he received some instruction in the principles of colouring and the folding of his drapery ; and, in return, taught II Frate the rules of perspective. In a short time afterwards he visited Rome, where he was so struck with the works of Michael Angelo and Rafiaelle, that, from modesty, he only attempted to paint two single figures of St. Peter and St. Paul, preserved in the pplace of the Quirinal. On his return to Florence, removed from such formi- dable competitors, he painted several altar-pieces for the churches of his order, which proved how much he had strengthened his style by his journey to Rome. His design approached to that of Rafeelle in grace and grandeur, and he surpassed him in the boldness of his relief, and the rich impasto of his colouring. His compositions, like those of his con- temporaries, usually represented the subjects then mostly in demand for conventual situations, the Virgin with the Infant, surrounded with Saints; but lie diversified the formality of these objects, by embellishing them with magnificent architecture and groups of angels, or celestial choristers, com- posed and designed writh elegance and taste. Some of his rivals had accused, him of being incapable of designing the figure on a large scale, and he re- futed the c^umny by painting his celebrated figure of St. Mark, in the Florentine Gallery, regarded as a prodigy of art, and which occasioned a learned traveller to remark, that it appeared to him a large Grecian statue metamorphosed into a painting. The jealousy of his opponents charged him vidth being ignorant of the anatomy of the human body, until he painted a picture of St. Sebastian, so correctly designed, and of so perfect a form, that it excited universal admiration, and was judged by the monks to be too beautiful a figure to be publicly exposed in their church. Several of the principal works of Fra Bartolomeo were taken by the French from the churches at Florence, and are now amidst the spoils in the Louvre ; among which are his celebrated picture, formerly in the church of S. Marco, repre- senting the Virgin sitting on a throne, accompanied by St. Peter, St. Bartholomew, and other saints, presiding at the mystical marriage of St. Catherine with the infant Christ ; the Four Evangelists, taken from the church of the Nunziata, and others. This distinguished painter died in 1517. [The second picture in the Louvre is not the Four Evangelists. It represents St. John the Baptist, St, Paul, St. Francis, St. Jerome, the Magdalene, and St. Mar- garet, doing homage to the Virgin, who is seated on a throne. The angel Gabriel appears above, hold- ing a lily branch, and announcing his mission to the Virgin. The picture is dated 1515, and there- fore one of his latest works.] PORTA, Giuseppe, called Salviati. This paint- er was born at Castel Nuovo, in the Grafagnana, in 1535. He was sent to Rome when he was young, and was placed in the school of Francesco Salviati, a Florentine painter, whose character of design he followed, and acquired the name of the younger Salviati, by which he is more generally known thaii his own. He had already arrived at considerable proficiency, when his instructor was invited to' Venice, whither he was accompanied by his pupil, and having combined somewhat of the design of the Roman school with the Venetian colouring, his works were sufl[iciently admired in that capital to induce him to estabhsh himself there, where he met with the most flattering encouragement. He was employed by the senate, in conjunction with some %^, •-i port] PAINTERS AND ENGRAVERS. [port of the most distinguished artists of his time, in or-> namentjng the palace and library of St. Mark, where he painted the Sibyls, the Prophets, and the Cardinal Virtues; and for the chapel, the dead Christ with the Marys. His reputation reached Rome, whither he was invited by Pius IV., where he was employed in the Sala Reale, and painted the Emperor Frederick I. doing homage to Alexander III. Having flj^shed these, and other considerable works for that^tJntiff, for which he was munifi- cently rewarded, he returned to Venice, where he painted several pictures for the churches and public edifices, particularly an Assumption, for the chiurch of the Padri Servi ; and the Annunciation, in the chapel of the IncurabiU. In the church degli An- geU, at Murano, is one of his finest works, repre- senting a Descent from the Cross, with the Virgin, Mary Magdalene, and St. John. His compositions show the fertility of his genius, and his design is characterized by the energy of the Florentine school ; though, Uke many of those who have emulated the daring contour of Buonaroti, without possessing his learning and taste, he is occasionally strained and extravagant in the delineation of the muscles : his colouring is often tender and harmonious ; but to- wards the latter part of his life weis occasionally languid and monotonous. He died in 1585. Papillon mentions this artist as an excellent en- graver on wood. That writer asserts, that he had seen, in the possession of M. Villayer, at Paris, about a dozen wooden cuts by him, representing Prophets and Sibyls, and a print of Cupid and Psyche. He possessed himself a print of the Cruci- fixion, with the Virgin, Mary Magdalene, and St. John, signed Oiiiseppe Salvuxti, executed in an ad- mirable style, with a fine expression in the heads ; and another representing the Academy of Arts and Sciences, signed Joseph Porta Grafagninus. [Lanzi says that he died in 1570, aged 50. Zani, that he jiainted in 1542, and in 1566. He gives an inscrip- tion from a picture : Joseph Garfagninus, Anno 1542. With respect to the wood engravings, he is of opinion that though designed by him, they are executed by an anonymous hand. They are, how- ever, inscribed Joseph Porta Grafagninus.'] [PORTBNGEN, Pierre, a painter of Utrecht, and scholar of Paul Moreelze, flourished about 1638. He painted landscapes in the manner of Jan Both, tut in the handling of his trees he is very inferior to that master.] [PORTER, Robert Ker, was born at Durham in 1780, and passed his boyhood in Edinburgh, whither his mother had removed on the death of her husband, an officer in the army. Here he made acquaintance with the celebrated Flora Macdonald. In consequence of his admiration of a battle-piece in that lady's possession, representing some action in the affair of '45, and which she explained to him in animated language, he determined on becoming himself a painter of battles. This occurred when he was only nine or ten years old. Prom this time he was continually sketching similar subjects, which induced his mother to take him to West, the presi- dent of the Royal Academy, who, struck with the spirit of his sketches, immediately procured him admission as a student. His progress was rapid, and in 1793 he was commissioned to paint an altar- piece for Shoreditch church. In the following year he painted a picture of Christ allaying the Storm, which he presented to the Roman Catholic cihapel at Portsea; and in 1798, St. John preaching, for St. John's college at Cambridge. These pictures showed 2 o wonderful precocity; but in 1800 he astonished the . public by the exhibition of The Storming of Se- ringapatam, a picture 120 feet in extent, represent- ing with Homeric fire and animation the details of an exploit of British valour never surpassed. It is said that he was only six weeks employed in the execution, and yet no part was neglected. Un- fortunately this picture was destroyed by fire, but the sketches exist, and the engravings by Ven- dramini will preserve the remembrance, and be some evidence of its merits. He painted several other renowned actions, among which are the Battle of Agincourt, for the city of London ; the Battle of Alexandria, and the Death of Sir Ralph Aber- cromby. In 1804 he went to Russia, and was ap- pointed painter to the emperor; in 1808 he accom- panied Sir John Moore to the Peninsula, and at- tended throughout the campaign to the conclusion of that hero's career at the battle of Corunna. After this he paid a second visit to Russia, where he mar- ried the Princess Mary, the daughter of Prince Theodore de Shorbatoff^ After his return to Eng- land he published, in 1813, an Account of the Russian Campaign, and was knighted by the Prince Regent in the same year. He afterwards published an account of his travels in Georgia, Persia, Ameri- ca, ancient Babylon, and other places, with nu- merous engravings of portraits, costumes, and an- tiquities. In this work are excellent designs, in outline, from the fine characteristic sculptures of Nedcshi Roustan, Nakshi Rajab, Shiraz, and Per- sepolis. This work is extremely valuable, as it shows the great inaccuracies that exist in the re- presentations, of figures and other objects, in the publications of preceding travellers. Being appoint- ed British consul at Venezuela, he resided at Ca- racas until 1841, and continued to employ his pencil. He painted while there three pictures of sacred subjects; Christ instituting the Eucharist, Christ blessing a little Child, and an Ecce Homo. He also painted the portrait of the celebrated Boli- var. In 1841 he paid his last visit to St. Peters- burg, where the cold proved too intense for his con- stitution, after being inured to the warmth of Venezuela, and he was preparing for his return to England when he was struck by a fit of apoplexy, and expired on the 2nd of May, 1842.] PORTIO, an obscure engraver, who lived about the year 1 700. His name is affixed to a few portraits and other book-plates. [Zani calls him AnieUo."] [PORTO, Giovanni Battista del, an engraver, who flourished about the year 1503, and marked his prints with the letters J. B. and a bird. It is not certain that the above name is correct, but he is called Gio. Bat. del Porto by Zani; and Bartsch has described five etchings by him, and three wood engravings after his designs, aU bearing his mark, but without dates, in vol. xiii. of P. G. Brul- liot. Diet, of Mon. part ii. N°. 2860, has noticed one representing Two Infants joined together, a Cat ivith three neads, and an Egg of a singular form. At the bottom is the following inscription : anno. POST. CHRISTI. ORTUM. MDIII. XVI. KL. APRILIS. PONT. MAX. TENENTE. ALEXANDRO. VI. NATA. SUNT. HOME. EODEM. DIE. ^y^.' MONSTRA. DUO. INFAN- TES. IN. VTERO ' CONWNOFI. ET. CATUS. TRICEPS. ET OVVM. GALLI. IN FORsfAM. HANC. QUAM SUPRA EFFiNxiMUS. I. B. and Jbgi'lbiffl. Largeur, 4p. 71., Sauteur, 4p. 31. Thiffi^Ms also a print in Sir Mark. Sykes's sale with irtfflhnark. It represents a Figure of Rome. A femaj^S^ated, her profile turned to the left ; she wears a helmet, and hjolds a small 593 port] A DICTIONA'RY OF [pott figure of Victory in the right hand. The mark is at,the bottom on the left. H. 8jm., W. Bfrn. The print of the two monstrous children joined togetherj which is in the British Museum, has been noticed among those of Nicoleto da Modena, whose name it bears: it is but a part of the subject above de- scribed.] . PORTUGAL. According to Mr. Strutt, this artist was the engraver of a small upright plate, re- presenting a female figure weeping, and pouring water from a cup. It is very indiiFerently engraved, in imitation of the style of Aldegrever. PORZEL, Eli AS, a German engraver on wood, who resided at Nuremberg about the year 1700. Professor Christ, without specifying any of his works, gives the following as the marks usually found upon his prints {35 • 2 • [Nagler says that he was born at Isny in Suabia, about 1622, and died at Nuremberg in 1722. He was a carver in wood, and engraved some Bible prints.] POSSENTI, Benedetto. According to Mal- vasia, this artist was a native of Bologna, and was brought up in the school of the Caracci. He ex- celled in painting landscapes, sea-ports, embarka- tions, and battle-pieces, which were held in con- siderable estimation. POSSENTI, Giovanni Pietro, was the son and scholar of Benedetto Possenti, born at Bologna in 1618. His genius led him to paint battles and at- tacks -of cavalry, in which he not only surpassed his father, but was regarded as the ablest painter of his time, in that branch of the art. His talents were not confined to those subjects, and he acquired no mean reputation by some altar-pieces he painted for the churches at Bologna and Padua. One of his most esteemed productions is a picture in the church of S. Lorenzo, in the latter city, repi'esenting the Martyrdom of that Saint. [He died in 1659.] POST, or POOST, Francis. This painter was born at Haerlem about the year 1620. He was the son of John Post, a glass-stainer of some celebrity, who taught him the rudiments of design. It is not known whether he had the advantage of any other instruction, but before he was twenty years of age he discovered sufficient ability to recommend him to the protection of Prince Maurice, who engaged him in his service, and he accompanied that prince in the voyage he undertook to the West Indies and South America. During a residence of two years, he made numerous drawings of the most interesting views in that country, from which, on his return to Holland, he painted several large pictures for the palace of Ryksdorp, near Wassenaer. Houbraken speaks in very favourable terms of the talents of this artist as a landscape painter. His pencil is light, yet firm ; his colouring clear and agreeable ; and his trees and plants are touched with neatness and spirit. He died at Haerlem, in 1680. We have several spirited etchings by this artist, among which are the following : A set of Views in Brazil ; from designs made l}y himself. A View of the Gulf of AU Saints ; Fr. Foost,fec. 1645. A View of Cape St. Augustine ; the same inscription. A View of the Isle of Thamaraca ; the same, [His smaller landscapes. Views in India and Ameri- ca, occur sometimes in sales, but are held of very little account. They have, however, all the appear- ance of being painted from nature.] POT, Henry. According to Descamps, this art- ist was born at Haerlem about the year 1600. It is not said under whom he studied, but he was a re- 594 putable painter of history. Houbraken celebrates a picture by this master, representing Judith with the Head of Holofernes; and mentions in very favourable terms a large picture of a Triumphal Car of one of the Princes of Orange, in the Princen- hofdX Haerlem. He was also a distinguished por- trait painter, of which he has given proof in a large picture in the hall of the archers, at Haerlem, in which he has represented the principal officers of that society. [His name was Hendrik Gerritz Pot. It is supposed that he received' some instruction from Prank Hals. He died in 1656.] POTHOVE, H., an obscure engraver in mezzo- tinto, by whom we have a few portraits, very indif- ferently executed. [POTHOVEN, Henri, born at Amsterdam in 1725, was a scholar of Philip Vandyck. He painted portraits and cabinet pictures in the manner of his master. He imitated satin, velvet, lace, and carpets, very successfully, and the other accessories which he introduced in his small family pictures. He understood the nude and designed figures correctly. His penciling is good, and his colouring agreeable. As late as 1791 it is said he painted the portrait of Professor David Buhnkenius. He also engraved, in mezzotinto, an old Man reading a Book by the light 6f a Candle which he holds in his right hand, which BruUiot has noticed; and many others, if Balkema is correct, who says that he applied him- self much to it. He died about 1795.] POTMA, James, [or Jacob,] was a native of Workum, in Friesland, born about the year 1610, and was a scholar of Wybrant de Gheest. He painted history and portraits, but was particularly eminent in the latter. The greater part of his life was passed at the diiferent courts in Germany, where he was much employed as a portrait painter. He died at Vienna in 1684. [POTBELLE, Jean Louis, a French engraver, born at Paris in 1788, was a scholar of David, Tar- dieu, and Desnoyers. He gave early proof of his talents, and in 1806 obtained the second grand prize for engraving. He has produced several plates of subjects by the Italian masters, and also of por- traits of distinguished persons. Among them are, Porti-ait of Giulio Bomano ; after the picture in the Museum. Portrait of Michel Angelo ; after the picture by himself. Louis XVIII. ; after Gerard. Cupids ; after the same. Portraits of Raphael, and N. Poussin. Portrait of David ; after the picture by Navet, Prince Schwartzenhere ; after Gerard. Cupid and Psyche ; after David. Portrait of Dr. Dubois. The Course of Love, in 6 plates ; after Gerard. POTTER, Peter, was born at EnkhuySen about the year 1595. Little more is known of this artist than that he painted landscapes, with scriptural and other subjects, which, if we may judge from the prints engraved from them by Peter Nolpe, must have pos- sessed considerable merit. ^ They represent the Four Seasons and the Four Elements, the Prophet Elias speaking to the Woman of Sarepta, and St. Paul the Hermit nourished in the Desert by an Eagle. POTTER, Paul. This admirable painter of ani- mals was the son of the preceding artist, born at Enkhuysen in 1625, and was instructed in the art by his father. Before he had attained his fifteenth year his works were held in the highest estimation, and he was regarded as the most promising artist of his time. He established himself at the Hague, where his pictures w^ere so much sought after, that, pott] PAINTERS AND ENGRAVERS. [pous with more than common assiduity, he could with difficulty keep pace with die demand for his works. Maurice, Prince of Orange, was one of his most zealous admirers, for whom he painted some of his finest pictures. The landscapes of Potter are usually subordinate to his cattle, and seldom extend beyond a pasture, with a stump of a tree, a farm-house, or a hovel ; but these are represented with uncommon fidelity, and his animals are designed with a cor- rectness that is beyond all praise. He chiefly ex- celled in painting cows, sheep, goats, &c., which he grouped in a most picturesque manner. His pic- tures usually exhibit a briUiant effect of simshine ; and there is a lustrous gUtter in his colouring, which is peculiar to himself His touch is firm and free, and his pencil unusually full and flowing, although his pictures are highly finished. Though he ge- nerally painted on a small scale, he was not inca- pable of more energetic exertions. There was for- merly in the collection of the Prince of Orange, a picture of a herdsman and cattle, as large as life, designed and painted with surprising truth and cha- racter ; it is now in the gallery of the Louvre. His cabinet pictures are, however, preferable to those of a large size. He designed every object from nature ; and it was his constant practice, in his walks in the fields, the only recreation he allowed himself from constant application, to sketch in a book every object that attracted his attention. An unremitting and laborious attention to his art had a fatal influence upon a constitution naturally weak and delicate, and he fell a victim to his assiduity in the bloom of life, in 1654, in the twenty-ninth year of his age. We have some charming etchings by this celebrated artist, drawn with great spirit and correctness, and executed in a very masterly style ; they are as follow : A set of eight plates of Cows, Oxen, and other animals, with a Bull on the title ; Paulua Potter,/. A set of five plates of Hoises ; the same inscription. A Mountainous Landscape, with cattle and a herdsman ; Paulus Potter, in. etf. 1649. A Landscape, with a shepherd playing on a pipe, and a flock of sheep and goats. A great number of the designs of Paul Potter have been spiritedly etched by Mark de Bye. [Instead of entering into a dissertation on the merits of the highly estimated works of this emi- nent master, it is better at once to refer the inquirer to vol. V. jmd Supplement of Smith's "Catalogne raisonne of the Works of the Dutch and Flemish Painters," where he will find descriptions of about 1^0 pictures by Paul Potter, (allowing for a few re- petitions,) and many curious particulars regarding them. It may, however, be interesting to some to have a few examples of the prices at which choice specimens have been sold at public sales, (the truest test of their value when fairly conducted,) to show the progressive rise in their estimate during the last eighty years. It is true, as Mr. C. J. Nieuwenhuys observes in his remarks on the works of this master in his " Review of the Lives and Works of some of the most eminent Painters," that the diminished value of money should be taken into consideration. But the diminution in the one can hardly be con- sidered equal to the rise in the other. To give in- stances as they occur. Four Oxen in a Meadow, sold in 1 750 for 280 florins, or about £25 sterling ; in 1812 it rose to £320; and in 1815 was purchased by the Emperor of 'Russia for about £^00: it is now in the Hermitage at Petersburg. A View in Holland, measuring about 18 inches by 14, sold, 1780, for 3200 francs in the Poullain sale; in 1844, 2 Q 2 at the sale of Mr. Harman's pictures, it brought •£840. Two Cows and a Bull in a Meadow,,j3r, as it is generally called. The Young Bull, measur- ing 17 inches by 15, sold in 1771 for about £186 in the Braamcamp sale; in 1823 it brought 1210 guineas. The Dairy Farm, measuring about 20 inches by 24, sold in Le Perrier's sale in 1817 for £689; and rose progressively to £1228 in La- peyriere's sale in 1825. A Pastoral Scene, 23 inches by 21, sold in Lindert de Neuville's sale in 1765 for about £135; in 1783 for £678, in Van Locquet's sale ; and in 1829, in Lord Gwydir's, for 1205 guineas. Many other examples might be adduced, but these will show the high estimation in which the master's works are held. But the reader should be made acquainted with an anecdote respecting the large picture of the Hague, known as the Young Bull. It was sold by pubUc auction on the 19th of August, 1749, at Haerlem, in the collection of a gentleman of the name of Willem Fabricius, for 630 florins, about £56 sterling. How many thou- sands would it bring now ? — This is the picture re- ferred to in the text as being in the gallery of the Louvre : it was restored to Holland in 1816. Nor are his drawings proportionately less esteemed than his pictures. In M. GoU's sale at Amsterdam, Messrs. Woodburn gave about £200 for one in In- dian ink, heightened with white chalk, measuring about 13^ inches by %^; and in the same sale the Chevalier Claussins gave for another done with the pen and worked in Indian ink, measuring lOJ inches by 7i, £163. — Bartsch describes eighteen etchings by Paul Potter, including the Head of a Cow, a Cow lying down under a Tree, and the Zabucaia; and also the eight, falsely attributed to him, which he believes are really by Jean Visscher. Weigel, in his Supplement to Bartsch, has given an account of the variations that appear in several of those by Paul Potter, described by Bartsch ; and has added two prints to the list, the Head of a Cow, and the Portrait of Potter. The latter. Which is of extreme rarity, (Weigel knew of no oilier,) was formerly in the collection of Mr. Sheepshanks, and is now in the British Museum. Messrs. Smith, brothers, of Lisle Street, London, the dealers in ancient prints, have made memoranda of two more : 1. The Head of a Bull, profile directed to the right, a log of wood suspended from the neck by a chain, halter on the head, the eye partly closed gives the animal a sleepy expression ; the trunk of a tree on the left. Length 3fm., Height 2|m. At Amsterdam. 2. A very small etching of a Bull.] [POTUIL, Henri, a painter, who, it is said, imitated with much art the manner of Gerard Dou. As only one picture is recorded as by him, and that in the catalogue of Hoet and Terweste'ti, who say it represents an animated Conversation of Peasants, his name is admitted here merely to allow some one to fall back upon, when there is a question of the authenticity of a Gerard Dou. When Dutch writers point out these imitators, they are worth noticing.] POULLEAU, a modern French engraver, born at Paris in 1749. He has engraved several plates of ruins and architecture ; among which are the fol- lowing : Ruins of a Temple ; after de Machlj. A View of the Interior of the Church of the Magdalene, at Ville I'Eveque ; after Contau d'lvry. P.OURBUS. See Porbus. POUxSSIN, Nicholas. This distinguished paint- er was born at Andely, in Normandy, in 1594. He was descended from a noble family, originally of 595 PO0S] A DICTIONARY OF [pous Soissons.'wKose fortunes had been ruined by the civil wars in the time of Charles IX. and Henry III., and his father, John Poussin, with a small in- heritance, served in the army under Henry IV. Preferring the cultivation of science to military pursuits, the young Poussin had already distin- guished himself by the solidity of his judgment, and his progress in literature, when a fondness for draw- ing, and an acquaintance formed with Quintin Varin, an artist of some eminence, induced him to solicit the permission of his father to adopt painting as a profession. After receiving the incipient principles of the art froin Varin, in 1612, when he was eighteen, he visited Paris in search of improvement. The arts were at that period at a very low ebb in the capital of Prance, and the only assistance he appears to have received was from a Flemish portrait painter, named Ferdinand Elle. Such an instructor was little quali- fied to forward the sublime ideas he had formed of the art, and he quitted him in a few months. Having procured some prints from the works of RaffaeUe and Giulio Romano, he studied them with admiration and delight ; and he improved his design, by drawing after casts from the ancient statues. ^ Some of his first essays in painting were the pictures in the church of the Capuchins at Blois, and some bacchanalian subjects for the chateau of Chiverny. His talents, and the endowments of his mind, pro- cured him a ready admission into the society of men of letters ; and the Cavaliere Marino, the celebrated Italian poet, being at that time at Paris, conceived so favourable an opinion of his genius, that he in- vited him to accompany him to Rome. Nothing could have been more agreeable to his inclination than such a proposal, as he had long felt the most ardent desire of seeing the metropolis of art ; and it would have been particularly gratifying to him to have visited it in company so congenial with his taste ; but he was at that time engaged on his pic- ture of the Death of the Virgin, for the church of Notre Dame, and other works ; and he was under the necessity of reluctantly declining the invitation, promising to follow him to Italy as soon as circum- stances would permit. In 1624 he found himself at liberty to indulge his inclination, and on his arrival at Rome was kindly received by his friend, who introduced him to the protection of Cardinal Bar- berini. This patronage, however, was of no imme- diate advantage to him, as the Cardinal soon after left Rome, on his legation to France and Spain ; and the Cavaliere Marino dying soon after his ar- rival, he was reduced to very embarrassed circum- stances. A stranger, and unfriended, in a large city, where his growing abilities were not known, it was with difficulty he could maintain himself by the produce of his works, which he was under the necessity of disposing of at miserable prices, hardly more than the expense of his canvass and colours. Reduced to a state of indigence and obscurity, which would have sunk a less courageous lover of the art into disgust and despondency, he comforted himself with the reflection that he could subsist on little, that he was still at Rome, where he could console himself with the study of Raflfaelle and the antique. As he lodged in the same house with Francis du Quesnoy, called il Fiammingo, whose finances were at that time not more flourishing than his own, he lived in habits of intimacy with that eminent sculptor, with whom he studied, and mo- delled after the most celebrated statues and bas reliefs. His genius had too gi'eat a conformity with 596 that of RaffaeUe, for him not to distinguish the works of that illustrious ■painter above those of any other artist ; and he contemplated his principal pro- ductions with an enthusiasm bordering on adora- tion. The admirable expression and purity of design which" characterize the best pictures of Domeni- chino, rendered the works of that painter particu- larly interesting to him, and he regarded his Commu- nion of St. Jerome as the second picture at Rome. The Cardinal Barberini having returned from his embassy, engaged Poussin to execute some works for him ; and if the patronage of that prelate did not load him with riches, it at least rescued him from poverty. He painted for his protector his celebrated picture of the Death of Germanicus, and the Taking of Jerusalem by the Emperor Titus, so much to the satisfaction of his employer, that he procured for him the commission to paint a large picture for St. Peter's, representing the Martyrdom of St. Erasmus, now in the pontifical palace of Monte Cavallo. These productions established his reputation, and recommended him to the friendship of the Cavaliere del Pozzo, for whom he painted his first series of the Seven Sacraments, which were afterwards brought to this country, and are now in the possession of the Duke of Rutland. He after- wards painted another set of the Sacraments, with variations, for M. de Chantelou, which were among the principal ornaments of the Orleans' collection, and now form a part of the collection of the Mar- quis of Stafford. The celebrity he had now acquired at Rome reached France ; and in 1639 he was in- vited to return to Paris by M. de Noyers, minister and superintendent of the buildings to Louis XIIL, at the instance of the king, who honoiffed him on the occasion with a letter, written by himself, assur- ing him of his favour and protection. Wedded to the great objects of art with which he was sur- rounded, and happy in the tranquillity with which he prosecuted his studies, in the sojourn of taste and science, he received this flattering invitation with regret. The urgency of his friends at length pre- vailed, and he arrived at Paris in 1640, where he was received with distinction, appointed principal paint- er to the king, and accommodated with apartments in the Tuileries. He was commissioned to paint an altar-piece for the chapel of St. Germain en Laye, where he produced his admirable work of the Last Supper, and was engaged to decorate the gallery of the Louvre, for which ne had prepared the designs and some of the cartoons, representing the Labours of Hercules, when he was assailed by the machina- tions of Vouet and his adherents ; and even the land- scape painter Fouquieres presumed to criticise his works, and to detract from his merit. Disgusted with these cabals, he turned a longing eye to the quiet felicity he had abandoned at Rome, and having obtained permission of the king to return to • Italy, for the pretended purpose of settling his do- mestic concerns and bringing his wife to France, he quitted the residence of tumult and intrigue, with a firm resolution never to return. After his arrival at Rome he confined himself chiefiy to pictures of an easel size, for which he had a continued demand, and although he was constantly employed, such was the modest and moderate price he required for them, which it was his constant practice to mark on the back of his canvass, that he did not amass any considerable fortune. He always preferred a state of tranquil mediocrity to ostentation ; and it is reported by PeUbien, that the Cardinal Mancini, who frequently visited him, having staid with him pous] PAINTERS AND ENGRAVERS. [pous in the evening later than usual, Poussin lighted him to his carriage, with the lamp in his hand : " I pity you, Poussin," said the Cardinal, " that you have not one domestic for such an office."—" And I," re- plied Poussin, " pity your Excellency much more, that you are obliged to keep so many." He con- tinued to lead the same retired and studious life till he reached his seventy-first year, and died in 1665. During a period of twenty-three years after his return to Ronie from Paris, he continued to enrich the different cabinets of Europe with a great num- ber of his pictures, which will ever be regarded amongst their most interesting ornaments. Al- though it is easy to distinguish the works of Nicho- las Poussin from those of any other master, he nevertheless was attentive to vary his style, and the tone of his colour, distinguishing them by a firmer or more delicate touch, a tint more cheerful or austere, a site more cultivated or wild, according to the character of his subject, and the impression he designed it to make. In one of his letters to M. de Chantelou, he observes, that he had appUed to painting the theoiy which the Greeks had intro- duced into their music ; the Dorian for the grave and' serious, the Phrygian for the vehement and passionate, the Lydian for the soft and tender, and the Ionian for the riotoos festivity of his baccha- nals. His study of the antique inspired him with an attachment, which partook of the fervour of de- votion ; his veneration for the ancient statues and has reliefs was such, that from his constant study of them, he became as intimately acquainted with the rites and ceremonies of the ancients, as with those of his own time ; and in regarding his favourite pic- tures representing subjects of the fable, or of the Heathen Mythology, the mind is carried back into antiquity, and nothing is seen to disturb the illusion. It was the opinion of Sir Joshua Reynolds, that he even wished to give to his works the air of the paintings of antiquity, and , it is certain that he studied with attention, and copied the celebrated re- lique of those remote ages, the Nozze, in the Villa Aldobrandini. This fine copy is in the gallery of the Palazzo Dorio. Of the modems, Raffaelle was the model he most followed, to whom he can hardly be said to be inferior in the sublimity of his concep- tions, the select beauty of his forms, the grace and dignity of his attitudes, and his just and animated expression of the passions. His compositions, the result of a learned and profound meditation, are simple, grand, and judicious ; and it will not be de- nied, that his works are distinguished by a refined and classical observance of the propriety of costume. N. Poussin has been accused by his countryman, De Piles, with being cold and feeble in his colour- ing, but it did not occur to that critic that brilliancy of tints, and splendour of colour, would ill accord vidth the solidity and simpUcity of effect so essential to heroic subjects ; and that the sublime and majes- tic would be degraded by a union with the florid and the gay. The elevation of his mind is conspicuous in every thing he undertook ; and we are not less impressed with the beauty and grandeur of the scenery he displays in his landscapes, than with the dignified characteristics that distinguish his histo- rical works. [Notwithstanding the length of this article, it is due to the inquirer to give the discriminat- ing criticisms of the late professor of painting, Thomas PhiUips, on the works of Nicholas Pous- sin, as delivered by that competent judge in his thii'd Lecture on the History of Painting. " Nico- lo Poussin merits a station in the class3f original painters ; of those who extended the appUcation of the art, if not of its mechanical power. Raffaelle and Julio i^omano had preceded him in study from the remnants of antiquity, but Poussin's perception of the use that might be made of them was totally distinct from theirs ; and, if less grand, not less imaginative. It was also more strictly imitative of ancient forms, customs, dresses, and appropriate scenery ; of all which he has left us a most useful display. Though he drew the principal part of his materials from the works of ancient times, and his combinations of them from the inspirations of the poetry and mythology of the same period ; yet those combinations are so just, the incidents and accom- paniments so well chosen, and exhibited with such an air of truth, that the invention is truly his own ; as distinct from those of other men, as are the works of Michael Angelo. His historical pictures, properly so called, are founded upon the perception of the value of truth. Perhaps it may be said that he pursued incident too far, and overlaboured the illustration of a fact ; and there can be no doubt that sometimes is the case, and reflection seems to have constrained his imagination in too great a de- gree. Yet even then, the evil is not that atfecta- tion found its way into his pictures, but only a su- perfluity of true imagery ; embarrassing, indeed, to the observer, abstracting his attention from the main end of the picture, and, consequently, in oppo- sition to the dictates of good taste. The landscapes of Nicolo Poussin, transcripts of the districts in the neighbourhood of Rome, or of the mountains that bound the Campagna, convey in their arrangements and tone of colour a full sense of the dignified per- ceptions of his mind. The grandeur of their forms, the well-regulated union of their parts, and the depth and richness of their tones of colouring, never fail to impress us with elevated ideas, and supply us with poetic imagery." Many interesting parti- cidars of Nicolo Poussin will be found in his Life, prefixed to a descriptive account of his works in the 8th volume of Smith's Catalogue raisonne. This account embraces upwards of 340 of his known pictures, and in many instances traces their history from the time when they were painted ; it also men- tions the names of the present possessors, and of the principal artists by whom they have been en- graved. In the Enghsh National Gallery there are eirfit pictures by him.] POUSSIlT, Caspar Dughet, called Caspar. This eminent artist was born at Rome in 1613. His family was originally of France, of the name of Dughet, but his father had settled at Rome, and Nicholas Poussin having married his sister, he acquired the appellation of Caspar PoAssin. He be- came a scholar of his brother-in-law, who, perceiv- ing his decided genius for landscape painting, ad- vised him to devote his studies to that particular pursuit. Aided by the counsels of Nicholas, and under the direction of his judgment and taste. Gas- par became one of the most celebrated painters of landscape that the art has produced. His first man- ner was rather dry and hard, but when he had seen some of the pictures of Claude Lorraine, he adopted one more mellow and agreeable. He at length ac- quired an almost incredible facility of execution, and he is said to have sometimes finished a large picture in a day. His touch is firm and vigorous, and the foUage of each tree and plant bears the pecuhar character of its species. His pictures represent the most interesting prospects in the vicinity of Rome, pous] A DICTIONARY OF [pozz Tivoli, and Praseati ; views which appear to have been selected from'whatever the most beautiful na- ture and the most cultured art can produce to fasci- nate and delight. The gentle sloping of the moun- tains, their sides decked with the sequestered villa or the ruined castle ; the immense campania inter- sected with limpid lakes; the murmuring waterfall gushing through rifted rocks, form the features of his enchanting scenery. We sometimes look on this delicious country under the tranquil influence of a serene atmosphere, where the gentle breeze of morn- ing scarcely stirs the leaves, orithe evening sun, lengthening the shadow of each tower or tree, aug- ments the grandeur of the classic scene. At other times, we view it agitated by the most terrific con- vulsions of nature ; the lowering tempest blackens all the sky; the forked lightning rives the towering pine, or crumbles the mouldering turret ; the impe- tuous whirlwind, rushing from the hills, sweeps flocks, and herds, and herdsmen from the plain. Every thing in his works breathes elegance or grandeur. Such are the admirable landscapes by Gaspar, formerly in the Colonna palace at Rome, several of which have been brought to this country. His pictures are sometimes embelhshed with figures by Nicholas Poussin, usually representing some subject of history, or the fable. We have a few shght but masterly etchings by this great artist, they consist of the following : A set of four circular Landscapes. A set of four Landscapes, lengthways. He died at Rome in 1675. [There are six pictures by Gaspar in the English National Gallery, and many others in the collec- tions of noblemen and gentlemen. Bartsch and Dumesnil describe eight etchings by him, the whole that are believed to be authentic] POUSSIN, John Dughet, called, was the younger brother of the preceding artist, born at Ro'me about the year 1615, and was taught the ele- ments of design by his relative Nicholas Poussin. His first pursuit was painting, but not succeeding to his expectation, he afterwards devoted himself to engraving, in which he never reached any great de- gree of perfection. His best prints are engraved after the works of Nicholas Poussin, of which the following are the most worthy of notice : The seven Sacraments ; from the pictwres painted by Nicholas Poussin, for the Cavaliere del Pozzo, diifer- ent fi'om those formerly in the Orleans' p ollection. Mount Parnassus ; after t/ie same. The Biilh of Bacchus ; after the same. The Judgment of Solomon ; after the same. [POUSSIN, Le Maire, properly Pierre le Maire, an engraver, born at Dammartin, near Paris, in 159?. Robert Dumesnil, in the 6th vo- lume of " Le Peintre Graveur Frangais," has given descriptions of fifteen etchings by him, in the man- ner of Remi Vuibert. He was the intimate friend of Nicolo Poussin, and wa? called Le Maire Poussin ; and, as he was a corpulent man, he was also known as Ze gros Le Maire. He died at Gaillon in 1659. But there was another of the name, whom N. Pous- sin employed to copy his pictures ; his baptismal name was Francois ; he was born at Maison-Rouge, near Fontainbleau, in 1620, was received into the Academy in 1656, and died in 1688. This is the painter known in England as Poussin Le Maire by architectural subjects, with figures, evidently from paintings, or drawings, by Nicholas Poussin. Pous- sin, to distinguish him from his corpulent friend, called him Le petit Le Maire. He is known here 598 only by these copies, or imitations, which are ge- nerally porticos, or vestibules of temples, with few figures. They are well painted, and somewhat brighter in colour, but want the antique dignity of the originals.] [POWELL, C. M. an English marine painter, who flourished during the first twenty years of the pre- sent century. His works are numerous, as he was principally employed by the dealers, but little of his history is known, further than that he was origin- ally a sailor, and self-taught in the art of painting. In the management of his vessels he shows his practical knowledge ; and his compositions are well understood by seamen. Many of his pictures are injured from being varnished too early, to satisfy the demand of his employers and their customers. Powell was a clever artist, but an imprudent man ; hence he was always in a state of thraldom, and had frequently the mortification of seeing his pic- tures sold by his liberal patrons for five times the sum he had received. His more carefully painted pictures are still esteemed, and obtain good prices.] POWLE, George, a modern English engraver, who flourished about the year 1776. He was a pu- pil of Worlidge, and has engi'aved some portraits in his style, among which is that of Sir Rohevt Berkeley, Chief Justice of the King's Bench. POZZI, Francesco, an Italian engraver, born at Rome in 1750. In conjunction with Coppa and Perini, he engraved some of the plates from the sta- tues in the Clementine Gallery. We have also the following prints by him : The Portrait of Pius VI. Pont. Max. ; Fr. Poesi, sc. The Aurora ; after tlie painting by Guereino in the Villa Ludovisi; f. Pozzi. 1780. POZZI, Giovanni Batista. According to Bag- lione, this artist was a native of Milan, but went to Rome when young, and was employed by Sixtus V. in the palace of St. John of Lateran, and in the li- brary of the Vatican. In the Sistine chapel in S. Maria Maggiore, he painted the Visitation of the Virgin, and the Angel appearing to St. Joseph in his dream. This promising artist died at the pre- mature age of 28 years, much regretted by his con- temporaries. POZZI, Rocco. This artist was a native of Italy, and flourished about the year 1750. He engraved several of the plates for the Museo Fiorentino, and executed some of the prints for the Antiquities of Herculaneum, published at Naples. POZZI, Stepano, was a native of Rome, and was first a scholar of Carlo Maratti, and afterwards studied under Agostino Masucci. There are several of his works in the pilblic edifices at Rome, which place him at least on an equality with his contem- poraries. His design is grander than that of Ma- succi, and his colouring is more vigorous and more chaste. In the pontifical palace o? Monte Cavallo is a picture by him of S. Gregorio; and in the church of il Nome S. S. di Maria, an altar-piece re- presenting the Death of St. Joseph. He died at Rome in 1768. POZZO, Andrea. This painter was born at Trent in 1642. Without the assistance of a master, he became an eminent architect and painter, by the strength of his own genius, supported by the most assiduous application. By studying the works of the most distinguished artists of the Venetian school, he became an excellent colourist, and during a residence of several years at Rome he improved his style of design, by contemplating the best works pozz] PAINTERS AND ENGRAVERS. [PREI of art in that metropolis. At an early period of his life he became a religious of the society of the Je- suits, and was afterwards chiefly occupied in orna- menting the churches of his order. He resided some time at Genoa, where he painted for the Con- gregazione de Mercanti, four pictures of the Life of our Saviour, in which he emiilated the style of Ru- bens, which he had studied from the celebrated works that distinguished painter had executed dur- ing a long residence at Turin. Of his works in oU, one of the most esteemed is his picture of S. Fran- cesco Borgia, in the church del Gesu at Rome. He was more eminent in fresco, in which he greatly distinguished himself. The ceiling of the church of St. Ignatius at Rome is regarded as one of the most able productions of his time, for the ingenuity and copiousness of the composition, the brilliancy of the colouring, and the animated freedom of the execution. Such was his extraordinary facility, that Giro Ferri was accustomed to say, that the horses of other painters moved at a foot's pace, but those of Pozzo were always on the gallop ; andLan- zi reports, that he painted the portrait of a cardinal in four hours. He was invited to Vienna by the Emperor Leopold, where he executed some works for the public edifices, and died there in 1709. POZZO, Isabella dal. In the Nuova Guida di Torino, this lady is mentioned as the paintress of a picture in the chm'ch of S. Francesco at Turin, representing the Virgin and Infant, with S. Biagio and other saints, signed with her name, and dated 1666. According to Lanzi, few of her contempo-. raries in that city could have produced a more cre- ditable performance. POZZOSERRATO, Lodovico, called da Tre- viGi. According to Ridolfi, this painter was called da Trevigi, from his long residence in that city, though he was a native of Flanders. He painted landscapes, and was a contemporary of Paul Brill, with whose works his pictures were often put in competition, and were sometimes preferred to them. He excelled in representing the rising and setting of the sun, with a fine degi-adation of tint in his skies and distances. He also painted land-storms and tempests with an uncommon grandeur of effect. [His family name was Toejot^f; he was living in 1604.] [PRADIER, Charles Simon, a French engraver, but a native of Geneva, born in 1790, was a scholar of the celebrated Desnoyers. Among his principal plates are several portraits after Gerard; La Vierge aux Ruines, after Raphael ; Cupid and Psyche, after the picture hy Gerard; Virgil reading the jfeneid to Augustus, and Zephyr caressing Flora, after the same; Raphael and the Fornarina, after jngres ; Antiochus, after the same ; and some land- scapes. He was living in 1841.] PRADO, Blas de, a Spanish painter, who, ac- cording to Palomino, was born in the vicinity of Toledo, in 1497, and was a scholar of Alonso Ber- ruguete. There are some of his works in the chapel of St. Bias at Toledo, but they are much injured by time and the dampness of the situation. At Madrid there are also some pictures by this artist, particu- larly an altar-piece, in the church of San Pedro, re- presenting the taking down from the Cross, which is evidently the woric of a great master. In the early part of his life he was invited to visit the court of the Emperor of Morocco, to paint a portrait of his daughter, and returned to Spain amply reward- ed for his commission. He died at Madrid in 1557. [Bias de Prado was living in 1591, as is evidenced by the picture which he painted in that year for the altar of the Minimes at Toledo. His master was Francisco Comontes, who was living in 1565. It was at the latter part of his life he was sent to Mo- rocco by Philip of Spain, to, paint the Emperor's daughter, about the year 1593. Bias de Prado painted many sacred subjects for the churches at Madrid, which were justly considered superb pro- ductions. Their merit consisted in the gi-andeur of the forms, the purity of the drawing, and the sim- plicity of the composition. He also painted fruit and flowers, which he formed into garlands, in the manner of IDaniel Seghers, to surround Madonnas and saints.] PRAET, Stephen de, a Dutch engraver, of no great merit, by whom we have a print of the head of a Jew Rabbi, after G. Hondius. It is neatly ex- ecuted, but iii a stiff, formal style. He appears to have confined himself to portraits. PRANKER. Mr. Strutt notices this artist as a modern English engraver, who was much employed by the booksellers. He does not specify any of his works. ■ PRECIADO, or PREZIADO, Don Francisco. According to Lanzi, this Spanish painter was born at Seville in 1713. ' He was a scholar of Domingo Martinez, but he visited Rome in 1733, where he en- tered the school of Sebastiano Conca. On leaving the academy of that master, he painted some pic- tures for the public edifices at Rome, particularly a Holy Family for the church of the Forty Saints, which is entirely in the style of his instructor. He was appointed painter of the chamber to Ferdinand VI., and director of the Spanish Acadetny at Rome. There are few of his works in his native country, as he resided the gi-eater part of his life at Rome, where he died in 1789. PREISLBR, John Justin, a German painter and engraver, boi'n at Nuremberg in 1698. He was instructed in design by his father, John Daniel Preisler, an artist little known, and afterwards visit- ed Italy, where he resided eight years. On his re- turn to Germany, he gave proof of considerable abi- lity in a picture representing the Entombing of Christ, for one of the churches at Nuremberg. He is, however, more known as an engraver than a painter. We have the following prints by him : The Four Elements ; after Boiiohardon. The Four Quai-ters of me "World ; after the same. A set of fifty plates from the designs of Jiotcc/iardon ; af- ter the principal antique statues at Rome. Part of the plates from the ceilings painted by Rubens, in the church of the Jesuits at Antwerp, with the frontispiece, containing the Portraits of Subens and Vandyck. PREISLER, George Martin, was the second son of John Daniel Preisler, born at Nuremberg in 1700, and followed his brother John Justin Preisler to Italy, where he resided some years. Hu- ber speaks of him as a painter of portraits ; but he is most worthy of notice as an engraver. Besides some plates after the statues in the Dresden Gallery, we have the following prints by him : portraits. Giovanni Dom. Ferretti, Painter ; after u picture hy himself. ' Giovanni Dom. Campiglia, Painter ; Gio. D. Carhpig- lia, del. Erion vander Neer ; after his portrait hy himself, in the Florentine Gallery. [And many others, of which a list may be found in Nagler. He was one of the engravers employed by Stosch for his work on antique gems. He died about 1754.] He also engraved a set of iwenty-one plates 599 PBEl] A DICTIONARY OF [PRES from designs made by John Justin Preisler, after the antique and modem statues at Rome and Flo- rence. PREISLER, John Martin, the younger bro- ther of the preceding artist, born at Nuremberg in 1715. He was instructed in engraving by his bro- ther, under whom he made considerable progress ; but in 1739 he visited Paris, where he received some lessons from George Frederick Schmidt. In 1744 he was invited to the court of Denmark, and was appointed engraver to the king, and a member of the Academy at Copenhagen, where he died in 1794. We have several plates by this artist, executed in a clear, neat style, among which are the following : PORTRAITS. Frederick V., King of Denmark and Norway ; Tilo, pinx. Christian VI., Kingof Denmark ; Wahl, pinx. Jacobus Benzelius, Episcopus Upsal. 1751. Otto, Count de Thot ; after Kraft. John 'Wiedewelt, Sculptor to the King ; P. Alst, pinx. 1772. Klopstock ; Joel, pinx. Preisler, so. 1782. Equestrian Statue of Frederick V. ; after a bronze by J. Sdly. The Cardinal de BouiUion ; after p&gaud. SUBJECTS AFTER VARIOUS MASTERS. David and Abigail ; after Guido. Semiramis putting the Crown of Ninus on her head ; after the same. Christ bearing his Cross ; after P. Veronese. These two prints were for the collection of the Dresden Gallery. Ganymede taken up by the Eagle of Jupiter; after Pierre. A Bacchanalian subject ; after the same. Laban seeking for his Gods ; after Cazes. The Triumph of David ; after Trevisani. Jonas preaching to the Ninevites ; after Sal. Rosa, . The Madonna deUa Seggia ; after Rafaelle. [And many plates of antique statues in the galleries of Italy and Germany. Nagler gives a list of his works.] PREISLER, Valentine Daniel, was the young- est son of John Daniel Preisler, bom at Nuremberg in 1717. We have by him some mezzotinto por- traits of the Burgomasters of Zurich, after the de- signs of J. C. Fuesslin, which, from some caprice, he signed with the name of S. Watch. He also scraped some plates of portraits and other subjects, after pictures in the collection of the King of Den- mark. They are very indifferently executed. [He died in 1763 or 1765. Nagler enumerates twenty- six pieces by him.] PREISLER, John George. This artist was the son of John Martin Preisler. After receiving some instruction in engraving from his father, he went to Paris, where he became a pupil of John George Wille. He has engraved several plates in the neat finished style of his instmctor, and in 1787 was made a member of the Academy at Paris. His plate of reception represented Icarus, engraved from a pic- ture by Vien. [He was born at Copenhagen in 1757, and died in 1808.] PRENNER, Anthony Joseph von, a German engraver, bom at Vienna about the year 1698. Af- ter the death of Jacob Mannl, conjointly with An- drew Altamont, Francis Stampart, John Adam Schmutzer, and other artists, he undertook to en- gravfe all the pictures in the imperial collection. The plates, consisting of 160, were published at Vi- enna in four volumes, under the title Theatmm artis Pictorice, SfC, each containing forty prints, in the years 1728, 1729, 1731, and 1733. He has scraped a few plates in mezzotinto, but they are inferior to 600 his other works. He also engraved some portraits, among which are the following : John Gottfried Auerbach, Painter to the Emperor Charles VI. Count D'Odt, Governor of Vienna; after J. G. Aiier- bach. [He died in 1761. Nagler has given a hst of his Erints, in which he has specified those engraved by im for the Vienna gallery.] PRENNER, Gaspar, was the son of the pre- ceding artist, born at Vienna about the year 1722. He went young to Italy, and studied painting at Rome for several years. In the church of S. Doro- tea there is an altar-piece by this artist. We have a few etchings by this master, some of which are neatly finished with the graver. [He engraved some of the plates for the Museo Piorentino ; and also those for the lUustri fatti Pamesiani, publish- ed at Rome in 1744 and 1746. He died about 1766. His name was George Caspar von Premier ; for so he inscribes it on these works.] PRENNER, John Joseph, was the younger son of Joseph Anthony Prenner, and was instructed in engraving by his father. He resided some years in Italy, where he executed some plates for the Museo Piorentino. He also engraved a set of forty-five prints from the paintings by Taddeo Zuccaro, in the Castle of CapraroUa, representing the most me- morable actions of the Farnese family. [This means the same as the preceding ; Nagler does not notice John JosephJ] PRESTEL, John Gotlieb, a German painter and engraver, born at Grunebach, in Suabia, in 1739. After learning the radiments of design in his native country he went to Venice, where he studied painting under Giuseppe Nogari, and was instructed in engraving by Joseph Wagner. On his return to Germany he resided chiefly at Nurem- berg, where he devoted himself almost entirely to engraving. He worked in various styles ; and we have a great number of plates by him, most of which are spiritedly etched, and finished in aqua- tinta. He also engraved several plates in the cray- on manner. Among others, we have the following prints by him : The Portrait of John Gotlieb Prestel, sitting at an easel ; from a picture by himself. The Descent from the Cross ; after Raffaelle ; in chiaro- scuro. The Virgin with the Dead Christ ; after Vandyck. The Holy Family ; copied from Albert Dwer. He also engraved several views and landscapes, in which he was assisted by his wife, Maria Catherine Prestel. [Nagler calls him Johann TheophUus, or Gottlieb and Amadeus, and gives a list of 140 prints by him, many of which are after the greatest of the Italian and Dutch masters, and copies of Albert Durer. He died at Frankfort in 1808.] PRESTEL, Maria Catherine. This ingeni- ous lady was the wife of the preceding artist, and aided him in some of his best plates, particularly in landscape. On account of some disagreement, she separated from him, and came to England in 1786, where she engraved some prints, which have not been surpassed in the particular style in which they are executed. They are very spiritedly etched, and finished in a delicate and picturesque manner in aquatinta. She died in London in 1794. Among others, we have the following prints by her : Ceres ; an oval ; cfier Cipriani. Four Views, from the designs made by Webber, in his voyage with Captain Cook. PRES] PAINTERS AND ENGRAVERS. [prim Two other Views ; from the same. Two Landscapes, with horses ; after Wowermans. A pair of Views, with horses and figures ; after Ca- sanova. Hobbema's Village ; after Hobbema. Evening, with cattle reposing ; after Sosa di Tivoli. Two Landscapes ; after Gainsborough. A View of a Tin Mine ; after Lautherbourg. [Her works are numerous j Nagler gives a list of 73, after Italian, Dutch, and German masters. Her dau^ter Catlierine also engraved in a similar style.] PRESTON, Thomas, an English engraver, who flourished about the year 1730. He was an artist of little celebrity, whose name is aflBxed to a bust of Mr. Pope, a shght etching, very indifferently exe- cuted. There is also by him a portrait of Admiral Blake, with shipping below. PRETE, Genoese. See Galantino. PRETI, Cavalier Mattia, called II Cala- BRESE. This painter w£is bom at Tavema, in Ca- labria, in 1613. 4fter passing some time at Parma and Modena, he went to Rome, and was for a short time -a scholar of Giovanni Lanixanco. The reput- ation Guercino had acquired by the novelty and grandeur of his style, induced him to visit Cento, where he became his disciple, and studied under him several years. He afterwards went to Venice and Bologna, where he painted some pictures for the public edifices, by which he acquired considerable reputation. He returned to Rome about the year 1657, where he was employed to paint three pic- tures for the church of S. Andrea della Valle, re- presenting subjects from the Ufe of that Saint, and which, unfortunately for his fame, were placed im- mediately under the Four Evangelists, in the angles, so admirably painted by Domenichino. It is not perhaps very derogatory to his talents, to allow that his works are unequal to such a competition. His celebrity reached Malta, whither he was invited by the grand master, Cotoner, who commissioned him to ornament the cathedral with some frescoes, re- presenting subjects from the Ufe of St. John the Baptist, which he executed so much to the satis- faction of his employer, that he conferred on him the knighthood of the order. He afterwards passed some time at Naples, where he painted some con- siderable works in fresco, in the church of the Car- thusians. He possessed a rich and fertile inven- tion, and his compositions are copious and grand ; his design is more bold than correct, and his con- duct of the chiaro-scuro is characterized by the vi- gorous contrast that distinguishes the works of Guercino, though generally dark in his shadows. He usually made choice of the most terrific and gloomy subjects ; and his pictures frequently repre- sent martyrdoms and scenes of death, to which his sombre style of colouring was particularly appro- priate. Disgusted by the admiration bestowed on the works of Luca Giordano, he left Naples, and re- turned to Malta, where he died in 1699. PREVITALE, Andrea. This artist was a na- tive of Bergamo, and, according to the dates on his pictures, mentioned by Tassi, flourished from the year 1506 until 1528. He was one of the most dis- tinguished scholars of Giovanni Bellini, and painted history with great reputation. His early works re- tained somewhat of^ the Gothic character of the works of his instructor, in composition and design, and in the minute precision with which he finished the accessorial ornaments. But in the latter part of his life he approached neark' to the modem style ; such are his pictures of St. John preaching, in the church of S. Spirito ; and his S. Benedetto, in the cathedral at Bergamo. Ridolfi mentions as one of his finest works his Annunciation, at Ceneda, which Titian regarded as one of the ablest productions of the period at which he hved. [His Madonnas are held in the highest estimation, and partake more of the manner of Raphael and Lionarda da Vinci than of Belhni ; Lanzi distinguishes two, which he saw at Milan, both surrounded with figures of saints, ex- ecuted with discrimination and tmth. He died of the plague in 1528. He signed some of his pictures Andreas Ber. Pin. i. e. Andreas Bergomensis, Pinxif] PREVOST, Benoit Louis, a French engraver, born at Paris about the year 1747- He was a pu- pil of John Ouvrier, and has engraved a variety of vignettes and other book-plates, in a clear, neat style. We have, among others, the following prints by him: PORTRAITS. Lonis XV. with ornaments, oval ; after Cochin. A. T. Hue, Sculptor ; after the same. BOOK-PLATES. The Frontispiece to the French Encyclopedia; after the saine. A set of twelve plates for the Abreg^ chronologiqite du President HenavM. [Nagler, who describes 26 pieces by him, says he was born in 1740, and died in 1804.] PREVOST, Nicholas. This artist was a native of France, and is mentioned by Florent le Comte as a painter, and a scholar of Claude Vignon. He flourished about the year 1700, and is said by that author to have etched six small plates ; but he has not specified the subjects. [It is the Abbe de Ma- roUes who mentions this artist in his catalogue of the d^te 1666; he calls him Provost. Dumesnil is of opinion that he is the artist that painted the De- collation of St. John for the church of N6tre Dame at Paris. He describes only one print by him, a Holy Family, si^ed N^ Preuost, Jn.'] [PREVOST, Pierre, a painter of panoramas and landscapes, was born at Montigny (Eure-et-Loir) in 1766, and died in 1823. He was a scholar of the celebrated Valenciennes. He painted a number of easel pictures, landscapes and ruins, but his princi- pal works were panoramic views, which he was the first to exhibit in France. Among them were Paris, Naples, Amsterdam, London, Antwerp, Athens, Je- rusalem, and various others, in which he was as- sisted by Ronton and Daguerre.] PREZ, F. DES, a French engraver on wood, who resided at Paris about the year 1573. He executed a large plan of the town of Rochelle, with the ad- ditional fortifications, made at the time it was besieg- ed in the civil wars in 1 573. It is inscribed, A Paris, par F. des Prez, rue Montorgueil au ion pasteur, PRICE, an obscure Engfish engraver, by whom we have, among other prints, a very indifferent one of Duncan Campbell. PRICKE, Robert. This artist is mentioned by Vertue among the pupils of Wenceslaus Hollar, whose style he endeavoured to imitate. He engrav- ed the plates for a book of architecture, by Pierre le Meurs. PRIEST, Thomas, an English landscape painter, who resided at Chelsea about the year 1738. He chiefly painted views of the Thames, and published a set of eight etchings of views of Chelsea, Mort- lake, and other places on the banks of the river. They are executed in a coarse but spirited style. PRIMATICCIO, Francesco. This distinguish- ed painter was borii at Bologna in 1490. He was of 601 prim] A DICTIONARY OF [PHOB a noble family, who, perceiving his strong inclina- tion for the art, first placed him as a disciple under Innocenzioda Imola; but he afterwards studied un- der Bartolomeo Ramenghi, called II Bagnacavallo. The fame of Giulio Romano drew him to Mantua, where he entered the school of that celebrated paint- er, with whom he passed six years, and assisted him in his great works in the Palazzo del Te. Francis I. of France, having requested the Duke of Mantua to recommend him an artist to ornament the Cha- teau at Fontainbleau, Primaticcio was selected on the occasion, and on his arrival in France, found II Rosso engaged in the king's service, and invested with the office of superintendent of the buildings. A violent animosity took place between these emi- nent artists ; and to put an end to their differences, the king sent Primaticcio to Italy, to collect antique statues, and other works of art. During his ab- sence, Maitre Roux died, and on his return to France he succeeded him in his employment. He now formed his great plan for ornamenting the gal- lery and apartments in the palace at Fontainbleau. In the ceiling of the great gallery, he represented, in fifteen compartments, the Gods of Homer, and on the sides, in fifty-eight smaller compartments, the Adventures of Ulysses, taken from the Odyssey. This prodigious machine was executed entirely from the designs of Primaticcio, and was principally painted in fresco by Niccolo dell' Abate, as is men- tioned in his Life. To the regret of every person of taste and judgment, this admirable work, the most magnificent monument of art of which France could boast, was, by the ignorance or barbarism of the su- perintendent of the works, entirely destroyed in 1738, to make way for some paltry alteration in the Chateau ; and all that remains of the works of this sublime artist at Fontainbleau, are the frescoes in the saloon of the guards, now called the apartment of Madame d'Estampes, representing the history of Alexander the Great. There are few of the works of Primaticcio in Italy, as the greatest part of his life was passed in France ; and previous to his going thither he was chiefly employed in assisting Giuho Romano, in the Palazzo del T. France is indebted to Primaticcio, II Rosso, and Niccolo dell' Abate, for the introduction of a more genuine taste, both in painting and sculpture ; and Francis I. was so sens- ible of the merit of this great artist, that he remu- nerated his services by bestowing on him the lu- crative revenue of the Abbey of St. Martin, at Troyes, in Champagne. After the death of his be- nefactor, he continued in the service of his success- ors, Henry II., Francis II., and Charles IX., and died at Paris in 1570. [Whether France really profited much by the labours of Primaticcio, II Bossi, and Niccolo dell' Abate, may be doubted. Mr. PhUlips, in one of his lectures, after criticising the bombastic style of Tibaldi, says, " Primaticcio and Niccolo dell' Abate wrought in the same bril- liant and free style of design and composition ; masterly, but false ; able in art, but at variance with nature ; and manifesting far more science than feel- ing ; freedom and ease of design being regarded by them as most worthy of attention."] PRIMO. See Gentile. PRINCE, John Baptist le, a French painter and engraver, born at Paris in 1733. He studied painting under J. M. Vien and Francis Boucher ; and after having acquired some reputation at Paris, he went to Russia, where he resided several years, and visited various parts of that vast empire, de- signing their different costume, and the most remark- 602 able views in the countries through which he passed. He retm-ned to Paris with an extensive collection of drawings, from which he painted pictures, which were much admired, and executed several plates, both in etching and aquatinta, which were very fa- vourably received by the public. He also engraved several fancy subjects and domestic scenes from his own designs. The number of the plates engraved by himself exceeds 160; and many ingenious en- gravers of his country have exercised their talents after his designs. [For an account of his prints see Nagler, who says that he died in 1781.] [PRINS, B. M., a painter of landscapes and sea pieces, fiourished at Amsterdam about 1824. It is not known whether he be still hving, but he had some reputation at the period named.] [PRINS, J. H., a painter of views of the interiors of cities, was born at the Hague in 1758, or 1759. He was intended for the medical profession, but his Eredilection for painting induced him to quit his ome to avoid his friends, who were strongly oppos- ed to his inclination. He rambled, as an artist, through Brabant and France, where he made nu- merous sketches and drawings, with which, after two years' absence, he returned to his own country. He visited Amsterdam, Utrecht, and. Leyden, and painted views in each of those cities. "The Dutch writers say he painted in the manner of Berkheyde and Vanderheyden ; his pictures resemble theirs only in the subjects. His penciling is not so deli- cate and minute as that of Vanderheyden, nor his colouring so bright and transparent; neither are the lights and shades of his pictures so gradated and distributed as to bring the whole composition into perfect harmony, as in the pictures of that mas- ter. Nor is his manner of painting broad and soft like that of Berkheyde, nor his colouring so chaste. He has merits of his own, and only suffers by com- parison with those great masters. His pictures, which are generally small, are faithful representa- tions of the cities of Holland, and are painted in a lively and spirited manner, and have a pleasing dioramic effect. The figures are introduced vrith judgment; the contrast of light and shade is strik- ing ; the reflection of the objects in the water illus- ive ; and the combination satisfactory. Less ap- parent labour in the brickwork of his buildings would have been an advantage to his pictures, as so much detail shows more of the artisan than of the artist. Nagler, who gives a list of twelve etchings by him, says he was drowned in a canal in 1805. A few years back his pictures were common in Enriand.] [PRIWITZER, JoHAN, a Danish artist who visited England in the time of James I., and proba- bly had court favour, as it is said that he painted the portraits of many of the nobility ; the only one, however, on record, is that of Sir WiUiam Russell, in the robes of the order of the Bath, attended by a dwarf, and dated 1 627, which is at Wobum Abbey.] PROBST, John Balthazar, a German en- graver, who flourished about the year 1734. He worked chiefly with the graver, in a neat, formal style. Among other prints, he engraved part of the plates after the antique statues in the Dresden Gal- lery. We have also by him some prints after Luca Giordano, Bernardino Poccetti, and other masters. He also engi'aved several plates of birds and beasts, in the menagerie of Prince Eugene, published in 1734. [He was born in 1673, and died in 1748. He engraved several pieces after Rugendas and Rir dinger. 1 PROC] PAINTERS AND ENGRAVEKS. [PROC PROCACCINI, Ercole. This painter was born at Bologna in 1520. The Padre Orlandi, on the au- thority of Malvasia, asserts, that finding himself unable to contend with his contemporary artists at Bologna, he established himself at Milan, where he was more successful, and founded the school which was for some time distinguished by his name. Lo- mazzo, on the contrary, in his Tempio della Pittura, extols him as a successful follower of the graceful design and admirable colouring of Coreggio. His principal works are at Bologna, of which the follow- ing are the most worthy of notice. In the church of S. Benedetto is a picture of the Annunciation ; in S. Giacomo Maggiore, the Conversion of St. Paul, and Christ praying in the Garden ; in S. Bernardo, St. Michael discomfiting the rebel Angels ; and in St. Stefano, a Deposition from the Cross. Although his design is occasionally minute, and his colouring languid, defects which he possessed in common with his contemporaries, his forms are graceful and cor- rect, and there is an exactness and precision in his style, which 'rendered him peculiarly competent to the duties of a preceptor. His academy became the most celebrated of his time, and besides his sons, he produced some of the most distinguished artists of the Milanese school. He was living in 1591. PROCACCINI, Camillo, was the son of the preceding artist, born at Bologna in 1546, and was first instructed by his father; but he afterwards visited Rome, where he particularly applied himself to study the works of Michael Angelo. To the at- tention he paid to the great style of Buonaroti, may be attributed the peculiar character discernible in many of his works, which frequently partake of the terrible and gigantesque. The graces of Parmigi- ano were also the objects of his imitation, particu- larly in the airs of his heads and the turn of his figures, which, like those of that master, are occa- sionally too long. Some of his esteemed works are at Milan, of which the most remarkable are his pic- tures of the Martyrdom of St. Agnes, painted in fresco, in the sacristy of the cathedral; and the ceiling of the church of the Padri Zoccolanti, repre- senting the Assumption of the Virgin. But his most celebrated performances are his Last Judg- ment, in the church of S. Procolo, at Riggio, which is considered by Malvasia one of the finest frescoes in Lombardy ; and his picture of St. Roch adminis- tering the Sacrament to Persons afilicted with the Plague, an admirable work, of which Annibale Ca- racci has estabhshed the reputation, by the appre- hension he expressed on being commissioned to paint a companion picture to it, representing St. Roch distributing Alms to the Poor. He was com- _ missioned by the Duke of Parma to execute some frescoes in the dome at Piacenza, in competition with Lodovico Caracci, where he painted the Coron- ation of the Virgin, with a beautiful choir of an- gels ; and though on this occasion his production ■was not equal to that of his powerful antagonist, it is no mean proof of his abilities, that his picture possesses a distinguished attraction, even in the neighbourhood of so-dangerous a competitor. Of his works at Bologna, the most considerable are the Adoration of the Shepherds, in the church of S. Francesco ; and the Annunciation, in S. Clemente. Camillo Procaccini possessed a fertile invention, and a commanding facihty of hand. His colouring, par- ticularly in fresco, is clear and vigorous, and his draperies are cast with judgment and taste ; but his promptness and despatch led him sometimes into extravagance and incon'ectness ; and he may be oc- casionally convicted of the vices of a mannerist. He died at Milan in 1626. We have several etch- ings by this eminent artist, among which are the following : The Holy Family reposing, in wliich St. Joseph is repre- sented lying on the groupd, resting on the saddle of the ass. Another Holy Family, in which St. Joseph is presenting an orange to the Infant. 1593. The Vii'gin suckling the Infant, [St. Joseph standing be- hind her.] The Transfiguration, [of which there are two impressions ; the second retouched by another hand, but in a very able manher.] St. Francis receiving the Stigmata. 1593. PROCACCINI, GiULio CESARE,was the young- er brother of the preceding artist, born at Bologna in 1548. He wa^ taught the rudiments of design by his father, and for some time applied himself to the study of sculpture, in which he had made some pro- gress, when the reputation his brother Camillo had acquired as a painter induced him to change the chisel for the pencil. He has been stated by some of the biographers of the artists to have been brought up in the school of the Caracci ; and M. d'Argen- ville asserts, that on account of a quarrel between him and Annibale, which happened in 1609, he quitted Bologna, and settled at Milan. It will be found difficult to reconcile these facts with the or- der of chronology, as Annibale, who was twelve years younger than G. C. Procaccini, died in 1609, at the age of 49, and at that period our artist not only had established his reputation at Milan, but was already in the decline of life. It is more pro- bable that, like the Caracci, he formed his style from the great principles of Coreggio, which are discernible in all his works. He passed some time at Rome, where the admirable productions of Raf- faelle were particularly the objects of his attention. The pubhc edifices at Milan abound with his works, of which the most considerable are, the Transfigur- ation, in the church of S. Celso ; the Adoration of the Magi, and St. Francis receiving the Stigmata, at the Padri Zoccolanti ; and the Annunciation, in the church of S. Antonio. At Rome, in the French church of S. Luigi, is a picture of the Virgin and Infant, so much in the style of Coreggio, that it has been engraved as a work of that master. Less ca- pricious and less prompt than Camillo, the com- positions of Giulio Cesare are studied and judicious, and his design is dignified and correct. His colour- ing is rich and harmonious, and the disposition of his masses broad and masterly. In imitating the graces of Coreggio, he sometimes attempted a ten- derness of expression which occasionally approaches to affectation. Such are his pictures of the Madon- na and Infant, surrounded by saints, with a choir of angels, in the church of S; Afra, at Brescia; and the Marriage of St. Catherine, in la Steccata, at Parma. He died at Milan in 1626. We have by the hand of this artist an etching representing the Virgin with the infant Jesus. [This etching is probably the one attributed to Camillo Procaccini by Gori, but Bartsch says without any foundation. He does not, however, ascribe it to Giulio Cesare.] PROCACCINI.-Carlo Antonio, was the third son of Ercole Procaccini, and the brother of the t-wo preceding artists, born at Bologna about the year 1555, and is said to have been instructed in the art by his father, though his genius led him to a differ- ent department of the art. He excelled in painting landscapes, flowers, and fruit, and his pictures pos- sessed sufficient merit, to secure them a place in the 603 PROC] A DICTIONARY OF [PUCH best collections at Milan, and in the state ; and he was much employed in commissions for Spain, where his works were highly esteemed. PROCACCINI, Ercole Juniore. This paint- er was the son of Carlo Antonio Procaccini, bom at Milan in 1596, and was educated in the school of his uncle Giulio Cesare. He followed with success the style of his instructor, and painted several pic- tures for the public edifices and private collections at Milan. One of his most esteemed works is an altar-piece representing the Assumption of the Vir- gin, in the church of S. Maria Maggiore at Berga- mo, in which he has imitated the grandeur of Co- reggio. On the death of Giulio Cesare, he became the director of the academy established by the Pro- caccini, and died in 1676. PROCACCINI, Andrea. According to Pasco- li, this painter was born at Rome in'1671, and was brought up in the school of Carlo Maratti. He painted history in the style of his master, and among his other works in the public edifices at Rome, is his picture of Daniel, one of the twelve prophets, painted by order of Clement XI., in S. Giovanni Laterario. He was invited to the court of Spain, where he resided fourteen years, and executed seve- ral considerable works. He died in 1734. [He ex- ecuted many important works in the palaces and churches of Spain, but his smaller pictures are very few. He etched gracefully, and in this department there are by him a half-length of S. Vincente Fer- rer, an infant Bacchus, Diana in the Chase, Clelia passing the Tiber ; the Supper at Emmaus, and Christ's Ascension, after Raphael ; and other pieces, after Carlo Maratti. He died at St. Ildefonso, in Spain, and was buried with great pomp in the con- vent of St. Francisco de Segovia.] PRONCK, C, a Dutch engraver, mentioned by Mr. Strutt as having executed several plates of views of various sizes. [Cornelius Pronck was born at Amsterdam in 1691, and was taught drawing by F. van Houten, and painting by Arnold Boonen. He became a good portrait painter, and had much employment ; but he preferred making views of cities and landscapes, in Indian ink and in water- colours; these are highly estimated by collectors. Many of his drawings, however, are after other Dutch masters. He died in 1759.] PRONTI, Padre Cesare. This painter was born at Rimini in 1626, and was brought up at Bologna, under Guercino. He painted history with considerable reputation, and was much employed for the churches at Rimini and Ravenna. At an early period of his life he became a monk of the or- der of St. Augustine, and was afterwards principally engaged in painting altar-pieces for the churches of his fraternity, of which one of the most celebrated is a picture of S. Tommaso da Villanova, at the Au- gustines at Pesaro, which he embellished with a back-ground of admirable architecture. He died at Ravenna in 1708. [He was of the family Baccio- chi, but to avoid the ridicule to which it might ex- pose him, he took the name of his mother, Pronti.] PROU, James, a French painter and engraver, born at Paris about the year 1639. He was a scho- lar of Sebastian Bourdon, and painted landscapes in the style of that master. Of his works as an en- graver, the following are the most worthy of notice : A set of twelve Landscapes and Views ; after his own A set of six large Landscapes ; after Seb. Bourdon. The Baptism of Christ by St. J ohn ; a.fter the same. The Flighit into Egypt ; after Agost. Caracci. 604 [Others say he was born at Troyes in 1624, and died at the latter part of the same century.] PROUD, an obscure engraver, mentioned by Mr. Strutt as having resided in England about the year 1760, and engraved a few book-plates and portraits, among which was that of Sarah PhiUps, prefixed to The Lady's Handmaid. 1758. PROVENZALE, Marcello. This artist was born at Cento in 1575. He was a scholar of Paolo Rossetti, and is chiefly distinguished in the art for his talents as a mosaicist. Baglione describes seve- ral of his works at Rome, executed under the direc- tion of Paul v., among which is the portrait of that pontiff, wrought with surprising neatness and beau- ty. In conjunction with Rossetti, he executed se- veral mosaics in the capella Clementina, in St. Peter's, from the cartoons of Cavaliere Cristofano Roncalli ; and for the Cardinal Scipione Borghese he finished some smaller works, among which is Orpheus playing on the Lyre, surrounded by ani- mals, in the Borghese palace. He died at Rome in 1639. [PRUD'HON, Pierre Paul, a very eminent French painter and designer, was born at Clugny in 1760, according to Gabet; Nagler says in 1768, and died at Paris in 1823. His first master was Devosges of Dijon; he afterwards went to Italy, where he formed a friendship with the celebrated Canova, and remained at Rome till 1789, when he returned to France. The elegance of his designs, and the beautiful delicacy of his colouring and pen- ciling, obtained for him the title of the French Cor- regio. His works are numerous in poetical and his- torical subjects, and also in portraiture ; and Are to be found in the best collections in Prance. Some years ago there was in England a remarkably fine large drawing by him, representing the Baptism of the King of Rome, which is not mentioned by his biographers. Making allowance for the difierence of national taste, Prud'hon must be assigned a very high rank among modern artists. His compositions are rich in fancy, elegant in design, and refined in execution. As a portion only of his works would in description occupy a large space, the inquirer is referred to the Notice Historique sur la Vie et ks Ouvrages de Prud'hon, by Viart, published at Paris in 1824.] PRUNEAU, Noel, a French engraver, born at Paris in 1751. He was a pupil of Augustin de St. Aubin, in whose style he has engraved several plates, chiefly portraits, among which are the following : PORTRAITS. Rosalia le Vasseur ; after his own design. Herman Boerhave ; the same. Albert de HaUer ; the same. Gerard, Bai-on van Swieten, Architect ; after A. de St. Aubin. John Joseph Sue ; after A . Pujos. Francis de la Peyronie, principal Surgeon to Louis XV. [PUCHLER, JoHANN Michel, an engraver, of whom very little is known, but who worked in a pe- culiar manner. He engraved portraits with the point, and the hair and habits are formed of writing. He marked his prints with the letters J. M. P. cur- sive, in a monogram. Van Stettin speaks of a Jan Gregoire Biichler, a writing-master, wJio worked in this manner about the year 1692, and BniUiot con- jectures that he means the same. If Van Stettin be right in the names, the conjecture is rather a bold one. May it not as well be supposed to be Jean Ilichel Papillon, whose portrait to his book is puch] PAINTERS AND ENGRAVERS. [PURC engraved in the manner above mentioned, but who lived half a century later than J. G. BUchler.] PUCHLER, Michael, a German engraver, by whom we have a few portraits, among which are those of Leopold, Emperor of Germany. EleanoraMagdalena Theresa, his Empress. [PUGA, Antonio, a Spanish painter of familiar subjects, was a scholar of Velasquez, whose early manner he imitated exactly. In 1653 he painted six pictures, which at the first view appear to be by that master, especially in the accessories. They were in the collection of D. Silvestre Collar de Castro.] PUGET, Peter Paul, a French painter, sculp- tor, and architect, bom at Marseilles in 1623. Al- though he was principally employed as an architect and a sculptor, he occasionally practised paint- ing. In the cathedral at Aix is a picture by him of the Annunciation, a graceful and elegant design, though cold and languid in the colouring; and in the church of the Jacobins, at Toulon, is an altar- piece, representing the same subject, differently composed, in which he appears to have imitated the style of Pietro da Cortona. He died at Marseilles in 1695. PUGH, Herbert. This artist was a native of Ireland. He came to London about the year 1758, and met with some encouragement as a landscape painter. His talents were not very considerable, and his style of painting was mannered and affected. He also painted a few pictures, in which he attempt- ed to imitate the style of Hogarth, but they were very indifferent performances. He died about the year 1775. PUGLIA, Giuseppe, called II Bastaro. Ac- cording to Baglione, this artist was a native of Rome, and flourished in the pontificate of Urban VIII. He executed several works for the public edifices at Rome, of which the most deserving of notice are a picture of the Presentation in the Temple, in the cloister of the Padri della Minerva ; and an altar- piece, representing the Assumption of the Virgin, in the Basifica of S. Maria Maggiore. He died young at Rome, [in 1640 ; but if he was known in 1600, as Zani states, he was not so very young when he died.] PUIS, Du. See Dupuis. PULIGO, DoMENico. This painter was born at Florence in 1475, and was brought up in the school of Domenico Corradi, called del Ghirlandaio. On the death of that master, in 1495, when he was twenty years of age, it does not appear that he made choice of another instructor, but he acquired considerable reputation as a portrait painter, and by some easel pictures representing Madonnas, and Holy Families, which were gracefully designed, and were coloured with great sweetness and harmony. He formed an intimate acquaintance with Andrea del Sarto, and though several years older than that distinguished painter, he improved his style by an attentive study of his works, and is said by Lanzi to have painted some pictures from the designs of An- drea, which were mistaken for the productions of that great artist. He died in 1527. PULZONE, SciPioNE, called Gaetano, was born at Gaeta in 1550, and was a disciple of Jacopino del Conte. Though he painted history with consider- able reputation, he was more distinguished as a painter of portraits, and drew those of the most il- lustrious persons of his time ; among whom were Gregory XIII., Cardinal de Medici, the Archduke Ferdinand, and others. His attitudes are elegant and graceful, and the heads expressive and full of life. Lanzi asserts, that his celebrity in this branch of the art acquired him the title of the Roman Van- dyck. This is not consistent with the usual accu- racy of that estimable writer, as he died several years before Vandyck was born. Of his historical works, the most deserving of notice are, his picture of the Assumption, with the Apostles, in S. Silves- tro, in Monte Cavallo ; a Pieta, in the church del Gesu; and the Crucifixion, in S.Maria, in ValU- cella. In the Palazzo Borrfiese is a fine picture by him of the Holy Family. Though his style is ela- borate and minute, his design is correct, and there is much suavity and harmony in his colouring. He died at Rome in the prime of life, in 1588. [Zani says he was born in 1562, and died in 1600. Bryan need not have accused Lanzi of inconsistency for saying " that h/ some he is called the Van Dyck of the Roman school;" such a comparison may be made, speaking of an artist's style, in order to give the reader an idea of it by the mention of one more generally known, irrespective of the times in which both lived.] PUNT, John, a Dutch engraver, who flourished about the year 1750. He was an artist of no great note; his principal work was a set of thirty-six plates, after the designs made by Jacob de Wit, from the ceiling of the church of the Jesuits, at Antwerp, painted by Rubens, which are the more interesting, as the originals were destroyed by light- ning. He also engraved a plate of the Ascension, after Seb. Micci, for the Dresden collection. [Jan Punt was born in I7I1, and died about 1779. He was a theatrical decorator, and painter in chiaro- scuro. The world is much indebted to him for the preservation, by his engravings, of de Wit's designs, after Rubens, which are sufiiciently well done. ' He engraved many other subjects in a very respectable manner. Nagler has given a list of them.] PUNTORMO. See Pontormo. [PUPILER, Antoine, a Flemish painter, who was employed in Spain by Philip II., in 1556, and who, it is said, was an artist of extraordinary merit, but of whose works there is no account, as all that he produced there were consumed in the conflagra- tion at the Pardo. He returned to his own country, but the Flemish writers have not noticed him, un- less it be under another name.] PUPINI, BiAGio. This painter was a native of Bologna, and flourished about the year 1530 [to 1540.] He was a disciple of Francesco Francia, whose style he followed, though with a more modern air. Of his works in the public edifices at Bologna, the following are the most worthy of notice. In the church of S. Giuliano, the Crowning of the Virgin ; in S. Giacomo Maggiore, the Virgin and infant Christ, with S. Orsola; in S. Maria della Baron- cella, St, John preaching in the Wilderness ; and at the Institute, a picture of the Nativity. PURCELL, Richard, an English mezzotinto engraver, who flourished about the year 1760. We have by him several prints of portraits, among which are the following : John Manners, Marquis of Granby ;. after Reynolds. Lady Fenhoulet, afterwai'ds Countess of Essex ; after the same. Elizabeth, Countess of Berkeley ; after the same. The Children of Charles I. ; after Vandyck. John Wilkes, Esq. ; after Pine. [He was born in 1736, and lived near the end of the 605 pusc] A DICTIONARY OF [quai 18th century. He engraved several portraits after Sir J. Reynolds ; also that of Paoli, after Constan- tine ; and two subjects, aftxr J. Vernef] PUSCHNER, [JoHANN Georg,] a German en- graver, supposed to have been a native of Nurem- beig. He flourished about the year 1670, when he engraved a set of portraits for a folio volume, en- titled Icones virorum omnium ordinum eruditione, &c., published at Nuremberg. THe was living in 1720.] PYE, John, an English engraver, who flourished about the year 1775. We nave by him several landscapes, after the pictures of Claude Lorraine, Vernet, Swanevelt, Cuyp, &c., which are etched and finished with the graver, in a neat, finished style. [He was born about 1745 ; and the greater part of his prints were executed for Boydell, from 1773 to 1775. The date of his death is not recorded. He was the father of John Pye, the engraver, now living.] " PYNAKER, Adam. This painter was born at the small town of Pynaker, between Delft and Schiedam, in 1621. It is not known from whom he received his first instruction in the art, but he visited Italy when he was veiy young, and resided some years at Rome, where he studied the works of the most distinguished landscape painters, and made designs of the most picturesque objects in the en- virons of that capital. On his return to Holland, he soon gave proof how much he had profited by his travels, and became one of the most admired and most employed artists of his countiy. It was at that time the mode to ornament the apartments of the principal mansions with the works of the most eminent landscape painters ; and Pynaker was much engaged in works of that description. His pictures of a small size are, however, more esteemed, and they possess suflicient merit to entitle them to a place in the choicest collections. The landscapes of Pynaker exhibit very pleasing scenery. He fre- quently represents the sunny light of the morning breaking out from behind the woods or mountains, and difi'using a brilliant glow over the whole face of nature. His skies are clear, light, and floating, and the foliage of his trees and plants is touched with uncommon freedom and spirit. His pencil is firm and flowing, and evinces an extraordinary facility of hand. He embellished his pictures with the ruins of ancient architecture, and decorated them with figures and cattle, correctly drawn, and grouped with taste and elegance. Some of his pictures have been objected to as too green, but this is not the case with the generality of his works. He died In 1673. [Pynaker's landscapes, of the cabinet size, are not numerous; in Smith's Catalogue raisonne of the works of the Dutch and Flemish masters, vols. vi. and ix., will be found an account of about seventy. They are mostly what may be termed representa- tions of romantic scenery ; mountainous and well- wooded countries, with ancient ruins, cascades, mu- leteers, and peasants with cattle. His ideas are altogether Italian, his pencil only is Dutch, and that of the highest quality ; with a breadth, a bril- liancy, a richness almost unequalled by any other landscape painter, except Cuyp. There are many of his finest works in England.] [PYNE, William Henry, the author and illus- trator of the Microcosm, was born in 1769, the son of a leather-seller in Holborn. From his earliest years he showed a strong predilection for the arts, which induced_his father to place him on trial with 606 a clever draughtsman and colourer of prints. But, after a short probation, he refused to be articled, and left his master in disgust for having called his word in question. He was then but fourteen years of age, and it does not appear that he ever after re- ceived what may be deemed regular instruction. However he attained to it, great knowledge of cha- racter, and facility of execution, were evinced in every subject he undertook to delineate, and showed a discriminating taste and lively fancy, whether the objects were animate or inanimate. As an artist he confined his talent to drawings, and his produc- tions were multifarious in detached pieces. In 1803 he published the first part of his interesting work, " The Microcosm ; or a picturesque Delinea- tion of the Arts, Agriculture, Manufactures, &c., of Great Britain," which he completed in 1806, illus- trated with about 600 groups of small figures for the embelHshment of landscapes. Subsequently he published, in three imperial quarto volumes, a " History of the Royal Residences " of Windsor, St. James's, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frog- more, with about 100 richly coloured plates. In both these works he not only showed the ready and varied talents of a skilful artist, but also the perse- vering industry of an antiquary, and the unwearied inquirer into facts ; and with all and every topic his knowledge seems commensurate. He published also, from time to time, in a periodical of the day, (the Literary Gazette,) a work entitled " Wine and Walnuts," which afterwards, in a collected form, became very popular; and he attempted another, called the " Somerset House Gazette," which was not successful. He was connected with the enter- prising and highly respectable Mr. Ackermann, of the Strand, and was the suggester and mainspring of many of that worthy publisher's successful un- dertakings ; and it may be added, that the numerous artists employed by him owed much to the exten- sive knowledge, practical skill, and kindly commu- nicative disposition of Pyne. With all his acquire- ments and amiable qualities, he never arrived at a state of settled competence in pecuniary matters ; his heart was too generous, and nis hand too open, to allow him to accumulate ; and in his latter days he was subjected to painful difficulties. After a long illness, he died at Paddington on the 29th of May, 1843.] Q QUADRATA. This artist is mentioned by Pa- pillon as an engraver on wood. He asserts that he had seen some of his works, though he has not specified them. QUAGLIA, GiuLio. This painter was a native of Como, and flourished about the year 1693. Lanzi conjectures from his style, and the period at which he lived, that he was brought up in the school of the llecchi. He established himself at Friuh, about the end of the I7th century, where he executed several considerable works in fresco. His most esteemed productions are in the chapel of the Monte di Piet'i, at Udine, in which he evinces a fecundity of invention, a grandeur of composition, and a free- dom of pencil, which were not surpassed by any of his contemporaries. QUAINI, Francesco, was born at Bologna in 1611, and was a scholar of Agostino Mitelli, under whom he became an eminent painter of perspective and architectural views. There are several of his QUAl] PAINTERS AND ENGRAVERS. [quel works in the public edifices at Bologna, of which the most esteemed are the architectural ornaments in the Sala Farnese, in the Palazzo Publico. He died at Bologna in 1680. QUAINI, LuiGi, was the son of the preceding artist, born at Bologna in 1643. After learning the first principles of perspective under his father, he became a disciple of Guercino, but afterwards en- tered the school of Carlo Cignani, to whom he was nearly related, at the time when Marc Antonio Pranceschini was also a disciple of that master. Conjointly with Pranceschini, he assisted Cignani in several of his principal works. After the death of their instructor they continued to work in con- junction, Pranceschini painting the figures and Quaini the landscapes, architecture, and other ac- cessories. Their united talents were successively employed at Bologna, Modena, Piacenza, Genoa, and at Rome, where they painted the cartoons' for a cupola in St. Peter's, which has since been exe- cuted in mosaic. He also painted several historical subjects from his own compositions, which were entirely finished by himself. In the church of S. Giuseppe at Bologna, is a picture representing the Visitation ; in la Carita, the dead Christ supported by the Virgin ; and in the church of S. Niccolo, the principal Eutar-piece is by Quaini, representing that saint in prison, visited by the Virgin and an angel, of which Lanzi speaks in favourable terms. He died in 1717. QUAST, Peter, a Dutch painter and .engraver, bom at the Hague in 1602. His pictures usually represent droUs, beggars, and assemblies of boors merrymaking, which he treated with a great deal of humour, and not less vulgarity. We have several spirited etchings by him from his own designs, as well as after other masters, some of which are exe- cuted in the style of Callot, though incorrect in the design. He generally marked his prints with a cipher composed of a P. and a Q. joined together, ^ . Jy2, . JQ, . We have, among others, the following prints by him : The Five Senses ;/". Q«as*,/ec. 1638. The Four Seasons, in grotesque figures. A set of twenty-six plates of Beggars, Boois, &o. A set of twelve Grotesque Figures. A set of ten plates of Beggars, &c. ; S. Savery, exc. A set of twelve fancy subjects, in imitation of Callot. [It is equally uncertain when he was bom, or when he died ; it is only known that he lived in 1632 and 1638 by the dates on some of his prints. However degraded his subjects, he was master of his pencil, and painted in a clear and spirited manner. Prints by and after him are numerous.] QUATREPOMME, Isabella. This lady is mentioned by PapUlon as an engraver on wood. She is said to have been a native of Rouen, and to have flourished about the year 1521, as appears from a frontispiece to an old calendar, executed in a neat style by her, representing a figure of Janus. It is marked with an apple, on which is the figure of 4, in allusion to her name. [Malpe doubts all that Papillon has said on the subject ; and BruUiot de- clares that he has never met with the mark. Zani supports Papillon, and says that he had seen two with this hgoqriph.'] QUEBObilN, or QUEBOREN, Crispin van- den, a Dutch engraver, who resided at the Hag^e about the year 1630. He chiefly confined himself to the engraving of portraits, which possess con- siderable merit. He also executed a part of the plates for Thibault's Academie de I'Upee, published at Antwerp in 1628; and a print of the Nativity, after Hem-y van Balen. We have, among others, the following portraits by him : ' Queen Elizabeth. 1625. Charles I. 1626. William I., Prince of Orange; after Vischer.- Mary, daughter of Charles I., consort of the Prince of Orange. Frederick V., Elector Palatine. Elizabeth, daughter of James I., his consort. Juliana, Princess of Hesse. Frederick Henry, Prince of Nassau. 1630. [He was born at the Hague in 1604. He was chiefly employed on small engravings for the book- sellers. The date of his death is not recorded.] QUELLINUS, Erasmus. This painter was born at Antwerp in 1609. The early part of his life was devoted to the study of the Belles Lettres, in which he so far distinguished himself, that San- drart aSserts that he was for some time professor of philosophy. His intimacy with Rubens, whose house was the resort of the learned, as well as the most distinguished artists, inspired him with a love for painting, which induced him to abandon his professor's chair, and he became the disciple of his friend. With a mind richly endowed with the store of literature, and aided in his studies by the coun- sels of Rubens, his progress in the art was extra- ordinary, and in a few years he distinguished him- self among the able artists of his country, at a period when Antwerp was the residence of the most celebrated painters of the Flemish school. The vivacity of his genius, polished by the result of his studies, appeared in all his compositions. His de- sign, though tinctured with the taste of his country, is tolerably correct, and his colouring, brilliant and vigorous, is worthy of the school in which he was educated. He was well acquainted with perspective and architecture, with which he embellished the back-grounds of his historical pictures, and his land- scapes are treated in a very pleasing style. He was not less eminent as a portrait painter, and following the example of Vandyck, painted those of many of the most distinguished artists of his time. In the church of St. Peter, at Mechlin, is an admirable picture by Erasmus Quellinus, representing the Nativity, which has been sometimes mistaken for a work of Vandyck. In the church of St. Andrew at Antwerp, is a fine picture of the Guardian Angel ; and in the church of St. Saviour at Ghent, is an altar-piece representing the Holy Family reposing in Egypt. He died at Antwerp in 1678, aged 71. We have a few etchings by Erasmus Quellinus, among which are the following : Samson hilling the Lion ; after Rubens. A Landscape, with a dance of children and young satyrs ; E. QueUinvs,feo.; rare. The Virgin and infant Jesus ; after Rubens. [Immerzeel says he was born on the 19th of No- vember, I607J QUELLINUS, John Erasmus, was the son and scholar of Erasmus Quellinus, born at Antwerp in 1629. At the age of twenty-one he visited Italy, and resided some years at Venice, where the works of Paolo Veronese particularly attracted his atten- tion. He adopted the ornamental style of that mas- ter, which is visible in all his works, and had ac- quired considerable reputation at Venice, Naples, and Rome, when, at the desire of his father, he re- turned to his native country. The expectation his countrymen had formed from the report of his ta^ lents, furnished him with numerous commissions, 607 quel] A DICTIONARY OF [quit and his altar-pieces are to be found in most of the churches of the Low Countries. His most import- ant work is in the church of the abbey of St. Michael at Antwerp. This stupendous machine ex- tends the whole height of the church, and is painted entirely in the style of Paolo Veronese, representing Christ he'ahng the Sick. It is an immense compo- sition, and though it comprises an infinite multitude of figures, he has ingeniously avoided the least ap- pearance of confusion. In imitation of his splendid prototype, he has embellished the back-g*ound with admirable architecture. In the refectory of the abbey there are four large pictures, representing the four repasts mentioned in the Scriptures, which were also the favourite subjects of P. Veronese. In the cathedral at Antwerp is a fine picture of the Adora- tion of the Magi ; and in the church of Notre Dame at Mechlin, one of his most esteemed works, repre- senting the Last Supper. The younger Quellinus is justly ranked among the ablest artists of his coun- try, who succeeded the golden era of Flemish art, under Rubens and Vandyck. He possessed an unusual fertility of invention, and arranged his compositions with solidity and judgment. His de- sign is more tasteful and correct than the generality of his countrymen, and his colouring, partaking of the Venetian and Flemish style, is brilliant and clear. He died at Antwerp in 1715. QUELLINUS, Hubert. This artist was the brother of Artus Quelhnus, an eminent sculptor, and was bom at Antwerp about the year 1608. He engraved a set of plates after designs made by John Bennokel, from the marble statues executed by Ar- tus Quellinus, in the Stadthouse at Amsterdam, and are marked with the initials of both the artists, A. Q. H. Q. They form a volume in folio, and were published in 1655. He also engraved some por- traits. His plates are etched in a singular style, re- sembling that of Peter Soutman, and neatly finished with the graver. Among others, we have the fol- lowing portraits by him : Artus Quellinus, Statuary of Antwerp ; II. Quellinus, del. et 8c. Philip IV. seated on his throne, with the Prince Royal, and several allegorical iigures ; H. Quellinus. 1665. [QUERPURT, Augustus, was bom at Wolfen- buttel in 1696. He was first instructed by his father, Tobias Querfurt, a landscape painter, and after- wards studied under Rugendas, at Augsbourg. He painted encampments, battles, skirmishes of cavalry, and hunting subjects, in all of which he appears rather an imitator than an original painter. He sometimes imitated the manner of Botirguignone, Parrocel, and Vander Meulen ; at others, he aimed at that of Wouwerman ; in the last he was least successful. His pictures, however, have consider- able merit, and are composed with judgment, exe- cuted in a spirited manner, and not deficient of good colouring. He died in 1761, at Vienna.] [QUESNEL, or QUENET, FRANgois, supposed to have been bom at Edinburgh about 1540 or 1542, but spent his life in France, in the service of Henri III. and Henri IV., whose portraits he painted, as also that of Marie de Medicis. Several portraits by him have been engraved by Edelinck, T. de Leu, and Van Schuppen. He died at Paris in 1619.] QUEVBRDO, F. M. J., [Francois Marie Isi- dore,] a French engraver, born in Brittany in 1740. [Others say he was a Spaniard.] Jle has engraved several plates, as well from his own designs as after other masters. He executed part of the plates for the Voyage pitUyresque cfltahe, by the Abbe.de St. 608 Non. We have also, among others, the following prints by him : The Portrait of Henry IV. ; after his own design. A set of four subjects of Children ; oral. A Landscape, with a peasant's family at the door of a cottage; Queverdo, jecit. [He was living in 1811.] QUEWELLERIE, William de la, was a native of France, and was probably a goldsmith. He en- graved a set of very small plates, representing orna- mental crosses, and other designs for jewellery. They are neatly executed with dark back-grounds. On the frontispiece is inscribed his name, Guilhel- mies de la Quewellerie, fecit. An. Dni. 1680. On the other plates are the initials G. D. L. Q. QUILLART, Peter Anthony, a French painter and engraver, born at Paris in 171 1. He was a scholar of Anthony Watteau, and soon after leaving the school of that master, he was invited to the court of Portugal, where he was made painter to the Queen, and a member of the Academy at Lis- bon. His principal work as a painter, is a ceiling in the queen's bed-chamber. He engraved from his own designs the plates for a book entitled The Funeral Pomp of nuke Don Nuno Olivares Pereira, published at Lisbon in 1730. He died at Lisbon in the flower of his age. [QUINKHARD, Jan Maurits, was born at Rees, near Cleves, and was a scholar, successively, of Arnold Boonen, Lubinietski, and N. Verkolie. He painted familiar, allegoiical, and mythological subjects, and was excellent in portraits, of which he painted a great number. He died in 1772, at the age of 85 years.] QUINTILIEN. This artist is mentioned by Florent le Comte as the engraver of some plates after Callot, to which he did not affix his name. [QUIROS, Lorenzo, a Spanish historical paint- er, and imitator of Murillo, was born at Santos in Estramadura in 1717. He studied at Seville under Bernard German Llorente, and made great pro- gress both in fresco and oil painting. To perfect himself in drawing, he went to Madrid; but his turbulent disposition induced him to abandon the protection of Corrado and Mengs, who were dis- posed to employ him. A slave to his fancies, he preferred imaginary liberty to honours and fortune. He returned to Seville, where he remained for twenty years without ever making any one ac- quainted with his place of residence. He employed himself in copying the works of Murillo, which he did very successfully, and sold them through an agent. He died in 1789. He has left worits at Madrid, at the Royal Academy of San Fernando, at Cazalla, Granada, Xeres, at Seville, and at other places in Spain.] QUITER, Har Hind, a Dutch mezzotinto en- graver, by whom we have a few English portraits, which are very poorly executed. Among others, are Queen Catherine, consort of Charles II. : o/iier Lely. Sir Leoline Jenkins ; from his own design. [This is probably Herman Sendrik Quiter, who en- graved several portraits after Sir Peter Lely and others, mentioned by Bromley ; if so, he was born in 1620, and died in 1700. His eldest son, of the same names, studied in the school of Carlo Maratti, in 1700, and was afterwards painter to the Land- gi-ave of Hesse; he died in 1731 at Brunswick. Magnus, a younger son, was a portrait painter; he was also a short time in the school of Maratti ; he visited Holland and England, and probably assisted Kneller. He was afterwards keeper of the gallery raba] PAINTERS AND ENGRAVERS. [rade at Salzdalum, and died in 1744. It is said that he painted some historical pictures, but it is not said where. There was another mezzotinto engraver, who signed his prints U. Quiter .• there are portraits by him after Jan de £aan.} R [RABASSE, Jean, an engraver and printseller, who flourished at Paris about 1650. Dumesnil at- tributes three prints to him; Judith, signed Jean Rahas avec Preuikge du Hoy ; a Holy Family, with his initials, J. R.; and a Repose in Egypt, with the same letters in a cipher. The two latter he had before attributed to Mauperch6. Brulliot attributes the mark on the last piint, the Riposo, to Jacques de Bray, and to Joseph Ribera. Dumesnil apologizes for his mistake with regard to Mauperche, as he had not seen the impression with the initials J. R. till after the publication of his first volume, when he was made acquainted with it by M. Ro- dolph Weigel of Leipsic. When were the initials placed on the print ? — that in the Appendix to the works of Mauperche is without them ; it may there- fore be concluded it was the earlier impression.] RABEL, John. This artist was a native of France, and flourished-about the year 1588. He is said to have been a painter, but his works are little known. According to Professor Christ, he pub- lished several of his designs, engraved on wood. He does not, however, specify the subjects, nor does he inform us whether they were executed by him- self. There is a copper-plate by him representing the Martyrdom of St. Lawrence, copied from the print of the same subject engraved by Marc An- tonio, after Bacdo Bandinelli. It is less than the original, and on a stone at the bottom of the print is inscribed To. Rdbel Belhnacus lute Parisii. [He was born in 1550, and, according to Basan, died in 1608.] RABEL, Daniel, was the son of the preceding artist, and was probably instructed by him in the principles of the art. He painted landscapes, some of which have been engraved by the contemporary artists. He etched a considerable number of plates in a style resembling that of Israel Silvestre, which chiefly consist of views and landscapes, with figures neatly drawn. [Nagler places his death in 1628; but Zani says he operated in 1636. If he etched a considerable number of plates in the style of Israel Silvestre, they have escaped the notice of Nagler.] [RABEN, RAEVEN, or RAVEN, Servatius, a Dutch engraver, of whom little is known with certainty, except that he engraved the Twelve Cse- sars, after Stradanus, on one of which is a cipher formed of S. V. R., and on the rest his name varied as above; and the Madonna della Seggiola, after Raphael, signed Servatius Raeven. Zani and others consider him to be the same with Serwovier, of whom the accounts are much confused; but the cipher of the latter is very difierent, being com- posed of a P and an S interlaced, followed by a W. See Serwouter.] [R ABIELLO, Pablo, a Spanish painter of battle- pieces, was living at Saragossa at the commence- ment of the 18th century, and was of considerable reputation. Although not very correct in his draw- ing, he understood the great maxims of a painter, and followed the styles of Juan Rizzi of Castille, and Juan de Valdes of Andalusia ; well suited for battle-pieces, in which he excelled. . There are several pictures in the Trinitarios Calzados de Ter- 2 r ruel attributed to him; also in the chapels of St. Marcos and St. Jago ; and one in the cathedral de la Sen, at Saragossa, represents the battle of Claviio.l [RABON, or REBON, Pierre, born at Havre de Grace in 1616, excelled in portrait paintinsr. He died in 1684.] [RABON, or REBON, Nicholas, son of the preceding; painted historical subjects ; he was born in 1644, and died in 1686.] RACCHETTI, Bernardo. This painter was the nephew and scholar of Giovanni Ghisolfi, born at Milan in 1639. He painted architecture and perspective views, in the style of his instructor, and his pictures are not unfrequently mistaken for those of his uncle. They usually represent sea-ports, embellished with magnificent buildings, which are ■ precisely designed, and are touched with taste and spirit. There are many of his works in the private collections at Milan. He died in 1702. RACINE, John Baptist, a modern French en- graver, born at Paris about the year 1750. He was a pupil of Francis Aliamet, and has engraved several vignettes and other book-plates, after Cochin. We have also some prints of landscapes after different masters, and a few subjects from the pictures in the Orleans' Gallery. Among others, the following are by him : Hagai and Ishmael ; after P. F. Mola. A Pastoral Subject ; after B. Breenberg. A pair of Landscapes ; after Pillement. [According to Nagler he was bom in 1747, and died in 1805 ; but Zani says he was living in 1807.] RADEMACKER, Gerard. According toDes- camps, this artist was bom at Amsterdam in 1672. He was the son of an architect, who taught him the first rudiments of drawing and perspective, with an intention of bringing him up to his own profession ; but perceiving his son's inclination for painting, he placed him under the tuition of A. van Goor, a por- trait' painter of some reputation. He had made some progress in his studies when the death of his master deprived him of his assistance ; but he was sufliciently advanced in the art to give lessons in design;- and he was engaged by the bishop of Se- basto to teach his niece drawing. That prelate being soon afterwards obliged to visit Rome, Rade- macker was invited to accompany him, and had the advantage of improving his talent by studying the most interesting objects in that capital. His genius led him to represent views of the principal, ruins and other monuments in that city and vicinity, which he designed with accuracy and precision. On his return to Holland he met with the most flattering encouragement. He did not, however, confine himself to architectural views, but painted historical and emblematical subjects with consider- able success, which adorn the public edifices at Amsterdam, and the other cities of Holland. In the Stadthouse at Amsterdam is an allegorical sub- ject painted by Rademacker, representing the re- gency of the city ; and in the collection of the fa- mily of Walraaven, there is a view of the interior of St. Peter's at Rome, designed with great accuracy. He died at Amsterdam in 1711, in the prime of life, having scarcely completed his thirty-ninth year. RADEMACKER, Abraham. This artist was probably the younger brother of Gerard Rade- macker. He was born at Amsterdam in 1675, and is said to have reached an eminent rank in the art as a landscape painter, without the assistance of an instructor. His first productions were painted in water-colours, and were very highly finished ; but 609 RADi] A DICTIONARY OF [raep he afterwards practised oil painting, with no less success. He was well acquainted with the rules of architecture, and embelhshed his landscapes with buildings and ruins, in a very picturesque manner. He engraved from his own designs a set of plates of the most interesting views of ancient monuments, &c., in Holland and the Netherlands. They are executed in a masterly style, and amount to near "three hundred prints, which were published at Am- sterdam in 1731. [He died in 1735. His Views consist of a much larger number than 300 ; that number was published, in 6 vols, small quarto, at Amsterdam, in 1727.] RADI, Bernardino, an Italian designer and engraver, whose name is affixed to a set of archi- tectural ornaments, monuments, &c., published at Rome in 1618. They are slight, hasty etchings, and bear the title Varie invenzioni per depositi di Bernardino Radi Cortonese. R ADIGUES, Anthony, a French engraver, born at Rheims in 1719. Basan states, that he visited England, from whence he went through Holland to Russia, and resided several years at St. Petersburg, where he engraved the portraits of the Prince and Princess of Gallitzin, and other persons of dis- tinction. He also engraved a plate for the collec- tion of the Dresden Gallery, representing Angehca and Medoro, after Alessandro Tiarini. [RAEBURN, Henry, an eminent portrait paint- er, was born at Stockbridge, now fonning part of Edinburgh, in 1756. At the age of six he was left an orphan, and was placed in " Heriot's Wark," the Christ-church school of Scotland. At the age of fifteen he was apprenticed to a goldsmith; but a propensity for sketching and drawing, which he had evinced at school, seemed more to occupy his mind than the business of his master, who, on his part, considered that he had got an idle apprentice. On discovering his propensity, however, and seeing some tolerably executed miniatures which he' had painted, this worthy man, instead of chiding, praised his youthful attempts, and encouraged him in the pursuit by introducing him to a portrait painter of the name of Martin, of some repute at that time in Edinburgh. The sight of that artist's pictures at once lighted up a flame in the mind of young Raeburn, and the kind manner with which the painter received him made an impression which was not obliterated when he arrived at the summit of his reputation. By the further kindness of his master he was permitted to practise the art, and was so successful, that in a short time he was enabled to purchase the remainder of his apprenticeship, and to become professedly a portrait painter in miniature. As his knowledge of art increased, so did his views expand ; but as he had received no preliminary in- struction, he had many difficulties to contend with : by perseverance he overcame them. Martin lent him pictures with permission to copy them, but without offering any assistance as to the manner in which he was to proceed, nor had he a claim to such gratuitous assistance. The elder artist, how- ever, grew uneasy, it is said, when he saw the talent of the neophyte, and fearing that he was raising up a rival who might hereafter dispute for supremacy, he abruptly terminated the acquaintance. This seems to have been the extent of his early artistic studies. He soon appUed himself entirely to paint- ing in oil, and his reputation, with his application, opened to him the doors of the noble and rich, whose collections of pictures afforded a better know- ledge of the beauties of art than he had hitherto the 610 opportunity of acquiring. At the age of twenty-two he married advantageously, and repaired to London to seek the advice of Sir Joshua Reynolds, who couiiselled him to study at Rome, and to worship the genius of Michael Angelo in the Sistine chapel. Such advice from a portrait painter to one who only aspired to the same fine of art was no doubt well in- tended ; and it was strengthened by an offer of pe- cuniary assistance if needed, and letters of intro- duction to persons there, who might be useful during his stay. The latter he accepted, and with his wife departed for Italy. At Rome it seems that he pro- fited more by the advice of Byers, thp dealer in pictures and antiquities, than by acquaintance with artists and connoisseurs. After two years' residence in Italy he returned to Scotland, and may be said to have then commenced his professional career. He soon took the lead in Edinburgh, and verified the justness of his former friend Martin's apprehen- sions. For years, appUcation, improvement, and success went hand in hand; and he might reckon the greater part of the distinguished men of Scot- land of his time among his sitters and friends. In 1814 he became an associate of the Royal Academy, and in the following year R. A., it is said vrithout the usual humiliating sohcitation. He now again turned his thoughts to the metropolis, and consmted Sir Thomas Lawrence on the subject, who found means to persuade him to be content with his Scot- tish supremacy. Perhaps Lawrence was right; Raeburn could represent, with the force of truth, men of intellect and gqnius, but could not con- descend to the frivolities of fashion. His power lay in depicting the mind, not the de6orative parapher- nalia of the coxcomb, or the milUnery and affected airs of the beauties of the saloon or drawing-room. He took the advice which Lawrence had kindly given, and the portraits of the mountain chiefs, the Macdonalds, Mackenzies, Campbells, Bruces, Hays, Scotts, Duffs, Gordons, Douglases, Hamiltons, and many others, attest the fulness of his practice. In 1822, when George IV. visited Scotland, he was knighted ; and in the following year appointed " his Majesty's limner in that part of his dominions, with all the rights, privileges, and advantages thereunto belonging." Whatever these rights, privileges, and advantages might be, he did not long enjoy them, for he died in the same year, leaving a lasting re- putation in the numerous excellently painted por- traits of many of his talented countrymen, and of talented Englishmen too, whose fame vrill give sta- bility to his, while their portraits, painted by him, will assure posterity of genuine resemblances of the men.] RAEPUS, or RAEPE, P. This artist is men- tioned by Papillon as an engraver on wood. He is said to have been a native of Paris, and to have flourished about the year 1575. He executed part of the cuts for a cosmographical work by Andr^ Thevet. His prints are very neatly finished, and are usually marked with the initials P. R. [Pa- pillon adds, that the name at full length is on the print of the Antiquities of Athens, page 796 of the Cosmographical work, and that the book contains about 200 wood cuts excellently engraved, the greater part by Raefe. He says that some of them are de- signed in the taste of the celebrated sculptor Goujeon. The celebrated sculptor Jean Ooujon may have designed some of the prints, but it was an O. Goujon who was employed on the work with Raefus, and the prints engraved by him are marked with his initials, 0. G. Jean Goujon, the Phidias of France, bapf] PAINTERS AND ENGRAVERS. [raff flourished about the same period, and it is probable that he and the engraver were relations. Jean, ac-, cording to Dumesnil, torn, vi., engraved on wood the figures respecting Masonry in Jeein Martin's translation of Vitruvius, published in 1547, and again in 1572, of which he speaks in terms of high commendation, and describes twenty-seven. They consist, chiefly, of architraves, friezes, colunms, and capitals of the several orders of Grecian architec- ture. He supposes that Jean Goujan was one of the victims of the massacre on St. Bartholomew's day, the 24th of August, 1572.] RAPPAELLE, Raffaelle Sanzio, di Uebino, called- This illustrious artist has, by the general approbation of mankind, been styled the pnnce of painters, and is univers^ly acknowledged to have possessed a greater combination of the higher excel- lencies of the art than has fallen to the lot of any other individual. He was the son of Giovanni Sanzio, a painter of Uttle celebrity, born at Urbino in 1483. After being instructed in the first elements of design by his father he was sent to Perugia, where he became a disciple of Pietro Vanucci, called Perugino, whose works were at that time held in high estimation. Mengs considers it for- tunate for the feme of Rafiaelle, that he was born at an era, which he ingeniously denominates " the innocence of the art," and before it had been de- bauched by afiectation and manner. As the powers of this sublime artist did not, like those of Michael Angelo Buonaroti, blaze forth at once, to the aston- ishment of the world, his progress, from his com- mencement, under Pietro Perugino, to the pinnacle of greatness to which he subsequently soared, cannot but be interesting, and calls for a more than usually minute detail of his earhest performances. Among his first productions, after leaving the school of Vanucci, were a picture of S. Niccola da Tolentino, crowned by the virgin and S. Agostino, in the church of the Eremitani; and the Cruci- fixion, with the Virgin, Mary Magdalene, and St. John, in the church of S. Domenico, at Citta di Castello. These were entirely in the style of Peru- gino, though with a finer expression in the heads, particularly in that of the Virgin. Vasari asserts that he had previously painted his picture of the Assumption, in the church of the Conventuali, at Perugia; but that is extremely improbable, as it exhibits a perfection which he did not attain until a more advanced age. One of his earhest works, of which the date has been ascertained, is a picture noticed by Lanzi, formerly in the possession of Sig. Annibale Maggiori at FeSno, representing the Holy Family, in which the Virgin is lifting a veil from the infant Jesus, who is sleeping in a cradle. It bears the inscription R. S. V. A. A. XVII. P. Raphael Sanetius Urhinas an. aetatis 17, pinxit. This was probably painted soon after the two pictures above mentioned. The growth of his genius, and his superiority to his instructor, were more visible in his next performance, the Marriage of the Virgin, in the church of S. Francesco, at Citta di Castello. The composition is not very different from a picture of the same subject by Perugino, in one of the chm'ches at Perugia ; but it is designed in a manner so modernized, that it may be regarded as the first fruits of the new style. The Virgin, of celestial beauty, is accompanied by a group of females, in bridal vestments, iij which elegance disputes with magnificence. Amidst this lovely group, the princi- pal figure is distinguished, not by the " foreign aid of ornament," but by her own attractions ; dignity, 2 R 2 beauty, modesty, grace, captivate the eye at the first glance. The band of youths, attendant on St. Joseph, are not less remarkable for the select nobleness of their form and character. In this picture we find nothing of the scantiness of drapery, of the man- nered minuteness and cold precision which charac- terize the works of Perugino. Every visage, every attitude, is animated by the most appropriate ex- pression. It was about this time that Bernardino Pinturic- chio was commissioned by Cardinal Francesco Pic- colomini to decorate the great hbrary at Siena, and finding the enterprise beyond his faculties, had re- course to Rafiaelle, to assist him in so important a work. He had to represent the principal events of the life of ^neas Sylvius Piccolomini, afterwards Pope Pius II. No undertaking of equal importance had hitherto been intrusted to any individual artist, and the art itself had not yet ventured beyond a very limited flight. Raffaelle was at this time a perfect novice in subjects of this nature, and being yet a stranger to the splendqur of a metropolis, must have found great difficulty in executing the designs for a work, which called for a description of the particular customs of each court, or rather of the luxury and splendour of Europe. Notwith- standing the arduousness of such a task, Raffaelle made the sketches and cartoons for the whole of the compartments. These were completed in 1504, and confer great honour on our artist, who had not then completed his twenty-first year ; as no work so ex- tensive and multiform bad as yet been attempted. He had scarcely accomphshed this great undertaking, when the fame acquired by Lionardo da Vinci and Michael Angelo, inspired him with the most ardent desire of visiting Florence. He arrived in that city in 1504, and as Buonaroti had not yet painted his famous cartoon of Pisa, the works of Masaccio and Lionardo da Vinci were the principal objects of his admiration. He formed an intimacy with Fra Bar- tolomeo di S. Marco, whom he instructed in per- spective, and in return profited by the lessons of that artist in colouring. His residence at Florence on his first visit was of short dm-ation, as the death of his parents obliged him to return to Urbino ; and in 1505 we find him engaged at Perugia, in painting the chapel in S. Severo, and the Crucifixion pre- served at the Padri Camaldolensi. By these per- formances may be measured the progress he had made in his first visit to Florence. That he had not materially increased his acquaintance with anatomy is evident, from his not having discovered any par- ticular excellence of design in the body of Christ on the Cross, in the picture just mentioned, in which he might have displayed his knowledge of it with so much propriety. His advancement in the study of the beautiful is still less apparent in these productions, as he had exhibited more admirable specimens of it previous to his going thither. With respect to expression, he could find at Florence no heads more animated or expressive than he had aheady produced. His principal improvement was in colouring, in the arrangement of his groups, and in his acquaintance with fore-shortening. He re- turned to Florence, where he remained untU his de- parture for Rome, in the commencement of 1508. During these four years were" painted the pictures, which, according to Lanzi, form the second style of RaffaeUe. Vasari includes in this epoch the Holy Family, in the Rinuccini Gallery, though it is dated 1516. With more accuracy may be classed among his works of that period, the Virgin with the infant 611 raff] A DICTIONARY OF [RAFF Jesus and St. John, in the tribune of the Florentine Gallery ; and the Entombing of Christ, formerly in the church of S. Francesco, at Perugia, now in the Palazzo Borghese. Vasari styles it Tavola Divi- rdsiima ; the composition does not consist of many figures, but each is occupied in the most appro- priate manner, and the arrangement is admirable. The heads, full of the most impressive piety, may be regarded as the first, since the restoration of the art, in which the expression of extreme sorrow does not diminish their beautj'. In 1508, Raffaelle was invited to Rome by Julius II., to whom he was recommended by Bramante, his uncle, who was architect to that pontiff, to as- sist in the ornaments of the Vatican. His first un- dertaking at Rome was the decoration -of one of the apartments then- called La Segnatura, where he has represented, in the most learned and sublime manner, a Personification of Theology, Philosophy, Poetry, and Jurisprudence. The first compartment he painted represents Theology, in which, in imita- tion of Petrarch, he has adopted the privilege of assembling in the same work, personages essential to his subject, though they lived at different periods. He has introduced the Evangelists, whose writings form the foundation of theology ; St. Ambrose, St. Augustine, St. Gregory, and St. Jerome, the doctors of the church, who continued the tradition ; and the fathers, St. Thomas Aquinas, St. Bonaventura, and other theologians. In the upper part of the picture is the Trinity, surrounded by the blessed ; and on an altar beneath is placed the Eucharist. This has since been denominated the Dispute on the Sacra- ment. In this compartment, his first production at Rome, there still remained somewhat of the minute- ness he had acquired under Perugino. He still continued the gilded glories round the heads of his saints, and other similar ornaments, and the com- position was more formal and restrained than in his future productions. Julius II. was so satisfied with this performance, that he directed all the paintings, which had already been finished in the other apart- ments by Bramantino, Pier della Francesco, and others, to be defaced, that the whole might be deco- rated tiy the hand of Raffaelle. In 1509 he commenced his second picture, on the opposite side of the apartment, representing Phi- losophy, which has been styled the" School of Athens. In this he had taken leave of every vestige of the antique style, and had adopted a grander manner, which from that time he continued to embellish. The scene represents a portico of superb architec- ture, containing four gradations. In the upper part of the composition he has introduced Plato and Aristotle, surrounded by their disciples, expounding their systems ; in another group, Socrates is seen reasoning with Alcibiades ; and below, Pythagoras in the midst of his scholars, one of whom holds a tablet, on which are graved the harmonic conso- nances. In another part of the picture Archimedes is seen instructing his pupils in geometry ; Zoroaster is represented with a globe in his hand ; and on one side Diogenes with a book. In this magnificent work, consisting of fifty-two figures, the immortal RafiaeUe, in representing the school of philosophy, has given to the world a school of painting which has ever been regarded as one of the most sublime productions of the art, for the grandeur of the com- position, the boldness of the invention, and the per- fection of the design. The third compartment represents Jurisprudence : on one side he has introduced Justinian presenting 612 to Trebonianus the code of the civil law, who re- ceives it with an expression of humility and sub- mission which is indescribable ; and on the_ other, Gregory IX. giving the decretals to a consistorial advocate. In the upper part of the picture are per- sonified Prudence, Temperance, and Fortitude. His fourth picture in the apartment represents Poetry, where he has introduced Apollo and the Muses on Mount Parnassus, with the most cele- brated Greek, Latin, and Tuscan poets. Homer is placed between Virgil and Dante, and is the most impressive figure of the group. He seems possessed of a character almost super-human, and appears to speak and prophesy at the same time. This extra- ordinary apartment, with the accompanying orna- ments, executed from the designs of Raffaelle by his disciples Polidoro di Caravaggio and others, was finished in 151 1; the date inscribed on the Parnassus. It may be proper in this place to notice the flagrant partiality of the Florentine writers on art, who have attempted to disparage the transcendent powers of Raffaelle, by insinuating that he was in- debted for the greatness of style which distinguishes these admirable performances, to his having sur- reptitiously obtained a sight of the works of Michael Angelo, in the Sistina; and Vasari asserts, that although he had constantly studied the antique, he had not yet given to his figures that air oi grandewr and majesty which he afterwards displayed. He reports, that Michael Angelo being obliged to fly from Rome and take refuge at Florence, to avoid the displeasure of Julius II., Bramante, who was intrusted with thie keys of the Sistine chapel, as su- perintendent of the works, clandestinely introduced Raffaelle to a sight of it, who, from that time, im- mediately changed his style, and produced his cele- brated frescoes of the prophet Isaiah, in the church of S. Agostino, and the Sibyls, in la Pace. For- tunately for the fame of Raffaelle, it is not difl[icult to prove the falsehood and malignity of these asser- tions, by a plain and simple detail of facts and dates. This has been very satisfactorily, accom- plished by Bellori, in his treatise entitled 8e Maf- faelle ingrandi e migliorS la maniera per aver vedute Vopere di Michel Angiolo ; and Crespi has success- fully answered the calumny in three letters, inserted in the Letters Pittoriehe. It is necessary to observe, that the Life of Michael Angelo was written by two of his own disciples, Vasari and Condivi, after the death of Raffaelle, and previous to that of Buona- roti. Had Raffaelle been living when these attacks were made on the originality of his style, he would not have remained silent. He could easily have demonstrated, that when Michael Angelo fled from the resentment of the Pope, which was in 1506, Raffaelle had not yet been at Rome, and was not in- vited thither until two years afterwards. That from the year 1508, when Michael Angelo had not yet commenced the Sistine chapel, until 1511, at which time it was only partly finished, Raffaelle had evinced a grandeur, which he perhaps never after- wards surpassed, in his great works in the Vatican. He would probably have demanded of Vasari in what consists the grandeur and majesty of style, and, supported by the evidence of the best Greek statues, and by reason itself, he might have in- structed him, that the grand does not consist in a ^gantic and muscular display of the members, or in fierce and daring attitudes given to every figure, but in an elevated choice of the great and beautiful, in the absence of every thing that approaches to meanness and mediocrity, and in a chaste and de- raff] PAINTERS AND ENGRAVERS. [raff corous combination of whatever can ennoble and embellish the subject. These faculties he had be- fore amply discovered in the School of Athens, and in other works in the Vatican, in the impressive dignity of his heads and attitudes, whose beauty may easily be traced to their genuine source, his study of the antique. It would be difficult to pro- duce a more subhme effort of art than his Isaiah, which, as a complete refutation of the calumny of Vasari, was painted before 1511, and soon after the School of Athens. It will not be denied, that the works of Michael Angelo might inspire him with a bolder character in his forms, and that he might occasionally have imitated the athletic daring of his design. But how did he imitate it ? By tempering its fierceness with beauty and majesty. In defence of Raffaelle, it is justly remarked by Lanzi, that whoever wishes to discover what is wanting in the Sibyls of Michael Angelo, let him examine those of Rafiaelle ; and in admiring the Isaiah of RaflTaelle, wiU be found what is deficient in the Prophets of Michael Angelo. In 1512, Buonaroti finished his great work in the Sistine chapel, and Rafiaelle was engaged in the same year in ornamenting the second apartment in the Vatican. In one of the compartments he has represented the History of Heliodorus, who, having been sent by Antiochus to plunder the temple of Jerusalem, is driven from his purpose by a super- natural apparition, sent at the invocation of the high priest Onias, to punish his sacrilege. This is considered one of his most distinguished perform- ances. The surprise and consternation of Heliodo- rus, and the terror of his attendants, are expressed in the most admirable manner. His picture of the Miracle of the Mass at Bolsena, in the same apart- ment, was also executed in the life-time of Julius II. It was supposed that the death of that Pontifi", in 1513, would have interrupted the progress of this important work; but his successor, Leo X., was not less a patron of the art, and was equally sensible of the extraordinary talents of RaflTaelle. By his direc- tion, the ornaments in the Vatican were continued, and, to the two pictures last mentioned, he next added his celebrated work of St. Peter delivered from Prison, in allusion to the imprisonment of Leo X. at Ravenna. In this representation he has given a proof of his ability in conducting the efiect of different lights. The soldiers , placed near the door of the prison are illuminated by moonUght, and partly by a torch held by one of the guards, producing a different effect. From the figure of the angel emanates a splendour that rivals the light of the sun. His fourth picture in the second apart- ment represents S. Leone Magno stopping the pro- gress of AttUa and his army, in their attack on Rome, who, intimidated at the appearance of St. Peter and St. Paul, retire in confusion and dismay.. In the third apartment he executed four frescoes, which entitle him to the crown of epic poetry. In one compartment he has represented the victory gained by Leo IV. over the Saracens, in the port of Ostia, in which he has described, with all the feeling of a poet, the military pomp and parade of the contending warriors, the various weapons of the combatants, the fury of the battle, and the shame and grief of the vanquished and the prisoners. Another represents the burning of the Borgo Vec- chio, miraculously exting^shed by the same pontiff. The horrors of the confiagration are portrayed with all the truth and effect that the art is capable of. The terror of the scene is increased by the'darkness of the midnight hour; the raging flames, infuriated by the violence of the wind, are devouring every thing in their way. The misery and alarm of the citizens is carried to the highest pitch. Some are active in carrying water, and are baffled and dis- persed by the fury.of the wind and smoke ; others seek safety in flight, and are hurrying away in all directions, half naked and dishevelled. Women are supplicating the pontiff; mothers, more alarmed for their offspring than themselves, are solely intent in sheltering them from the danger ; amidst the con- fusion is seen an admirable group, of a young man carrying his aged father on his shoulders, in which Raffaelle appears to have had in mind ^neas saving Anchises from the burning of Troy. The third pic- ture represents the Coronation of Charlemagne, by Leo III., and the fourth, the same pontiff protesting on the Evangelists, before that monarch, his in- . nocence of the charges imputed to him. These important works were finished in 1517, and had occupied him nine years. Having thus decorated the three principal apart- ments, his attention was next turned to the em- beUishment of the loggie of the Vatican, of which the architecture had been begun by Bramante, and was finished by Raffaelle. These were chiefly exe- cuted from his designs by his disciples, Giuho Ro- mano, Giovanni Francesco Penni, Perino del Vaga, Pellegrino da Modena, PoUdoro di Caravaggio, &c. The objects most deserving attention are the thir- teen small ceilings, each containing four subjects of sacred history, the first of which, representing the Creation, was painted by himself, as the model to be followed by his scholars ; and the whole was re- touched and harmonized by Raffaelle, as was his custom. This series of subjects from the Scriptures has been frequently engraved, and is generally de- nominated Rafeelle's Bible. It was about this time that he designed the famous Cartoons for the tapes- try for the Papal chapel, representing the principal subjects of the Evangehsts, and the Acts of the Apostles, which, after being wrought in Flanders, fortunately found their way to this country, where . they have been and will ever be regarded as one of the most exalted monuments of his fame. The subjects of these divine performances, and their ex- traordinary beauty, are so generally known, that a particular description of them here might be deemed superfluous. His immense works in the Vatican did not pre- vent him from engaging in other undertakings, and satisfying the desire of several individuals to possess his works. Among these, his frescoes in the Far- nesina, painted for Agostino Chigi, are the most prominent. The most celebrated picture, repre- senting the so much admired Triumph of Galatea, was painted by himself; and in another apartment were executed by his disciples, from his designs, a series of pictures of the Loves of Cupid and Psyche, their Marriage, and the Assembly of the Gods, which he has treated vidth so much taste and learn- ing, that they may be compared with the best works of antiquity. Of his pictures in oil, the following are the most remarkable. His St. Cecilia, formerly in the church of S. Giovanni in Monte, at Bologna, now in the gallery of the Louvre ; his inimitable picture in the royal collection at Madrid, called Lo Spasimo de Sicilia, in which the subject is treated with a feeling and pathos which are beyond all praise. It represents Christ bearing his Cross ; the action of our Saviour is undescribably affecting and impressive; he embraces vnth his right hand the 613 baff] A DICTIONARY OP [raff cross, under which he is sinking ; his left is stretched out with infinite grandeur and expression, as if in the act of prophesying the destruction 'of Jerusalem. The Virgin Mary, in a supplicating attitude, is in- terceding with the soldiers and populace for pity for her Son, who, exhausted with fatigue and an- guish, has sunk under the weight of the instrument of torture, which he is bearing to the scene of his sacrifice and death. The holy women and St. Johii are endeavouring to console the mother of Christ. Mary Magdalene is solely absorbed with mief for the sufferings of her Divine instructor. The ex- pression in the countenance of the Saviour is such as could only result from the most pathetic imagina- tion, and the most perfect execution ; it exhibits all that divinity which sacred story designates in the person of the Redeemer ; no sorrow was ever more deeply dehneated, the eyes are suiiused with tears, the forehead is stained with blood, yet the divine beauty of the visage is not disturbed, nor its ma- jesty impaired f meekness and resignation are truly characterized, but it is a meekness that does not detract from dignity, and a resignation that has no connexion with despair. A look of celestial com- placency and benevolence, which seem to triumph over pain and sorrow, illumines the whole visage, and affects the beholder with the most irresistible emotions. It has been stated in the Life of Fra Sebastiano del Piombo, that Michael Angelo, desirous of check- ing the great reputation of Haffaelle, had furnished that painter with the designs for his most consider- able works J and that when Rafiaelle was commis- sioned by Cardinal de Medici to paint his famous picture of the Transfiguration, he engaged Sebas- tiano to undertake an altar-piece of the same size for the cathedral of Narbonne, of which he was archbishop, which gave rise to a rivalship that end- ed in a public exhibition of their works. That Se- bastiano del Piombo might enter the lists with a greater prospect of success, Buonaroti composed and designed the subject, which was the Resurrec- tion of Lazarus. Whatever was the extraordinary merit of that celebrated picture, and it is allowed to possess a distinguished claim to our admiration, it was unable to contend with the inimitable produc- tion of Raffaelle. This extraordinary picture is ge- nerally considered his most distinguished work in oil. He has represented the mystery of the Trans- figuration of Christ on Mount Tabor. At the foot of the mountain is assembled a group of the dis- ciples, to whom a youth is brought, who is possess- ed of an evil spirit. He is agitated by the most horrible convulsions, and is with difficulty support- ed by his father, who looks with faith and confi- dence towards the Apostles for the relief of his son, whilst a female figure, of the most beautiful form, is kneeling, and seems to implore the interference of their power in favour of the possessed. The va- ried expression of the Apostles, who appear dubious of their ability to efiect the miracle, is admirable. But whatever is the merit of this part of the picture, it is eclipsed by the beauty and grandeur with which Raffaelle has represented, in the upper part of the mountain, Christ in his Transfiguration, be- tween Moses and Ehas. He appears invested with a robe of celestial light, which dazzles the prophets, and the three well-beloved disciples, who are kneel- ing in a lower part of the mountain. The head and attitude of the Saviour are distinguished by a divine majesty and sublimity, which are incon- ceivable. 614 This immortal production was the last work of Raffaelle. He was attacked by a fever in 1520, and having, as it is supposed, been improperly treated by his physicians, he died in that year, on Good Friday, the 6th of April, which was his birth-day, at the age of 37. His corpse was laid in state in the apartment in wliich he was accustomed to paint, and his last picture of the Transfiguration was ex- posed near the body, previous to its interment in the church of the Rotonda. Never was a spectacle more affecting j never was an artist so universally deplored. The gentleness of his nature had attach- ed to him every neart. Respectful to the memory of Perugino, and grateful for the instruction he had received from him, he exerted all his influence with the Pope, that the works of his master, in one of the ceilings of the Vatican, might be spared, when the other paintings were destroyed, to make way for his embellishments. Just and generous to his contemporaries, though not ignorant of their in- trigues, it was his custom to thank Heaven that he was permitted to live at the same time with Michael Angelo. Gracious and mild to his disciples, whom he loved and instructed as his children ; courteous even to those who were unknown to him, he con- stantly assisted with his counsel all who applied to him for advice and instruction ; and he was not only incapable of refusing them that favour, but of delaying it. The remembrance of such affability and beneficence was strongly excited by his too early death, by which the young artists of his time had to lament that, with Raffaelle, was so. untimely cut off the source of that enlightened intelligence he had expended over the art. Leo X. was not less sensible to his loss, which he regarded as a public disaster to Italy, and to the graphic world. At the request of the Pope, Cardinal Bembo com- posed the following brief but expressive epitaph, to be inscribed on his tomb : Ille hie est Raphael, timuit quo sospite vinci Rerum magna parens, et moriente mori. Though the premature death of Raffaelle was the subject of universal regret, it will be recollected with satisfaction, that, by leaving the world at that par- ticular period, he was spared the affliction of be- holding the calamities that soon after befell Rome, calamities of which the horrors would have made death desirable to him. He did not live to witness the sacrilegious murder of his patron and pontiff, Leo X., the guardian of learning, the protector of the arts, who was treacherously poisoned the year after his death ; nor to see Clement VII. seized by furious banditti, and imprisoned in the castle of St. Angelo ; and escaping from them, after encounter- ing the dangers and degradation of a fugitive, at length constrained to purchase his safety from those who ought to have been the defenders of his dig- nity and his life. He did not survive to see the cruel sacking of Rome, when the nobles were as- sailed and plundered in their palaces, the prelates hurried to the gibbet, the priests torn from their altars, which they in vain embraced for protection, barbarously put to the sword, and their bodies thrown to the dogs. He escaped the grief of seeing that city exposed to pillage and conflagration, which his exalted genius had so much contributed to adorn, and of which his matchless talents had been the admiration and delight. It has already been observed, that Raffaelle pos- sessed the most essential excellences of the art in a more exalted degree than any other painter ; and it mav not be improper, in support of his claim to that kaff] PAINTERS AND ENGRAVERS. [raff distinction, to endeavour to point out his superiority in those faculties which constitute the higher cha- racteristics of painting. His other endowments would not have been suf- ficient to have raised him to so elevated a rank, if he had not possessed, in a transcendent degree, the powers of invention. If it is allowed that the no- blest object of the art is not to accomplish that which merely pleases the eye, but that which satis- fies the mind, and secures the approbation of the intelligent, Rafiaelle must be regarded as the great- est artist with whose works we are acquainted, as he maybe said to have surpassed in this branch every thing he could have seen, either ancient or modern, and as nothing has appeared since that can dispute his title to that pre-eminence. The in- vention and disposition of his pictures point out at the first glance the particular action he was desir- ous of presenting to the mind of the spectator. Hence the scenes in his drama, whether tranquil or tumultuous, pleasing or terrible, gay or melancholy, exhibit nothing incongruous wim the character of the subject. In every picture, like the discourse of an accomphshed speaker, he instructs, afiects, and delights. The first is not diSicult to be eSected by the orator, as he can dwell at will on an illustration of his subject ; whereas the painter, on the contrary, has but a fixed moment to make himself understood, and his great skill consists in presenting to the com- prehension of the spectator, not only that which is doing, but that wmch is about to be done, and, which is more difficult, that which has been done. In this arduous science, the genius of Rafiaelle is distinguishedly triumphant ; it is this that forms the magic of his art, and he has carried it to the highest possible pitch. In composition, so nearly connected with inven- tion, Rafiaelle is entitled to the highest praise ; and it has been observed by Mengs, that he would have gone beyond the limits of humanity, if he had pos- sessed every part of the art in the same degree. In all his compositions, the principal figure presents itself to the beholder at once ; there is never a ne- cessity to search tot it. The difierent groups are reunited by the principal action ; his oppositions, and his conduct of the masses of light and shadow, are not directed by afiectation or caprice, but are regulated by reason and truth. His School of Aniens may be cited as one of the most admirable examples of composition that can be found. Those who have practised the art since Raflfaelle, and have adopted opposite principles in this branch, may have been able to seduce the artificial observer, but they have not been successful in satisfying the ex- pectations of the judicious. Paolo Veronese is splendid and multifarious in his figures and orna- ments ; and Lanfranco, and other eminent machin- ists, have introduced contrasts of the chiaro-scuro more striking and vigorous ; but these afford a poor comj)ensation for the absence of that decorous ur- banity and dignified nobleness which characterize the works of Ra£&elle. In desiffn he considered the art as something more than a simple and precise imitation of his model ; and it was his prevalent maxim, that objects should be represented not as they are, hut as they ought to be. By consulting the works of the ancient sculptors, without abandoning nature, he learned how her beauties were to be selected and studied. He found that the Greeks had not followed her in detail, that they had only availed themselves of what was most essential and most beautiful, and that their greatest j)erfection consisted in the regularity of the propor- tions ; he therefore particulariy attached himself to that part of the art. In the delicacy and purity of his contours, it has been attempted to equ^ him to the sculptors of antiquity ; but this, without injury to his reputation, may be allowed to be strained ; and his admirers will not be unwilling to admit that he is still inferior to them in his ideas of per- fect beauty. Agostino Caracci proposes him as a model for symmetry ; and in this, more than in any other respect, he has approached to the perfection of the antique. His style of design is rather Ro- man than Grecian, as it was principally from the bassi-rUievi that he studied the ancients. From them he formed his habit of expressing strongly the construction of the human frame, the action and ar- ticulation of the bones and muscles ; and he has ex- celled in that respect, without, however, giving generally to his figures that ease and elegance re- markable in the best Grecian statues, and without expressing that flexibility which we discover in the Laocoon, the Apollo Belvidere, and in the Gladia- tor. If he did not reach the ideal beauty of the ancients, it may be attributed to the taste and man- ners of the age in which he lived, and the subjects he was called upon to treat. Having rarely occa- sion to represent figures entirely ideal, he devoted himself to a pure and sensible expression of the passions of the mind. He particularly excelled in the delineation of philosophers, the apostles, and other similar characters ; and his heads of that de- scription are said by Vasari to be something more than human. If he was less successful in his attempts to personify divinity, it will be allowed that, as Mengs expresses it, if the Greeks hovered between earth and heaven, Rafiaelle moved with dignity as a terrestrial. In expression, no less than in the branches just mentioned, Rafiaelle may be said to be unrivalled. There is not an emotion of the mind, nor a passion implanted in the human heart, that he was not ca- pable of expressing with the most characteristical propriety. Nature had endowed him with an ima- gination so faithful and correct, that he was able to give to each figure the precise shade of feehng, whether impassioned or tranquil, that the situation required. Every figure in his pictures exhibits its genuine character, and cannot be mistaken for any other passion. The pensive, the sad, the gay, the furious, all are represented with the same explicit correctness. He not only gave the expression suit- able to each flgin-e, but to the entire subject; and its different episodes are stamped with correspondent consistency. The spirit of Rafiaelle is seen in every group, in eveiy figure, in every member, in every articulation; and is even evident in the disposition of the hair, and in the folding of the drapery. If his figure is speaking, it is seen at once if his mind is calm, or if he is talking with vehemence. One of his most surprising faculties is the variety he has given to the same expression. He offers these va- rieties without having recourse to affected contrasts, and exhibits the most violent passions without vul- garity or grimace. No artist was so well acquaint- ed with the just and precise effect which the emo- tion of the mind produces on the movement of the body. Every thing speaks in silence, and each actor on the scene, as Petrarch expresses it, II cor negli occhi, e nellajfronte ha scritto. In Raffaelle we never discover what is constantly found in the works of other eminent artists, who, when they had to represent a strongly animated 615 raff] A DICTIONARY OF [ragg passion, run into the extremity of phrensy and ex- travagance ; or when called on for the tranquil and sedate, present us with coldness and insipidity. In this classic discrimination others have in vain at- tempted to imitate him; his figures appear to be put in motion by the sentiments of the mind ; those of other artists, with the exception of N. Poussin, Domenichino, and a few others, seem to be the pup- Eets of the theatre. Such is the variety with which e has depicted the passions of the mind, and as expression is considered the most difficult, the most philosophical, and the tnost essential accomphsh- ment of the art, his pretensions to superiority will scarcely be disputed. Such are the attributes which the sublime genius of Raffaelle created and estab- lished in the art, during the short period of his abridged existence; who can venture to ascertain to what point of perfection he might have raised it, if he had been permitted a length of years equal to that of Titian or Michael Angelo ? [The preced- ing account is sutRciently ample for ordinary con- sultation ; perhaps too diiRise for a Dictionary. The name, however, of Raphael has such a charm that every amateur is desirous of knowing all that can be related of a man so wonderful in art. To enable the inquirer to obtain the knowledge of a portion of what has been written respecting him, the follow- ing works are perhaps the best for perusal, though they do not contain a moiety of what might be com- piled, and the subject be still capable of new dis- sertation. Vasari, Vite de' Pittori ; Bellori, JDescrizi- one delle Imagini depinte da Raffaello da Urbino nel Palazzo Vaticano; Duppa's lAfe of Raffaello San- zio ; Quatremte de Quincy, Histoire de la Vie et des Ouvrages de Raphael ; Pungileoni, lElogio Sto- rico di Raffaello Santi da Urbino ; Rehberg, Rafael Sanzio aus Urbino ; Platner smd Bunsen, Beschrei- hung der Stadt Rom, vol. ii. ; and J. D. Passavant, Rafael von Urbino und sein vater Giovanni Sante, whose account of his works, as regards their au- thenticity, must be read with caution. Zani, JEn- dclopedia Metodica delle belle Arti, parte seconda, passim, will afford much information respecting Raphael's life and works. For sound discriminating criticism on his styles at different periods, and his character as a painter generally, the Lectures de- livered by the late Thomas Phillips, professor of painting of the Royal Academy of London, deserve an attentive perusal, especially by students. Eng- land may be proud of possessing seven of his Car- toons, which are at Hampton Court, preserved to the country by Oliver Cromwell, at the dispersion of the collection of Charles I. In the National Gallery there is a cabinet picture of St. Catharine, a portrait of Julius II., one of several, and a small Eicture called The Vision of a Knight, attributed to im, but whether truly or no is not of the slightest importance, as it adds nothing to the artist's re- putation, and does no credit to the judgment of those who selected it for a national institution, as a type of the master. There are many better pic- tures by Raphael in the collections of noblemen and gentlemen in England than those in the National Gallery j among which, three in the Bridgewater collection, one at Panshanger, one at Blenheim, a small picture in the possession of Mr. Farrer, one belonging to Lady Garvagh, and one in Lord Dud- ley's collection, may be cited ; to say nothing of the numerous drawings by him in various collections that would be much more valuable as examples. Different authors have adopted different modes of spelUng the painter's name ; but as he himself 616 placed Raphael on the hem of the Virgin's robe, and inscribed on two pictures Raphaelis SanctiJ Ur- binatis opus, and Raphael Urbinas pingebat, 1517 and 1518, on two others, and as there is a/ae simile of a letter written by him signed Raphaello, the English form, Raphael, is nearer to the name than Raffaello or Raffaelle, and has less of affectation in the utterance. On a medal, supposed to be by him, struck in honour of Lucretia Romana, the name Raphael, in Roman capitals, is in the exergue on the reverse. As the medal is very rare, a descrip- tion of it may not be considered out of place. It is one inch and three-tenths in diameter. On the ob- verse, the head with a veil thrown back, and the words LncEETiA Romana in Roman capitals ; on the reverse, a biga and charioteer in the field, the sign Aries above between the letters L. C, (Lucre- tia Constellatio,) and Raphael in the exergue.] RAFFAELLI, Francesco. This artist was a native of Italy, and flourished about the year 1705. He engraved some plates of historical subjects, which are chiefly executed with the graver. RAFFAELLINO, del Colle. This artist was a native of Citta S. Sepolcro, and flourished about the year 1546. He was first a disciple of Raffaelle, but after the death of that master ne became the scholar of Giulio Romano, whom he assisted in his principal works at Rome, and in the Palazzo del Te, at Mantua. Of his own compositions, the principal are two pictures at Citta di S. Sepolcro, one of which, representing the Resurrection, in the church of S. Rocco, exhibits a grandeur not un- worthy of the great school in which he had been educated. The figure of Christ is dignified and ma- jestic, and the terror of the guards of the sepulchre is admirably expressed. The other is in the church of the Conventual!, and represents the Assumption of the Virgin. It is a graceful and impressive com- position ; and being placed near one of the best pictures of Giorgio Vasari, establishes its merit by its decided superiority. [He was one of the artists employed by Raphael in the decorations of the loggie of the Vatican, and painted one of the small cupolas in the roof with a portion of the history of Moses. In Citta di Castello is an Annunciation by him, a very graceful composition, of which Rosini has given a print (plate 155) ; an Entombment in the Servi is another beautiful picture. A picture of the Virgin attended by St. Sebastian and St. Rocco, was in the church of St. Francis of Cagli, the figures and landscape of which much resemble the manner of Raphael. In one of the chapels of the , Olivet monks at Gubbio there are pictures by hira, in one of which he has introduced a figure of Virtue, that seems to be a sister to Raphael's Sibyls. He assisted Bronzino and Vasari in their decorations and cartoons ; and had many scholars who proved able artists, but few that equalled him in grace and high finish. Justice compels the reversal of the compliment at the end of^the text. What Lanzi says is, " that it loses something of its effect by standing opposite to a fine picture by Vasari, which throws it Itrongly into the shade." Vasari has been very sparing in his notice of this master.] RAFFAELLINO, del Garbo. See Garbo. RAFFAELLINO da Reggio. See Reogio. RAGGI, PiETRO Paolo. According to Tassi, this painter was born at Vienna about the year 1650 ; but his parents removing from thence to Ge- noa when he was young, he received his first edu- cation in the art in that city, though it is not known by whom he was instructed. His picture in RAGO] PAINTERS AND ENGRAVERS. [raim the Nunziata del Guastato, at Genoa, representing S. Bonaventura, is in the style of the Caracci, and is mentioned by Ratti as a production of great merit. After visiting Turin and Savona, he estab- lished himself at Bergamo, where he painted seve- ral pictures for the churches and private collec- tions. In the church of S. Lorenzo is an admired picture of the Annunciation ; and in S. Marta, Mary Magdalene taken up into heaven. He also distinguished himself as a painter of landscapes, which he embellished with figures representing pastoral or bacchanalian subjects, which he painted in the style of Benedetto Castiglione and Giulio Carpioni. He died at Jergamo in 1724. [Zani places his birth in 1637, and his death in 1711.] RAGOT, Francis, a French engraver, born at Bagnolet in 1641. He engraved some plates after Simon Vouet and Charles Le Brun ; but he is chiefly distinguished for his ability in copying the prints engraved by Bolswert, Pontius, and Vorster- mans, after the works of Huberts and Vandyck. He executed about forty of these copies with such ac- curacy and precision, that they have been mistaken for the originals by inexperienced collectors. He is also said to have engraved a few portraits. [Of these copies Nagler has given a list ; they amount to thirty-four.] [RAHART, Florent Delamere, a French art- ist, is incidentally mentioned as a good portrait painter ; he was born in 1630, and died in 1718.] RAIBOLINI, Francesco, sometimes called Francesco Francia. This artist was born at Bologna in 1450. In the early part of his life he followed the business of a goldsmith and medallist ; and Vasari informs us, that some of his coins were equal to those of the celebrated Caradosso of Milan. At what precise period he commenced the study of painting is not known ; but he is said to have re- ceived his instruction in the art from Marco Zoppo, when he had already reached the age of virility, and in a few years made such progress, that he was able to compete with the ablest painters of Ferrara and Modena. It is probable that he continued the pro- fession of a goldsmith for some years after he began the practice of painting, as we find several of his works in the churches at Bologna, inscribed Fran- ciscus Francia Awifex, particularly a picture of the Crucifixion, with the \firgin, S. Gifolamo, and S. Francesco, in the church of the Annunziata, and the altar-piece of the chapel of the noble family of Bentivogli, in S. Giacomo Maggiore, representing the Virgin and Infant, with several saints, which was painted in 1490. His first style resembled that of Pietro Perugino, in the arrangement of his com- positions, the airs of his heads, and the tones of his colouring; and some of his pictures have been ascribed to that master. He afterwards aggrandized his style by studying the works of Andrea Man tegna. Cavazzoni, who has written a treatise on the pic- tures at Bologna, would have us to believe tnat Raffaelle himself had profited by the works of Fran- cia, which enabled him to quit the dry manner he had acquired under Perugino; buirit is scarcely ne- cessary to remark, in answer to this assertion, that the juvenile performances of Raffaelle in S. Severe, at Perugia, already surpassed the best productions of Francesco Francia, as well as those of Pietro Perugino. Vasari reports, that Raffaelle having painted his celebrated picture of St. Cecilia, for the church of S. Giovanni in Monte, at Bologna, ad- dressed it, in I5I8, tothe careofF. Francia, request- ing him to correct any defect he might discover in it, previous to its being fixed in the place for which it was intended ; and attributes the death of Fran- cia in that year to the mortification and chagrin he felt at the sight of a performance so superior to every thing he had seen. Malvasia detects the falsity of this statement, by proving that he lived se- veral years after that period, and, in 1522, painted his most celebrated picture of St. Sebastian, which be- came the model of study to the Caracci and their school. The precise time of his death is not known. [Zani says he died on the 5th of January, 1517, which agrees within a day with the date of the document discovered by J. A. Calvi. According to the old cus- tom of beginning the ecclesiastical and legal year on the 25th of March, this is by the modern mode of reckoning 1518. Malvasia is, therefore, in error. There are two pictures by this master in the Eng- lish National Gallery. Duchesne classes him among the niellists, and ascribes to him a Nativity ? a Crucifixion, a Resurrection of Christ, and a Wo- man with three Men and a Satyr.] , [RAIMBACH, Abraham, a very eminent en- graver, was born at London in 1776. His father was a Swiss by birth, but had come to England at an early period of his life, and never left it. After receiving his education at Archbishop Tennison's Library School, he was apprenticed to J. Hall, the engraver, and the first work of the young appren- tice was the explanatory key to the engraving of Copley's Death of Chatham, and which, with the picture, hangs now in the National Gallery. After the term of his apprenticeship he entered as a stu- dent at the Royal Academy, and took what casual employment he could obtain from the booksellers, and also occupied himself with miniature painting. He found the latter irksome, and abandoned it. The plates he executed for Srairke's and Porster's illus- trated edition of the Arabian Nights made known his ability, and were also profitable in a pecuniary point of view. In 1812 he became David Wilkie's engraver, and the first work of that distinguished painter that he transferred to copper was The Vil- lage Politicians, the next was The Rent Day, and these were followed at intervals by The Cut Finger, The Errand Boy, Blindman's Buff, Distraining for Rent, The Parish Beadle^ and The Spanish Mother and Child. Raimbach, it is said, never employed an assistant, but executed the whole of the plates. His prints, after Wilkie, are considered masterly works, and were boldly engraved to enable the pub- lishers to take numerous impressions, and therefore appear somewhat deficient in artistic freedom and delicacy of execution. They are, however, suited to the subjects, and the characters are faithfully maintained. He died in 1843.] RAIMONDI, Marc Antonio. This eminent engraver was born at Bologna in 1487 or 1488, and is generally known in the art by the name of Marc Antonio. He was instructed in design by Frances- co Raibolini, called Francia, and probably learned engraving from a goldsmith, as his first attempts in that art were the embellishments of the silver orna- ments worn at the time. One of his earliest en- gravings on copper was a plate from a picture by Francia, representing Pyramus and Thisbe, dated in 1502. Vasari reports, that on a visit he made to Venice in search of improvement, he met with the set of thirty-six wooden cuts by Albert Durer, re- presenting the Life and Passion of Christ ;_ and was so much pleased with them, that he copied them with great precision on copper, and having affixed the cipher of Albert Durer to them, the prints were 617 raim] A DICTIONARY OF [raim sold in Italy as the originals. The deception hay- ing reached the ears of Albert, he complained to the senate of the plagiarism, but could only obtain an order that Marc Antonio should not in future put the monogram of Albert Durer on the copies he might afterwards make from his works. It is most probable that Vasari, with his usual inaccuracy, has mistaken the Life of our Saviour for the Life of the Virgin ; as Marc Antonio copied both the sets from the cuts of Albert Durer, to the latter of which he affixed the mark of Albert, and not to the for- mer, as asserted. Marc Antonio soon afterwards quitted Venice and went to Eome, where his talents were not long unnoticed by BafFaelle, who not only employed him in engraving from his designs, but is said to have traced the outlines himself on the plates, that the correctness of the drawing might be more perfectly preserved. The first plate he en- graved from the design of Raffaelle was the Death of Lucretia, which is neatly engraved, but not among his best performances. His next print after that master was the Judgment of Paris, executed in a more bold and spirited style. These were follow- ed by several other plates, which firmly established his reputation ; and Raffaelle was so perfectly satis- fied with the works of this able artist, that he sent several of them as presents to Albert Durer, to whom they were particularly acceptable. During the life of Raflaelle, Giulio Romano, from respect for his master, did not employ the graver of Marc Antonio; but after his death, in 1520, he engaged him to engrave from his designs, and unfortunately for our artist, he was prevailed on to execute the set of indecent subjects for which Aretin composed the verses, which excited the in- dignation of Pope Clement VII. to such a degree, that he ordered Marc Antonio to be arrested and thrown into prison ; and it was with gi-eat difiiculty the intercession of some of the cardinals, and that of Baccio Bandinelli, procured his liberation. On recovering his liberty, he was desirous of expressing his acknowledgments to Bandinelli for the good offices he had rendered him, and for that purpose he eijgraved his celebrated print of the Martyrdom of St. Lawrence, after a picture by that painter. In the execution of this fine plate he exerted all his ability, and on its being shown to the Pope, he not only pardoned his ofience, but took him under his protection. He was now in full possession of the public esteem, and favoured with the patronage of the great, when he was suddenly deprived of these advantages by the dreadful sacking of Rome by the Spaniards in 152?, in which he was plundered of all he had acquired, and obliged to fiy from Rome, and take refuge at Bologna, where he continued oc- casionally to engrave, until the year 1539, the date of his last print of the Battle of the Lapithse, after Giulio Romano. He is said by Malvasia to have been assassinated by a Roman nobleman, for having, contrary to his engagement, engraved a second plate from a design by Raffaelh, representing the Murder of the Innocents. Marc Antonio may be regarded as one of the most extraordinary engravers that has appeared in the art. The purity of his outlines, the beautiful cha- racter and expression of his heads, and the correct drawing of the extremities, establish his merit as a perfect master of design. In the prints of this emi- nent artist, which are extremely numerous, great attention should be paid to the different impressions of the plates, which have been greatly retouched and altered by the different printsellers through 618 whose hands they have passed. The best impres- sions are without the name of any publisher. After the plates were taken from the stock of Tommaso Barlacchi, they came into the possession of Antonio Salamanca ; afterwards they passed through the hands of Antonio Lafreri, from thence to Nicholas van Aelst, and, lastly, became the property of Ros- si, or de Rubeis, at which time they were almost worn out. The most complete catalogue of the prints of this great artist, which has hitherto ap- peared, is that of Baron Heineken, to which we re- fer the reader for more particular information than can be looked for in a work of this nature. The following is as copious a list of his most esteemed prints as our limit will admit of. Several of his plates are without any mark ; on others will be found one of the following ciphers, or the tablet : M. W. M. W. ^. ' PORTRAITS. Aretin, the poet ; inscribed Petrus Aretinus acceri- mics, &c. A Man -wrapped in a cloak, seated near a table, and on the left a pallet with colours. Malvasia calls this the portrait of Raffaelle. Charles V. when young ; a medallion. Pope Clement VII. ; the same. SUBJECTS OP THE OLD AND NEW TESTAMENT. Adam and Eve ; after Raffaelle. This print has been copied by Mr. Strutt, and is placed as the title to the second volume of his Dictionary of Engravers. Adam and Eve driven from Paradise ; after the painting by M. Angela in the Sistiue chapel. Noah sacrificing after leaving the Ark ; after Raffaelle. God appearing to Noah ; after Raffaelle. God appearing to Isaac ; after the same. Joseph and Potiphar's wife ; after the same. David cutting off the Head of Goliah ; after the same. David tailing up the Head of Goliah; after the same; very scarce. The Nativity, or Adoration of the Shepherds ; after Franda. The Murder of the Innocents ; after Raffaelle. He en- graved this subject a second time, and nas added in the second plate, towards the right of the print, a small pointed tree, resembling a yew tree, called in Italian lafelcetta, and in Prench lafougere, or le ehieot. The latter is considered the better print, and it is scarce. The Holy Family. The Virgin is seated, holding the in- fant Jesus on her lap, with St. John iDcfore him, and St. Joseph appearing behind ; after the same. This print is usually called The Virgin with the long thigh. The Virgin seated, with St. Elisabeth and St. John, to whom the infant Christ is giving the benediction. A large pahn tree is seen in the back-ground, on which account the print is known by the appellation of The Virgin of the Palm; after the same. The Virgin seated -near a cradle, presenting the infant Jesus to St. Anne. Behind is an old woman with her arms extended, as if in admiration ; after the same ; called The Virgin of the Cradle. The Virgin seated on a chair, embracing the infant Jesus; after the same. The Virgin holding the Infant, and reading ; after the same. The Holy Family; after the painting hy M. Angela; in the Sistine chapel. The Vir^ and infant Jesus, to whom Tobit, accom- panied by an Angel, is presenting a fish. On the other side is St. Joseph reading in a book ; after Raffaelle. The Virgin in the Clouds, holding the infant Jesus ; after the same. Agostino Caracci, having got posses- sion of this plate, retouched it, and added two beauti- ful heads of cherubim. A set of seventeen plates of the Life of the Virgin ; copied from the wooden cuts by Albert Durer, with the mono- gram of that artist ; and on the last plate the cipher of Marc Antonio. Thirty-six plates of the Life and Passion of our Saviour, copied in imitation of the wooden cuts by Albert Durer, but without the mark of that master. raim] PAINTERS AND ENGRAVERS. [rame Christ seated between two coluians, upon the steps, with the Virgin and Mary Magdalene; after Raf- faelle ; called The Virgin with the Steps. Mary Magdalene at the feet of Christ, in the house of Simon the Pharisee ; after the same. The Last Supper ; after the same ; called La piece des pieds. The taking down from the Cross ; after the same. The dead Christ laid on the Sepulonre, with the Virgin with her arms extended, and in the deepest affliction ; after th» same. The same composition, in which the Virgin appears younger, and has one of her arms nalced, called The Virgin with the naked arm. The dead Christ, with his head on the Isnees of the Vir- gin, with the holy women and two of the disciples, with Nicodemus ; aft:er the same. Jesus Christ, with a glory, between the Virgin and St. John, and below, St. Patd and St. Catherine ; afterr the same. This print is called The Five Saints. The Death of Ananias ; €ft&r the same. Elymas, the Sorcerer, struck blind ; after the same. St. Paul preaching at Athens ; after the same. The three last are the subjects of three of the car- toons. St. Cecilia, with Mary Magdalene, St. Paul, and two other saints ; after the sam,e. The best impressions of this plate have a strong shadow on the neck of St. Cecilia, resembling a necklace, on which account it is called The St. Cecilia with the Necklace. In the infe- rior impressions the shadow is more feeble. The Martyrdom of St. Felicita : after Raffaelle. St. Catherine holding the Palm of Martyrdom; after Francia. St. Catherine and St. Lucia; after the sam£. St. Martha holding the Palm of Martyrdom ; after the The Martyrdom of St. Lawrence ; called by the Italians La graticola di S. Lorenzo ; after Baccio Bandinelli. A set of thirteen plates of Chnst and the Apostles ; after . HISTORICAL AND OTHER SUBJECTS. The four heroes, Curtius, Horatius, Scipio Africanus, and Titus Vespasian; supposed to hare been among his first attempts on copper. The books of the Sibyls put into the tomb of Kuma Pompilius ; after Maffaelle. The Rape of Helen ; eyter the same. ^neas saving his father Anchises from the burning of Troy, preceded by Ascanius ; after the same. Venus appearing to JBneas in the form of a Huntress ; after the saTne. The Death of Dido ; after the same. The Death of Lucretia ; after the same. The Battle of the Sabre; after the same. The same subject was engraved by Agostino Veneziano, called de Musis. SUBJECTS OF THE FABLE. Three of the Angels of the Pamesina ; after Raffaelle ; representing Jupiter caressing Cupid, Cupid and the Graces, and Mercury descending to earth from Olympus. The Judgment of Paris ; after the same. Mars, Venus, and Cupid ; after Montegna. Vulcan, Venus, and Cupid ; after Rajj^aelle. Apollo resting on the shepherd Hyacmth, accompanied by Cupid ; inscribed 1506. Ae. 19. The Triiraiph of Galatea ; after the same. The best im- pressions are without any name, the worst have the names of Van Aelst and Bossi. Mount Parnassus; after the same. Hercules strangling Anteus ; after a design by some at- tributed to RaffaeUe, by others, to M. Angela. The Battle of the Lapithae ; cfter Giulio Romano. l539. Pyramus and Thisbe ; after F. Francia, supposed to be his first engraving on copper. The two Sibyls ; after Raffaelle. Neptune rising from the Sea, to calm the tempest in which .Sneas and his companions were shipwrecked. It is surrounded by a border, in which are nine com- partments, containing subjects taken from the iEneid. The Pest, called H Morbetto; after RaffaeUe. [Notwithstanding the length of this article, the inquirer is recommended to peruse Bartsch, Peintre Graveur, torn, xiv., the whole of which is devoted to an account of this artist and a catalogue raisonne of his works, and those of his two principal scholars, Agostino Veneziano, and Marco da Ravenna. See also note 3, vol. xvi. parte I. of Zani's Enciclopedia MetodicaJ^ RAINIERI, Francesco-[Mabia, called Lo ScHivENOGLiA.] TWs artist was born at Mantua about the year 1680. He was a scholar of Giovanni Canti, and painted similar subjects, representing landscapes and battle-pieces. His pictures are little inferior to those of his instructor ; if they are less vigorously coloured, his figures are usually better drawn. He died in 1758. [RAM, Jan de, a Dutch engraver, who was born about 1680, and was a scholar of Romeyn de Hooghe. He worked for the booksellers, and his prints are nu^ierous in Dutch publications. He is more free, learned, and correct than his instructor. He also engraved in mezzotinto, of which there is a speci- men in a portrait of Christian V., king of Den- mark. The time of his death is not mentioned.] RAMA, Camillo. According to Orlandi, this painter was a native of Brescia, and flourished about the year 1622. He was a disciple of the younger Palma, and painted several altar-pieces and other considerable works for the public edifices of his native city, which prove him to have been an able follower of the style of his instructor. In the refectory of the Carmelites is an admired picture by this master ; and in the churches of S. Gioseffo and S. Francesco there are several of his performances, which are deservedly esteemed. RAMBALDI, Carlo [Antonio.] This painter was born at Bologna in 1680, and was a scholar of Domenico Viani. He painted history with some reputation, and there are several of his pictures in the churches at Bologna, which are not without considerable merit. The most worthy of notice are the Death of St. Joseph, in the church of S. Grego- rio ; the Visitation, in S. Giuseppe ; and his picture of St. Francis Xavier, in S. Lucia. He died in 1717. [RAMBERG, John Henry, an historical and portrait painter, and engraver, was a native of Han- over, born in 1763, and came early to England. He was a scholar of Sir Joshua Reynolds, and made , great progress under his instruction. He painted many subjects for book illustrations, and was one of the artists employed by Boydell op his Shakspeare. He was patronized by the royal family, and painted for the Prince of Wales at Carlton House ; ne was of course a member of the Royal Academy. He visited Italy, Prance, Holland, and Germany, and left proofs of his talents in each. His works, how- ever, seldom appear; among those he painted in England, that of The cross-gartered Malvolio, from ShSispeare's play of Twelfth Night, is, perhaps, the best known. He also engraved a great number of pieces in aquatint and the chalk manner ; and twenty allegorical subjects, entitled Genius, Imagin- ation, and Fancies, in lithowaphy, from the designs of the Princess of Hesse Homberg, the Princess Royal of England, which were printed at Hanover in 1834, to which place he had returned, and pro- bably died there in 1840.] RAMELLI, Padre Felice. According to Or- landi, this artist was born at Asti, in the Piedmon- tese, in 1666, and was a scholar of Padre Danese Rho. He became a celebrated painter of historical subjects and portraits in miniature, and resided the greater part of his life at Rome, where he became an ecclesiastic, and was made a canon of S. Giovanni 619 rame] A DICTIONARY OP [raou Laterano. The king of Sardinia invited him to his court, where he was for some time employed in painting the portraits of the most celebrated paint- ers, many of which he copied from the originals, painted by themselves in the Florentine Gallery. He died in 1740. RAMENGHI, Bartolomeo. See Bagnaca- VALLO. [RAMIREZ, Geronimo, a painter of Seville, and a disciple of Roelas, flourished about the middle of the 1 7th century. In the church of the hospital de la Sangre was a beautiful picture, signed with his name, representing the pope surrounded by cardinals and other personages.] [RAMIREZ, Felipe, probably a relation of Geronimo, flourished at the same period. He paint- ed hunting-pieces, dead game, birds, and various other subjects. He was a correct designer, and un- derstood the figure, as may be seen in his picture of the Martyrdom of St. Stephen. His pictures of still-life are distinguished by their truth and fresh- ness ; and his pictures generally were held in much esteem by amateurs.] RAMIREZ, Josef, a Spanish painter, born at Valencia about the year 1626. He was a scholar of Geronimo de Espinosa, and painted history in the style of his master. Palomino mentions, as his most esteemed performances, his works in the con- vent of San Phelipe Neri, particularly his picture of Nuestra Sennora de la Luz. He died at Valencia in 1686. [According to Bermudez he was born in 1624, and died in 1692. He was a learned ecclesi- astic, and wrote the Life of San Phelipe Neri.] [RAMIREZ, Juan, a Spanish portrait painter, who lived about the middle of the 16th century. A great number of his portraits existed at Seville. Of his other works there are no vestiges, though it is supposed that being employed in the chapel of St. Christopher, and other places of note, he must have been an artist of considerable talent.] RAMSAY, Allan. This artist was the son of Allan Ramsay, the author of the admired pastoral drama of the Gentle Shepherd, and was born at Edinburgh in 1709, [others say, in 1713.] After learning the elements of design he went to Italy, where he was first a scholar of Solimene, and after- wards of Imperiale. He did not, however, long prosecute his studies in historical painting, but de- voted himself entirely to portraits. On his return from Italy he established himself for some time at Edinburgh, but afterwards settled in London, where he met with very flattering success. He was intro- duced by Lord Bute to the Prince of Wales, [after- wards George III.,] whose portrait he twice paint- ed; and on the death of Mr. Shakelton, in 1767, was appointed principal painter to the crown. With- out reaching the highest rank in his profession, he painted portraits with considerable reputation. In a pamphlet [by Bouquet] entitled The present State of the Arts in England, published in 1755, this artist is thus mentioned : " Ramsay is an able painter, who, acknowledging no other guide than nature, brought a rational taste with him from Italy : he showed even in his portraits that just steady spirit which he so agreeably displays in his conversation." He died in 1784. [He painted a great number of full-length portraits of George III. and of Queen Charlotte, sitting in state, in which he was assisted by his pupil PhiUp Reinagle.] RANC, John, a French portrait painter, bom at Montpellier in 1674. He was a scholar of Hyacinth Rigaud, whose style he followed with considerable 620 success. M. D'Argenville relates the following anecdote respecting this artist, which places in a whimsical point of view the mortification which artists practising that branch are too often con- demned to experience, from the ignorance and caprice of pretended judges. Having painted the EOTtrait of a gentleman, in which he had exerted all is art, the friends of the party persisted in de- claring that it was no way like him. Piqued at their obstinate condemnation of his performance, Ranc promised to alter it, and having prevailed on his sitter to co-operate with him in the stratagem, he prepared a similar cloth, and having cut a hole to admit the head, he requested his model to place himself behind the canvass. The critics were sent for to examine the amended portrait, which they persevered in declaring was not yet like him, when the head answered, " You must be mistaken, geiitle- men, 'tis I myself." M. de la Motte has introduced this adventure into his fables. In 1724 he was in- vited to the court of Spain, and was appointed principal painter to the king. He painted the Royal Family, and also the King and Queen of Portugal, and died at Madrid in 1735. RANDA, Antonio, was a native of Bologna, and was first a scholar of Guido, but afterwards studied under Lucio Massari. He became of suf- ficient celebrity to be taken under the protection of the Duke of Modena, who appointed him his painter in the year 1614. His works are chiefly to be seen in the churches at" Bologna and Perrara. In the latter city, in the church of S. Stefano, is a picture by him representing S. Pilippo Neri, and the great altar-piece of the church of S. Libera is by this master, representing the Virgin Mary, with the in- fant Saviour and St. Francis. [He died in 1650.] RANDON, John. By this engraver, who re- sided at Rome about the year 1710, we have several plates of the antique and modern statues, for the collection published by Rossi j with several other subjects, after Passehon, and other masters. [He was living in 1755.] RANSONETTE, Nicholas, a modern French engraver, born at Paris in 1753. He has engraved several fabulous subjects, after Gabriel de St. Aulin, and other masters. We have also the following prints by him : ' The new Palais-Royal at Paris. A View of the new Palace of Justice. The Rival Seducer ; from his own design. The Lover Revenged ;//'om t/ie same. Cupid and Psyche ; after Raffaelle. Italian Amusements ; after Watteau. [Diana of Poitiers ; after L. Penni. Agnes Sorel ; after the same. The Dream of Voltaire ; after St. Aubin. Nostradamus showing Mary de Medicis the throne of the Bourhons. He died in 1810.] RAOUX, John, a French painter, born at Mont- pellier in 1677- He was a scholar of Bon Boulongne, and having obtained the prize at the Academy, was sent to Italy with the king's pension. Although his studies were directed to historical painting, and he was on his return from Italy received into the Academy in that character, he afterwards attached himself principally to fancy subjects and portraits. He is said to have been in England, where he was patronized by Sir Andrew Fontaine. His historical works are his picture of Telemachus in the Island of Calypso, which has been engraved by Beauvarlet, and Venus reposing, of which there is a print by J. Daulle. He died at Paris in 1734. raph] PAINTERS AND ENGRAVERS. [rave RAPHAEL. See Raffaelle. [RAPHON, or RAPHOHN, Johann, a German historical painter, who flourished in the 15th and 16th centuries. It is said that he was a scholar of Albert Durer, and that he died in the same year," 1528, as his master. There are two pictures known by him, both signed with his name, and bearing the dates 1499 and 1508. The latter picture is in the cathedral of Halberstadt ; it consists of a centre and wings, or shutters. In the middle is represented the Crucifixion ; on the interiors of the wings the Annunciation, the Adoration of the Shepherds and Magi, and the Presentation in the Temple ; on the exteriors, figures of Saints. The composition of the central picture is somewhat overcharged ; and the heads are distinguished rather by their energy and individuahty than by the expression of that inward feeling by which they might be supposed to be affected at the moment. Another altar-piece, of a. Crucifixion, with saints oh the wings, said to be by him, is in the library of the university at Gottingen. M. Hausmann of Hanover possesses two wings of a fourth altar-piece ; and, as curiosity is awakened, it is probable that more will be discovered. At pre- sent this seems to be all that is known of him, or his history.] RATHBONE, John. This artist was a native of Cheshire, and was born about the year 1750. Without the help of an instructor he acquired a re- spectable talent as a landscape painter, and his pic- tures were frequently embellished with figures by Ibbeston, Anderson, and other contemporary art- ists. He died in 1807. RATTI, Gio. Agostino. This painter was born at Savona in 1699. He went early in life to Rome, where he frequented the school of Benedetto Luti. He occasionally painted historical subjects, of which the most deserving of notice are his pictures of the life of St. John the Baptist, in the church of S. Giovanni, at Savona, of which the Decollation is much admired. But his principal merit was in painting theatrical decorations and caricatures, in which he discovered great ingenuity and invention, and in that branch nearly equalled the celebrated Ghezzi. He died at Genoa in 1775. R A VENET, Simon Francis, a French engraver, born at Paris in 1706. After practising the art with considerable reputation in his native country, he came to England, and settled in London about the year 1750, and engraved several plates, which justly entitle him to the rank of an eminent artist. He gave both colour and brilliancy to his engravings, and finished them with great precision. He en- graved a variety of historical subjects and portraits, among which are the following : portraits. George I. George II. ; c^ter Mercier. Lord Camden ; after Reynolds. Alexander Pope, Poet. James Thomson, Poet. David Hume, Historian. Mr. Garrick and Miss Bellamy, in Romeo and Juliet ; after B. Wilson. VARIOUS SUBJECTS. The Emblem of Human Life ; after Titian; Crozat col- lection. Venus and Adonis ; after P. Veronese ; the same. The Adoration of the Shepherds ; after D. Feti; the same. Painting and Design ; ajier Guido. The Virgin, with the mfent Jesus sleeping; after the same. Charity; after Carlo Cignani. The Arcadian Shepherds ; aJier N. Poussin. Sophonisba receiving the Nuptial Present; after L. Giordano. The Death of Seneca ; after the same. Tobias's Nuptial Nirfit ; after Le Sueur. Tobit Anointing his Father's Eyes ; after Ag. Caracci. The Lord of the Vineyard; after Hembrandt. The Prodigal Sou ; after Sal. Rosa. Phryne tempting Xenocrates ; after the same. The Eetum of fte Prodigal Son ; after Guercino. Lucretia deploring her Fate ; after Cazali. Gunhilda, Empress of Germany, acqvdtted of a charge of adultery ; after the same. He died in 1774. [Zani and Basan say he was born in 1721, and Rost says in 1707. He was a scholar of Ph. le Bas, but most of his works were executed in England. He was much employed by Boydell, as appears by his publications.] RAVENET, Simon [Francis,] was the son of the preceding artist, born in London about the year 1755, [according to others in 1749,] and was in- structed by his nither in the art of engraving. He afterwards visited Paris, where he studied painting for a short time under Francis Boucher. On leaving that master he went to Italy, and settled at Parma, where he undertook the hardy enterprise of en- graving and publishing plates from all the works of Coreggio, which were in that city. This arduous undertaking occupied him from 1779 till 1785, in which time he engraved the following prints : A set of twelve plates of the Cupola of the Cathedral. A set«f plates of the Dome of S. Giovanni. The Madonna della Scodella. The Madonna della Scala. La Santissima Nonziata. The Madonna Incoronata. Christ bearing his Cross. The Descent fi-om the Cross. The celebrated St. Jerome. The Martyrdom of St. Placido. — [All of them after Cor- reggio.] We have also by him the two following prints : Jupiter and Antiope ; after Rvbens. Theseus lifting the Stone ; after N. Poussin. [He was living in 1813.] RAVENNA, Marco da, an eminent Italian engraver, born at Ravenna about the year 1496. The reputation which Marc Antonio Raimondi ac- quired at Rome, drew many young artists thither, to study under him ; and of the number was Marco da Ravenna, who was his disciple at the same time with Agostino de Musis, called Veneziano. Ra- venna imitated with precision the bolder style of engraving practised by his master, but was not equally successful when he attempted to follow him in his neatest and most finished works. He handled the graver with more freedom than his fel- low student Veneziano, though he was inferior to him in clearness and accuracy. The usual mark of this artist is a cipher, composed of an R. and S. joined together thus, ^ , which has been the oc- casion of several mistakes, not only with respect to his works, but with respect to himself, and has led several authors to suppose that there were two Ra- vennas, the one named Marco, and the other Sil- vestro ; and they have been confirmed in this opinion by the declaration of Vasari, who tells us, that Marco da Ravignano, for so he writes the name, marked his plates with an M. and an R., which in some few instances he did. Those who do not sup- pose there were two Ravennas, have imagined that these two letters were designed for Raffaelle Sanzio, and placed upon the plate to denote that it was taken from a design by that master. This opinion, however, is easily confuted, for the same mark is 621 rave] A DICTIONARY OF [eawl found on the print of the Murder of the Innocents, after Baccio BamdmelK, which, of course, cannot refer to Raifaelle. It should certainly be interpreted Bjivenna, or, as Vasari writes his name, Ravignano, sculpsit. He sometimes marked his plates with an R. without the S., and sometimes with a monogram formed of an M. and an R. thus]\/K, , The follow- ing a!re his principal prints : SACRED SUBJECTS. A set of twelve plates of subjects from the Bible ; after the paintings in the Vatican, from the designs of Raf- faelle. The Murder of the Innocents ; tiftey Baccio BandinelU. The Transfiguration ; after Raffaelle. The Last Supper ; after the same. The same is engraved by M. Antonio. The Holy Family ; after tJie same ; engi-aved also by M. Antonio ; called The Virgin with the long thigh. The Virgin Mary holding the infant Jesus, seated on a pe- destal, with St. Joseph ; a/Ker Polidoro di Can'avaggio. A set of thii'teen plates of Cfhrist and the Apostles ; c^ter Raffaelle. The same were engraved by M. Antonio. St. Michael discomfiting the Evil Spirit ; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Remembrance of Death ; an emblematical subject, in which a figure of Death is represented holding a book, surrounded by several emaciated figures^ after Baccio BandinelU. The same subject, with variations, was engraved by Agostino Veneziano, A Bacchanal subject, represented by children; after Giulio Romano. The Rape of Helen ; after Raffaelle. Venus quitting Juno and Ceres ; after the same. Two plates, the Interview between Scipio and Hannibal, and the Victory of Scipio j after Giulio Romuno. The Triumph of, Galatea ; after Raffaelle. Engraved also by M. Antonio. The Assembly of the Gods ; after the same. Venus on the water, seated on a shell ; after the same. Venus seated under a tree, taking a thorn from her foot, called The Venus with the Rabbit. Polyphemus pursuing Galatea ; after Raffaelle. Galatea seated on a shell, flying from Polyphemus ; after the same. Jupiter and Antiope ; without the name of the painter. The Laocoon ; after the antique statue. To this plate he has afiixed his name nearly at length, mucus bavenas. [To elucidate the questions regarding Marco da Ravenna would require a dissertation' too extensive for this Dictionaiy, nor would it, perhaps, interest the general reader if it were done. The experienced collector does not require it ; he knows that Zani, in his Enciclopedia Metodica, parte prima, vol. xvi., and parte seconda, vol. v., has laboured at it con amore; and that Bartsch, Peintre Graveur, torn, xiv., with his usual critical acumen, has examined all the evidence of Zani, and placed the subject in as clear a light as will ever, probably, be brought to bear upon it. To those works, therefore, the in- quirer should have recourse, to clear up the diffi- culties that will assuredly present themselves to him, if he is a young amateur. His family name was Dente, he should therefore be called Maeco Dente da Ravenna. Of Silvestro, Simone, and Severo da Bavenna nothing need be said here, eis their names and claims, real or supposed, are dis- cussed by the acute writers already referred to.] RAVESTBYN, Hubert van. This artist was bom at Dort in 1647. It is to be resetted that his talents were not employed in subjects more worthy of his uncommon ability. His pictures generally represent the interiors of slaughter-houses, butchers'-shops, and objects even more disgusting. He sometimes represented the insides of peasants' kitchens, and stables, which he treated with a cap- 622 tivating intelligence of the chiaro-scuro, and in which every object is designed and touched with infinite nature and effect. Some of his pictm-es, in point of colour and light and shadow, remind us of 'the admirable production of his fellow citizen, Al- bert Cuyp. [Accprding to Immerzeel he was born in 1640 ; the date of his death is not recorded.] RAVESTEYN, John van, a celebrated portrait painter, born at the Hague about the year 1580, It is not known by whom he was instructed ; but he has not been surpassed in the particular branch of the art which he practised, by any of his country- men, if we except Rembrandt and Vander Heist. Independent of the individual portraits by this painter, which are' found in the private collections in Holland, there are two large pictures by him in the hall of the Company of Archers at the Hague, which establish his reputation as one of the ablest artists of the Dutch school. In one of them he has represented the portraits of the officers and princi- pal members of the society, as large as life. The figures, as well as the heads, are correctly drawn and finely coloured. It is dated in 1616. The other represents an assembly of the magistrates of the Hague seated at a table ; the figures, consisting of twenty-six, are admirably grouped, and the ac- cessories which accompany them are drawn and painted with great spirit and efiect. The heads are full of dignity and expression, and the whole ex- hibits an appearance of truth and nature that have seldom been surpassed. It was painted in 1618. In the town-house is another picture by Ravesteyn, re- presenting the burgomasters in office, in 1636. He must have lived to an advanced age, as he was at the head of the forty-eight artists, who, in 1655, pre- sented a petition to be separated as a society from the company of house painters. [Accoriing to Immerzeel he was born in 1572, and died in 1657.] RAVESTEYN, Arnold van. This artist was the son of John van Ravesteyn, and was born at the Hague in 1615. He was instructed in the art by his father, and became a reputable painter of portraits. Although his merit in that branch did not equal that of his father, he was considered superior to any other portrait painter of his time, and was chosen chief of the Society of Artists at the Hague, in 1661. [He died in 1676.] RAVESTEYN, Nicholas van. This painter was born at Bommel in 1661. He was the son of Henry Ravesteyn, a painter little known, who intended him for one of the learned professions, but his father dying before he had finished his studies, he turned his thoughts to painting, having already been instructed in the rudiments of design. He was first a scholar of William Doudyns, at the Hague, but his genius leading him to portrait paint- ing, he became a disciple of John de Baan, who was at that time in high repute ; on leaving that master he established himself m his native town, where he immediately fell into very extensive practice. The principal persons of the neighbourhood sat to him. In 1694 he was invited to the court of Kiulenberg, to paint the portrait of the Prince of Waldeck. He also occasionally painted historical and emblemati- cal subjects, of which M. Descamps particularly notices four pictures representing the four quarters of the world. He died in 1750. [It was the por- trait of the Princess of Waldeck that he went to Kuilenberg to paint, after her death ; and succeeded in doing that satisfactorily, which no painter could accomplish during her Ufe.] RAWLINS, J. This artist is mentioned by Mr. raym] PAINTERS AND ENGRAVERS. [redi Strutt as an engraver of portraits and frontispieces for books. He flourished about the year 1760. RAYMOND, John, a French engraver, born at Paris about the year 1695. He executed a few plates with the graver, in a bold, clear style, for the Crozat collection. His drawing is tolerably correct, though formal and stiff; among others, we have the following prints by him : The Holy Family ; a circular plate ; after RaffaeHe. The Entombing of Christ ; after Taddeo Zuccwro. The Miracle of the Manna ; after Romanelli. RAZZI, Cavaliere Giovanni Antonio, called II Sodoma. This painter was born at VerceUi, in the Piedmontese, about the year 1479. Accord- ing to Vcisari, he was instructed in design by Gia^ como dalle Fonte, but 'he chiefly formed his prin- ciples by an attentive study of the works of Lionardo da Vinci, whose style is discernible in all his pro- ductions. Among his earliest performances were the pictures he painted in 1502, at Monte Oliveto, representing the nistory of S. Benedetto. He visited Rome in the pontificate of Julius II., and was em- ployed in the Vatican ; but his works, with those of several other artists, were defaced, to make way for the frescoes of Raflfeelle. He was also engaged by Agostino Chigi to ornament the apartments of the Famesina, where he painted in fresco some pictures of the History of Alexander of Macedon, of which the most admired is his Marriage with Roxana. Though inferior to Lionardo in ttie beauty of his heads, and in the elegance and nobleness of his forms, he exhibits much of the breadth of his chiaro-scuro, and nearly equals him in perspective. His best works are those he painted at Siena, after his return from Rome, in which he evinced.the ad- vantage he hai derived from his studies in that capital. His picture of the Adoration of the Magi, in the church of S. Agostino, approaches to the dig- nity and expression of da Vinci. His Flagellation, at the Franciscans, partakes of the grp,ndeur of M. Angelo Buonaroti, and he appears to have imitated the grace and beauty of Raffaelle, in his picture of S. Caterini di Siena, in a chapel in the church of S. Domenico. He died in 1554. [There seems to be an error in the appellation given to this artist of II Sodoma ; Padre della Valle, in Lettere Senesi, has given the epigraph on a pic- ture by Razzi, which runs thus : Ad honorem Vir- ginis MaricB Jo. Antonius . . . Sodona Eques, et Comes Palatimis faciebat 1538. SamelU, in the Guide to Naples, speaking of another picture by him, says. Opera di Gio. Antonio da VerceUi, Cava- liere dello Sprone cPoro, illusire Pittore, che fori nel 1510. Whatever the meaning of Sodona may be, it was easy to fall into a mistaie in transcribing it, and the error, being once committed, it was im- plicitly followed by other writers, who, content with a word of which they knew the meaning, did not trouble themselves to inquire into the propriety of the application.] READ, Catherine. According to Edwards, this lady possessed a considerable reputation as a paint- ress of portraits, both in oil and in crayons. About the year 1770 she went to the East Indies, where she resided a few years. On her return to-England, she continued to exercise her talents with great re- spectability until her death, which happened about the year 1786. There are several mezzotinto prints after her portraits. READ, Richard, an English engraver in mez- zotinto and in the crayon manner, who flourished about the year 1780. Among other prints by him we have the following : Moses saved from the Nile ; after Le Suewr. A Portrait of a Dutch Lady ; after Rembrandt. Mary, Queen of Scots, resigning her crown in favour of her son ; after G. Hamilton. RECCO, Cavaliere Giuseppe. This painter was born at Naples in 1634, and was a scholar of Aniello Falcone. He particularly excelled in paint- ing huntings, dead game, fish, and similar subjects. His pictures are found in the best collections at Naples. He was invited to the court of Madrid, at the time when Luca Giordano flourished there, where his pictures were held in the highest estima- tion. He died at Naples in 1695. [RECHBERGER, Franz, a very eminent de- signer, etcher, and landscape painter, was born at Vienna in 1771 > and was a scholar of P. Brandt at the same time as Martin von Molitor, with whom he afterwards continued to practise. His landscapes are designed after nature ; his etchings are spirited and beautiful, and rank with the choicest of modern times. In general they represent wild, romantic scenery, richly ornamented with trees, or frowning with rocks, in the style of Jacob Ruisdael, or Albert van Everdingen. He also etched a. number of landscapes from paintings, or drawings, by Dietricy. The care of the fine collection of prints formerly belonging to Count Fries was confided to him, and he was also keeper of the prints and drawings of the Archduke Charles at Vienna. His etchings are marked F. R., which has occasioned them to be sometimes erroneously attributed to Frederic Rehberg, a contemporary artist, but in a different department, whose works are historical, and belong rather to the Roman school. Rechberger was hving in 1842. Nagler has specified 76 etchings by him, and several variations.] RECLAM, Frederick. This artist was born at Magdeburg in 1734. After learning the rudiments of design in his native country, he went to Paris, where fie became a pupil of J. B. Pierre. In 1755, he visited Rome, and after a residence of seven years in that capital, during which time he was occupied in designing the most interesting views, he estab- lished nimself at Berlin. He painted landscapes and portraits with considerable success, and died m 1774. We have the following etchings by him : A set of eight Views in Italy. 1755. A Landscape, Morning ; ctfter Moucheron. . The Companion, Evening ; after Dubois. Two Views in the Environs of Paris ; from his own A View near Borne, with a Waterfall; the same. [Nagler increases the number to twenty-nine.] REDEB, Christian, was bom in Saxony in 1656, and, according to Pascoli, visited Rome about the year 1686, the year in which Buda was taken, and acquired considerable reputation by the pictures he painted of the battles between the Christians and Ottomans, which were well composed, and touched with great spirit. He died in 1729. [He was also called LearCder. Nagler says nothing of his birth or death; Zani says he was bom in 1666; but Fuseli says he died in 1729, at the age of 73, which agrees with the dates given in the text. He visited Venice, Hamburg, England, and Holland, and left pictures in each, either battles or landscapes. Fiissli calls him JReuter.'] REDI, ToMMASO. This painter was bom at Florence in 1665, and after receiving some instruc- tion in his native city he went to Rome, where he frequented the Academy established in that city by 623 regg] A DICTIONARY OF [REIT the Grand Duke Cosimo III., which was at that time under the direction of Carlo Maratti and Giro Ferri. His studies at Rome were prosecuted with considerable success, and on his return to Florence he was employed by the Grand Duke in several works for the Palazzo Pitti. He also painted some pictures for the churches, and other public edifices, and is spoken of as an eminent portrait painter. When the Czar Peter visited Florence, he was par- ticularly struck with the works of Redi, and being desirous of establishing an academy for the promo- tion of the fine arts at Moscow, made very liberal proposals to that master to prevail on him to under- take the superintendence of it, but his engagements at Florence prevented his accepting the offer. He has the character of being a correct and elegant de- signer ; and his colouring partakes of the suavity of Carlo Maratti. He died at Florence in 1726. REG6I0, LucA DA. See Ferrari. REGILLO, DA PoRDENONE. See Licinio. REGNARD, Valerian, a French engraver, who flourished at Rome about the year 1630. Among other things, he engraved several of the plates for the collection of prints from the antique statues, &c., in the Giustiniani Gallery. He also engraved some plates after the works of Gio Antonio Lelli, Pome- rancio, Agostino Ciampelli, SfC. [He was a scholar of Ph. Thomassin, and was living at Rome in 1650.] [REGNAULT, Jean Baptiste, an eminent French historical painter, was born at Paris in 1754, and died there in 1809. His pictures are numerous, and consist of historical, poetical, and allegorical subjects, of which Gabet has given a tolerably long list in his Dictionnaire des Artistes de I'Ecole Fran^aise, au XIX" si^cle, but says that it is Confined to those of his principal productions. At his death, in addition to his pictures, he left numerous academical studies, designs, and finished sketches ; many of the latter illustrative of Ovid's Metamorphoses, aijd other poets. He was a Cheva- lier of the order of St. Michael, and of the Legion of Honour ; and a Professor of the schools of paint- ing, sculpture, and architecture ; he was also a mem- ber of the Academy of the Fine Arts.] REGNE, . This artist was a native of France, and flourished about the year 1760. Among other prints he engraved a set of plates of animals, which are neatly executed. REICH, Wendel. According to Professor Christ, this artist was an engraver on wood, and flourished at Lyons about the year 1515, where he published several cuts, marked with a W. and an R. joined together. He does not, however, specify any of them. [He was also a bookseller, and lived at Strasbourg in 1540. Bartsch has described a print bearing his cipher, supposed to be by him, in torn, ix. ofP. G.p. 170.] [REINAGLE, Philip, a landscape, animal, and panoramic painter, was a scholar of Allan Ramsay, the court painter, iDut not feeling much predilection for portraiture, he turned his attention to the study of the brute animal, and suaceeded to admiration. His pictures of hunting subjects, sporting dogs, particularly the spaniel, shaggy ponies, and dead game, were the best of the day. He studied rather the manner of the old Dutch painters than that of his contemporaries, and was an excellent copier of their works; this should not be lost sight of, as there are many small pictures called Paul Potter, • Al. van de Velde, Berchem, Karel du Jardin, &c., painted by Philip Reinagle, now called the elder. He assisted Barker in nis panoramic Views of 624 Rome, the Bay of Naples, Florence, Gibraltar, Algesiras Bay, and Paris. The work by which he is best known, and on which his reputation will stand, is " The Sportsman's Cabinet," or correct de- lineations of the various dogs used in the sports of the field, taken from life, and engraved by John Scott. He was a member of the Royal Academy, and died in 1834.] [REINAGLE, George Philip, son of Richard Ramsay Reinagle, and grandson of Philip Reinagle, was instructed by his father, and gave early proofs of great talent as a painter of marine subjects. After successfully copying pictures by Everdingen, Back- huysen, and William van de Velde, he accompanied the expedition to Navarino, for the, express purpose of giving a representation of the expected action, which he did with great applause. His works are confined to private cabinets, and the masterly style in which they are painted causes regret at the shortness of his career. He died at London in 1833, aged about 33.] REINER, Wenceslaus Laurent. This painter was born at Prague in 1686. His father, Joseph Reiner, was a sculptor of little note, by whom he was instructed in the rudiments of design : but he was more advantaged by the lessons of Peter Bran- del, a painter of some reputation. By the assist- ance of this master, and his studies after nature, he became a painter of some celebrity. His talents were not confined to any particular branch, and he painted with considerable success historical sub- jects, landscapes, and battles. His best productions, however, were landscapes with cattle, and battle- pieces, in which he resembles the works of Peter van Bloemen. His figures and animals are cor- rectly drawn, and touched with great freedom and spirit. His works are chiefly confined to his own country, where they are found in the best collec- tions. He died in 1743. [Brulliot says he died in 1H5, and refers to Dlabacz for a list of his works. The majority of writers say he died in 1743. Bal- kema has committed three mistakes : first, in placing him among the Flemish and Dutch painters ; second, in saying he was born in 1666; and, third, that he died in 1753.] REINSPERGER, J. C, a German painter and engraver, who flourished about the year 1760. He painted portraits, some of which he has engraved in a coarse, heavy style, nearly as large as Ufe, among which are, The Empress Dowager, Elizabetli Christiana. Joseph II., Emperor of Germany. The Archduke Leopold. He also engraved a plate of a man playing on the lute, after Bernardo Strozzi, called Prete Genovese. [His names were Johann Christopher. He was born at Nuremberg in 1711, and died in 1780. He was a scholar of Liotard, and practised for some time at Vienna.] [REITER, REUTER, or REYTER, Bahto- lome, a painter and engraver of Munich, flourished during the first quarter of the 17th century. He was a scholar of Hans Ostendorfer the younger, and, traditionally, one of the best painters of Mu- nich in his time ; it is also said that he had many pupils. As there are no examples of his talent as a painter referred to, and not one name of his pupils recorded, his reputation must rest on a few prints, of which Nagler has given a list. The following are the titles, with the varied signatures : 1. Christ holding the Globe in his right hand. REIT] PAINTERS AND ENGRAVERS. [ebmb 2. Christ seated, crowned with thorns ; Bartlme Reitter — Pictor inv. Monachy 1616. 3. Christ can-ying his Cross, group of half-length figures ; Georg Beham mv. Monacnii. Bart. Beiterfec. 1610. 4. Chnst exposed to the People ; inscribed, JEcce Homo. Bart, Better pictor Jigur. Monachy 1612jfee. 6. The Holy Family, with St. Francis or St. Jerome, half-figures, a copy after Pahna, with both mono- grams. 6. St. Jerome sitting in a Cavern, half-figure, the lion on the left ; signed Bart. Beytter pictor inv. et excud. There is an impression signed Bartholome Renter. 7. A Nymph sitting on the lap of a Satyr, Cupid at their feet ; Bart. Reiterfec. Monachy 1610. 8. Venus holding a Mirror, and seated with Cupid under a Tree, half figures ; Georg Becham inv. B. Reyter fee. 1610. 9. Neptune on a Sea-Horse holding his Trident ; Georg Beham inv. Moruushy, with Reiter's mark, and the date 1610. 10. A Child seated on a Skull and blowing Bubbles ; B. R. F. Monachi Zimmermann, Excud. 11 — 18. Eight prints, a series of naked Children in differ- ent positions ; marked B. B.] REITZ, E. This artist was a native of Sweden, and flourished about the year 1700. He engraved several plates of coins and architectural views for a work entitled Siiecia Antiqua et Sodiema. REM, Matthew, a German engraver, who flour- ished about the year 1635. According to Professor Christ, he engraved the plates for L' Architecture de Furtenhach. He usually marked his prints with the initials of his name. REMBRANDT, van Ryn. The family name of this eminent artist was Gerretz, but he acquired the appellation of Rembrandt van Ryn, from his being the son of a miller, who resided on the banks of the Rhine, between Leyderdorp and Leyden, where he was bom in 1606. His father, who was in easy cir- cumstances, was desirous of giving him a classical education, preparatory to his pursuing one of the learned professions. But' as the genius of his son led him to drawing rather than the study of the classics, he permitted him to follow the bent of his inclination, and placed him as a disciple with Jacob van Zwaanenberg, at Amsterdam, under whom he studied three years, and his progress in that time was the astonishment of his master. He is said to have afterwards passed some time with Peter Last- man and Jacob Pinas. But he was indebted for his best improvement to the vivacity of his genius, and his attentive observation of nature. She was the oracle he most consulted, his father's mill was his atelier, the peasants which frequented it his models, and their manners and conversation the extent of his ideas. He studied the grotesque figure of a Dutch boor, or the rotund contour of the bar-maid of an alehouse, with as much precision as the great artists of Italy have imitated the Apollo of Belvidere, or the Venus of Medicis. These studies were not likely to conduct him to the noble con- ceptions of Raflaelle, but they were still the road to simplicity and nature, which will always lead to certain popularity. Celebrity, sometimes so diffi- cult to acquire, and which is too often refused to merit, unless accompanied by intrigue, made her way to Rembrandt in the obscurity of his mill, and led him to fortune and to fame. He was employed to paint the portraits of the most distinguished per- sonages at Amsterdam; and he at length estab- lished himself in that city, where he was imme- diately loaded with commissions, and his academy was frequented by students of the first respectability. This change of residence and circumstances did not, however, induce him to take leave of the singu- larity of his habits. He sought for recreation among the lowest orders of the people, and in the amuse- ments of the cabaret. Hence his ideas were not more elevated than in the humble retreat from whence they had originated. He still attached him- self to an imitation of the lowest nature, with which it was his pleasure to be surrounded, and the ca- pricious fantasy of his mind supplied the place of the beautiful ideal. In the early part of his life he finished his pictures nearly as highly as those of Gerard Douw^, but with a more spirited pencil, and a richer tone of colouring. Such are his pictures of the Boat of St. Peter, formerly in the collection of M. Kinloopen ; Esther before Ahasuerus ; St. John preaching in the Wilderness, and others. He afterwards adopted a greater breadth of light and shadow, and a more commanding facility of touch. It has been asserted, by Mr. de Piles, that Rem- brandt visited Venice about the year 1635 or 1636 ; hilt he has probably been led into the error, by- having seen some of the prints of that artist with the name of Venice, and the above dates, which was one of the many subterfuges practised by Rem- brandt, to enhance the value of his copper-plates. It is satisfactorily ascertained by the Dutch biogra- phers, that he never left Amsterdam after his first settling in that city in 1630. Nor is it likely that he would have quitted so advantageous an establish- ment, for the purpose of travelling for the improve- ment of his style ; as no painter ever so decidedly set at nought the higher characteristics of the art, which distinguish the Italian school, and of which he only spoke in derision. He had collected a great variety of old armour, sabres, flags, and fantastical vestments, which he ironically exhibited to his dis- ciples as his antiques. He now became the most distinguished and the most employed artist of his country, and was not less celebrated for his extras ordinary productions as a painter, than for his in- genious and interesting engravings, which were also held in the highest admiration. He continued to practise his art with the most flattering encourage- ment and success, imtil the year 1674, when he died at Amsterdam, aged 68. ■ Though Rembrandt acquired a distinguished re- putation by his historical works, he is more deserv- ing of our admiration as a painter of portraits. In the foimer, his compositions are ignoble, though full of nature and expression ; and though he pos- sessed genius and fire, they were never elevated by sentiment or taste. His untutored mind was di-, vested of the resources of history and the fable, and the whimsicality of his habiliments resembled rather the personages of a masquerade, than the characters appropriate to the subject. His figures are remark- able for deformity rather than beauty ; and he seems to have courted vulgarity instead of the graces. But the seductive simplicity of his arrangements, the glowing beauty of his colour, and the magic charm of his light and shadow, make us almost lose sight of the misshapen grossness of his forms, and his outrageous invasion of the propriety of costume. Although Rembrandt cannot claim a high rank as a designer, particularly of the naked, his pretensions as a colourist place lum among the greatest mas- ters of the art ; and in the region of the chiaro-scuro, none will dispute his unrivaUed dominion. He per- fectly understood the different colours which were friendly or inimical to each other ; and in the har- mony of his tones, perhaps with the exception of Titian, no painter has equalled him. His portraits are faithful transcripts of his models, which he ' 625 bemb] A DICTIONARY OP [eemb never attempted to dignify or embellish; but they exhibit so much nature and animation, such truth and force of colouring, that it may be fairly said he has never been surpassed in that particular branch. Rembrandt van Rhyn holds a distinguished place among the most popular engravers of his country. This extraordinary artist, who owed every thing to nature, has estabUshed an epoch in engraving more than any other master. He was the inventor of a process, for which he was indebted entirely to his genius, and which has thrown a charm over his prints that is undescribable. His plates are partly etched, frequently much assisted with the dry point, and occasionally, though rarely, finished with the ^aver. They evince the most extraordinary faci- lity of hand, and display the most consummate in- telUgence of the effect of light and shadow. His point, playful and free, sports, if the expression may be allowed, in picturesque disorder, and, by an en- chanting negligence, produces, as if by accident, the most surprising effects, which are, however, al- ways regulated by his perfect acquaintance with the principles of the chiaro-scuro. As an engraver, as well as a painter, his most admirable productions are his portraits, which are executed with a finesse and expression that are unexampled. For the par- ticular description of the different impressions and variations of his plates, their respective rarity, and consequent value, we cannot do better than refer the collector to the catalogue of his works, first publish- ed by Gersaint, at Paris, and P. Yver, at Amster- dam, which was afterwards considerably enlarged by our countryman, Mr. Daulby, and has since been added to in a publication by Adam Bartsch, printed at Vienna in 1 797. 'Our limits will oblige us to confine our list of his prints to those which are esteemed the most interesting : PORTRAITS OP REMBRANDT, By'hIMSELP. Eembrandt, with the mouth open. 1630. The Busts of Rembrandt and his Wife. 1636. A Bust of Eemhrandt ; highly finished. 1638. His Portrait, with a Crayon in his hand. His Portrait, in a Persian habit. 1654. There are no less than tweflty-seven portraits of Rembrandt by himself. SUBJECTS OF THE OLD TESTAMENT. Adam and Eye in Paradise. 1638. Abraham sending away Hagar. 1637. Abraham and Isaac. 1643, 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. SUBJECTS OF THE NEW TESTAMENT. The Annunciation to the Shepherds. 1634. The Adoration of the Shepherds. There are three differ- ent impressions of this plate. The Circumcision ; fine. The Presentation in the Temple. 1630. The Flight into Egypt. 1658. Another Flight into Egypt ; in the manner of mez- zotinto. The Fhght into Egypt ; in the style of Elsheimer. The Holy Famfly. 1654. The Uttle Tomb. The Tribute Money. Christ driving the Money-changers out of the Temple. Christ and the Samaritan Woman. The same subject, with the city of Samaria in the dis- tance. 1634. The Kesurrectiou of Lazarus. 1642. The great Kesurreotion of Lazarus. In the first impres- sions of this print, which are scarce, the figure running away affrighted is with his head uncovered ; in the se- cond, he wears a cap. 626 Christ healing the Sick ; known by the name of the Hun- dred Guilders prmt. The great Ecce Homo. 1636. The Descent from the Cross. 1633. Christ presented to the People. 1655. The Crucifixion. 1658. The Entombing of Christ. Christ with the Disciples at Emmaus. 1643. The Good Samaritan, In the first impressions of this plate the tail of the horse is white. St. Peter and St. John at the Gate of the Temple. The Baptism of the Eunuch. 1641. The Death of the Virgin. 1639. DEVOUT SUBJECTS. The stoning of Stephen. 1635. St, Jerome sitting near the trunk of a Tree. 1664. St, Jerome kneeling, 1634. St. Jerome writing m a book. 1648. St. Jerome ; an unfinished plate. St. Francis praying. 1657 i very scarce. VARIOUS SUBJECTS. The Hour of Death. Youth surprised by Death. 1639. The Marriage of Jason and Creusa. 1648, The Star of the Kings. A Lion Hunt, Another Lion Hunt. The Blind Bagpiper, The Spanish Gipsy, The Rat-kUler. 1632. The Goldsmith. The Pancake Woman. 1635. The Jewish Synagogue. 1648. The Com-cutter. The Schoolmaster. 1641. The Mountebank. 1635. The Travelling Peasants: The Jew with the high cap. 1639, The Astrologer. The Philosopher.' The Persian. 1632 The Skater. BEGGARS. Several small plates of Beggars, men and women ; some of which are scarce. A group of Beggars at the door of a house. 1648. ACADEMICAL SUBJECTS. A Student drawing from the model, called the Statue of PigmaKon. The Bathers. 1631. The Woman before the Stove. There are four different impressions of this plate. A Woman with her feet in the water. LANDSCAPES. The Bridge of the Burgomaster Six. 1643. A View of Amsterdam. The Sportsman. The three Trees. 1642. A Landscape, called the Milk Fails, The Coach Landscape. View of a Village near the high-road, arched. 1660. Village with a square Tower, arched. 1650. A large Landscape, with a Cottage and Bam. 1641. The companion, a Village is seen in the distance. 1641. An arched Landscape, with Cattle. An arched Landscape, with an Obelisk. Rembrandt's Father's Mill. 1641. The Goldweigher's Field. 1651. A Landscape, with a Cow drinking. PORTRAITS OF MEN. An old Man with a large beard. A Man with a Crucifix and a chain. 1641. J. Antonides Vander Linden, the Professor of Physic. Janus Silvius, Minister of Amsterdam. A young Man meditating. 1637. Manasseh Ben Israel. 1636. Doctor Faustus. Render Hansloo, Minister of the Anabaptists'. 1641. Clement de Jonge, PrintseUer. 1651. Abraham France. The old Haaring. The young Haaring. 1665. remb] PAINTERS AND ENGRAVERS. [rene John Lutma, Goldsmith. 1656. JohnAsselyn, Painter. Ephraim Bonus, a Jewish Physician. Wtenbogardus ; oval. 1635. John Cornelius Sylvius. The Banker, or Goldwelgher. 1639. The little Coppenol, the Writing-master. The great Coppenol. There are impressions of this plate wim the back-ground white, or uniinished, which are very scarce. The Advocate Tolling. The Burgomaster Six. 1647. FANCY HEADS OP MEN. Three Oriental Heads, inscribed Bembrandt Venetiis. 1635. An old Man with a large beard. An old Man bald-headed. 1630. A young Man, half-length ; in profile. Bust of an old Man, with a square beard and a velvet cap. 1637. The Turkish Slave. The Philosopher, with the hour-glass. PORTRAITS OF WOMEN. The great Jewish Bride. The little Jewish Bride. 1638. Two Portraits of Old Women. A young Woman reading. 1634. An old Woman with a book. 1634. An old Woman in an Oriental dress. 1631, Rembrandt's Mother. 1631. Rembrandt's Wife. An old Woman sleeping. An old Woman with spectacles. A variety of studies and sketches, some of which are scarce, and executed in a charming style. [The most authentic account of Rembrandt and his works will be found in Mr. C. J. Nieuwenhuys's " Re- view of the Lives and Works of the most eminent Painters ;" in Smith's " Catalogue raisonne," vol. vii. and Supplement; and in Bartsch's and Claussin's Ca- talogues of his Etchings. The first writer has satis- factorily shown that Rembrandt died in 1665 ; and has related many interesting particulars of his life unknown to former biographers. In Smith's cata- logue will be found descriptions of about 640 pic- tures by Rembrandt, with an account of the public galleries and private cabinets in which they were lo- cated at the time of the publication of the book; together with a copious list of his drawings and etchings. Mr. Nieuwenhuys has remarked, "Al- though some have pretended that he ought to have studied the antique, it is not less tme that he was by no means deficient on that point ; for it is known that he purchased, at a high price, casts from antique marbles, paintings, drawings, and engravings, by the most excellent Italian masters, to assist him in his studies, and which are mentioned in the inventory of his goods when seized for debt." The following extracts from that inventory estabUshes the fact : A Head, by Raphael Urbino. The Virgin Mary, by tlie Same. A book containing prints ; after Raphael. Another containing prints ; after the same. Another, with valuable prints ; ditto. Ajnother, full of the works of M. A. Bmmaroti. Another, with .;&» impresstOTis, after Raphael Drbitw. A large jjicture of the Samaritan Woman, by Giorgione. Two copies of pictures; after A. Caracei. The valuable book oiAnarea Mantegna. A very large book, with aimoat all the printed impres- sions from Titian. Ditto, with models of Raphael, A. Caracei, and Giulio Bonaaone. A book full of Drawings of all the Roman Edifices, and Views by the most celebrated masters. Ditto, of Engravings ; after Varnni, Baroccio, and others. Three books fiiU of prints, by Tempeata. A book full of prints, by Annibal, Agoatino, and Lodo- vico Caracei ; Chiido, and Spagno&tto. ^ ^^•?? V *■«"""«'* fi''^ <^'« antique, by Rembrandt. A Child, by M. A. Buonaroti (probably a model). And a vanety of Casts &om the antique. After this display it cannot be said that Rem- brandt did not study the ancient masters, nor " that he set at nought the higher characteristics of the art which distinguish the Italian school, and spoke of them only in derision." Whatever his practice, he certainly knew their value, and availed himself of their beauties in his compositions, though disguised in his forms. There are eight pictures by him in the National Gallery ; and the country is very rich in his works.] REMSHARD, Charles. According to Profess- or Christ, this engraver resided at Augsbourg in 1700, when he pubhshed his dictionary of mono- grams. He marked his plates with the initials C. R. [According to Zani, he was born in 1678, and died in 1755. His mark appears on some etch- ings of architecture after Paul Decker. Nagler mentions several others by him, some of which are copies from previous engravings.] RENANTO, J. This artist is mentioned by Mr. Strutt as the engraver of a wooden cut representing the Wise Men's Offering. It is very indifferently executed. RENARD, J., a French engraver, who resided at Paris about the year 1710. He executed part of the plates for the collection of views of the palace and park at Versailles. RENARD, Simon de St. Andre, a French painter and engraver, born at Paris in 1 6 14. He was a scholar of Louis Bobrun, and painted por- traits with some success. We have several etchings by this artist, among which are the following : A set of forty-six plates of the Sculpture and the Paint- ings by C. Le Brun; in the gallery of Apollo in the Louvre. The Crucifixion ; after the same. An Allegorical Subject of Peace ; after the same. The infant Jfesus holding the Cross ; fi'om his own design. Louis XIV. conducted by Fame to the car of Victory ; after the same. [He died at Paris in 1677- Dumesnil doubts whe- ther he engraved the 46 plates after C. Le Brun, as they were not published till 1695, just eighteen years after his death. He notices but one as au- thentic, " the infant Jesus holding the Cross ; " the rest he supposes by an engraver of the same name, probably his son.] [RENESSE, C A , a very clever designer and etcher, of whose history nothing is known, ex- cept what may be gathered from his prints. These bear so strong a resemblance to the etchings of Rembrandt, that they may be mistaken for the works of that master, and Bartsch has admitted one in his Catalogue (torn. ii. p. 104, N». ,18). The prints by Renesse show that he flourished between the years 1649 and I66I ; the probability is, that he lived in Holland, though his name may belong to France, or Flanders. Nagler describes six etch- ings by him, of which the titles are given below ; but BruUiot says there are eleven known, and that only one bears his monogi-am merely, (C A. S. in a cipher,) and this he supposes is the artist's por- trait, as it represents a half-length figure of a man, full face, wearing a baret, seated at a table and hold- ing the graving instrument in his left hand. The other prints have, most of them, the monogram ac- companied by enesse. Dutch writers mention a J. Renesse, and an A. C. Benesse, who painted land- scapes and sea-pieces ; they are probably identical with the engraver who used the cipher C. A. R. 627 RENi] A DICTIONARY OF [rem interlaced. The following are the subjects pf the prints described by Nagler : A half-length figure of a Man seated at a table, with the monogram. A Clergyman seated at a table, with books, &o., signed Renesse. A half-length figure of a young Man. Full-face Portrait of a young Man, with long hair escap- ing from under his cap ; signed C. A. Renesse, 1651. Christ bearing his Cross. A Village Fair, with Mountebanks and a crowd of People.] RENI, GuiDo. This admired painter was Ijom at Bologna in 1575. He was the son of a professor of music, and had himself made some progress in the study of that science, when he turned his thoughts to painting, as less exposed to the varia- tions of fashion, and the caprices of taste. He be- came a scholar of Denis Calvart, with whom his progress was such, that in a few years his instruct- or, after slightly retouching his pictures, disposed of them as his own. He continued in the school of Calvart until he had reached his twentieth year, when the great reputation of the Caracci induced him to enter their academy, and he was for some time the favourite disciple of Lodovico. He had al- ready given proof of uncommon ability in some ju- venile performances in the Palazzo Bonfigliuoli, when some of the pictures of Michael Angelo Cara- vageio found their way to Bologna. The novelty of the style, and the vigorous opposition of his light and shadow, both astonished and pleased. At Bo- logna, as at Rome, they excited the greatest admira- tion ; and Guido was for some time induced to adopt the singularity of his principles. The applause be- stowed on the works of Caravaggio was extremely mortifying to the Caracci. Lodovico, familiarized with tlie graces of Coreggio, could not witness with- out disgust the praises lavished on productions di- vested of dignity or grandeur, and whose attractions were chiefly confined to a striking, though unna- tural, contrast of the chiaro-scuro. In a conference held on the subject, Annibale Caracci proposed, as the means of putting an end to the popularity of the new style, the adopting one entirely in oppo- sition to it. " To the crudeness and violence of his tones," said Annibale, " I would oppose tenderness and suavity. Instead of darkness and obscurity, I would represent my figures in the open day. Far from avoiding the diflSculties of the art, under the disguise of powerful shadows, I would court them, by displaying every part in the clearest light. For the vulgar nature which Caravaggio is content to imitate, I would substitute the most select forms and the most beautiful ideal." Guido was present at this discourse, and the principles it inculcated made a more lasting impression on his mind than was perhaps intended by the speaker, and led him eventually to a path which conducted him to an immortal celebrity. It was not long before he car- ried these principles into practice ; but whether from jealousy, or the backwardness frequently shown to acknowledge excellence which has not received the sanction of time, he had no sooner exhibited some pictures painted from the principles furnished him by Annibme, than he had to encounter the most violent animosity from' his fellow disciples, and even from the Caracci themselves. They upbraided him with his insolence, in attempting to establish a new system, and aspiring to singularity ; and even Lo- dovico, who had hitherto treated him with the most tender affection, spoke of his new productions with harshness and severity, and at length dismissed him 628 from his academy. The unkindness of Lodovico afflicted him severely; but finding himself thus freed from his obligations to that master, by the m- justice of such a proceeding, he had the less difli- culty in offering himself in the character of a com- petitor. ... There are several pictures by Lodovico in the cloister of S. Michele in Bosco, at Bologna, and they are regarded as the finest of his works. For the same church, Guido painted a picture of S. Be- nedetto in the Desert, to whom a nuynber of persons are offering presents. The composition consists of a variety of figures of every age. This production excited universal admiration ; the public, astonished at the beauty of the performance, declared Lodovico had found a rival in his scholar ; and that painter is said to have had the liberality of adding his ap- plause to that of the popular opinion. Guido had not seen Rome, but his works were not unknown in that capital, and they were highly esteemed. He was invited thither by Giuseppino Cesari, with the intention of producing a rivalship between Guido and Caravaggio. Another induce- ment was to visit Annibale Caracci, who was then employed on the Farnesian Gallery, for ^hose great talents he always had the highest respeict, and whose unkindness he had forgotten. Albano, his friend and fellow student, accompanied him on his journey. His first production at Rome was the Martyrdom of St. CeciUa, for the church dedicated to that saint. Such was the- infatuation then pre- valent at Rome, in favour of the works of Cara- vaggio, that when he obtained the commission from the Cardinal Borghese, to paint a picture of the Crucifixion of St. Peter, he was under the necessity of submitting to the predominant taste, and was obliged to agree to paint it in the style of that mas- ter. Without departing from his engagement, he evinced his superiority over the model he conde- scended to imitate, by exhibiting in the design and composition of that celebrated picture, a grandeur and dignity to which Caravaggio was totally a stranger. The flattering encouragement he met with at Rome occasioned him many enemies, the most furious of which was Caravaggio, but the most dangerous was Annibale, as his invectives, repeated and remembered, were calculated to injure with pos- terity talents to which he was not disposed to do justice. Even Albano became an enemy of Guido, his friend, when he found that, in the public opinion, that friend was his superior. He was chosen by Paul V. to decorate the private chapel of the pa- lace of Monte Cavallo ; and the reputation he ac- quired on that occasion was a new triumph over his adversaries. Being disgusted with the treasurer of the Pope, for some difficulty he had experienced in the payment of his appointments, he left Rome, and returned to Bologna, where he painted his fa- mous picture of the Murder of the Innocents, for the church of S. Domenico ; and the Repentance of St. Peter, one of his most esteemed works, for the Palazzo Sampieri. These distingfuished perfoiTO- ances augmented his reputation, and the regret of Paul V. at being deprived of his talents. He em- ployed his legate at Bologna to prevail on him to return to Rome, in which nis efforts were not inef- fectual. On his arrival, he was received with fa- vour and distinction, and was immediately employed by the Pope in ornamenting his chapel in St. Ma- ria Maggiore. His most celebrated works in the palaces at Rome, are his fresco of the Aurora, in the Palazzo Rospigliosi, which has been admirably RENl] PAINTERS AND ENGRAVERS. [beni engraved by Raphael Morghen ; his Fortune, in the gallery of the Campidogh ; the Rape of Helen, in the Spada palace ; and his Magdalene, in the Bar- berim collection. After finishing his works in S. Maria Maggiore, he returned to Bologna, where he continued the exercise of his extraordinary abiUties, and received so many commissions from different parts of Italy, that he was under the necessity of refusing many of them. It was at this time that he painted his admired picture of the Assumption, for the church of S. Ambrogio, at Genoa, regarded as one of his happiest productions ; the Purification, for the cathedral at Modena; and his famous St. Michael, for the Cappuccini, at Rome. On send- ing the picture to the place for which it was des- tined, he accompanied it with a letter to Sis. Mas- sano, maestro di Casa, to Urban VIII., in which he expresses himself in the following manner : " I wish I had had the wings of aij 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; but not being able to mount so nigh, it was in vain for me to search for his re- semblance here below; so that I was forced to make an introspection into my own mind, and into that idea of beauty which I have formed in my own imagination." The exalted faculties of this great artist were de- graded by his fatal passion for gaming ; and such was the extent of his infatuation, that, though his gains were considerable, he was reduced, by his' in- dulgence of it, to a state of continual indigence ; and towards the latter part of his hfe, to raise funds, of which he was constantly in need, he sent into the world works executed with such negligence and haste, as to be totally unworthy of the character he had established. His distresses at length brought on a fever, of which he died at Bologna in 1642. Guido Reni is regarded as the most distinguished disciple of the Caracci, with the exception of Dome- nichino. The Italians report of him, that grace and beauty dwelled upon his pencil, to animate his figures. An exquisite touch, a singular facihty of execution, great suavity of colour, a general accord, the sweete^ harmony, are the distinguishing cha- racteristics of the style of Guido. His design is generally correct ; and when he does not entirely satisfy the rigid expectations of the anatomist, he still captivates by the grace and elegance of his con- tour. If his figures of men occasionally want vi- gour and strength, those of his women always en- chant us by the softness and dehcacy of their forms. The airs of his heads are peculiarly impressive, particularly those that are looking upwards ; and he appears to have taken this fine expression from the Niobe of the antijjue. His Madonnas and Magda- lenes are distinguished by a noble simplicity, which may be said to be peculiar to himj, and the correct folding of his drapery does not interfere with the bland graces of their forms. He possessed an ex- traordmary faculty of being able to express grief, sadness, or terror, without detriment to the beauty of his heads. Guido appears to have been fond of amusing him^ self with the point, as we have a considerahle num- ber of charming etchings by his hand. They are executed with great freedom and boldness, in a very masterly style. They exhibit the same beautiful expression in the heads, and correctness in the de- sign of the extremities, which we admire in his pictures. Simone ' Cantarini, called II Pesarese, imitated the etchings of Guido with such precision, as sometimes to mislead the unwary ; but the expe- rienced collector will, without much difficulty, dis- cover their deficiency in that coiTectness and taste which distinguish the etchings of Guido. He some- times marked his plates with the initials G. R. and sometimes with the cipher Q^. The following are his principal plates : PLATES FROM HIS OWN DESIGNS. The Bust of Pope Paul V., inscribed Paulus V. Pont. opt. max. The Holy Famfly, in. which the Virgin is seated, with her face towards the infant Christ. The Virgin, with the infant Jesus sleepiiM on her breast. He has engraved this subject in three different manners. The Virgin embracing the infant Christ, and holding a book in her hand. The Virgin, and infant Jesus giving his hand to St. John. The Holy Family^, with two Angels scattering flowers. He engraved this subject four times, with variations. St. Christopher carrying the infant Jesus on his shoulders. St. Jerome praying in a Cave, with a book and a cru- cifix. The Virgin seated in the Clouds, with St. George, St. Francis, St. Lawrence, and others. PLATES AFTER VARIOUS MASTERS. A Glory of Angels ; after Luca Camhiaso, The Entombing of Christ; after Parmigiano. The Holy Familjr, with St. Clara ; after A. Caracci, The Virgin suckling the infant Jesus ; after the same. The Charity o/ St. Koch ; after the same. 1610. [Bartsch describes sixty etchings by Guido, but does not include the Virgin seated in the Clouds. There are many beautiful pictures by Guido in England, in private collections ; two belonging to the Earl of Ellesmere are superlatively so. One, representing an infant Christ sleeping on the Cross, purchased from the Orleans' Gallery, is a perfect gem ; the other, the Immaculate Conception, repre- senting the Virgin star-crowned in glory, borne up to the heavenly presence by cherubs, and attended by adoring seraphs, abounds with beauty, grace,.and sanctity ; it is of the loveliest order of visible poetry ; — ^it is the perfection of the ideal in paints ing. In the National G^allery there are several at- tributed to his pencil. Venus attired by the Graces, a. subject well known by Strange's engraving, and Per- seus delivering Andromeda, of which there is a du- plicate at Devonshire House, were presented by Wil- liam IV. A half-length Magdalene ; two heads, called the Infant Chnst and St. John; Lot and his Daughters leaving Sodom ; and Susanna as- saulted by the Elders ; were obtained by purchase. The Coronation of the Virgjin, a small picture i)n copper, crowded with figures, is a bequest by the late Mr. WeUs, of Redleaf. Unfortunately the greater part cannot be adduced as types of the mas-r ter. As examples, four at least might have been spared. The Lot and his Daughters, and the As- sault on Susanna, are in the style of Caravaggio, by which Guido had been seduced, and have none of the suavity by which his own manner is distin- guished. They are not only bad examples of the master's genuine style of painting, but they are ob- jectionable subjects to expose to public gaze in a gallery frequented by modest females. An old man quitting Sodom with his two robust daughters to commit incest at Zoar, and two hoary lechers tempting a naked female to fornication and adultery, are not matters that can be explained to inquiring simplicity, without raising a burning blush and caus- ing confusion. The hands of the sisters must have hM laborious employment ; the buff-skinned body 629 HENO] A DICTIONARY OF [eeve of Susanna had need of the bath. It is misleading ignorance to say, that the picture called the Infant Christ embracing St. John is by Guido. Of the last acquisition, the authenticity is questionable; but for this the trustees are not answerable. It was obtained by Mr. Wells of Sir Thomas Law- rence ; and the latter's knowledge of the genuine- ness of pictures by the old masters was too frequent- ly at fault to be relied on ; it is, however, a pretty picture.] [RENOU, Antoine, a French painter, poet, and actor, was born at Paris in 1731, and died in 1806. He was a scholar of Pierre and Vien, and passed some time at the court of Stanislaus, king of Po- land, as painter to that prince; and at the same time exercised his talents as an actor and writer of verses. On his return to Paris he was admitted a member of the Academy of Painting, and was em- ployed to paint part of the ceiling of the Apollo Gallery in the Louvre. He also painted a picture of Christ among the doctors ; Agrippina with the ashes of Germanicus ; an Annunciation for the church of St. Germaine-en-Laye, and the ceiling of the Hotel des Monnaies at Paris. He was the au- thor of a tragedy on the subject of Tereus and Phi- lomela, and translated Dufresnoy's poem on Paint- ing out of the Latin Cnto French.] RENOU, Louisa. This lady was born at Paris in 1754. We have by her a few plates engraved after the modern French painters ; among wmch is, Alexander and his Physician ; after Colin de Vermont. RENTER, Bakt. This artist is mentioned by Mr. Strutt as the engraver of a spirited and correct etching, representing Christ shown to the Jews by PilatCi It is a small plate, lengthways, inscribed Bartt. Sinter pictor Jiffur. Monachii. 1612. [See Bartolome Reiter.] RBSANI, Arcangeio, was born at Rome in 1670, and was a scholar of Gio. Batista Boncuore. He chiefly excelled in painting animals and hunt- ings. His works were highly esteemed at Siena, Bologna, and Venice. His portrait, with dead game in the back-gTound, is in the Florentine Gal- lery. [He died about 1740.] RESCHI, Pandolfo. This painter was bom at Dantzic in 1643. He went to Italy when he was young, and became one of the ablest scholars of Giacomo Borgognone. He painted battle-pieces with considerable reputation, and imitated with suc- cess the landscapes of Salvator Rosa. He also ex- celled in painting perspective and architectural views, of which there are several in the collections at Florence. He died in 1699. RESTOUT, John, a French jjainter, bom at Rouen in 1692. He studied at Paris, under Jouve- net, who was his uncle, and followed with con- siderable success the style of that master. If he was unequal to his instructor, he was at least the painter of his time who approached nearest to him in merit. He was a member of the Academy at Paris, and painted for his picture of reception Arethusa flying into the arms of Diana to escape from the pursuit of Alpheus. His principal works at Paris are the Death of Ananias, and the Pool of Bethesda, in the church of St. Martin des Champs, and the ceiling of the library of St. Genevieve. He died at Paris in 1768. [RETZSCH, Feiedkrich August Moritz, whose illustrations of the works of Goethe, Schiller, and Shakspeare are so well known, was bom at 13res- den in 1779, where his ancestors, originally of Hun- gaiy, had taken refuge to escape the persecution 630 that raged in the latter kingdom against the Pro- testants. It was not till he was about twenty years of age that he applied himself seriously to the study of painting ; for though he had previously some skill as a designer, he disliked all restraint, and would have preferred following the bent of his ge- nius as a hunter in woods, and as a student of na- ture in solitude. He was, however, persuaded to enter the academy at Dresden, in 1798, and after submitting awhile to the irksome drudgery of copying, to acquire the mechanical part of painting, he began to exhibit his talent and genius as an original and poetic artist. The works of his ilkistrious country- men, Schiller and Goethe, acted on his mind like inspiration, and with a kindred spirit he embodied their wild and wonderful descriptions in form and substance ; to these he added illustrations of such parts of Shakspeare's dramas as were consonant with the feelings which the others had inspired, or brought into action. As it is uncertain whether he is still confined in body to this sublunary planet, it must be left to others, better informed, to give a fuller account hereafter of his life ; it may, however, be concluded that his artistic career is terminated, and it would be a defect in this Dictionary to omit a name already so renowned, and which will accom- pany to posterity those of the three super-eminent geniuses whose thoughts he delighted to invest with form. The principal engraved works of Retzsch are Sketches illustrative of Goethe's Faust. Illustrations of Schiller's Fight with the Dragon — Frido- lin, or Walk to the Forge — Song of the Bell — Pegasus in the Yoke. Ditto to Biirger's Ballads. Outlines fflustrative of Shakspeare's Macbeth — Hamlet — Eomeo and Juliet — Lear — Tempest — Othello — Merry Wives. Various Fancies and Truths. Faust and Margaret. The Goblet, The Chess-players, &c. REVBRDINUS, C, an ItaUan engraver, who flourished about the year 1570. He was probably a disciple of jEneas Vico, as he has imitated his style of engi'aving with great exactness. His figures are, however, very indifferently drawn, and his plates have little to recommend them, except their neatness. According to Florent le Comte, he engraved several obscene subjects, which have pro- bably been destroyed. He sometimes marked his plates with the monogram ^^ . Among others, we have the following prints by him, apparently from his own designs : Moses striking the Bock. The Wise Men's Offering. A small Frieze, representing a Bacchanalian subject; markedwith his name. 1564. Venus coming to Vulcan for the arms of JEneas ; mark- ed also with his name, and dated 1602. [Zani calls him Cesare Reverdino, and says that he operated from 1531 to 1554; Bartsch says that mo- dem writers pretend that his name was Gaspar, and that he engraved in wood ; these notices, he says, are partly false and partly without authority. Zani emphatically denies that he ever engraved on wood. All that concerns this artist, says Bartsch, is covered with a species of fog, or obscurity ; several pieces are attributed to him of which it would be difficult to prove him to be the engraver. He knew of only one of his prints with a date, that of 1531. Those that are marked with his name in full, and are un- doubtedly his work, are in a style between that of Giulio Bonasone and Agostino Veneziano, and seem to prove that he was of the school of Marc Anto- REUV] PAINTERS AND ENGRAVERS. [reyn nio. He describes thirty-nine of his prints, con- sidered authentic, and twelve doubtful. See Bartsch, P. G. torn. XV. Nagler has added eleven to the list.] REUVEN, Peter. This artist was born at Ley den in 1650, but studied at Antwerp in the school of Jacob Jordaens. He painted history and allegorical subjects, and was employed to design the triumphal arches for the reception of WilUam III. at the Hague, by which he acquired some celebrity ; and he was afterwards engaged to ornament some of the principal apartments in the palace at Loo, in which he showed a fertile invention, and great fa- cility of execution. One of his best performances was a ceiling in the hotel of M. de la Court Van- dervoort, at Leyden ; it is an ingenious composition, and the colouring possesses all the brilliancy which is found in the productions of the best painters of the Flemish school. He died in 1718. REYN, John de. Mr. Pilkington has been led into an error respecting this artist by M. d'Argen- ville, and calls him Lang Jan, the appellation which belongs to John Bockhorst. He was born at Dun- kirk Mout the year 1610, and went when he weis young to Antwerp, where he became a scholar of Vandyck. Such was his progress under that mas- ter, that he was invited by him to accompany him to England, where he continued to assist him as a coadjutor, until the death of his illustrious instruct- or. He afterwards established himself in his na- tive town, where he met with very flattering en- couragement, and painted several admirable pictures for the churches, and was much employed as a por- trait painter. " If the works of de Reyn," says M. Descamps, " are not more universally known, it is because the greater part of his pictures are mistaken for those of Vandyck." His pictures exhibit the same correctness of design, the same purity and de- licacy of colouring, and the same facility and ani- mation in his touch. His compositions are ingeni- ous and copious, and his conduct of the Ught and shadow masterly and effective. His principal works in the churches at Dunkirk are the Death of the four Royal Martyrs, in the church of St. Eloi ; and the Baptism of Totila, in the church of the English convent. There are many of his portraits in the private collections, which are little inferior to those of Vandyck. The principal altar-piece in the paro- chial church of St. Martin, at Bergues St. Vinox, near Dunkirk, is by this master, representing He- Todias bringing the Head of St. John to Herod. He died in 1678. REYNA, Francisco de. This Spanish painter was a native of Seville, and was a disciple of Fran- cisco de HeiTera, the elder. He had given proof of most promising talents, in a picture of the Blessed Spirits, in the church of All Saints, at Seville, when he died, in the bloom of hfe, in 1659. REYNOLDS, Sir Joshua. This illustrious ar<> ist, the great luminary of the English school, was born at Plympton, in Devonshire, the I6th of July, 1723. He was the son of the Reverend Samuel Reynolds, the master of the grammar-school of that town, by whom he was for some time instructed in the classics, with the intention of being brought up to the practice of physic. It has been en-oneously stated that he was intended by his father for the church, and that he took a degree in one of the uni- versities with that view. This mistake, probably, was occasioned by his having, at a later period of his life, received an honorary degree of doctor of civil law, in the university of Oxford. His inclina- tion for the art, of which he afterwards became so eminent a professor, discovered itself at an early age, in his attempting to copy the prints he occa- sionally met with in his father's books; and he found a fund of materials for imitation in Jacob Catt's Emblems, a copy of which had been brought by his great grandmother from Holland. Before he had completed his eighth year,, he met with a copy of the Jesuit's Perspective, which he read with avidity and delight; and Mr. Malone informs us, that he made himself so completely master of it, that he never afterwards had occasion to study any other treatise on that subject. He soon afterwards exemplified the knowledge he had acquired by his perusal of that book, by a drawing he made of the school at Plympton, according to the rules it estab- lished, and it was done with such precision, that it excited his father's astonishment. Prom these at- tempts he next proceeded to draw likenesses of the friends and relations of his family, with a success beyond his expectation. The admiration he ex- cited and the applause he obtained by these juve- nile efforts, naturally strengthened the propensity he had shown for the art ; but what confirmed him in his attachmjent was the perusal of Richardson's Theory of Painting, which at this time came into his hands, in which the enthusiastic raptures, be- stowed on that great painter Raffaelle, so animated and inflamed his mind, that he considered him the most illustrious character that had appeared in an- - cient or modem times, a notion in which he loved to indulge all the rest of his life. His father was at length induced to permit him to gratify this growing propensity, and in 1740, when he was seventeen years of age, he was sent to London, and placed un- der the tuition of Mr. Hudson, who was then the most eminent portrait painter of his time. Such was the rapidity of his progress under this barren source of instruction, that when he had not been more than two years with Hudson, he painted the portrait of an elderly female servant of the family, in which he discovered a taste so superior to that of his contemporaries, that even the self-sufficiency of his instructor discovered an ability which excited no little jealousy and alarm, that in his pupil he would probably encounter a most formidable rival. This apprehension was increased, when the portrait just mentioned, having been seen in his master's gallery, obtained so decided a preference, that he sought every opportunity of rendering Mr. Reynolds's situ- ation unpleasant, and he left nim in 1743, and re- turned to Devonshire, where he pursued the practice of portrait painting; and in the course of three years not only gained employment, but improve- ment, and painted many portraits in a style much superior to the artists of that time. He established himself at Plymouth Dock, where he met with en- couragement beyond his expectation ; and in a letter to his father, informed him, with some exultation, that he had painted the portrait of the greatest man in the place, the Commissioner of the Plymouth Dock Yard. It was at this time that he became known to Lord Mount Edgecumbe, who warmly patronized him, and not only employed him, but recommended him to Captain, afterwards Lord Keppel, who, being appointed to the Mediterranean station, requested Mr. Reynolds to accompany him thither: an invita- tion so flattering to his prospects, which would give him an opportunity of visiting Italy, could not fail of being peculiarly agreeable to a young artist of his sensibihty. He sailed from Plymouth the llth of May, 1749, and on his arrival at Leghorn pro- ceeded to Rome. Of his particular practice and 631 heyn] A DICTIONARY OP [rEYiV habit of study in the great temple of the arts, the most particular account is furnished us by the late publication of the Memoirs , of Sir Joshua Rey- nolds by Mr. Northcote, who was his pupil, and had the best opportunity of being acquainted with tl)em. His time was most diligently and judiciously em- j)loyed. He contemplated, with unwearied atten- tion, the various beauties which marked the styles of the different ages. He sought for truth, taste, and beauty, at the fountain head. It was with no common eye that he beheld the productions of the great masters. He copied and sketched in the V atican such parts of the works of RafFaelle and Michael Angelo, as he thought would be most con- ducive to his future excellence ; and by his well- directed study acquired, whilst he contemplated the best works of the best masters, that grace of thinking to which he was principally indebted for his subsequent reputation. Of his feelings when he was first shown the works of Raffaelle in the Vatican, Sir Joshua has given us the following in- genuous account. "It has frequently happened," says this great, painter, " as I was informed by the keeper of the Vatican, that many of those whom he had con- ducted through the various apartments of that edi- fice, when about to be dismissed, have asked for the works of RafFaelle, and would not believe that they had already passed through the rooms where they are preserved, so little impression had those per- formances made on them. One of the first painters now in Prance once told me, that this circumstance happened to himself, though he now looks upon Rafi'aelle with that veneration which he deserves from all painters and lovers of the art. I remember very well my own disappointment when I first visited the Vatican, but on confessing my feelings to a brother student, of whose ingenuousness I had a high opinion, he acknowledged that the works of Raffaelle had the same effect upon him, or rather that they did not produce the effect which he ex- pected. This was a great relief to my mind, and on inquiring further of other students, I found that those persons only who, from natural imbecility, appeared to be incapable of ever relishing those divine performances, made pretensions to instan- taneous raptures on first beholding them. Injustice to myself, however, I must add, that, though disap- pointed and mortified at not finding myself enrap- tured with the works of this great master, I did not for a moment conceive or suppose that the name of Raffaelle, and those admirable, paintings in particu- lar, owed their reputation to the ignorance and pre- judice of mankind; on the contrary, my not rehsh- ing them as I was conscious I ought to have done, was one of the most humiliating circumstances that ever happened to me. I found myself in the midst of works executed upon principles with which I was unacquainted : I felt my ignorance, and stood abashed. All the indigested notions of painting which I had brought with me from England, where the art was in the lowest state it had ever been in, (it could not indeed be lower,) were to be totally done away with, and eradicated from my mind. It was necessary, as it is expressed on a very solemn occasion, that I should become as a little child. Not- withstanding my disappointment, I proceeded to copy some of those excellent works. I viewed them again and again ; I even affected to feel their merit, and to admu:e them more than I really did. In a short time, a new taste and new perceptions 632 began to dawn upon me, and I was convinced that I had originally formed a false opinion of the per- fection of the art, and that this great painter was well entitled to the high rank which he holds in the estimation of the world. The truth is, that if these works had really been what I expected, they would have contained beauties superficial and alluring, but by no means such as would have entitled them to the great reputation which they have so long and so justly obtained. "Having since that period frequently revolved this subject in my mind, I am now clearly of opinion, that a relish for the higher excellencies of the art is an acquired taste, which no man ever possessed without long cultivation, and great labour and attention. On such occasions as that which I have mentioned, we are often ashamed of our ap- parent dulness ; as if it were to be expected that our minds, like tinder, should instantly catch fil-e from the divine spark of Rafiaelle's genius. I flatter myself that now it would be so, and that I have a just and lively perception of his great powers ; but let it be always remembered, that the excellence of his style is not on the surface, but lies deep, and at first view is seen but mistily. It is the florid style which strikes at once, and captivates the eye for a time, without ever satisfying the judgment. Nor does painting in this respect differ from other arts. A just poetical taste, and the acquisition of a nice discriminative musical ear, are equally the work of time. Even the eye, however perfect in itself, is often unable to distinguish between the brilliancy of two diamonds, though the experienced jeweller will be amazed at its blindness, not considering that there was a time when he himself could not have been able to pronounce whiph of the two was the most perfect, and that his own power of dis- crimination was acquired by slow and imperceptible degrees. " The man of true genius, instead of spending all his hours, as many artists do while they are at Rome, in measuring statues and copying pictures, soon begins to thii^ for himself, and endeavours to do something like what he sees. I consider general copying," he adds, " as a delusive kind of industry ; the student satisfies himself with the appearance of doing something ; he falls into the dangerous habit of imitating, without selecting, and of labouring, without any determinate object ; as it requires no effort of the mind, he sleeps over his work, and those powers of invention and disposition, which ought particularly to be called out and put in action, lie torpid, and lose their energy, for want of exer- cise. How incapable of producing any thing of their own those are who have spent their time in making finished copies, is an observation well known to all who are conversant with our art." He appears to have very rarely copied the whole of a picture by any master, except the St. Michael, by Guido ; and a small copy of the School of Athens, a/ifer Raffaelle. He rather employed his time in examining, and fixing in his mind, their peculiar and characteristic excellencies ; and was more in- tent on aspiring to their conceptions, than on imi- tating their particular handling. On leaving Rome, he visited the other cities of Italy, and passed two months at Florence, where he painted some portraits ; and during a residence of about six weeks at Venice, he paid a particular attention to the works of the great masters of colour- ing; and in his 39th note on Du Presnoy's Poem, he describes an ingenious experiment he practised. rf.yn] PAINTERS AND ENGRAVERS. [eeyn to find out their management of their lights and shadows. He had now been absent from England about three years, when he began to think of returning home, and arrived in London in October, 1752. He resided for some years after his arrival from Italy in Newport Street, and it was not long before his great talents attracted public attention. He soon afterwards painted a whole-length portrait of his friend and patron, Admiral Keppell, in which he exhibited such powers, that he was universally ac- knowledged to be at the head of his profession, and the greatest painter that England had seen since Vandyck. The whole interval between the time of Charles I. and the conclusion of the reign of George II., though distinguished by the perform- ances of Sir Peter Lely, Riley, and Sir Godfrey Eneller, seemed to be annihilated, and the only question was, whether the new painter or Vandyck was the more excellent. It has been observed, that the art of painting was at that time in England at the lowest state that it had ever been. This impoverishment has been justly attributed to the rapacity of Sir Godfrey KneUer, who, the better to enable him to wade through the flood of business with which he was surrounded, struck out a slight, broad manner of marking his portraits, which gave him little trouble, though it satisfied his employers. For several years previous to the period we are now speaking of, the portrait painters were satisfied with producing as exact a l^eness as they could ; but they appear to have entirely neglected to give, or were incapable of giving, that interesting air of history to por- traiture in which Reynolds was so eminently suc- cessful. Instead of confining himself to mere like- nesses, in which however he was eminently happy, he dived, as it were, into the mind, habits, and manner of those who sat to him, and accordingly the ma- jority of his portraits are so appropriated and charac- teristic, that the many illustrious persons whom he has delineated will be almost as well known to pos- terity as if they had seen and conversed with them. With the possession of such faculties, and endowed with more than usual industry and perseverance, it is not to be wondered at that the success of Mr. Reynolds was rapid and distinguished, and that he continued to rise in reputation and in excellence, during a brilliant career of upwards of thirty years. Soon after his return from Italy, he had formed an intimacy with Dr. Johnson, which continued uninterrupted to the time of the death of that cele- brated writer; and it Wcis to his connexion with him that we are indebted for Mr. Reynolds's first literary productions, in three Essays on Painting, which appeared in the Idler in 1759. He was now in the zenith of his fame, when the Royal Academy was instituted, in 1768, and as he unquestionably held the first rank in his profession, he was nomi- nated their president, and the king soon afterwards bestowed on him the honour of knighthood. Al- though it was no part of the prescribed duty of the distinguished situation to which he was appointed, to read lectures to the Academy, Sir Joshua's zeal for the prosperity of the institution led him, from the most praiseworthy motive, to impose this im- portant task upon himself, for reasons which he has assigned, in the most delicate manner, in his fif- teenth discourse. " In the honourable rank of pro- fessors I have not presumed to class myself, though in the discourses which I have had the honour of delivering from this place, while in one respect I may be considered as a volunteer, in another, view it seems as if I was involuntarily pressed into this service. If prizes were to be ^ven, it appeared not only proper, but almost indispensably necessary, that something should be said by the president on the delivery of those prizes ; and the president, for his own credit, would vrish to say something more thaa mere words of compliment, which, by being frequent- ly repeated, would soon become flat and uninterest- ing, and by being uttered to many, would at last become a distinction to none : I thought, therefore, if I were to preface this compliment with some in- structive observations on the art, when we crowned merit in the artists whom we rewarded, I might do something to animate and guide them in their future attempts." To this laudable consideration, the world was indebted for the admirable discourses delivered by Sir Joshua, between the opening of the Academy on the 2nd of January, 1769, and the 1 0th of December, 1790, when he took his leave. " A work," as his biographer justly observes,' " con- taining such a body of just criticism on an extreme- ly difficult subject, clothed in such perspicuous, .elegant, and nervous language, that it is no exagge- rated panegyric to assert, that it will last as long as the EngUsn tongue, and contribute, not less than the productions of his pencil, to render his name immortal." Soon after the publication of the flrst edition of the works of Sir Joshua, a report was attempted to be circulated, that the (£scourses delivered by him to the Academy were not written by himself, but by his friend Doctor Johnson. This not meeting with a ready belief, it was at- tempted, after the death of Mr. Burke, to be estab- lished, that they were written by that eminent genius. In a note to the second edition, the editor has thought proper to notice these flagitious attacks on the literary reputation of our great artist, by the folloviring satisfactory refutation of them. " Such insinuations, however agreeable to the envious and malignant, who may give them a temporary cur- rency, can have but little weight ynth. the judicious and ingenuous part of mankind, and therefore, in general, merit only sUent contempt. But that Mr. Burke was the author of all such parts of these dis- courses as do not relate to painttng and saHpture, (what these are, the discoverer of this pretended secret has not informed us,) has lately been so peremptorily asserted, and so particular an appeal has been made on this occasion to their editor, that I think it my duty to refute this injurious calumny, lest posterity should be deceived and misled by the minuteness of uncontradicted misrepresentation, delivered to the world with all the confidence of truth. Fortmiately, I am able to give a more decisive testimony on this subject, than could reasonably be expected from any one man concerning the writings of another. " To the question, then, whether I have not found among my late friend's papers several of his dis- courses in the hand-wnting of Mr. Burke, or of some other unnamed persdn, I answer, that I never saw any one of his discourses in the hand-writing of that illustrious statesman, or of any other person whatsoever, except Sir Joshua Reynolds: and, secondly, I say, that I am as firmly persuaded that the whole body of these admirable works was com- posed by Sir Joshua Reynolds, as I am certain at this moment I am employing my pen in vindication of his fame. I do not mean to assert, that he did not avail himself of the judgment of his critical friends, to render them as perfect as he could ; or 633 reyn] A DICTIONARY OF [reyn that he was* above receiving from them that species of literary assistance which every candid literary man is willing to receive, and which even that transcendent genius, Mr. Burke, in some instances did not disdain to accept. Of the early discourses, therefore, I have no doubt that some were submitted to Dr. Johnson and some to Mr. Burke, for their examination and revision; and probably each of those persons suggested to their author some minute verbal improvements. Pour of the latter discourses, in his own hand-writing, and warm from the brain, the author did me the honour to submit to my pe- rusal, and with great freedom I suggested to him some verbal alterations, and some new arrange- ments in each of them, which he very readily adopt- ed. Of one, I well remember, he gave me the general outline, in conversation, as we returned together from an excursion to the country, and be- fore it was yet committed to paper. He soon after- wards composed that discourse, conformably to the plan which he had crayoned out, and sent it to me for such remarks on the language of it as should occur to me. When he wrote his last discourse I was not in London ; and that discourse, I know, was submitted to the critical examination of another friend, and that friend was not Mr. Burke. Such was the mighty aid that !our author received from those whom he honoured with his confidence and esteem. Let this plain tale, therefore, for ever seal up the lips of those who have presumed most un- justly to sully and depreciate the literary reputation of a man, who is acknowledged, by the unanimous voice of his contemporaries, to have been a signal ornament of the age in which he lived ; who was not less profound in the theory than excellent in the practice of his art ; and whose admirable works, of each kind, will transmit his name with unfading lustre to the latest posterity." To this clear and satisfactory refutation of these scandalous attempts, it may be proper to add the convincing testimony of Mr. Northcote, at that time a pupil and inmate of Sir Joshua, which will un- questionably convince the most sceptical. " I can only say, that at the period when it was expected he should have composed them, I have heard him walking at intervals in his room, as if in meditation, till one or two o'clock in the morning ; and I have on the following morning, at an early hour, seen the papers on the subject of his art, which had been written the preceding night. I have had the rude manuscript from himself in his own hand- writing, in order to make a fair copy from it for him to read in public. I have seen the manuscript also when it had been revised by Dr. Johnson, who has sometimes altered it to a wrong meaning, from his total ignorance of the subject and of art ; but never saw the marks of Burke's pen on any of the manu- scripts." To the success of the Academy, and the improve- ment of art. Sir Joshua contributed not less by the splendid works with which he embellished his ex- hibitions, than by the learned and judicious princi- ples inculcated by his lectures. Prom the opening of the first exhibition in 1769, until the year 1790, inclusive, he sent no less than two hundred and forty-four pictures to the various exhibitions. The constant engagements of his profession through his active life, did not permit him to make many ex- cursions from the metropolis; nor was he at all attached to the amusements of a country life. In 1780 he completed his design for the great window in the New College chapel at Oxford. In seven 634 compartments in the lower range of the composi- tion, he has represented the emblematical figures of the four cardinal and the three Christian virtues, of Temperance, Fortitude, Justice, Prudence, Faith, Hope, and Charity. Each figure is accompanied by its appropriate attribute, and they are all single figures, except the centre one, where Charity is re- presented by an admirable group. Above this is represented, on a grand scale, the Nativity, a com- position of thirteen figures, in which, as in the Notte of Coreggio, the light emanates from the in- fant Saviour. In 1781, Sir Joshua, in company vrith his friend Mr. Metcalfe, made a tour to the Netherlands and Holland, for the purpose of visiting the best pro- ductions of the Flemish and Dutch schools ; and on his return wrote a very interesting Account of their journey, with excellent critical observations on the various pictures they met with in the churches and private collections, together with a character of Rubens, drdwn with the hand of a great master. Soon after his return from this tour, he remarked to his companion, Mr. Metcalfe, that he thought his own pictures seemed to want force; and the portraits which he painted after that period were observed to have still more animation, power, and brilliancy of colouring, than had appeared in his former works. In consequence of the suppression of some of the convents in Flanders, in 1783, by the Emperor Joseph II., Sir Joshua again visited Brus- sels and Antwerp, where he purchased several pic- tures by the most eminent Flemish painters. In 1782, Mason published his translation of Du Presnoy's Art of Painting, with very ample and in- genious annotations by Sir Joshua Reynolds, which, together with the poem, were published with his other .works by Malone. Upon the death of Mr. Ramsay, in 1784, he was appointed principal painter in or- dinary to the king. In the exhibition of this year. Sir Joshua had a pre-eminence of pictures, among which was his celebrated portrait of Mrs. Siddons as the Tragic Muse, the Fortune-Teller, and others. Sir Joshua soon afterwards received a commission from the Empress Catherine of Russia, to paint an historical picture, leaving him at liberty to choose the subject, and fix the size and price ; and in con- sequence of his time being much occupied by this undertaking, he did not exhibit any historical piece or fancy subject in the year 1786. On this occasion, the subject he made choice of was the infant Her- cules strangling the Serpent, probably in allusion to the difliiculties the Empress had to encounter in the civilization of her vast empire, from the state of barbarism in which she found it, when she first filled the imperial throne. If the composition of this picture could not be compared with some of the works of the great artists who had preceded him, in respect to colour and effect, it was one of the finest productions of the art. The group in the middle of the picture, which receives the principal hght, is exquisitely beautiful. On the anival of the picture at Petersburg the Empress wrote a letter to Count Woronzow, her ambassador at the court of London, accompanying it with a gold box, with a basso-relievo of her imperial Majesty in the lid, set with diamonds, enclosing a note, written with her own hand, containing these words : Pour le Cheva- lier MeynoMs, en temoignage du contentment que Tai ressentie d la lecture de ses excellens discours sur la peinture, which were presented to Sir Joshua by the Count, with a copy of the Empress's letter to his Excellency, which was as follows : " I have read. reyn] PAINTERS AND ENGRAVERS. [reyn and, I may say, with- the greatest aridity, those dis- courses pronounced at the Royal Academy of Lon- don, by Sir Joshua Reynolds, which that illustrious artist sent to me, with his large picture. In both productions one may trace a most elevated genius. I recommend you to give my thanks to Sir Joshua, and to remit him the oox I send as a testimony of the great satisfaction the perusal of his discourses has given me, and which I look upon as perhaps the best work that ever was written on the subject." When Alderman BoydeU projected the plan of his magnificent edition of Shakspeare, embellished with plates from the works of English painters, Sir Joshua undertook three pictures, the Death of Car- dinal Beaufort, Macbeth with the Witches in the cauldron scene, and Puck, or Robin Goodfellow. In the first, he may be said to have united the colour- ing of Titian with the chiaro-scuro of Rembrandt ; and the last, in point of fanciful expression and animation, is unparalleled, and is one of the happi- est efforts of Sir Joshua's pencU. Notwithstanding his constant application to his art. Sir Joshua en- joyed an almost uninterrupted state of good health until 1782, when he experienced a slight shock of what was apprehended to be a paralytic affection, for which he visited Bath, and returned in a short time perfectly recovered. He did not experience any other infirmity until the year 1789, when he found his sight so much affected, whilst painting the portrait of the Marchioness of Hertford, that he found it difficult to finish it, and in a few months afterwards, in spite of the most skilful aid, he was entirely deprived of the sight of his left eye. Under the apprehension of the total loss of sight, he, with much difficulty, deteimined to paint no more. A resolution to relinquish for ever a favourite pursuit, which had been so long to him a source of amusement-, as well as reputation, must have cost him infinite concern. For some time, however, he preserved his spirits, and partook of the society of his numerous friends with his usual complacency, until the latter part of the year 1791, when he felt some painful symptoms, under which his spirits sunk, and he considered them as the signs of approaching disso- lution. During this period of affliction, his friends were willing to suppose that his spirits were unne- cessarily depressed, and that his malady was in a great degree imaginary. But after lingering imder a painful illness of about three months, which he bore with great fortitude and resignation, and which a little time before his death was discovered to be a diseased liver, he expired on the 23rd of February, 1792. On Saturday, the 3rd of March following, the remains of Sir Joshua Reynolds, after lying in state at the Royal Academy, were interred in the crypt of St. Paul's, near the tomb of Sir Christopher Wren, the architect of that superb edifice. The funeral was conducted with aU the honours that could be bestowed upon exalted genius by an ad- miring and enlightened nation. To the extraordinary abiUty of Sir Joshua as a portrait painter, his friend Dr. Johnson pays the following tribute : " Genius," says that learned writer, "is chiefly exerted in historical pictures, and the art of the painter of portraits is often lost in the obscurity of his subject. But it is in painting as in life, what is greatest is not always Iiest. I should grieve to see Reynolds transfer to heroes and to goddesses, to empty splendour and to airy fiction, that art, which is now employed in diffusing friendship, in renewing tenderness, in quickening the affections of the absent,' and continuing the presence of the dead." To the dignity and truth of Titian, he added the force of Rembrandt, and the purity of Vandyck. The airs and attitudes of his portraits are distinguished by elegance and grace, and, as Mr. Northcote justly observes, "no painter ever gave, so completely as himself, that capti- vating charm which accompanies and denotes the Cynthia of the minute." Above all things, he ex- celled in colour and harmony of effect. In his his- torical pictures, though he is occasionally deficient in design, and defective in composition, he always exhibits an extraordinary breadth, a feeling and taste peculiar to himself, and frequently an ad- mirable expression. We cannot close this account of the gi-eat founder of the British school better, than by adding the following character of him as a man and an artist, which was wiitten by his illus- trious friend Mr. Burke, a few hours after the me- lancholy event of his death. " His illness was long, but borne with a mild and cheerful fortitude, without the least mixture of any thing irritable or querulous, agreeable to the placid and even tenor of his whole life. He had, from the beginning of his malady, a distinct view of his dis- solution, and he contemplated it with that entire composure, which nothing but the innocence, in- tegrity, and usefulness of his life, arid an unaffected submission to the will of Providence, could bestow. In this situation he had every consolation from family tenderness, which his own kindness had in- deed well deserved. " Sir Joshua Reynolds was, on very many ac- counts, one of the most memorable men of his time. He was the first Englishman who added the praise of the elegant arts to the other glories of his coun- try. In taste, in grace, in facility, in happy in- vention, and in the richness and harmony of co- louring, he was equal to the great masters of the renowned ages. In portrait he went beyond them ; for he communicated to that description of the art, in which English artists are the most engaged, a variety, a fancy, and a dignity, derived from the highest branches, which even those who professed them in a superior manner, did not always preserve, when they delineated individual nature. His por- traits remind the spectator of the invention of his- tory, and the amenity of landscape. In painting portraits, he appeared not to be raised upon that platform, but to descend to it from a higher sphere. His paintings illustrate his lessons, and his lessons seem to be derived from his paintings. " He possessed the theory as perfectly as the practice of his art. To be such a painter he was a profound and penetrating philosopher. " In full afl[iuence of foreign and domestic fame, admired by the expert in art, and by the learned in science ; courted by the great, caressed by sove- reign powers, and celebrated by distinguished poets, his native humihty, modesty, and candour never forsook him, even on surprise or provocation ; nor was the least degree of arrogance or assumption visible to the most scrutinizing eye, in any part of his conduct or discourse. " His talents of every kind, powerful from nature, and not meanly cultivated by letters, his social vir- tues, in all the relations and all the habitudes of life, rendered him the centre of a very great and unparalleled variety of agreeable societies, which will be dissipated by his death. He had too much merit not to excite some jealousy, too much inno- cence to provoke any enmity." [The first part of the following, marked with in- 635 reyn] A DICTIONARY OF [reyn verted commas, is an extract from the biography of Reynolds in Rees's Cyclopaedia, and is supposed to have been written by the late Mr. Thomas Phil- lips, R. A. " It remains to speak of his style as an artist, which is precisely that denominated in his lectures the ornamental style, but which, beautiful and seducing as it undoubtedly is, cannot be re- commended in so unreserved a degree as his indus- try both in study and practice : that which he characteristically terms his own uncertainty, both in design and execution, operates too frequently and too powerfully against its entire adoption. In the higher attainments of the art, colouring and chiaro-scuro were undoubtedly elements which he favoured, and in which he moved uncontrolled. Drawing, as he himself candidly confessed, was the part of the art in which he was most defective; and from a desire perhaps to hide this defect, with an over-solicitude to produce a superabundant richness of effect, he was sometimes tempted to fritter his lights, and break up his composition, particularly if it happened to be large, into too many parts ; yet, in general, his taste in lines and forms was at the same time grand and graceful ; and the taste and skill with which he drew and set together the features of the human face, has never been sur- passed by any artist. We would be understood to speak of his finest productions j of the ordinary class among them, we must allow that the marking fa- vours of manner, and-the substance is not always characteristic of flesh. In execution, though he wanted the firmness and breadth which appertain to the highest style of art, yet the spirit and sweet- ness of his touch were admirable, and would have been more remarkable had he been more a master of drawing; but not being able readily to deter- mine his forms, he was obliged to go over and over the same part, till some of the vivacity of his handling was frequently lost ; his labour, however, was never wholly so, for he added to the force and harmony of his pictures by these repetitions ; and frequently attained graces by them which would otherwise perhaps have remained unknown. The numberless instances in which he is known to have borrowed thoughts, both in actions of figures, and effect of colour, seem to impeach his power of in- vention. But surely it could not proceed from want of a sufiicient portion of that high and necessary quality, that he who produced so many novel com- binations, adopted that short-hand path to com- position. We see it exemplified in a superior de- gree in most of his principal productions ; and particularly in his whole-length and half-length portraits, the arrangement of which are no less beautiful and interesting than new, and entirely his own. These are composed in a taste far sur- passing all that had ever been done by his prede- cessors; uniting the grandeur, simplicity, and ful- ness of Titian, and the grace and nature of Van Dyck, with the artful and attractive effects of Rem- brandt. One quality he had, which no other painter that ever breathed shares with him in an equal degree, — fascination. The effect of his best pictures acts like a charm, and arrests the tasteful beholder with irresistible power. On the works of others we look with approbation, and sometimes with feeUngs of admiration and delight, or even with a sensation of awe ; but in those of Reynolds there is generally an indescribable unity and amenity which act upon us with most fascinating power, and rivet the at- tention with superior gratification. No real con- noisseur can deny the existence of this quality in 636 his pictures, but wherein it specifically dwells, it is not easy to discover or define. ^ They are not la- boured to perfect imitation, indeed they stop very far short of that; yet they present a full image, with a degree of life and animation tjiat has rarely been displayed upon canvass. It is a dangerous doctrine to advance, and may be abused; but, per- haps, this power may be in a great measure owing to his having painted less upon system than from feeling ; and the latter governing the exercise of his pencil, not to the neglect of, but in a superior de- gree to the influence of, the former, necessarily im- bued his works with a glow of nature, which, it will be allowed, attracts beyond the power of art. Whencesoever this fascination, of which we speak, proceeds, it must be acknowledged that no painter ever possessed it like Reynolds." This is just and masterly criticism, as far as relates to the portraits by Sir Joshua Reynolds, and may be extended to his single figures in subjects of fancy, particularly of children; it applies also to the colouring and chiaro-scuro of many of those compositions by him that are classed as historical. But it would be con- trary to truth to claim for his attempts at poetical and historical compositions an equality even with the great masters of the Italian and Flemish schools. The greater part of his productions in these de- partments are failures. His picture of the Nativity is commonplace, partly borrowed,; and the intro- duction of his own portrait and that of Jarvis in their European costume, a puerile absurdity. The allegorical figures of the Christian Virtues are prose versions of classical symbols ; his Ugolino, without dignity, exhibits only the outward efects of punish- ment on culprits of the common herd ; his Head of a Banished Lord belongs to an inmate of a lunatic asylum; his Holy Family in riposo (in the Na- tional Gallery) is an egregious plagiarism,' vul- garized by the adoption of forms deficient of beauty, grace, and intellect. His Macbeth with the Witches, and his Death of Cardinal Beaufort, are wholly deficient of that grandeur and sublimity that such subjects should have displayed; they are vile com- mentaries on Shakspeare. The contortions of the dying man, and the whispering daemon in the latter, are Hogarthian caricatures ; and the figures in the former, little short" of burlesque. Even in that noblest of his productions, the portrait of Mrs. Siddons as the Muse of Tragedy, the genius of mis- chief interfered. The attitude and the expression are admirable ; but the introduction of the two attendants with the dagger and the bowl destroy the illusion, and, instead of the exalted personifi- cation of the highest order of poesy, we behold the figure of Medea meditating murder. It is vain to close the eyes of our understanding to these defects in our most admired painter ; if we will not see them, others will ; and it is better, therefore, to acknow- ledge it at once than to be taunted by foreigners for blind or ignorant partiality. The fame of Rey- nolds, as a painter, is established on his numerous superlative portraits, and his enchanting represent- ations of the innocence, simplicity, and natural habits of unsophisticated children: in these he stands alone. Let us not, by claiming too much, weaken that title to superiority which is justly his due, nor enter into a contest in which we might show zeal and pugnacity, but must fail of victory. It would, no doubt, be gratifying to many to have a list of the men illustrious by their talents or sta- tion, and of the women- celebrated for their beauty and accompUshments, who were depicted by the reyn] PAINTERS AND ENGRAVERS. [reyk pencil of so renowned an artist ; but, as this would include the names of a great portion of the eminent poets, historians, statesmen, prelates, and officers, military and naval ; and almost all the female beauties and leaders of fashion of his time, and of their descendants, (then in their childhood,) who have to the present day, in many instances, sus- tained their fathers' character for ability, and their mothers' reputation for beauty and grace, it would require a distinct volume to give it with accuracy. As this, too, would be only a bare recital of names, the inquirer may be better satisfied By consulting the excellent work of the late eminent mezzotinto engraver, S. W. Reynolds, in which he will find up- wards of three hundred portraits, and other sub- jects, after Sir Joshua, which may be considered faithful translations of the pictures. Of historical and poetical compositions by him, those most dwelt upon by his biographers are, the Nativity and the Cardinal Virtues, the Holy Family, the Infant Hercules strangling the Serpent, the Tragic Muse, Garrick between Tragedy and Comedy, Macbeth and the Witches, the Death of Cardinal Beaufort, Cymon and Iphigenia, the Death of Dido, the Snake in the Grass, Count Ugolino and his Sons, Venus chiding Cupid, Hope nursing Love, Cupid and Psyche, and others, in which fency and reality are combined. His numerous portraits are dispersed in almost as many directions, so that it is impos- sible to give information where they are all to be found, except by saying, in most of the family man- sions of the descendants of the nobiUty and gentry of the latter part of the last century. The names of a few of the best collections, in which not only portraits but fancy subjects by him are located, and where they are likely to remain, are given to serve as a directory to the inquirer. J'uUer particulars will be found in the printed list of plates prefixed to Mr. Henry Bohn's edition of the complete works of Sir Joshua Reynolds, recently published in 3 vols, folio. In the National Gallery. The Portrait of General El- liot, (Lord Heafhfield,) the defender of Gibraltar. The Holy Family. The Graces decorating a terminal figure of Hymen. The In&nt Samuel. Heads of Cherubs, being studies from a child of Lord W. Gordon. The Age of Innocence (presented by Mr. Vernon, who purchased it for the sum of 1520 guineas at the sale of Mr. Harmon's pictures).^ An equestrian Portrait of Lord Ligonier. Portrait of Mr. Wyndham. In the Queen's Gallery. The Death of Dido. Cymon and Iphigenia. Portrait of the Painter, wearing Spectacles. In the Groavenor Gallery, Mrs. Siddons as the Tragic Muse. In the Lansdoume Collection. Several fine &mily Por- traits: The Sleeping Girl. The Girl with a Muff. Hope nursing Love. Portrait of Mrs. Sheridan, as St. Cecilia. "Portrait of Laurence Sterne. Head of a young Girl, and others. In Sir Robert PeePs Collection. The Snaie in the Grass, or Love unloosing the Zone of Beauty. Portraits of Dr. Johnson, Edmund Burke, Admiral Keppel, and of a Lady and Child. Portrait of Mrs. Siddons, in profile, half-length, with a Child on her shoulder. In the Collection of Samuel Sogers, Esq. Fuck seated on a Mushroom, The Strawberry Girl. . The Sleeping Girl, a duplicate of that in the Lans- downe collection. Cupid and Psyche, A Landscape (perhaps Unique). In Lord Normantovm's Collection. The Cardinal Vir- tues, Justice, Prudence, Temperance, and Fortitude ; and the Christian essentials, Faith, Hope, and Charity, The pictures from which part of the great window at Oxford was painted. The Nativity was destroyed by the fire at Belvoir Castle. At Blenheim. Several fine family Portraits, among which is Lady Charlotte Spencer, as a child, telling her brother's fortune, A family group, considered one of Sir Joshua's best pictures. At Althorp. Several family Portraits, among which is that of the celebrated Marquis Camden, In the Council-room ^the Boyal Academy. Four Por- traits ; George III,, Queen Charlotte, Sir W, Cham- bers, and Sir Joshua Beynolds. A Woman asleep, observed by a Sportsman. At Dulvnch. The Tragic Muse, a duplicate of the Grosveuor picture. The Death of Cardinal Beaufort. Samuel kneeling in Prayer. A Mother watching her dying Child. Portrait of the Artist wearing spectacles. At Castle Howard, The portrait of Omaif a native of Otaheite, brought to England by Captain Cook, In Mr. Hope's Collection. Portraits of C, J, Fox, and Edmimd Burke. In the Devonshire Collection. Portraits of the celebrated Duchess of Devonshire, and of Lord Richard Caven- dish. Another Portrait of the Duchess with a Child in her lap, is at Chatsworth. At Luton. Portraits of the Earl and Countess of Bute, Portrait of the Earl of Bute, and his Secretary. At Woburn Abbey, Several Portraits of the Bedford family. Prints of Sir Joshua's pictures by contemporary engravers are numerous; fine impressions of such are sought for both by foreign and English painters, and are becoming difficult of attainment, especially proofs. Among the best may be quoted the fol- lowing: J, Watson; Lord Amherst, Mrs. Abington, Dr. Beattie, Edmund Burke, Dr. Hawkesworth, Dr, Johnson, Duchess of Marlborough and her daughter, Countess of Waldegrave. E. Fisher; Lady Sarah Bunbury, Garrick between Tragedy and Comedy, Admiral Keppel, Lord Ligonier, Miss Palmer as Hope nursing Love, Marquis of Bock- ingham. J, Dixon ; Mrs, Blake as Juno, Duke of Leinster, Dr, Robertson, Ugolino. J. B. Smith ; Lord R. Cavendish, Mr, Dundas, Mrs, Musters, Duke of Orleans, Archbishop of Awnagh, Banished Lord. M'Ardell; Mrs, Bastard, Earl of Bath, Admiral Bos- cawen, Duchess of Buccleugh, Lady E. Montague, Horace Walpole, V. Green ; Duke of Bedford with his brothers and Miss Vernon, Sir W, Chambers, Sir J. Reynolds as Presi- dent of the Royal Academy, Marchioness of Salisbury, Three Ladies Waldegrave. R. Houston; Marquis of Granby, Duchess of Ancaster, Francis Chaxteris. T. Watson ; Lady Bampfylde, Mrs. Crewe, Lord Eri-ol, Lady Melbourne and her Son, Bishop Newton, Re- signation. W.Dickenson; Sir Joseph Banks, Lady Crosbie, Mrs. Mathew, Mrs. PeUiam feeding chickens, Bishop Percy, J. Jones; BosweU, Erskine, Fox, Sir Abraham Hume. G. Marchi; Goldsmith, Mrs. Bouverie, and Mrs. Crewe, Sharp; John Hunter, Holy Family, Doughty ; Dr. Johnson. Howard; Mrs, Siddons (Tragic Muse), Prince of Wales leaning on his horse. Infant Academy. Sherwin; Fortune-teller,] [REYNOLDS, Samuel William, a very emi- nent engraver in mezzotinto, was born in 1774, and died in 1835. He was a pupil of Hodges. His works are very numerous in portraits, and in his- 637 1 , reyn] A DICTIONARY OF [riba torical and fancy subjects, chiefly after pictures by modern painters. Of portraits and compositions by Sir Joshua Reynolds, he engi-aved, on a reduced scale, upwards of three hundred, which were pub- lished in three folio volumes. He also engraved many of distinguished persons, from paintings by Dance, Northcote, Jackson, Edridge, Owen, Dawe, and Phillips. The best of these are Reginald Heber, the late bishop of Calcutta, and other dignitaries of the Church of England, after Omen ; and that of Lady Ellis Agar, c^ter Jachson, which was intended as a pendant to the ,Chapeau de Paille, also en- graved by him from the celebratedpictureby Rubens in the collection of Sir Robert Peel. In 1826 he went to France, and during his stay there he en- graved several pictures of the distinguished painters of that country, Horace Vernet, Gericault, Dela- roche, and Dubuffe ; among which are The Wreck of the Medusa, Mazeppa, Joan of Arc in Prison, Napoleon crossing the Alps, and other subjects of fancy. There are many other prints of consider- able merit bearing his name ; such as The Visit of the poor Relations, after Stephanoff; The Lion and Snake, The Vulture and Lamb, and The Falconer, after Northcote ; The Fisherman's Dog, and The Setters, after Morland. He was also a skilful de- signer in landscape, and made numerous sketches in oil, which are highly esteemed for their pic- turesque selection and artistic effect. The emi- nently distinguished engraver, Cousins, was one of his pupils.] REYNOSO, DON An'tonio Garcia, a Spanish painter, born at Cabra, in Andalusia, in 1623. He studied under Sebastian Martinez, an artist of some eminence at Jaen. He painted history and land- scapes ; and there are several of his works noticed by Palomino, particularly an altar-piece in the church of the Capuchins, at Andujar, representing the Trinity, with several saints. There are §,lso some of his pictures in the churches and private col- lections at Cordova, in which city he died in 1677- REYSSCHOOT, P. van. By this artist, who was apparently a native of Holland, we have some small prints, after Teniers, which are executed in a very neat and spirited manner. RHELINGER, Welser. This artist was a na- tive of Germany. According to Papillon, he exe- cuted a hundred and twenty wooden cuts, for a German book, entitled Patrieium Stirpium Augusta- narum Vindeliciim, et earundem sodalitatis insignia. The principal figures are all represented on horse- back, completely armed, with the arms of their re- spective families on their shields. RIBALTA, Francisco, a Spanish painter, bom at Castellon de la Plana, in the kingdom of Va- lencia, in 1551. In some of his pictures he appears to have formed his style by studying the works of Juan Bautista Juanes, which are in the churches at Valencia. He is said to have afterwards travelled to Italy, where he resided some years. One of his best performances is an altar-piece in the church of the Patriarch, at Valencia, representing the Last Supper. He made copies from the pictures by Sebastiano del Piombo, which are in the royal col- lection at Madrid, three of which are in the convent , of the Carmelites, in that city. He died at Valencia in 1628. [Francisco Ribalta was one of the greatest his- torical painters of Spain. There is a little romantic history connected with his life. While a student he fell in love with his master's daughter, and de- manded her in marriage, but her father refused his 638 consent, alleging that he was not sufficiently ad- vanced in his profession. Ribalta and his mistress, however, agreed privately to wait three or four years, and he immediately departed for Italy with the determination of perfecting himself by the study of the works of the great masters there. He appUed himself with great assiduity to those of Raphael, Sebastian del Piombo, and the Caracci, and copied many of their pictures, particularly those of Sebas- tian. He returned after an absence of three years to his own country, and the first place he visited was the atelier of his former master, the father of his mistress. Finding the sketch of a picture on the easel, he finished it and withdrew. On the re- turn of the old painter he expressed much surprise at the excellence of the performance, and said to his daughter, " How readily would I give you to a painter of such ability as this, instead of that miserable dauber Ribalta." "My father," repUed the lady, "it is Ribalta that did it." Of course they were soon married. Ribalta acquired great" reputation not only in Valencia, but throughout Spain. At the time Cean Bermudez wrote, Ribalta's pictures were numerous in various cities and places in that country, but a recent writer says that it is in Valencia alone that his works can be seen and appreciated. Mr. Ford, in his Hand-book of Spain, says, " The Colegio de Corpus, or del Patriarca, is a Museum of Ribaltas." He particularizes San Vicente de Ferrer visited on his sick-bed by our Saviour and Saints, as a master- piece, painted in a style between Titian and Van Dyck; he also notices the Last Supper, in which the head of an Apostle with a white beard is equal to any thing painted by the old Venetians ; and a Holy Family, in part like Titian. He calls Ribalta the SpanishDomenichino and Sebastian del Piombo combined. This is high praise from one so compe- tent to give it. There is a grand specimen of Ribalta in the chapel of Magdalene College, Oxford, which has been erroneously attributed to Morales, to whose works it has not the remotest resemblance; but formerly every Spanish picture in England was at- tributed to Morales, Murillo, or Velasquez.] RIBALTA, Juan, was the son of Francisco Ri- balta, born at Valencia in 1597. At the age of eighteen he gave proof of extraordinary abihty, in a picture he painted of the Crucifixion, and would have probably become one of the most distinguished painters of his country, but he died young. [His works are frequently ascribed to his father, and his father's attributed to him. At the age of eighteen he painted the magnificent Crucifixion, which he inscribed Joannes Sibalta pingebatet invenit 18 cetatis sues anno 1615, a picture perfect in all parts of the art. He painted for Don Diego de Vich above thirty portraits of illustrious persons of Valencia, which de Vich at his death bequeathed to the monastery of St. Jerome. Juan died on the 10th of October, 1628, the same year as his father.] [RIBAULT, J P , an historical engraver, was born at Paris in 1767, and died in 1820. He w-as a scholar of Ingouf, and engraved the Crown- ing with Thorns, after Titian ; Marcus Sextus, after Ouerin; Paris and CEnone, after Vander Werff; a young Lady playing' on the Guitar, after Metsu ; the two last are in the Musee Napoleon, and there are several by him in Collection du Musee, published by Laurent and Robillard. He also engraved the heads of Bernardin de St. Pierre, the poet Le Brun, and the Empress Marie Louise ; and the costumes of the grand functionaries.] ribe] PAINTERS AND ENGRAVERS. [ricc RIBERA, Giuseppe, called Lo Spagnoletto. See Spagnoletto. RICCHI, PiETEO, called II Lucchese. Accord- ing to Baldinucci, this painter was born at Lucca in 1606, and was first a scholar of Passignano, but afterwards studied under Guido Reni. H& imitated the graceful forms of the latter, though his colour- ing resembles that of Passignano. In the church of St. Francesco, at Lucca, are two altar-pieces, which evince the fertility of his invention, and his readiness of hand. He also painted several pictures for the churches at Udine, in which city he died in 1675. [He frequently imitated the forms of Guido ; but it is doubtful that he ever studied under him, as his intimate friend Boschini says not a word upon the matter. He painted in France, and in the Mi- lanese and Venetian states, and was very rapid and indefatigable in execution.] RICCHIEDEO, Marco, was born at Brescia, but it is not said in what year, nor under whom he studied. He was, however, a very reputable painter of history. In the church of St. Thomas, at Brescia, there is a fine picture by this master, representing the Incredulity of that Saint. RICCI, Antonio. See Barbalunga. RICCI, Camillo. This painter was born at Ferrara in 1580, and was the most celebrated dis- ciple of IppoUto Scarsella, called Lo Scarcellino. Such was his progress under that able instructor, that Barufialdi reports, that Scarcellino not only declared that he surpassed his master, but that if Camillo had preceded him in the art, he would have chosen him for his instructor. His style so nearly approaches to that of Ippolito, that the most expe- rienced eye may be mistaien in their works. If he exhibits less freedom and breadth, he has perhaps surpassed him in the tenderness of his carnations and the general harmony of his colouring. The churches of Ferrai'a abound with his works, of which Barotti gives a particular account in his Pit- ture di Ferrara. His most admired productions are his pictures of S. Vincenzo e S. Margherita, in the cathedral ; the Annunciation, in Spirito Santo ; and his celebrated ceiling in the church of S. Niccolo, representing, in eighty-four compartments, the life and miracles of that saint. He died at Ferrara in 1618. RICCI, Giovanni Batista, called da Novarra. This painter was born at Novarra in 1545. He went to Rome when young, and became a scholar and imitator of RaflTaellino da Reggio. According to Baglione, he was employed by Sistus V. in the palace of St. John of Lateran, and in the library of the Vatican. He was afterwards appointed by that pontiflT superintendent of the paintings he had di- rected in the palace of Monte Cavallo. He was also much employed in the pontificate of Clement VIII. Of his own productions in the public edifices of Rome, the following are the most considerable : In the nave of the church of S. Maria Maggiore, he painted in fresco the Visitation, the Ascension, and the Assumption of the Virgin ; in S. Marcello, a series of frescoes of the Life of the Virgin, and the Passion of our Saviour; but his most admired work is in S. Giovanni Laterano, representing the Conse- cration of that Basilica hy S. Silvestro. This artist is mentioned in the Abecedario by Orlandi, as an engraver, but he does not specify any of his works. He died in 1620. RICCI, Sebastiano, was bom at Belluno, in the Venetian state, in 1659, and was placed when he was young under the tuition of Federigo Cervelli, at Venice, with whom he studied till he was twenty years of age. On leaving tha,t master he went to Bologna, where he resided a short time, and was taken under the protection of the Duke of Parma, who employed him for some time at Piacenza, and sent him to Rome for the purpose of improvement. On the death of his patron he left Rome, and visited Florence, Modena, and Parma, contemplating the works of the great masters of the Lombard schooL He was soon afterwards invited to the court of Vi- enna by the king of the Romans, where he was em- ployed in decorating the imperial palace of Schoen- brun. On his return to Venice from Germany, his nephew, Marco Ricci, who was at that time in London, encouraged him to visit England, in the reign of Queen Anne, and he met with the most flattering encouragement. He painted the chapel at Bulstrode, for the Duke of Portland ; and with that inconsistency frequently found in the works of the Venetian painters, in the altar-piece, represent- ing the Last Supper, he has introduced his own portrait, in a modern habit. The hall of Burlington House, and some of the ceilings, were painted by this master. He also painted the altar-piece of the chapel of Chelsea College. During a residence of ten years in this country, he executed several other considerable works for the mansions of the nobility, and is said to have left England in disgust, on find- ing that it was determined that Sir James Thorn- hill should paint the cupola of St. Paul's. He pos- sessed a similar talent to that which is recorded of Luca Giordano, of being able to imitate the style of the great masters who had preceded him, with a precision which sometimes deceived even the intel- ligent. His picture of the Apostles adoring the Sacrament, in the church of S. Giustina, at Padua, is painted in imitation of the cupola of S. Giovanni, at Parma, by Coreggio; and his S. Gregorio, in S. Alessandro, at Bergamo, reminds us of the works of Guercino at Bologna. But his most successful imi- tations were those of the works of Paolo Veronese, many of which he disposed of as oririnal pictures, and is said to have once deceived the French paint- er. La Fosse, who avenged himself for the imposi- tion by the following sarcastic rebuke : " For the future," said he, " take my advice, paint nothing but Paul Veroneses, and no more Riccis." Sebas- tiano Ricci possessed a fertile invention, and a com- manding facility of execution. Although his design is not scrupulously correct, the forms of his figures are graceful, and his colouring, though sometimes feeble and cold, is often silvery and agreeable. Like most painters of decorations, he consulted his imagination more than nature, and frequently dis- covers the repetition and the weakness of a man- nerist. He died at Venice in 1734. RICCI, Marco, was the nephew of Sebastiano Ricci, and was born at Belluno in 1680. After re- ceiving his first instruction in the art from his uncle, he visited Rome, where he was for some years oc- cupied in designing the most picturesque views in the vicinity of that city, and the most reinarkable vestiges of ancient architecture. From these de- signs he painted perspective views, which were greatly admired. In 1710 he came to England, and his talents soon excited the pubhc attention. He was much employed in painting landscapes, with ruins and arthitecture, both in oil and distemper ; and his works are still found in many of the princi- pal collections. He died at Venice in 1730. M. Ricci has etched several plates from his own de- signs, consisting of views and landscapes, with ruins 639 nice] A DICTIONARY OF [rich and figures, of which the most deserving notice is a set of twenty-three prints, entitled Varia Marci Ricci Pictoris prcBstantissimi experimenta ah ipsomet auctore inventa, delineata atque indsa, et a me Carolo Orsolini Veneto incisore in unum coUecta, SfC. Anno 1730, Venetiis. EICCIARELLI, Daniele. See Volterra. RICCIO, DoMENico, called Brusasorci. This painter was bom at Verona in 1494. According to Ridolfi, he was a disciple of Giovanni Francesco Caroto ; but Lanzi ranks him as a scholar of Nic- colo Giolfino. His greatest improvement was, how- ever, derived from an attentive study of the works of Giorgione and Titian, at Venice. His picture of S. Rocco, in the church of the Padri Agostiniani at Verona, is entirely in the style of the latter, as well as some pictures of fabulous subjects in the private collections. His genius did not confine itself to the style of any individual master; and his works at Mantua partake of the depth of colouring of Gior- gione, and of the graceful design of Parmigiano. His picture of Phaeton, in the Ducal palace, though somewhat damaged by time, still charms by the m- genuity of the composition, the harmony of the coloiu-, and the admirable fore-shortening. His greatest merit was in fresco painting, and in the many admirable works with which he embelUshed the public edifices and palaces, he united the erudi- tion of the poet to the talents of a great painter. Of his historical works, the chef d'oeuvre was the Ca- valcade of Clement VIII. and Charles V. on their entry into Bologna, in a saloon in the Casa Ridolfi, a grand and copious composition, which is spoken of by Lanzi in terms of the highest praise. He died in 1567. [Rossini has given an etching of a portion of the Cavalcade of Clement and Charles V. in plate 150 of Storia della Pittura ItaUana. Srusa- sorci signifies rat-burner. His father acquired that appellation by inflicting that cruel punishment on all the unlucky animals of the kind entrapped in his house.] RICCIO, Felice, called Brdsasorci the young- er, was the son of the preceding artist, born at Verona about the year 1550, and was first instructed by his father. On the death of Domenico Riccio, when he was in his seventeenth year, he continued his studies at Florence, under Jacopo Ligozzi, and brought back with him to Verona a correct and elegant design. He painted several pictures for the private collections at Verona, of Holy Families and Madonnas, with angels, which were admired for a graceful air of the heads, and a beautiful expres- sion. He was, however, capable of greater powers when the subject required them. Such is his pic- ture of the Forge of Vulcan with the Cyclops, in the collection of the Conte Gazzola, which is de- signed in the best style of the Florentine school, and vigorously coloured. There are some altar- pieces by him in the churches at Verona, of which the most admired is his picture of S. Elena, in the church dedicated to that saint. He died in 1605. EZani says he was bom in 1540 ; and Lanzi, after lidolfi, that he died in 1605, at the age of 65. He not only exercised his talents on large works, but painted small pictures on marble, which he coloured with great skiU, availing himself of the marble itself for his shadows, especially in the Oriental alabas- ter, which has a very pleasing effect.] RICCIOLINO, m!ichelangiolo. This artist was bom at Rome in 1654, and is noticed by Abate Titi, who mentions some of his works in the public places at Rome, particularly in the church 640 of S. Lorenzo in Piscibus, and a ceiling, in S. Maria in Campitelli. His portrait, painted by him- self, is in the Florentine Gallery. He die's at Rome in 1715. RICHARDSON, Jonathan. This eminent por- trait painter was bom about the year 1665. His father dying when he was only five years of age, his mother married a second husband, and he was, con- trary to his inclination, articled by his father-in-law to a scrivener ; but as his master died in the sixth year of his apprenticeship, he indulged an inclina- tion he had long felt for painting, and became a pupil of John Riley, under whom he studied four years. Having made sufficient process in the art to offer himself to the public attention, he married the niece of his instructor, and established himself as a portrait painter. Though Sir Godfrey Kneller and Dahl were then in great reputation, Mr. Rich- ardson possessed sufficient merit to secure a share of the public favour during their lives, and after their death he was considered at the head of his profession. He continued in possession of consider- able employment for many years, and was enabled to retire from business long before his death, which happened the 28th of May, 1745, when he was up- wards of eighty years of age. He left one son and four daughters, one of whom was married to Mr. Hudson, nis pupil. Mr. Richardson published the following works on art : 1. " The Theory of Painting." 2. " The Con- noisseur, an Essay on the whole Art of Criticism, as it relates to Painting." And, 3. " An account of some of the Statues, Bas-reliefs, Drawings, and Pictures, in Italy, &c., with remarks by Mr. Rich- ardson, sen. and jun." The son made the journey, and from his notes, letters, and observations, they both, at his return, compiled this valuable work. In 1734 they also publisned "Explanatory Notes and Remarks on Milton's Paradise Lost, with the Life of the Author, and a Discourse on the Poem." The father having said, in an apology for being little conversant in the classics, " that he had looked into them through his son," Hogarth, whom a quibble could furnish with wit, drew the father peeping through a telescope, with which the son was perforated, at a Virgil above on a shelf. For the following character of Richardson, we are indebted to the noble author of the Anecdotes. " Jonathan Richardson was undoubtedly one of the' best English painters of a head that had appeared in this country. There is strength, roundness, and boldness in his colouring ; but nis men want dig- nity, and his women grace. The good sense of the nation is characterized in his portraits. You see he lived in an age when neither enthusiasm nor ser- vility were predominant : yet with a pencil so firm, possessed of a numerous and excellent collection of drawings, full of the theory, and profound in reflec- tions on his art, he drew nothing well below the head, and was void of imagination. His attitudes, draperies, and back-grounds are totally insipid and unmeaning ; so ill did he apply to his own practice the sagacious mles and hints he bestowed on others. Though he wrote with fire and judgment, his paint- ings owed little to either. No man dived deeper into the inexhaustible stores of Raffaelle, or was more smitten with the native lustre of Vandyck. Yet, though capable of tasting the elevation of the one, and the elegance of the other, he could never contrive to see with their eyes when he was to copy nature himself. One wonders that he could com- ment on their works so well, and imitate them so rich] PAINTERS AND ENGRAVERS. [rido little." Mr. Richardson has etched a few portraits j among which are, His own Portrait. Alexander Pope, Esq. ; two plates, one of them a profile. John Milton. St. Mead. [RICHART, F. J. De La Mare-, an engraver, who, according to Robert Dumesnil, was born at Bayeux about 1630, and died at Versailles in 1718. His prints have a resemblance to those of Lutma and Morin, and also to those of Livens, the scholar of Rembrandt. Basan mentions him as having en- graved a St. Jerome, after L. De La Hyre. Du- mesnil has described eighteen prints by him, but does not include the St. Jerome; two, an Ecce Homo, and the Virgin, are inscribed F. de la Mare fee. 1650, and F.J.BL Mare inv. sculp. 1655. The rest, which are fancy heads, are in the style of Livens, without marks.] RICHER, P. According to Florent le Comte, this artist, in conjunction with Francis Chaveau, engraved eleven plates of philosophical tables by Louis Lesclaches. [According to Nagler he worked from 1630 to 1660.] RICHIERI, Antonio. This artist was a native of Ferrara, and was brought up in the school of Giovanni Lan&anco. According to Passeri, he fol- lowed that master to Naples and Rome, and painted some frescoes at the Teatini from the designs of Lanfranco. He is said to have etched some plates from the designs of his master. Mr. Strutt calls him A. Richer. [Zani says he was born in 1600. Passeri says he engraved, but there is no account of his works in that way. He was an artist of mediocrity.] RICHMANS. See Rtckmans. [RICHOMME, Joseph Theodore, a very emi- nent engraver, was born at Paris in 1785, and was first a scholar of Regnault, the painter, and after- wards of J. J. Coigny, the engi-aver. He obtained the gi-eat prize at the Institute for the best en- graving in 1806, and has since obtained additional honours for productions of great excellence. His works class with those of the best modern engravers of Italy.,^^ Among them may be specified, The TrinMttjttof Galatea ; after Raphael. The FiveSHntsj after the same. The Holy Family ; after the same. Adam and Eve ; after the same. Neptune and Amphitrite ; after Giulio Romano. Yenus at the Bath ; after the Antique. Andromache I after Guerin. Thetis crownmg Yasca de Gama ; after Gerard. Richomme was a member of the Legion of Honour, and of the Institute. He is perhaps still living, an honour to the arts.] RICHTER, Christian, was a native of Stock- holm, and came to England in 1702, where he paint- ed portraits both in oil and in miniature; chiefly studying the works of Michael Dahl, from which he learned a strong manner of colouring. In the latter part of his life he applied to enamelling, but died before he had made much progress ih that branch, in 1732. RICKE, Bernard de, was born at Courtray, about the year 1520. It is not known by whom he was instructed, but he was an eminent painter of history. In the church of St. Martin, at Courtray, there are two pictures by this master, one of which is much esteemed, representing Christ bearing his Cross ; the other is the Decollation of St. Matthew. He afterwards fixed his residence at Antwerp, and was received into the academy there in I56I. RIDINGER, John Ei.ias. According to Huber, this artist was born at Ulm,in Suabia, in 1695, and received his instruction in the art from Christopher Resch. He established himself at Augsbourg, wnere he became an eminent designer and painter of ani- mals and huntings. His works as a painter are few, and iire little known, except in his own coun- try ; but in his numerous etchings, from his own designs, he discovers an ability which has seldom been surpassed. His compositions are ingenious and animated, and he has given to each animal its peculiar character and attitude with surprising ex- pression and exactness. The pardonable partiality of his countryman and biographer, Mr. Puessli, does not hesitate to assert, that though " he has perhaps been excelled by Rubens, in the ideal grandeur of the lion, he has far surpassed him, and the rest of his predecessors, in the wide extent of his powers over every species of the brute creation." The just value of this eulogy, the unbiassed judgment of the public will have little difficulty in ascertaining. The number of his prints is very considerable, and there is a great inequality in his works. The following are among the most esteemed : A set of twelve plates of the Creation. A set of Heads of Wolves and Foxes. Four plates of Boar-huntings. A set of sixteen plates representing the mode of hunting different animals in Germany, with insoriptious in Ger- man and French. Eighteen plates of Horsemanship. Thirteen plates of various Wild Beasts. A Lion-hunting ; afte^Rvbens; for the Dresden Gallery. [According to Zani he was born in 1698, and died in 1769. There are prints, supposed to be executed by him conjointly with his' son Martin Elias, with the date 1770. The German writers call him Rie- dinger.] RIDOLFI, Claudio, was born at Verona in 1560, and was for some time a scholar of Dario Pozzo, a painter of httle celebrity ; but he afterwards entered the school of Paolo Veronese. As Venice was at that time the residence of a great number of eminent artists, he went to Rome in search of employment. Not meeting with the success he expected in that capital, he visited Urbino, where the works of Fede- rigo Baroccio were then held in the highest estima- tion. He formed an intimacy with that distinguished artist, and with the advantage of his instruction and advice, he acquired an amenity of style, and a grace- ful expression in the airs of his heads, by which his works were afterwards distinguished". He resided several years at Gorinaldo, in the marquisate of Ancona, where he painted many pictures for the churches of that town and its vicinity, which, in colouring, might vie with the ablest of the Venetian painters, and in elegance and correctness of design, remind us of the great masters of the Roman school. Of his works at Urbino, the most esteemed are the Birth of St. John the Baptist, in S. Lucia; and the Presentation in the Temple, in Spirito Santo. At Rimini is a fine picture by this master, represent- ing the taking down from the Cross. He also painted porti'aits, in which he united dignity and character with a perfect resemblance. He died in 1644. RIDOLFI, Cavaliere Carlo. This painter was bom at Vicenza in 1602. He was instructed in the art by Antonio Vassilacchi, called I'Aliense, but afterwards studied the works of the best masters at Verona and Vicenza. Little is known of his works as a painter, andLanzi mentions, as his most esteemed performance, the Visitation of the Virgin to St. Elisabeth, in the church of the Ognisanti at 641 KIDO] A DICTIONARY OF [RIGA Venice. He also painted portraits and easel pictures for private collections. He is more distinguished as a writer on art than as a painter, and was the author of the Lives of the Venetian Painters, in two volumes, published at Venice in 1648, entitled Le Maraviglie dell' arte, ovvero le Vite degV illustri pit- tori Veneti, e dello Stato. He died in 1660, aged 58. [Zani and other writers date his death in 1658, at the age of 64] RIDOLFI, PiETRO, an Italian engraver, who flourished about the year 1710. Mr. Strutt notices a frontispiece engraved by this artist, from a design by C. N. Lamparel, aflrxed to a volume, containing views of ancient and modern Rome, published at Venice in 1716. It is executed in a style resembling that of Cornelius Bloemart, though very inferior. [He was living in 1723.] RIEDEL, John Anthony, a German designer and engraver, born at Prague in 1732. He was keeper of the Dresden Gallery, and has engraved several plates from the pictures in that celebrated collection, in which he has imitated the style of Rembrandt, among which are the following : The Virgin and infant Christ ; ^^ Baroccio. The Seven Sacraments ; after Gio. Maria Crespi. A Portrait of Rembrandt ; after a picture by himself. A "Warrior, with a cap and feather ; after the same. A Portrait of a Lady holding a Letter ; after Vandyck. [Nagler, who gives a list of 52 of his works, says he died in 1816; but the latest date on his prints is 1772.] RIETSCHOOF, John Klaasz, was bom at Hoorn in 1652, and was a scholar of Ludolf Back- huysen, under whose tuition he became an eminent artist, and painted sea-pieces and storms so much in the style of his instructor, that his pictures were sometimes mistaken for those of Backhuysen. He particularly excelled in painting tempests and hur- ricanes, which he represented with the most im- pressive fidelity. His calms are not without con- siderable merit, and bear some resemblance to the works of William Vandervelde. The pictures of Rietschoof are little known in this country, and are chiefly confined to Holland, where they are justly esteemed. He died in 1719. [Rietschoof 's pictures are now very well known in this country; they cer- tainly are analogous to those of Backhuysen, and are worthy of being placed in the second rank of sea-pieces by Dutch masters. The resemblance of his calms to those of W. Vandervelde is not very striking.] RIETSCHOOF, Henry, was the son of the pre- ceding artist, born at Hoorn in 1678, and was in- structed in the art by his father. He painted similar subjects to those of the elder Rietschoof; and though his pictures cannot be said to equal them, they pos- sess suflicient merit to find a place in the collections of his country. [The date of his death is not re- corded.] RIGAUD, Hyacinth, a French painter, born at Perpignan in 1659. He was the son of Matthias Rigaud, an artist of little note, from whom he re- ceived his first instruction in the elements of design. His father dying when he was very young, he was placed under the care of a portl-ait painter of no gi-eat celebrity, at Montpellier, under whom he con- tinued till he had reached his eighteenth year, when he established himself in the city of Lyons, where he met with very flattering encouragement. In 1 681 he went to Paris, for the purpose of studying histo- rical painting, and in the following year obtained the prize at the Academy. By the advice of Charles 642 le Brun, who discovered in him a decided talent for portrait painting, he abandoned his project of visit- ing Italy, and applied himself particularly to that department. , Having seen some portraits by Van- dyek at Paris, he was so much struck with the ad- mirable style of that painter, that he ever afterwards made him the model of his imitation. The success of Rigaud as a portrait painter was most brilliant. He frequently painted the portrait of Louis XIV. and those of the principal nobility of the court, and many of the most illustrious personages in Europe. In 1700 he became a member of the Academy at Paris, and presented them with a fine portrait of the sculptor Desjardins, as his picture of reception. He painted a few historical works, among which is a picture of St. Andrew, in the hall of the Academy ; and a Nativity, which is engraved by Drevet. Hyacinth Rigaud is considered one of the ablest portrait painters of the French school. His heads are full of character and expression, his colouring more chaste than is usual in the artists of his coun- try, and his touch is bold and free. He had the misfortune of being obliged to encounter the un- picturesque habiliments and the enormous perukes worn at his time, and his works would undoubtedly have possessed a stronger claim to our admiration, if he had been permitted to delineate nature, with- out such preposterous disguises. Some of his por- traits have been finely engraved by the eminent artists of his country, among which are those of Bossuet, bishop of Meaux, by Drevet ; and his own portrait, by Gerard Edelinck. He died in 1745. [Zani and Nagler say he died in 1743. Nagler has given an excellent list of the portraits engraved after him by the most eminent French engravers : they are very numerous.] RIGAUD, John, was a relation of the preceding artist, and was born at Paris about the year I7OO. He painted landscapes and views, which, if we may judge by his prints, must have possessed consider- able merit. He appears to have passed some time in England, as he has etched some views in the en- virons of London. We have several plates by him, executed in a spirited and masterly style, and the figures are correctly and neatly drawn. The follow- ing are his principal prints : A pair of Views of Marseilles, at the time of the plague in 1720. A set of six Views of the Chateau and Gardens of Marly. The Garden of the Tuilleries. A View of the Chateau of the Luxembourg. A View of Hampton Court. St. James's Park. Greenwich Park. Greenwich Hospital. A set of six Landscapes, with figures. A set of six Views in France, with rural amusements. Twelve marine subjects. [Nagler has given a list of a gi'eat number of en- gravings by him, and says he died in 1754; but Zani says he operated in 1757.] He had a son, John Baptist Rigaud, who en- graved a plate of a view of the Palais Bourbon, after a design by his father. [RIGAUD, John Francis, an historical painter, who was probably of French or Swiss origin, but practised his art in England, and was a member of the Royal Academy, flourished during the latter part of the 18th century. He was one of the painters employed by Boydell to illustrate Shakspeare ; and he painted also many subjects taken from the sacred writings, and from the History of England. His admission picture to the Royal Academy represents eigh] PAINTERS AND ENGRAVERS. [risv Samson breaking his Bonds, and looks like a bold academical study. His style partakes more of the French than of the English school. A great num- ber of his pictures have been engraved. He trans- lated and published Lionardo da Vinci's Treatise of Painting with illustrative copper-plates. It is sup- posed that he died in 1810.] RIGHETTI, Mario. This painter was born at Bologna about the year 1590, and was a scholar of Lucio Massari. He painted several pictures for the churches of his native city, which are noticed in Le pitture di Bologna, of which the most deserving at- tention are the following : The Archangel Michael, in the church of S. Guglielmo ; Christ appearing to Magdalene, in S. Giacomo Maggiore ; the Adoratiob of the Magi, in S. Agnese; and the Nativity, in S. Lucia. RILEY, John. This artist was born in London in 1646, and received instructions from Isaac Fuller and Gerard Zoust. He was httle noticed till after the death of Sir Peter Lely, though he is considered by the noble author of the Anecdotes as one of the best native painters that had then flourished in Eng- land. His talents were obscured by the fame, rather than the merit, of Sir Godfrey Kneller, and have been since depressed by being confounded with Lely, an honour unfortunate for his reputation. He painted several portraits, particularly that of Lord Keeper North, at Wroxton, which would have done cre(fit to either Lely or Kneller. Riley was modest, humble, and of an amiable chai'acter, and was easily disgusted with his own works. With a quarter of Kneller's vanity, he might havepersuaded the world that he was a great painter. Charles II. sat to him, but almost intimidated the modest artist from pursuing a profession so proper for him, by what perhaps he considered as ajeu d'esprit. Look- ing at the picture, he cried, " Is this like me ? then, od's fish, I am an ugly fellow." James II. and his queen also sat to him, as did their successors, Wil- liam and Mary, who appointed him their painter. He died in 1691. RILEY, Charles Reuben, was born at London about the year 1752, and having shown a disposition for the art, was placed under the tuition of Mr. Mortimer. .In 17/8 he obtained the gold medal at the Royal Academy, for the best pamting in oil ; the subject was the Sacrifice of Iphigenia. He was recommended by his instructor to the patronage of the Duke of Richmond, and was employed in the decorations at Goodwood. He afterwards went to Ireland, on a similar employment for the embellish- ment of the mansion of Mr. ConeUy. His princi- pal employment afterwards was in making designs for booksellers, in which he displayed both fancy and taste, with considerable facility. He was of a feeble constitution, probably occasioned by the de- formed construction of his body, and died in 1798. RIMINALDI, Orazio. This painter was born at Pisa in 1598, and was first a scholar of Aurelio Lomi, but afterwards studied at Rome under Orazio Lomi, called GentUeschi. During a residence of some years at Rome, he studied with attention the works of the great masters, and the beauties of the antique, and on his return to Pisa distinguished himself as one of the most promising artists of his time. He followed, in the early part of his life, the principles of M. Angelo Caravaggio, which he soon after abandoned for the more graceful and expres- sivp style of Domenichino. He painted several pictures for the churches in that city, one of which, the Martyrdom of St. Cecilia, has since been placed in the Florentine Gallery. In the cathedral are two Scripture subjects by him, representing the Brazen Serpent, and Samson destroying the Philistines. His last work was his admired picture of the Assumption of the Virgin, which he did not Uve to finish. To the great regret of the lovers of painting, this able artist was cut off in the commencement of a flatter- ing career by the plague, which visited the Floren- tine state in 1630. [Zani and Lanzi say he died in I63I.] [RINALDI, Santo, called II Tromba, an ex- cellent painter of battles, landscapes, and' architec- ture, was a scholar of Furini, and flourished from 1640 to 1660. Though he painted much, and was eminent in his day, very little of his history is re- corded. It is supposed that he was born about 1620, at Florence, and died in 1676.] RINCON, Antonio del. This painter waB born at Guadalaxara, in 1446, and may be considered as the father of the Spanish school. He studied at Rome, and on his return to Spain was taken into the service of Ferdinand the Catholic, who appoint- ed him his painter, bestowed on him the order of Santiago, and made him groom of his chamber. Among the few of his works that remain, are the altar-piece in the church of Robledo de Chabela, a town in the archbishopric of Toledo ; and two por- traits of Ferdinand and Isabella, in the church of San Juan de los Reyes, at Toledo. Several of his works perished in the fire that destroyed the palace of the Pardo, in 1608. He died in 1500. [RING, PiETER DE, an admirable painter of sub- jects of still-life, flourished about the middle of the seventeenth century. If not a native of Holland, he practised his art there, as most of his pictures are, or were, confined to that country, though the Dutch writers seem to know nothing of his history. In the Museum at Amsterdam there is a picture by him, representing a table covered with blue velvet, on which are various kinds of fruit, oysters, and other shell-fish. Some twenty or thirty years ago there were several imported to England by dealers ; but it is apprehended that they have changed the name, and have assumed that of John David de Heem. He generally introduced a ring as his sig- nature : and by this signet ring his works may be ascertained. They deserve to be known.] RINGGLI, GoTHARD, [or Godfrey.] This art- ist is mentioned in Fuessli's Lives of the Swiss Painters. He was born at Zurich in 1575, but it is not said by whom he was instructed, nor is any thing known of the circumstances of his early life. He was employed by the magistracy of Berne to paint some large pictures' relative to the history of that city, which his biographer commends for the ingenuity of the composition and the correctness of the design. He is said to have etched some plates from his own designs, in a bold, free style, which he marked with a cipher composed of the letters G. R. [Nagler has given a list of eleven ; Brulliot notices two ; one has his name in full, G. Ringly u Zurich, fecit 1628. He died in 1635.] RIPOSO, Felice. See Ficherelli. RISVENNO, GiusEFFO, [or Risueno, Josef,] a Spanish painter, bom at Granada about the year 1640. He was a scholar of Alonso Cano, under whom he studied both painting and sculpture. He painted history with some reputation; and there are several of his works in the churches of his na- tive city, of which the most considerable is the cu- pola of the Carthusians. He died at Granada in 1721. 643 RITU] A DICTIONARY OF [roba RITUS, Michael. The name of this artist is affixed to an etching representing the Virgin Mary and the infant Christ ; after A. Caracci. It is dated 1647. RIVALZ, Anthony. This artist was born at Toulouse in 1667. He was the son of John Peter Rivalz, a painter and architect of some celebrity, by whom he was instructed in the rudiments of the art, and afterwards visited Paris, where he did not remain long, but went to Rome in search of im- provement. During his residence in that capital he was the successful candidate for the prize given by the Academy of St. Luke, in a picture represent- ing the Fall of the Rebel Angels. After studying the works of the best masters, he returned to Tou- louse, where he passed the remainder of his life. He possessed an extraordinary talent for copying the works of the most celebrated Italian masters with surprising precision. As he resided at so great a distance from the metropolis, few of his works are to be met with at Paris. ' His pictures are chiefly confined to the public edifices and pri- vate collections at Toulouse, where he died in 1735. He left a great number of drawings, which are executed with great freedom, in a style resembling that of Raymond de la Fage. We have a few spirited etchings by this artist, among which are the following : The Martyrdom of St. Symphorianiis. An Allegorical subject of Vice driven away by Trutb, as the enemy of the Arts and Sciences ; in memory of N. Poussin. Four plates of Allegorical subjects for a treatise on Paint- ing, by Dupuy du Grez, RIVALZ, Bartholomew, was the nephew and pupil of the preceding artist, born at Toulouse in 1724. We have by him a few etchings, among which are the following : The Fall of the Kebel Angels ; after Ant. Ilwalz. Judith and Ilolofernes ; after the same. Joseph and Potiphar's "Wife ; after the same. The Death of Mary Magdalene ; after Benedetto Luti, RIVAROLA, Alfonso, called II Chenda. This painter was born at Ferrara in 1607, and was the most distinguished scholar of Carlo Bononi. On the death of that master he was engaged to finish the picture of the Marriage of the Virgin, in the church of S. Maria del Vado. There are several pictures of his own composition in the churches at Ferrara, which do honour to the school in which he was educated. Such are his Baptism of St. Agos- tino, in the church dedicated to that saint, which he has embellished with magnificent architecture ; the Resurrection, at the Teatini ; the Brazen Ser- pent, in S, Niccolo ; and the Martyrdom of S. Ca- terina, in S. Guglielmo. This promising young artist had acquired a distinguished reputation among the ablest artists of the Ferrarese school, when he died at the premature age of 33, in 1640. RIVERDITI, Marcantonio. According to Lanzi, this painter was a native of Alessandria della Paglia, but received his education in the art at Bologna, where he painted some pictures for the churches, in which he imitated the style of Guido Reni. He also painted portraits with considerable success. Of his historical works, the most worthy of notice are his pictures of the Conception, in the church of the Padri Camaldolesi; and S. Frances- co di Paola, in S. Maria de Foscherari. He died at Bologna in 1744. [According to Lanzi and Zani he died in 1774.] [RIZI, Francisco, a Spanish historical painter of 644 a very fertile invention, was born at Madrid in 1608. He was the son of Antonio Rizi, a native of Bolog- na, who had accompanied Federieo Zuccaro into Spain, but he was instructed in the principles of the art by Vincencio Carducho. He seemed to possess an intuitive disposition for painting; no ob- stacles could obstruct his progress ; they were over- come as they presented themselves : he was born a painter. This precocity of talent, and the fecundity of an unbridled imagination, induced a superficial study of the essentials of the art ; the usual result followed ; he became the Spanish Fa presto. He conceived and produced, but always incorrectly. As he lived at a time, and in a court, when and where the great merit of an artist was to improvise, he was celebrated and patronized as one of first-rate talent; and in consequence he became painter to Philip IV. in 1656, which ofiice he continued to hold under Charles II., who added to it the honour of deputy- keeper of the royal keys. A few years previous he had been appointed painter to the cathedral of To- ledo, a post of more importance to an artist, in a pecuniary point of view, than that of painter to the king, as it gave him the charge of all the existing works in the cathedral, and insured to him the exe- cution of the greater part of what might be under- taken in his time, which in Spanish cathedrals, at that period, were numerous and important. It would occupy space to no very good purpose to give a detailed account of his manifold works in the palaces, cathedrals, and churches of Spain ; and it would be concluded by saying, that the decline of painting in that country may be attributed, in a great degree, to the attraction of his style, and its superficiality. He is said to have done equal injury to the architectural taste of the period by his capri- cious decorations of the theatre of the Retiro. His opinions were as dangerous to art as his practice ; he preferred facility to correctness, and considered the employment of painting only as a means of liv- ing. His last design was, perhaps, his best. It was a sketch for the great altar-piece of the Retablo de la Santa Forma, in the sacristy of the Escurial, but he did not live to finish the work ; Coello, his disciple, painted the picture from a sketch of his own, and it is considered one of the finest in Spain. Francisco Rizi died on the 2nd of August, 1685.1 [RIZI, Fray Juan, brother of Francisco, was born at Madrid in 1595. He was also an eminent painter, and was more correct in design than his brother, and more attentive to the chiaro-scuro. His principal works are in the Benedictine monastery of San Martin, at Madrid. He retired to Rome, was made an archbishop by Pope Clement X. in 1675, but died before entering into the duties of the office.] jip»*'" [ROBART, , said to have been'^a s^olar of Jan Van Huysum, painted fruit, flowers,' dead game, and landscapes. If he be the same as a painter who was called the Religious Willem Rohart, he flourished about the year 1770.] ROBATTO, Giovanni Stefano. This painter was bom at Savona in 1649, and studied at Rome in the school of Carlo Maratti. He for some time painted history with considerable reputation, and was employed for some of the churches at Genoa. One of his most esteemed works is St. Francis re- ceiving the Stigmata, at the Cappucini. He after- wards degraded his talent by a fatal passion for gaming ; and his latter performances are the pro- ductions of negligence and despatch. He died in 1733. robe] PAINTERS AND ENGRAVERS. [robe ROBERT, Nicholas. This artist was born at Orleans in 1610. He excelled in painting animals, insects, and plants, in miniature, and was employed by Gaston, Duke of Orleans, in painting the most curious beasts and birds in the royal menagerie, which are preserved in the King's library at Paris: We have also several etchings by him of similar subjects, and a set of six plates of Vases, from the designs of Charmeton. [He died in 1684.] ROBERT, A. According to Basan, this artist was a pupil of J. C. le Blond, by whom we have some prints in colour, which possess considerable merit. [Jean Robert followed the system of Le Blond and others of printing in colours by using four plates.] ROBERT, HuBER, a French painter of architec- tural views and perspective. He was born at Paris in 1741 ; and after learning the rudiments of design in his native city, he went to Rome, where he passed several years, and made very accurate de- signs from the remains of ancient Architecture. On his return to Paris, he was made a member of the Academy, and his pictures were held in high esti- mation. We have several spirited etchings by this artist, among which is a set of ten Views, with buildings, entitled Les Soirees de Rome. [Hubert Robert was bom in 1733, and died in 1808. He was an elegant artist, and has given picturesque representations of the antique remains in and about Rome, in the blended styles of Pannini and Joseph Vernet.] ROBERT-[DE-SERI,] Paul Pontius Anthony, a French painter and engraver, born at Paris about the year 1680. He was a scholar of Peter James Gazes, and afterwards studied in Italy. On his re- turn to Paris he painted an altar-piece for the church of the Capuchins, representing the Martyr- dom of St. Fidelis, which is esteemed his principal work as a painter. He etched several of the sub- jects, which were executed in chiaro-scuro by Ni- cholas le Sueur, for the Crozat collection. [He died about 1740. Dumesnil has given descriptions of fourteen prints by him, with this character, "that he would have been the greatest painter in the world if his talents had been equal to the good opi- nion he had of himself." It is feared that, with the same proviso, he would have had many rivals.] ROBERTS, James, an English engraver, born in Devonshire in 1725. He engraved several land- scapes and views from the pictures of Richard Wil- son, George Barret, Smith of Chichester, and others. ROBERTSON, George. According to Ed- wards, this artist was bom in London about the year 1742, and was instructed in design in Mr. Ship- ley's drawing-school. At an early age he went to Italy, where he chiefly studied landscape painting, and produced some pictures which possessed con- siderable merit. He afterwards visited the island of Jamaica, where he made several drawings and pic- tures of views of that country, some of which were exhibited in 1775. Not meeting with the encour- agement he expected, and to which his talents just- ly entitled him, he adopted the profession of a draw- ing-master, in which he was more successful. He died in 1788. We have a few etchings of views by him from his own designs. ROBETTA. According to Huber, this old en- graver was born at Florence about the year 1460. He followed the profession of a goldsmith, and en- gi'aved a few plates in the rude and uncouth style practised in Italy before the time of Marc Antonio Raimondi. His prints are very scarce, and have little more than their rarity to recommend them. He sometimes signed them with his name at length, on a tablet, and sometimes with the letters R. B. T. A. The following are by him, and are apparent- ly from his own designs : Adam and Eve ; a middle-sized upright plate. The Wise Men's Offering ; the same. The Resurrection of Chnst ; the same. The Golden Age ; a large upright plate. [The foregoing account of Robettais very meagre and unsatisfactory ; but there is great uncertainty in all that is related of him. Zani endeavoured to elu- cidate his history, and has given from Vasari the little that author has said that might tend to show the period in which a goldsmith named Robetta lived. It appears that twelve artists formed a club, under the appellation of La Compagnia del Pajuola, (the company of the Stock-pot,) and had ^zc-m'c sup- pers alternately at each other's lodgings. The names of these associates were Gianfrancesco Rus- tici (the founder) ; Andrea del Sarto ; Spillo, Pit- tore ; Domenico Puligo ; II Bobetta, Orafo ; Aristo- tile da San Gallo ; Francesco di Pellegrino ; Nicolo Boni ; Domenico Baccelli (who played and sung excellently) ; 11 Solosmeo, Scultore ; Lorenzo detto Guazzetto ; and Roberto di Filippo Lippi, Pittore. The inference that Zani draws is, that as Gianfran- cesco Rustici was born about 1470, and lived to 1547, Robetta, a goldsmith, flourished within those years, and that he was the engraver in question. These Symposia appear to have taken place about 1511 or 1512, and Bartsch conjectures that Robetta flourished about 1520 ; but as nothing is said re- specting his age, it cannot be ascertained whether that was his prime or decline. By his being admit- ted a member of a select club of eminent artists, it may be supposed that he was of some celebrity lie- fore 1512. He is designated Orafo in the list of names, that word being then used for Ore/ice, gold- smith; but engraving was part of a goldsmith's business in those days, and ranked him among art- ists. Andrea del Sarto was placed with a goldsmith to learn the art of engraving before he became a painter. Ottley observes, " The works of Robetta bear evidence that he was no ordinary goldsmith. He appears to have possessed a fertile imagination, and to have composed with facility. In his small draped figures of females or angels, he is frequently graceful ; but he was not equally successful in his naked figures, which are often lamely drawn, and sometimes ill proportioned. His engravings, which appear executed with freedom, are finished with close hatchings carelessly thrown in various direc- tions ; and in the light parts of his figures, and upon the ground, he sometimes introduces a few dots, or short curved strokes, in the manner of Schongauer and the early engravers of Germany and the Low Countries." Zani says he knew about thirty prints by this artist, almost all signed either Robeta or Robetta, but more commonly "Robta", or R- B' T- A- On his Mutius Sccevola the mark is R* BTA*, and on the Lyrist, (N". 23 of Bartsch,) RBTA. The prints of this old engraver are of sufiicient import- ance, for their merits and rarity, to justify the in- troduction of a list of their titles, as given by the accurate Bartsch in Le Peintre Graveur, tom. xiii., to which the inquirer is referred for fuller descrip- tions. Zani, Endclopedia Metodica, parte seconda, vol. il., should also be consulted. List of Prints by, and attributed to, Robetta. subjects from the old testament. 1. The Creation of Eve. Not signed. 645 EOBl] A DICTIONARY OP [robs 2. Adam and Eve driven from Paradise. Not signed. 3. Adam and Eve, and their two Children. Signed KBTA. There are two impressions of this plate. In t)x& first the sky is white ; the second is retouched, and there are several clouds in the sky, particularly towards the right. 4. Adam and Eve, and their two Children. No mark. The^s* state before a" round hole at the bottom of the plate. 5. Adam and Eve, and their two Children. No mark. SUBJECTS FROM THE NEW TESTAMENT. 6. The Adoration of the Kings, ^ned EOBETTA. 7. The Nativity. Not signed, but undoubtedly his work. 8. Jesus Christ baptized in the river Jordan. Signed EBTA. 9. Jesus Christ taking leave of his Mother. Signed RBTA. 10. The Resurrection of Christ. Signed RBTA. 11. The Virgin presenting her breast to the Infant. Signed ROBTA. 12. The Virgin seated in a landscape, &o. Signed RBTA. 13. The Virgin Vfith Angels, &c. Not signed, but con- sidered one of the most beautiful pieces of the master. 14. St. Sebastian and St. Roch. Not signed. 15. Faith and Charity -with their attributes. Signed EBTA. MYTHOLOGICAL SUBJECTS. 16. Ceres with two goat-footed Infants. Signed RBTA. 17. A young Man tied to a Tree, &c. Signed RBTA. 18. Venus surrounded by Cupids. Some traces of the name may be seen in a dark shadow. 19. Apollo and Marsyas. Signed RBTA. 20. The young Hercules between Virtue and Vice. Not 21. Hercules killing the Hydra. Signed 'KS'YA.. There are two impressions ; in the^rs^ the sky is left white ; in the second, there are some clouds, and a falcon chasing a heron. 22. Hercules and Anteus. Not signed. 23. The Lyrist. Signed RBTA. 24. An old Woman and two amorous Couples, &c. Not 25. A Man tied to a Tree by Cupid, &c. On a tablet RORBTA (sic.) 26. Mutius Scaevola. SJjrjjed^RBTA. The following -six prints, five of which are in the British Museum, are presumed to be by Robetta, although they have not his mark. Ottley has no- ticed the two first in his " Inquiry," pp. 461 and 462. The Sacriiice of Cain and Abel. H. &%in., W. 6\in. B. M. The Death of Abel. H. 6|m., W. 5im. B. M. Formerly in Mr. Lloyd's collection. St. Jerome kneeling before a Cruciiix. Jupiter and Leda. B. M. The Virgin and Child attended by St. Sebastian and the Magdalene. B. M. A Biposo in Egypt. B. M. Formerly in the Duke of Buckingham's Collection.] ROBINS, William, an English engraver in mezzotinto, who flourished about the year 1730, by whom we have a few portraits ; among others, that of William Warren, LL.D. ; after Heims. ROBINSON, R. The name of this artist is af- fixed to some- portraits in mezzotinto, among which are the following : Chaxles I. ; after Vandyck. Charles II. Jajnes II. Thomas White, Bishop of Peterborough. Sir James Worsley, Knight. ROBINSON, . This artist was born at Bath about the year 1715. He came to London when he was young, where he became a scholar of John Vanderbank, under whose tuition he made considerable proficiency, and was afterwards dis- tinguished himself as a portrait painter. He suc- ceeded Jervas in his house in Cleveland Court, and suddenly came into extensive employment though 646 his colouring was faint and feeble. He aflfected to dress all his pictures in Vandyck's habits, but this was the only resemblance his works bore to those of that great painter. He died in 1745. [ROBSON, George Fennel, a very eminent landscape painter in water-colours, a native of Dur- ham, and son of a wine merchant of that city, was born in 1790. His taste for drawing displayed it- self at a very early age, and Bevrick's book of Quad- rupeds, then lately published, became, after nature, the favourite object of his notice. It seems that he never received any regular instruction in the rules of art, but that all hjs knowledge of it was derived from observing the proceedings of artists who came down to Durham for the purpose of sketching the beautiful scenery in its vicinity. "When one of these made his appearance, he was sure to find himself attended by a ruddy-faced boy, who hung upon his path, and before he had made much progress the little fellow was creeping up to his side with a look of intense interest to observe the magical efiect of his pencil. By degrees he mustered courage to show his own attempts to these mighty magicians, and being kindly received by several, the effect of their advice was soon visible. Such kindness should not be forgotten ; and Robson in after life, when his reputation was established, referred with gratitude to the encouragement his very early" attempts had received from Mr. William Daniell, the academician, and Mr. Cotman, of Norwich. At the age of six- teen, with only five pounds in money, he left his father's house, never more to return, and travelled to London. Here he made drawings, which he ex- posed in the shop window of a carver and gilder, and sold for small sums. By these means he not only supported himself for twelve months, but was enabled to return the five pounds he had received from his father. He now resolved on publishing'a view of his native city, and was encouraged by a large list of subscribers ; the funds derived from this speculation enabled him to visit the Highlands of Scotland. That he might enter into the romance of the country, he dressed himself as a shepherd, and with his wallet at his back, and Scott's Lay of the last Minstrel in his pocket, he wandered over the mountains at all hours and in all seasons. He left many reminiscences of the beautiful scenery of Loch Katrine and its vicinity. Though especially inspired by the grandeur of the Highlands, he did not confine himself to Scotland, but visited Durham, the Lakes of Cumberland and Westmoreland, and made himself familiar with North Wales, and cross- ed over to Ireland to depict the beauties of Killar- ney. He had the good sense and fine taste to per- ceive that the British Isles could supply the finest subjects that could be desired by the most romantic painter. His success with the public was commen- surate with his talent and industry, and though his productions were numerous, they never lacked pur- chasers. He was a constant exhibiter at the Wa- ter-colour Society's rooms in Pall Mall East, which, indeed, may be deemed, if not of his creation, a so- ciety fostered and supported by his exertions till it attained strength and stability. On one occasion he contributed no fewer than thirty-eight pieces ; yet, so highly are his productions esteemed, it would be difficult to obtain, even at the present time, when so much talent is shown in the same department, a specimen of his drawings, at almost any price. Some of his mountainous scenes are enlivened with ani- mals by Hills, especially with Deer, in which that artist particularly excelled. His works are remark- ■ROBU] PAINTERS AND ENGRAVERS. [hoel able for vigour of execution, and powerful in colour and efiFect. The Scottish hills had strongly im- pressed their awful character on his imagination ; and the calmness of his own mind associated itself with these scenes of peace and loneliness even when settled altogether in the south, and drawing his ma- terials from objects around him. He could, how- ever, depict the busy haunts of men with equal felicity. His View of London, from the Bridge, before Sunrise ; The City of Durham from the North-east; and several other picturesque repre- sentations of Englisfi cities, some of which were executed for Mr. J. Britton, and engraved under his direction, were objects of great admiration. In ad- dition to the view of his native city, he published his scenes of the Grampian Hills, having visited every lake and vale through the whole extent. Many amusing anecdotes might be related of oc- currences that took place during his tours in search of the picturesque, and many respectable names recorded of those with whom he formed friendship by casual encounters in secluded spots ; but these, perhaps, would be deemed out of place in a work that only takes cognizance of him as an artist, and it only remains to notice the premature termination of his valuable labours. At the latter end of Au- gust he embarked in excellent health and spirits on board the James Watt steam-boat, to visit his friends in the north, and was landed at Stockton-on-Tees on the 31st, extremely ill, and died on the 8th of September, 1833. It is remarkable that seven of the passengers in the steam-boat were also attacked with inflammation of the stomach; but as, on a chemical analysis, nothing deleterious was discover- ed, the cause must be left to conjecture : the artist's dying words were, " I am poisoned." His death caused a great sensation, not only among the artists, by whom he was greatly beloved, but the public in general.] ROBUSTI. See Tintoretto. ROCHERS, Stephen des, a French engraver, who resided at Paris about the year 1710. He imi- tated the style of P. Drevet, end was probably his pupil. Among other prints, he engraved a numer- ous set of sm^l portraits of illustrious personages. They are but indifferently executed. ROCHFORD, P. DE. This artist was a native of France, and flourished about the year 1720. He engraved several of the plates for the large folio col- lection of Views of the Palace and Gardens of Ver- sailles, published by P. Menant. He also engraved some prints from the pictures of John Baptist San- terre, and other painters. He resided some time in Portugal, where he died. ROCHIENNE, P. [Pierre,] a French engraver on wood, who, according to Papillon, flourished about the year 1551. In conjunction with J. Ferlatb, he executed a set of wooden cuts for the New Testa- ment, in' Latin, published in 1551. They are said to be very indifferent performances. [He also en- graved some of the cuts for the Golden Legend, (Le- gende doree,) published in 1557.] ROCQUE, J. This artist was probably a native of France, but he chiefly resided in England, where he engraved some plates of landscapes and views, from his own designs. Among others, we have by him two large plates representing views of .Wan- stead House, in Essex. RODE, Christian Bernard, was born at Ber- lin in 1725, and having learned the rudiments of the art in his native city, he went to Paris, where he studied some time under Charles Vanloo and John Restout. He afterwards travelled to Italy, and on his return to Berlin met with very flattering en- couragement as a painter of history and portraits. He painted several altar-pieces for the churches at Berlm, and the other towns in Prussia, and was em- ployed by the king in embellishing the palace of Sans Souci. This ingenious artist has etched a great number of plates from his own designs ; several of them are after the pictures he painted for the pub- lic edifices. The following are among his principal works : His Portrait; engraved by himself j after Reclam. Cluist, with the Disciples, at Euimaiis. The Descent of the Holy Ghost. The Ascension ; from his picture in the church at Bostock. St. Paul preaching. Christ in the Garden of Olives ; from the picture in the church of St. Mary at Berlin. Joseph discovering himself to his Brethren. [Of the works of this artist, who died in 1797, the inquirer will find an ample list in Nagler, sufficient, indeed, to fill an ordinary catalogue.] RODE, John Henry, was the younger brother of the preceding artist, born at Berlin in 1727. He was brought up to the profession of a goldsmith, but abandoned that pursuit to devote himself to en- graving. Having executed some plates at Berlin with considerable success, he went to Paris, where he became a pupil of John George Wille. During his residence in that city, he engi-aved a few plates in the finished style of his instructor, and on his re- turn to Berlin published several prints from the de- signs of his brother. He had acquired a very flat- tering reputation, when his career was interrupted by his premature death, in 1759. Among otners, we have the following prints by him : The Portrait of John George "Wille ; after Schmidt. A Head of Epicurus ; after J. M. Preisler. Jacob wrestling with the Angel ; after C. B. Bode. An Ecce Homo ; after the same. A Sacrifice of the Vestals ; after the same. [See Nagler, for a full detail of his works.] [RODRIGUEZ, Frate Adrian, properly Adri- an DiERix, of the order of the Jesuits, was born at Antwerp in 1618, and died in 1669. He painted what is called history, but little of his own is re- corded. It appears that he went to Spain when he was about thirty, and entered the imperial college at Madrid, where he professed himself of the order of the Jesuits, and changed his name from Dierix or Dieriex to that of Rodriguez, for the sake of eupho- ny. He painted in the Flemish manner, and the few pictures that are mentioned as by him, are, Abraham entertaining the three Angels, the Mar- riage at Cana, the Holy Family, Christ at Emmaus, and the Banquet at the house of the Pharisee, with the Magdalene anointing Christ.] ROELAS, Juan de las. This Spanish artist is called el Doctor Pablo de las Roelas, by Palomino, though Francesco Pacheco, who was his contempo- rary, denominated him Juan. He was descended from a noble family, originally of Flanders, was bom at Seville in 1560, and was brought up to the profession of physic, in which he had already taken a degree, when an inclination for the art of paint- ing, which he had discovered in the early part of his life, induced him to devote himself to the study of it, and he travelled to Italy for the purpose of improvement. He went to Venice, where he studied some years. Palomino states him to have been a disciple of Titian, but that cannot be correct, as 647 rode] A DICTIONARY OF [roet Titian died in 1576, when our artist was only six- teen years of age. It is more probable that he re- ceived his instruction from a disciple of that great master. On his return to Seville, he was much employed in ornamenting the churches in that city, where there are many pictures by him, which are compared by his biographer to the works of Palma or Tintoretto. To a ricn and harmonious colouring, which he had acquired in the Venetian school, he added a correct design, a perfect acquaintance with the anatomy of the numan figure, and his compo- sitions are ingenious and abundant. One of his most admired works is the Martyrdom of St. An- drew, in the Colegio de Santo Thomas. Accord- ing to Palomino, he died at Seville in 1620. [Roelas is known by the styles of el Clerigo Roelas, and el Liceneiado Juan. He went as a canon to Olivares in 1624, but whether he ever practised as a physi- cian is not said. Probably he was styled Licentiate, as having graduated at the university of Seville. His pictures are very numerous in Seville. His masterpiece is the Death of St. Isidore, in the church of that Saint ; another fine picture by him is the Sant Jago, in the Capilla de Santiago, in the cathe- dral, in which the saint is represented riding over the Moors. Bermudez says it is full of fir^, majesty, and decorum. Mr. Ford, however, says it is sur- passed by the picture of the Conception, in the Academy, and by three in the chapel of the univer- sity at Seville. He has been compared with Tinto- retto and Caracci, and is certainly the best of the Andalusian painters. It is a subject of regi'et that none of his fine works has been engraved, as he ex- celled in design and composition, and displays a grandeur of form and character which belong only to the greatest masters. In colouring he may also be compared with the Venetians. He died at Oli- vares in 1625, on the 23rd of April.] RODEEMONT, or ROTTERMONDT. This artist is called Motermans in the Anecdotes. He was a native of Holland, and flourished about the year 1640. From the style of his etching, he ap- pears to have been a painter, and has imitated the style of Rembrandt with great success. He en- graved a few portraits, which are now become scarce, among which are, Sir William Waller, Serjeant Major-general to the Par- liament, with a Battle in the back-ground; after C, Jansen. Joannes Secundus, a Latin Poet of the Hague ; Moder- mont, fecit. [Bartsch and Claussin, in their Catalogues of Rem- brandt's prints, have noted several by this artist, distinguishing them, however, from the works of that great master.] ROEPEL,CoNRADE, [or Koenraad,] an eminent Dutch painter of flowers and fruit, bora at the Hague in 1679. He was placed for some time un- der the care of Constantine Netscher, with the in- tention of studying portrait painting ; but the deli- cacy of his constitution made it necessary for him to quit the Hague, and to reside at a country-house of his father's, where he amused himself in culti- vating the choicest flowers. This occupation led him to an attempt to imitate in painting the beau- tiful objects of his care, and his success surpassed his expectation. He sent one of his earliest per- formances to the Hague, where it was readily pur- chased by one of the most celebrated florists of the place, who afterwards supplied him with the most curious productions of his garden, from which Roe- 648 pel painted pictures which were highly esteemed. In 1716, he was invited to the court of the Elector Palatine, at Dusseldorp, where he was received with every mark of favour and distinction. He painted some fruit and flower pieces for that prince, for which he was liberally remunerated, and was decorated with a gold chain and medal. On the death of his Eatron lie returned to the Hague, where he found is reputation increased by the flattering reception he had met with at the Palatine court. He painted some pictures for Prince William of Hesse, and the families of Fagel and Lormier for some time em- ployed his pencil. In 1 718 he was received into the Society of Painters at the Hague, of which he was the director at the time of his death, in 1748. Although the works of C. Roepel are neatly finished, they must still be allowed to be very inferior to the admirable productions of John van Huysum and Rachel Ruysch. [ROER, Jacob Vandek, was born at Dort in 1648; he studied portrait painting under Jan de Baan, and practised for some time in England, during the reign of Charles II. It is not known how long he remained in this country, but he died at his native place in 1699.] ROESTRAETEN, Peter. This painter was born at Haerlem in 1627, and was brought up un- der Francis Hals, whose daughter he married, and whose style he followed in portrait painting for some time with success in Holland, when the reputation and good fortune Sir Peter Lely had met with in England, induced him to visit this country, in the reign of Charles II. He was received by Lely with gi-eat kindness on his amval, who introduced him to the king ; but it does not appear that he met with much encouragement at court, as none of his pic- tures are to be found in the palaces, or in the royal catalogue. Descamps, in his Lives of the Dutch Painters, gives a very improbable account of Sir Peter Lely's jealousy of the talents of Roestraeten in portrait painting; and of his having, in consequence of it, proposed to him a partition of the art ; portraits were to be monopolized by Lely, and Roestraeten was to be put into possession of all other branches, whose works were to be vaunted by Lely. It is not very hkely that an artist should thus relinquish that very department of his profession, in which, such a pro- posal told him, he was the most capable of excel- ling. It is more consistent with probability, that Roestraeten, doubting of success, from the superior ability and established celebrity of Sir Peter, re- nounced portrait painting, and had recourse to an- other branch of the art, in which he previously dis- tinguished himself in his native country. He painted with great success vases of gold and silver, bas-re- liefs, musical instruments, &c., which he designed with precision, and his pictures were well coloured, and touched both with delicacy and freedom. His works rose into general estimation, and he was ex- tensively employed by the nobihty and gentry of his time. In what particular year he visited Eng- land is not ascertained ; but he must have resided here many years, as he met with an accident at the fire of London, and was lame for the rest of his hfe. He died in London in 1698. [Balkema calls him Nicolas; Immerzeel omits his baptismal name.] ROETTIERS, Francis. This artist was born at Paris in 1702. His family was originally of Ant- werp, a.nd had for many years held the situation of medallist to the mint, in Prance. He was probably a scholar of Nicholas de Largilliere, from whose de- eoge] PAINTERS AND ENGRAVERS. [room signs he has etched the foUovfing two plates, exe- cuted with great spirit and eifect : Chiist bearing his Cross. The Crucifixion. [Both large prints, with numerous figures. .There are a few others by him, but of no import- ance. He died in 1770.] ROGEL, John. According to Professor Christ, this artist was an engraver on wood, and resided at Augsburg about the year 1567, but he has not speci- fied any of his prints. ROGER OF Bruges. This old painter was born at Bruges about the year 1390, and was a disciple of John van Eyck at the time of the invention of oil painting by that master. He painted on a larger scale than Van Eyck, and his figures were well de- signed for the early period at which he lived. Van Mander mentions some pictures by this master which were preserved at Bruges in 1604. [^Hoger Schabol, known as Sogier, or Roger, de Bruges, Rudiger, Ruggieri, II Maestro Rogel, Roge- rim Qallieus, and other appellations, was esteemed the best disciple of Jan Van Eyck. Of the time of his birth nothing certain is known. It is supposed that he was a native of Bruges ; and it is probable that he resided there till after the death of Van Eyck. Whatever he may have done during the life of his instructor, his fame rests on what he accomplished from about 1430 to 1462 ; and it is in that space that his history, as a painter, should be sought for. It is pretty clearly shown by facts, and incidental re- lations, that much of that time was spent by him in Italy. The names given to him by Italian writers, indicate their application to a foreigner, with whose works they were familiar ; as Ruggieri da Bruggia, II Maestro Rogel, Rogerius Gallicus, &c. There is no account of the cause that induced him to visit Italy; but after the death of Jan Van Eyck, which occurred between 1420 and 1430, he might deem it advantageous to himself to carry the knowledge of what he saw was so much coveted, that of painting in oil, of which he was the sole depositary, to places where he would receive honour and pecuniary re- ward. But his ability must have been already known in Italy, for it is now beyond all doubt that he exe- cuted for Pope Martin V., who died in 1431, the re- nowned Oratory, or portable altar-piece in three compartments, which was presented by the pope to King John II. of Castile, and by him, in 1445, to the Carthusian monastery at Miraflores, near Bur- gos. This altar-piece was afterwards obtained by the Emperor Charles V., who carried it with him in all his expeditions, and used it in his private devo- tions : it is now the property of the king of Holland. It has been noticed, in the account of Hans Hem- ling, that it was seen at the residence of the em- peror by Albert Durer, when he visited Bruges in 1520 ; for in his journal he says, " I saw the Chapel painted by Rudiger," showing that he knew of it before by report. It is more likely that Rogier com- municated the knowledge of painting in oil to the Italians, than that Antonella di Messina obtained it from Jan Van Eyck. The whole story of Anto- nella's journey to Flanders appears to be fabulous. It is on record, that in 1449 Lionello d'Este, Mar- quis of Fen'ara, had a triptique by him ; on the left wing was. painted the Expulsion of Adam and Eve Irom Paradise, on the right, the Adoration of the Kings, and in the centre, the Deposition of Christ from the Cross. There is also mention made of other pictures by him, existing in the palace of Al- fonso, king of Naples. That he was at Rome in the year of the jubilee 1450, is ascertained; and all the pictures enumerated by Pacius were in Italy in the year 1456, the year in which Facius pubhshed his book De Virtus i&sim, wherein the artist is designated Rogerius Gallicus, Juannis discipubis et conterraneus, &c. (disciple and countryman of Jan Van Eyck). It is also conjectured that later in life he was at Venice, as there was a picture of St. Je- rome and two other saints in the Casa Nani, on which was inscribed, in Roman characters, Sumus RoGERii Manhs ; in the house of a Messer Zuanne Ram, the artist's own portrait in oil, painted fi'om a glass in 1462 ; and in the same city, in the collection of Messer Gabriel Vendramini, a picture of the Vir- gin with the Infant in her arms, and a crown on her head, standing in a temple of Flemish architecture; It does not appear, from the older writers, that he ever returned to the place of his nativity, and the time of his death is left as uncertain by them as that of his birth. Whether Rogier de Bruges and Ro- gier de Bruxelles be identical, or two painters flour- ishing at the same period, it is difficult to determine ; Micmels, and other modern writers, maintain that they are identical, and the probability is in their favour, if certain facts can be established as equally applicable to Rogier Schabol de Bruges, and to Ro- gier Vander Weyde of Bruxelles. In the article Vander Weyde, there will be occasion to say something more on the subject.] ROGER OF Brussels. See Vander Wetde. ROGERS, William, an old English engraver, born in London about the year 1545. It has not been ascertained Irom whom he learned the art of engraving, but he worked with the graver in a neat, stiff style. He engraved a few portraits, and several frontispieces, and other ornaments of books. He is considered one of the earliest of the English en- gravers who practised the art in a general way. He usually marked his plates with the cipher "\X^- We have the following prints by him : PORTRAITS. Queen Elizabeth ; a small upright plate. Henry IV. of France ; a whole length. The Earl of Essex, Earl Marshal of England. The Earl of Cumberland. Thomas Howard, Suke of Norfolk. Sir John Harrington ; the title to his Orlando Furioso. Thomas Moffat ; a frontispiece to his Theatre of Insects-, John Gerarde, Surgeon ; frontispiece to his Herbal. [ROGIER, NicoLAUs, called also Katnoot Ru- GiERO, a Flemish landscape painter, who flourished from 1520 to about 1540. He is noticed as having painted in the style of Joachim Patenier. His works are veiy little known ; and there are no particulars respecting him.] [ROGHM AN, Hr. Lme., and P. H. ROGHMAN, supposed to be identical. There are no particulars respecting these names, except what is gleaned from two or three engraved portraits. The first name appears to a portrait of M. Barent Jansz, eet. 53, 1627, S. L. Roghman sculpsit, the H. L. and R. form a cipher; the second to a portrait of A. I. Roscius in an oval, signed P. JT, Roghman, sculpsit. His name appears also to a print after Rubens, and to a portrait of Erasmus.] ROGMAN, or ROGHMAN, Roland, a Dutch fainter and engraver, born at Amsterdam in 1597. t is not known by whom he was instructed in the art, but he was an eminent painter of landscapes. His pictures usually represent views in Holland, and tne borders of Germany, which exhibit a close 649 roke] A DICTIONARY OF [roma attention to nature in the forms, though his colour- ing is dark and disagreeable. We have several etchings by this artist of landscapes and views in Holland, executed in a bold and masterly style ; and Peter Nolpe has engi-aved six plates of land- scapes after this painter. [The landscapes of Roeland Roghman have a strong resemblance to those of Rembrandt, with whom he was on terms of intimacy ; but are much coarser in the penciling, and less scientific in the management of the chiaro-scuro. Time has, no doubt, added much to their blackness, and rendered them gloomy and heavy. These faults, however, have preserved to the real painter the proprietor- ship ; for, after all attempts, the knavish part of the dealers have only been able to make a bad Rembrandt out of a picture that might have been formerly a good Roghman. His drawings with the pen are very free and spirited, and prove that he was an artist of talent. His etchings represent views of chateaux and edifices in ruins ; they are graved with the point in a rapid and somewhat negligent manner. Several of the plates, where the aquafortis has not succeeded in the first in- stance, have been subjected to a second process, and these appear scratchy and crude. His prints consist of thirty-three pieces; and there are six more published by Peter Nolpe with the title of "Views of the Wood at the Hague," but which are not by him in that state, but only after his designs, or his etchings retouched and finished with the graver by Peter Nolpe himself. This belief is strengthened by there being two other sets of proofs of these subjects, one of w-nich is marked H. Sogh- man fecit et excudit, and the other has the double address of JV. Visscher and of P. Schenk. T\ie first, marked JJ. Moghman fecit et excudit, are the etchings as Roghman published them himself; the second are those retouched and published by Nolpe ; the third ha-^e the double address of N. Visscher and of P. Schenk. For descriptions of the whole, see Bartsch, P. G. tom. iv. ; and Weigel's Supplement, for an account of the print of the mutilated bodies of the two De Witts. It is supposed that Rogh- man died in his 88th year, in the Old Man's House at Amsterdam. Gertrude Roghman, whom Nagler calls his daughter, also engi'aved after him. Bartsch has described Le Chateau de Zuylen, engraved by her after her fathei-'s design. It is a very remark- able print, in the manner of Herman Saftleven, and is rare. Weigel controverts this, and says it is rather in the manner of P. Nolpe. Nagler describes about twenty more; There are no other particulars respecting her.] ROKBRZ, Hendrick, an obscure Dutch en- graver, by whom we have a few portraits, very in- differently executed ; among which is that of William Henry, Prince of Orange, on horseback ; after P. Janse. ROKES, Henry;, See Sorgh. ROLI, GiBSEPPE. This artist was born at Bo- logna in 1654, and was a scholar of Domenico Maria Canuti. There are several of his fresco works in the churches of his native city. We have some etchings by him after the principal Bolognese paint- ers, among which are the following : Charitjr ; after Lodovico Caracci. A Sybil ; after Lorenzo PaainelU. [The name which appears on this engraver's prints is Joseffo,' or O. Molli, but Zani and Bartsch call him diuseppe Maria ItoU, or Rolli. Zani says he 650 was born in 1652, and Bartsch says in 1645; they agree that he died in 1727. Bartsch, P. G. tom. xix., describes six prints by him, and one cited by Gori ; to which Nagler adds another, the title-piece to a drawing-book after Guercino. Lanzi notices Antonio JRoli, or BoUi, a pupil of Colonna, born in 1643, and died in 1696, whose works in architectural de- corations Cavaliere Titi extols as miracles of art. Zani calls him the brother of Giuseppe.] [ROLLO, , a painter of whose history nothing is known, except that the name appears on a picture, Ecce Homo, painted in the manner of Guido, and so beautiful that it may be mistaken for the work of that master. The signature is Rollo Gallois, F. Probably he was of French origin.] ROLLOS, Peter, a German engi-aver, who re- sided at Frankfort about the year 1620. He en- graved the frontispiece to a book of Emblems, by G. de Montenay, published in that city in 1619. He executed a few other book plates, in a very in- different style. He sometimes signed his pritits P. ROL. P. [He resided at Berlin also; for there are books published at both places, of a later date than that mentioned, with his name to the plates.] [ROMAIN, DE LA Rue, painted land- scapes in the manner of Jan Asselyn, Swaneveldt, and Both, for which it is said he had a remarkable talent. There is no account of him, but excellent pictures by him occasionally appear, and pass for the work of one or other of those masters. He must not be confounded with William Romeyn, the land- scape and cattle painter.] ROMAN, Bartolome, a Spanish painter, born at Madrid in 1598. He was first a scholar of Vin- cenzio Carducci, but finished his education in the school of Velasquez. He was an eminent painter of history, and executed several considerable works for the church of the Franciscans at Alcala de Henares. In the sacristy of the Padres Cayetanos, at Madrid, there are some pictures by him, which his biographer. Palomino, in point of colouring and effect, compares tq Rubens. He died at Madrid in 1659. [Bermudez places his birth in 1596. He praises him highly, particularly for his manner of drapery in his figures, in which, he says, few of the older masters equalled him. He was conscious of his talents, but very modest withal, and expected that others should seek to employ him rather than that he should solicit employment. For this reason his works are extremely rare.] ROMANELLI, Giovanni Francesco. This painter was born at Viterbo in 1617. Having shown an early inclination for the art, his father sent him to Rome, where he had the good fortune of being taken under the protection of Cardinal Barberini, by whom he was placed in the school of Pietro da Cortona. His indefatigable application to his studies under that master, rendered him in a few years one of the most promising young artists at. Rome; and he was instructed by his master to finish, during his absence in Lombardy, some paint- ings he had commenced in the Palazzo Barberini. On leaving the school of P. da Cortona, he altered his style, and adopted one distinguished by more elegance in his forms, though less grand and splen- did than that of Cortona. He painted a picture of the Deposition from the Cross, for the church of S. Ambrogio, which was so much applauded, that Pietro, alarmed at his rising reputation, painted in competition wdth it, his celebrated picture of the Stoning of Stephen, in which even Bernini ad- mitted the superiority over that of his scholar. He roma] PAINTERS AND ENGRAVERS. [rom^ painted for the church, of St. Peter the Presentation in the Temple, which has been executed in mosaic, and the original placed at the Certosa. On the death of Urban VIII., and the succession of Inno- cent to the papal chair, Cardinal Barberini was under the necessity of quitting Rome, and taking refuge at Paris, where he recommended the talents of RomanelU to Cardinal Mazarine, for some de- corations which he projected in his palace. On his arrival at Paris, he was introduced by the minister to Louis XIV., who engaged him to decorate the apartments in the Old Louvre, called the Queen's Baths, where he painted a series of pictures, repre- senting subjects of the ^neid. These, and other works, executed during his residence in France, were munificently rewarded by the king, who con- ferred on him the order of St. Michael. On his re- turn to Rome he was employed in several important works, and was preparing for a second journey to France, when he died at Viterbo in 1662. [The large copy of Guide's Triumph of Bacchus at Hamp- ton Court is by RomanelU.] ROMANELLI, Urbano, was the son of the preceding artjst, born at Viterbo about the year 1644, and was instructed in the art by his father. After the death of Giovanni Francesco Romanelli, he became a disciple of Ciro Ferri. There are some of his works in the churches at Velletri and Viterbo, particularly a picture of S. Lorenzo, in the church dedicated to that saint in the latter city, which is spoken of by Lanzi in favourable terms. He died young, in the year 1682. fZani places his birth in 1652.] ROMANET, Anthont, a French engraver, born at Paris, in 1 748. He was a pupil of J. G. Wille, and afterwards resided at Basle, where he engraved several plates under the direction of Christian de Mechel. We have by him several portraits and subjects after various masters, among which are the following : PORTRAITS. Charles Theodore, Elector of Bararia ; after P. Battoni. Louis Francis de Bourbon, Prince of Conti ; after Le Tellier. John Grimoux, Painter ; after a picture by himself. VARIOUS SUBJECTS. The Death of Adonis ; after Kupetzky. The Village Printseller ; after Seekatz. The Ballaa-singer ; after the same. [He was one of the engravers employed on the plates in the Galerie du Palais Royal, the Galerie d'Orleans, the Cabinet Le Brun, Picturesque Views in Switzerland, and other works of a like kind. He also engraved many detached pieces after ItaUan, Dutch, and French painters. He died in 1807. His names were Antoine-Louis Momanef] ROMANINO, or ROMANO, Girolamo. This painter was bom at Brescia about the year 1504. It is not known by whom he was instructed, but he selected the works of Titian as the models of his imitation ; and in many of his pictures, in the churches at Brescia, he has approached the ad- mirable style of that great painter. He was a con- temporary and competitor of Alessandro Bonvicino, called II Moretto; and though Vasari considers him inferior to that painter, Ridolfi regards him as at least his equal, if he did not excel him. It is ob- served by Lanzi, that he surpassed him in the ex- tent of his genius and the boldness of his execution, though he is inferior to II Moretto in the tasteful turn of his figures, and in the expression of his heads. His principal works are at Brescia and Verona. In the latter city are four pictures in the church of S. Giorgio, representing the Life and Martyrdom of that Saint, which are composed with surprising spirit and vigour. The same fecundity of invention, vrith a more select choice of forms, are evident in his picture of St. ApoUonio administering the Sacrament, in the church of S. Maria in Cal- cara, at Brescia ; a grand and impressive composi- tion, in which every thing surprises and charms. Less copious, though not less perfect, is his Deposi- tion from the Cross, in the church of SS. Faustino e Giovita, in which, more than any other of his works, he reminds us of the great style of Titian. He died in 1566. [Lanzi says he died in advanced age, before 1566. He signed his pictures Hieronimi Sumani, Hier. Roman, and Hieronimus Rumanus.'] ROMANO, GiuLio. The family name of this great artist was Pippi, but he is universally known by the appellation of Giuho Romano. He was born at Rome in 1492, and having discovered a marked disposition for the art, he had the good fortune of being placed in the school of Raffaelle, of whom he became the most distinguished disciple. He was instructed by that illustrious painter with the exe- cution of some of his most important designs, which he accomplished so entirely to the satisfaction of his master, that he appointed him his co-heir, with Giovanni Francesco Penni, called II Fattore, and recommended to him the completion of his un- finished works, in case he should survive him. During the life of Raffaelle, he contented himself with contributing, by the exercise of his talents, to the advancement of the great and extensive under- takings which his instructor was engaged in ; and it was not till after the death of his master, that he attempted any thing of himself. It was then that his faculties had an opportunity of developing them- selves, when he displayed ah elevated mind, a poetic genius, unusual grandeur of conception, and a cor- rect, though occasionally an extravagant design. He evinced more fire than Raffaelle, or rather, ne was not afraid of delivering himself up to a rash and dangerous impetuosity, which did not permit him to study and respect the truth and cori'ectness of nature. His contours, harsh and severe, were divested of those graces which were the inseparable companions of the pencil of his preceptor, and his colouring was cold, crude, and unharmonious. These defects were, however, in a great measure counter- balanced by the extraordinary fecundity of his imagination, and his learned acquaintance with history and the fable. After the death of Raffaelle, he was employed by Leo X. and Clement Vll.jin conjunction with II Fattore, to finish the historyof Constantine, in the Vatican, and executed several considerable works for the public edifices at Rome. For the church of La Trinita de Monti, he painted a fine picture of Christ appearing to Magdalene; and the Marriage of St. Catherine, for S. Andrea della Valle. It was about this time that he painted his celebrated picture of the Stoning of Stephen, for the church of S. Stefano, at Genoa, which, for the grandeur of the composition, and the pathetic ex- pression of the martyred saint, is regarded as one of the most admirable productions of the art. Giuho Romano had also distinguished himself at Rome as an architect; and the Conte Baldassare Castiglione, the ambassador of Federigo Gonzaga, Duke of Mantua, at the papal court, invited him to visit Mantua, where he was immediately employed by the Duke, in rebuilding the Palazzo del T, and embeUishing it with his designs, which is regarded as the great monument of nis fame, both as an 651 roma] A DICTIONARY OF [ROME architect and a painter. In this immense work, he was assisted by his disciples, Francesco Primaticcio, Rinaldo Montouano, and Benedetto Pagni. Fol- lowing the example of Raffaelle, he prepared the cartoons, which were executed by his pupils, and the whole was finally retouched by himself. In this prodigious undertaking, his transcendent abili- ties are particularly conspicuous in the two great saloons; in one of which he has represented the Fall of the Giants ; and in the other, the History of Cupid and Psyche. In the former, he appears to have emulated the colossal powers of Michael An- gelo Buonaroti, and to have soared to the utmost stretch of pictorial daring. After accomplishing his great works in the Palazzo del T, he was em- ployed in ornamenting the Ducal palace at Mantua, where he painted in fresco the History of the Tro- jan War. In these magnificent works he has dis- played every thing that the most capacious powers of invention and the mOst extensive resources of Eoetic fancy could produce. Sometimes, like Homer, e Surprises by the heroic sublimity of his feats of arms; at others, like Anacreon, he captivates by his seductive representations of festivity and love. On the death of San Gallo, the architect of St, Peters, Giulio Romano was appointed to succeed him, and was preparing to return to Rome to enter on his office, when he died at Mantua, in 1546. He left a son, Raffaelle Pippi, whom he had in- structed in the art, and who possessed promising talents, but died at the age of 30, in 1560. [" Ambitiously desirous of uniting the varied beau- ties of art, Giulio Romano sought to support his poetic fulness of imagination, and his power over design, composition, and expression, by the beauties of colouring and forcible chiaro-scuro. He might perhaps have been led to this attempt by the suc- cess of Sebastian del Pombo, who, in painting the designs of Michael Angelo, had introduced Vene- tian colouring to Rome, and added it to Florentine expression ; not, however, with the truth of Titian, or without manners adverse to natural principles. But his is not the excess to which it was carried by Giulio Romano, in whose hands it not unfrequently became caricatured. Day and night are commixed in his eflfects ; lights and darks are arranged at will, and often in total violation of the principles of na- ture. Colours are heaped together of the most vivid hues, such as sunshine or the prism only can produce, accompanied by shades of deeper colour, or of the blackest night; whilst the lights and shadows are frequently interrupted in their course, without any possibility of assigning a reasonable cause. Its brilliancy and vigour 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." These are the just remarks of the late professor of paint- ing, Thomas Phillips, on that vicious style, which he denounces as " an evil art founded on att, and at variance with nature." We would willingly con- sign to oblivion that dereliction of Giulio in design- ing the series of lascivious prints engraved by Marc Antonio, called The Postures, and to which the in- famous Aretino, who probably suggested the sub- jects, appended sonnets more revolting, if possible ; but unfortunately some of them exist, a stain on his moral character, the greater for having prostituted Heaven's gift of genius for the gratification of de- basing sensuality. It is the duty of every writer on 652 art to condemn such immoralities, in order to deter other gifted painters, like Giulio Romano, from sin- ning in their graves.] [ROMBORGH , a painter of Nimeguen, who was living at the commencement of the last century. He studied landscape painting at Rome, but chiefly in the works of the old masters. In his style of painting he resembles Frederic Moucheron.} ROMBOUTS, Theodore. This painter was born at Antwerp in 1597, and was a scholar of Abraham Janssens, under whom he studied until he was twenty years of age. In 1617 he travelled to Italy, and it was not long before his talents dis- tinguished him as one of the most promising young artists at Rome. His works were sufficiently esteem- ed to secure him constant occupation ; and after a residence of a few years in the capital of art, he had arrived at sufficient celebrity to be invited to visit Florence by the Grand Duke, who employed him in some considerable works for the Ducal Palace. After an absence of eight years, he returned to Antwerp, whither the reputation he had acquired in Italy had preceded him, and he painted some pictures for the churches, which excited such ge- neral admiration, that his vanity led him to believe that his abilities were equal, if not superior, to those of Rubens ; who was at that time in full pos- session of his wonderful powers, and of the public estimation. This self-sufficiency, however to be condemned in some respects, was to him an incite- ment to more arduous exertions. The ambition of vanquishing so formidable an opponent inspired him with the most elevated ideas, and his happiest productions were those conceived and executed un- der the feelings of rivalship and competition. Al- though incapable of combating with so gigantic an antagonist, Rombouts retired from the field without disgrace. He possessed a ready invention, a fine style of design, an animated expression, a warm and brilliant colouring, and an uncommon facility of touch. He occasionally relaxed his mind from the severity of historical studies, by painting concerts, gallant assemblies, and merry-makings, which he executed with taste and ingenuity. Of his historical works, the most remarkable are the fol- lowing : The tEiking down from the Cross, in the cathedral at Ghent ; St. Francis receiving the Stig- mata, and the Angel appearing to Joseph in his Dream, in the church of the Recolets ; and Themis, with the Attributes of Justice, in the town-house. He died at Antwerp in 1637. [Others maintain that he died in 1640, at the age of 43.] ROMEGIALLO, Giovanni Pietro. This artist was born at Morbegno, in the Valteline, in 1739, and learned the rudiments of the art from G. F. Cotta, an obscure painter of his native city, but afterwards went to Rome, where he became a scho- lar of Agostino Masucci. He was much occupied at Rome in copying the works of Guercino, Guido, and P. da Cortona, to which he was more indebted than to the instruction of his preceptor, for the tasteful style and expressive character, by which his works are distinguished. His principal pictures are in the public places and private collections at Como, and in the different churches of the Valteline. ROMEO, Don Josef, a Spanish painter, born at Cervera, in the kingdom of Arragon, in 1701. He went to Italy when he was young, and studied at Rome under Agostino Masucci. On his return to Spain he resided for some time at Barcelona, where he painted some pictures for the church of the Mer- cenaries Calzados. He afterwards visited Madrid, ROME] PAINTERS AND ENGRAVERS. [romn where he was taken into the service of Philip V. He died at Madrid in 1772. ROMEYN, William van, a Dutch painter of landscapes, with cattle and figures, w. Romeyn has escaped the notice of all the writers on art, al- though his pictures are frequently met with, and possess sufficient merit to find a place in some of the choicest collections. His style of painting is so much in the manner of Karel du Jardin, that it is probable that he was a disciple of that master. [He was contemporary with Berchem, A. Vande Velde, and Karel du Jardin; his pictures blend the manners of all three, without the servility of a copyist. They are generally small, well drawn and composed, delicately penciled, chastely coloured, and harmonized by a fine distribution of the chiaro- scuro. There are several of his pictures in Eng- land, but they are frequently attributed to one or other of the above-named masters. It may be added that some of his landscapes have an Italian air and a slight resemblance to Jan Both : it is probable that he had visited Italy. Fvissli says he was a scholar of M. Hondekoeter, and classes him with Berchem, Jan Asselyn, and Vander Meer de jonge.] ROMNEY, George. This eminent English painter was born at Furness, [or Beckside, near Dalton,] in Lancashire, in 1734. He was the son of a cabinet-maker, and having from his earliest years discovered a. strong attachment to drawing, he was placed under the tuition of an itinerant painter, who was at that time at Kendal, in West- moreland, with whom he did not remain longer than two years, and afterwards resided some time at York, where he met with such success, that he was encouraged to think of visiting the metropolis, where he established himself in 1762. The follow- ing year he gained the second premium of fifty gui- neas, ofiered by the Society of Artists, by a picture of the Death of General Wolfe. In 1765 he again obtained the second premium ofiered by the Society for an historic painting. He was, however, more employed in painting portraits than historical sub- jects, and his pictures were esteemed inferior to those of few artists of his time. He soon afterwards tra- velled to Italy, in company with Ozias Humphrey, the celebrated miniature painter. His studies at Rome were pursued with the most persevering as- siduity, and the great productions of art with which he was surrounded, were so much the objects of his delight and admiration, that it was for some time his intention to devote himself entirely to historical painting. He returned to England in 1775, and established himself in Cavendish Square, where the taste of the public, the persuasion of Mends, and the resistless enticement of emolument, efiectually effaced the impression stamped on his mind by the beauties of Michael Angelo and Rafl^aelle. He now became one of the most popular and most employed portrait painters in London, and enjoyed a liberal portion of the public favour with Sir Joshua Rey- nolds and Gainsborough. After his return from the continent, Romney never exhibited, and conse- quently could not solicit the honours of the Royal Academy. He rather shunned than courted the intimacy of the artists of his time, though he peev- ishly complained of their neglect, which was more justly to be attributed to the singularity of his own temper and manners, which were unusually distant and reserved. As a portrait painter, he possessed great merit, to which the public were by no means insensible ; and if his talents did not place him at the head of his profession, they enabled him to sus- tain an honourable contest with the most distin- guished of his contemporaries. Of his historical or fancy subjects, perhaps the most admired was his picture of the infant Shakspeare, painted for Mr. Boydell's Galle^'y. After an uninterrupted success in his profession for more than twenty years, he re- tired from the metropolis to his native country, where he died in November, 1802. [It has bejn said that Romney was fortunate in his biographers, but how far has his good fortune extended ? He was praised and flattered, in prose and rhyme, by Cumberland and Hayley, but did either of ihem show sufficient knowledge, judg- ment, and impartiality to stamp value on their panegyrics ? Gross as were their flatteries and en- comiums, they were not sufficiently fulsome to satis- fy his cravings, nor to gratify the exalted idea that his son had formed of his father's excellences and superiority. Unfortunately truth compelled them to the utterance of some unpalatable remarks i and any qualification of praise is resented as conveying a censure. The biography of the son has not given greater worth to the father's memory, though it may have exhibited an uncommon degree of fihal affec- tion towards a father whose selfish considerations had induced him to subdue all connubial and pa- rental feeling, and to treat as nought those duties and ties of affection that are usually considered the proofs of a well-organized mind ; those springs that stimulate genius, which if the painter or poet check in their action, all his attempts at pathos or senti- ment become factitious, or mere dramatic embody- ings. That Romney had from nature a feeling for the tender, the pathetic, and the sublime, might be supposed from the subjects he attempted to repre- sent ; but, whatever was the cause, he never could satisfactorily complete the conception under which his mind was labouring. He required a stimulus to proceed ; and even the suggestions and the flat- teries of Hayley were insufficient ; he needed the stronger incitements of a Circe, and found them only in the meretricious blandishments of the fair Emma. This lady, Emma Lyon, more notorious under that of Lady Hamilton, a name which, while it goes down to posterity with that of Nelson, will continue to blight the hero's laurels ; this lady served him as a model for his most successful poetic efforts. In her form and attitudes he represented Circe, Cas- sandra, Iphigenia, Calypso, Joan of Arc, Bacchantes, and Magdalenes. She was his " fancy's midwife," and the progeny was beautiful and alluring, but too often beauty debased by impurity of gesture, and alluring to the voluptuary only by salacious expres- sion. His commencements of historical and poetic subjects were numerous, but the completions few. His selections were worthy of his pencil, but he wanted perseverance ; his imagination was too vola- tile ; he wandered in the fields of classic story ; he ranged in the wide domains of Shakspeare ; he found in each suitable objects for his purpose, seized them for a moment, felt paralyzed at his own temerity, and dropped them to follow some other equally vain pur- suit. Twice, however, he succeeded, inspired by the name of Shakspeare and the form of the fair Emma; the infancy of the immortal bard, and the vaticina- tion of Cassandra ; a third subject, Ophelia with the flowers she had gathered jn her hand, sitting on the branch of a tree, which was breaking under her, and insensible of her danger, the most pathetic of his pieces, he never finished. In works of fancy he was superior to Reynolds in every thing but co- lour; in portraiture, he more than equalled him for 653 romn] A DICTIONARY OF [romn actual truth, but fell far below him in blandness of style, in the skilful modification of the fashion of the day to the purpose of picturesque effect, in seizing the predominating character, in the repre- sentation of intellectual qualities, and in blending, softening, and harmoniously arranging all the parts of the composition in complete unity. Setting aside the sycophantic flatteries of Cumberland and Hay- ley, and to give Romney the benefit of the opinion of a friendly and competent judge in the highest walks of art, of one who was as wise, good, and con- scientious as a man as he was skilful as an artist, in his particular department, it will suffice to quote what has been said by Flaxman. — " When Romney first began to paint he had seen no gallery of pic- tures, nor the fine productions of ancient sculpture, but then women and children were his statues, and all objects under the cope of heaven formed his school of painting. The rainbow, the purple dis- tance, or the silver lake, taught him colouring ; the various actions and passions of the human figure, vrith the forms of clouds, woods, and mountains, or valleys, afforded him studies of composition. In- deed, his genius bore a strong resemblance to the scenes he was born in ; like tnem, it partook of the grand and beautiful ; and like them, also, the bright sunshine and enchanting prospects of his fancy were occasionally overspread with mist and gloom. On -his arrival in Italy he was witness to new scenes of art and sources of study, of which he could only have supposed previously that some- thing of the kind might exist ; for he there con- templated the purity and perfection of ancient sculpture, the subUmity of Michael Angelo's Sis- tine Chapel, and the simplicity of Cimabue and Giotto's schools. He perceived those qualities dis- tinctly, and judiciously used them in viewing and imitating nature ; and thus his quick perception and unwearied application enabled him, by a two years' residence abroad, to acquire as great a profi- ciency in art as is usually attained by foreign studies of a much longer duration. After his return the novelty and sentiment of his original subjects were universally admired. Most of these were of the delicate class ; and each had its peculiar character. Titania, with her Indian votaress, was arch and sprightly ; Milton dictating to his daughters, so- lemn and interesting. Several pictures of wood- nymphs and bacchants charmed by their rural beauty, innocence, and simplicity. The most pa- thetic — Ophelia, with the flowers she had gathered in her hand, sitting on the branch of a tree, which was breaking under her, whilst the melancholy dis- traction visible in her lovely countenance accounts for the insensibility to her danger. Few painters have left so many examples in their works of the tender and delicate afiections ; and several of his pictures breathe a kindred spirit with the Sigismon- da of Correggio. His Cartoons, some of which have unfortunately perished, were examples of the sublime and terrible ; at that time perfectly new in English art. As Romney was gifted with peculiar powers for historical and ideal painting, so his heart and soul were engaged in the pursuit of it, when- ever he could extricate himself from the importu- nate business of portrait painting. It was his de- light by day, and his study by night ; and for this his food and rest were often neglected. His com- positions, like those of the ancient pictures and bas- so-relievos, told their story by a single group of figures in the front ; while the back-ground is made the simplest possible, rejecting all unnecessary epi- t)54 sode and trivial ornament, either of secondary groups, or architectural subdivision. In his com- positions the beholder was forcibly struck by the sentiment at the first glance; the gradations and varieties of which he traced through several charac- ters, all conceived in an elevated spirit of dignity and beauty, with a lively expression of nature in all the parts. His heads were various — the male were decided and grand; the female lovely: his figures resembled the antique — the limbs were ele- gant and finely formed ; his drapery was well un- derstood ; either forming the figure into a mass with one or two deep folds only, or, by its adhesion and transparency, discovering the form of the figure, the lines of which were finely varied with the union or expansion of spiral or cascade folds, composing with or contrasting the outline and chiaro-scuro. Few artists, since the fifteenth century, have been able to do so much in so many different branches j for, besides his beautiful compositions and pictures, which have added to the knowledge and celebrity of the English school, he modelled like a sculptor, carved ornaments in wood with great delicacy, and could make an architectural design in a fine taste, as well as construct every part of the building." In this high euloginm of Flaxman may be per- ceived the warmth of friendship, and the fine feeling of a critical knowledge of what constitutes excel- lence in the highest department of painting ; but which of the artist's finished works, known at the present time, will justify the panegyric ? It is to be apprehended that Flaxman was rather laying down the rules that a painter of historical subjects should observe, than describing what actually existed in his friend's productions. It is true, as a less partial but more strictly just critic, Allan Cunningham, has remarked, in his well-written account of Romney, that " his ideal and historical pieces are numerous ; and it may be safely said that some of them are equal, in loftiness of thought, and in simplicity of conception, to any productions of that class in the British school. But it must not be concealed that his finished works of that order are few. For one finely finished there are five half done ; and for five half done, there are at least a dozen merely com- menced on the canvass. More seems to have been wanting than patronage ; it may be suspected that the painter was deficient in that creative power which enables men of the highest rank of genius to body forth their groups in imagination, and com- pletely fix them before the mind's eye, even as a liv- ing person sits for a portrait. He seems, at least, to have yielded too much to the impulse of the mo- ment ; he was ever ready to begin a new subject, but exceeding loth'to finish an old one ; and we have to lament that so many conceptions of a high order are left in the crude elements of the art." Much of this " still beginning, never ending," may be attri- buted to the frequent suggesting of subjects from the classics by Hayley, and others of his flatterers : Hayley was not a Count Castiglione, nor Romney a Raphael. Raphael knew what his subject required; but, in the modest estimate of his powers, would sometimes consult his accomplished friend as to the carrying out his first conception; Castiglione, on the other hand, knew Rapnael's capability, and never volunteered advice until it was requested by the ingenuous artist. Romney was more likely to be embarrassed than benefited by having suggested to him such elevated themes as "the Cumean Sibyl foretelling the destiny of Eneas ; Electra and Ores- tes at the tomb of Agamemnon ; Thetis supplicat- HOMS] PAINTERS AND ENGRAVERS. [ront ing Jupiter ; the Ghost of Clytemnestra ; Eurydice vanishing from Orpheus ; Antigone with the dead body of Polynices ; the Weird Sisters; andothersof a liie kind. It was, however, gratifying to both parties for the moment ; the one showed his read- ing ; the other inhaled the fumes of the incense that conveyed an intimation that his powers were suited to such high poetic subjects. But when it came to execution, not being the emanation of his own mind, not the oflspring of artistic meditation, it became wearisome, and the painter was happy to escape from one task, to commence another, presented through the same sweet medium by his industrious purveyors, and which he presumed would be still more congenial to his sympathies, as being still more grandly daring. But, as Allan Cunningham observes, " it is not always from the finest passages in poetry, or the noblest in history, that artists form the best and most striking pictures ; they are often found, ou trial by the pencil, to owe their chief charm to what art can find neither form nor colour to express. Fortunately for himself and the world, Romney, in the absence of his officious poet, be- came sensible that he had attempted subjects be- yond the reach of his department ; and, laying such wUd dreams aside, singled out occasionally homelier subjects, which, having affected his own fancy, and being embodied under the influence of genuine feeling, have secured a lasting and an honourable place to his name."] ROMSTEDT, Christian, an obscure German engraver, who resided at Leipsic about the year 16/0. He engraved a few portraits, which are very indifferently executed. His plates are marked with a cipher composed of a C. and an R. [It would seem that there were two engravers of this name, probably father and son, and that they operated from 1630 to 1720; the younger died in 1725. They not only engraved portraits, but some of the subjects in the Farnese Palace, after A. Caracci.] RONCALLI, Cavaliehe Cristoforo, called DELLE PoMARANCE. This painter was born at Pomarance, in the diocese of Volterra, in 1552, and studied at Rome under Niccolo Circignani, called delle Pomarance, by whose instruction, and by studying the works of the best masters, he became an eminent painter of history. He was . employed by Paul V. in the embellishment of the Capella Clementina, where he represented the Death of Ananias and Sapphira ; and in the Basilica of S. John of Lateran, he painted a large picture of the Baptism of Constantine. These works were so much to the satisfaction of the Pope, that he conferred on him the order of Christ. He executed several other important works in the public edifices at Rome. In the church of S. Giovanni DecoUato, is a fine picture by him representing the Visitation of the virgin to St. Elisabeth ; and in S. Andrea della VaUe, an altar-piece, representing St. Michael dis- comfiting the Evil Spirits. One of his most dis- tinguished works is the Cupola of La Santa Casa di Loreto, in which he was employed by the protection of Cardinal Crescenzi. His works are not confined to Rome ; he painted several pictures for the prin- cipal cities in Italy. At Naples, in the church of S. Filippo di Neri, is one of his admired produc- tions, representing the Nativity. The pictures of Roncalli exhibit a mixture of the Roman with the Tuscan style of design. In his fresco works, his colouring is cheerful and brilhant ; in his oil pic- tures, on the contrary, his tints are more serious and moderate, and are harmonized by a general tone of quiet placidity. He was fond of introducing land- scape into his back-grounds, which he treated with great beauty and effect. He died at Rome in 1626. RONDANI, Francesco Maria, was born at Parma about the year 1505, and, according to Affo, was brought up in the school of Coreggio, whom he assisted in his great work of the Dome of S. Giovanni. In the church of St. Mary Magdalene, at Parma, is a fine picture of the Virgin and infant Jesus, which has been sometimes mistaken for a work of Coreggio. His talents were, however, con- fined to compositions of a few figures, and he was incapable of emulating the daring strides of his il- lustrious instructor. One of his most considerable works is a picture representing St. Augustine and St. Jerome, in the church of the Eremitani. He died at Parma about the year 1548. [Perhaps Ron- dani was the only one that can in reality be called the pupil of Correggio. It was in that capacity that he assisted in painting the Dome of S. Gio- vanni. Pungileone makes mention of him on se- veral occasions, as being connected with Antonio AUegri ; and at the death of the latter, Rondani pos- sessed the drawings and many of the Cartoons from which he had worked in the Cupola at Parma. Lanzi says that he had seen one of his Madonnas, with a Child, in the possession of the Marquis Sca^ rani, at Bologna, the figure bearing a swallow in her hand, in allusion to the painter's name ; besides the portrait of a man, draped and designed in the Giorgione taste, at the house of Signior Bettinelli, in Mantua. His known works are of rare oc- currence.] RONDINBLLO, Nicolo. This painter was bom at Ravenna about the year 1460. He was a disciple and coadjutor of Giovanni Bellini, whose style he followed with success, and may be consider- ed as the first artist of his native city who attempted to reform the stiff and Gothic style which had pre- ceded him. He never, however, equalled the pic- tures painted by his instructor in his best time. His works are chiefly confined to the churches at Ravenna, in which his design, without being incor- rect, is dry and formal, his heads are less expressive, and his colouring less vigorous, than in the works of his master. He died at Ravenna at the age of 60. RONDOLINO. See Terenzio. RONSERAY, Margaret Louisa Amelia du. This lady was bom at Paris in 1730. We have some neat and spirited etchings by her, after Bou- chardon, and other French painters ; among which are the following : Venus rising from the Sea ; after Bouchardon ; finished with the graver by St. Aitbin. The Fountain of Grenelle, in six plates ; after the same. These were afterwards finished with the graver by 'I^l- lia/rd and St. Avbin. The Head of St. Paul; after the Cartoon painted by Pierre, for the church of St. Boch at Paris. A View of the Tower of Palmerana ; after Cochin. A Sultan and Sultana ; after B. Ficart. [RONTBOUT, J — '■ , a Dutch landscape painter, whose pictures at first view have a slight resemblance to those of Hobbema, Ruysdael, and Dekker, and really possess considerable merit. They are generally of a small size, always on panel, and represent wooded scenery. The figures are of the same character as those in Hobbema's pictures, when painted by himself. He signed his landscapes with his name in fuU, or with his monogram, some- what in the manner of Jacob Ruysdael, which has deceived many into the belief that they are by that. 655 ront] A DICTIONARY OF [roos artist. He must have been a contemporary of the three artists above named. Of the painter men- tioned by Pilkington, there is no other account, which is strange if his pictures have all the beau- ties described by that writer. The characteristics do not agree with those of J. Rontbouts, whose landscapes are by no means uncommon, and have nothing of the air of Italy in the scenery.] KONTBOUT, N. This artist is not mentioned by anjf of the Dutch or Flemish biographers, and appears to have found a place in Mr. Pilkington's Dictionary, from that author's having seen a land- scape signed with his name in the possession of Thomas Cobbe, Esq. From the scenery of the pic- ture, he is supposed to have visited Italy, and it is said to be painted with a firm and free pencil, and well coloured. [The picture mentioned by Mr. Pilkington represents a " View of a Bridge between two high Hills ; and in perspective, under the grand arch, is an agreeable prospect of a river, a distant ranee of hills, and an antique tower on the border of the stream."] ROODTSEUS, John. This painter was the son of Albert Roodtseus, an obscure artist, and, ac- cording to Mr. Descamps, was born at Hoom in 1615. He was a disciple of Peter Lastman, and by the instruction of that master became one of the most eminent portrait painters of his time. Some of his best pictures have been said not to be infe- rior to the admirable productions of Bartholomew Vander Heist. Without equalUng that celebrated artist, some of his pictures in the hall of the Society of Archers, in his native town, prove him to have been an artist of great ability. They consist of three large pictures, representing the portraits of several of the members, which are painted with sur- prising truth and effect. He died in 1674. [Im- merzeel calls him John Albert, and agrees in the foregoing account ; but Balkema confounds him with his father, who was bom in 1590, and died in 1648. He had a younger brother, bom in 1619, and died in 1669 ; his name was Jacob, and he was a scholar of J. D. de Heem, and painted in his man^ ner ; and, it is said, approached him closely in ex- cellence.] ROOKER, Edward, an EngUsh designer and engraver, bom in London about the year 1712. He possessed an admirable talent for engraving archi- tectural views, of which he has given an extraordi- nary example in his large plate of the Section of St. Paul's Cathedral, from a drawing by Wale. We have also several other views by him, among which are the following : Four Views in Italy ; after Wilson. Six Views in London ; after P. Sandby. Twelve Views in England ; after the same. ROOKER, Michael [Angelo], was the son of the preceding artist, bom in London about the year 1743, and was first instructed by his father in en- graving, but was after placed under the tuition of Mr. Paul Sandby, to be instructed in drawing and landscape painting. In 1772 he painted and exhi- bited a view of Temple Bar, which possessed con- siderable merit, and was much admired. For seve- ral years he was the principal scene painter to the theatre in the Haymarket. As an engraver, he ac- quired considerable celebrity, and for many years engraved the head-pieces to the Oxford Almanacks. They were executed from his own drawings, and exhibit some of the best views which have been taken of that interesting city. Mr. Rooker was one 656 of the first associates of the Royal Academy. He died in 1801. ROORE, James [or Jacob] de. This painter was born at Antwerp in 1686. He was the son of a goldsmith, who mtended to bring him up to his own profession, but he died when our artist was very young, and his mother permitted him to indulge the inclination he had shown for the art. He was first placed under the care of Louis Vander Bosch, under whom he studied two years, and afterwards entered the school of Gaspard Jacques van Opstal. His progress under this master was uncommon, and he soon found himself in a situation to dispense with further instmction. He painted historical subjects and conversations ; in' the former, he adopted the style of Richard van Orlay, and in the latter imi- tated the pleasing style of the younger Teniers. His works were held in the highest estimation, and he was loaded with commissions, not only for the col- lections of Brabant and Flanders, but for those of Holland ; and he found it difficult, with all his assi- duity, to satisfy the extensive demand for his pic- tures. When he was not more than twenty years of age he was received into the Academy at Antwerp, and was considered one of the ablest artists of ms time. He was much employed in embellishing the saloons of the principal mansions, and in painting the ceilings of the public edifices, in which he dis- played a ready invention, and his extensive prac- tice had given him an extraordinary facility of hand. One of his most admired performances was a saloon and ceiling, representing the History of Pandora, painted for the family of Hasselaer, in 1740. He died at Antwerp in 1747- ROOS, John Henry. This eminent artist was bom at Otterberg, in the palatinate of the Rhine, in I63I. He was the son of a poor weaver, who was unable to procure him the necessary instruc- tion, or to support him during his studies ; he was therefore apprenticed to a painter of little note of Amsterdam, named Julian du Jardin, for the term of seven years. Under this master he made little progress, as he was employed in a branch of the art uncongenial with the bent of his disposition. On the expiration of his indenture, he studied for some time under Adrian de Bie, an able designer of land- scapes and animals ; and it was not long before he discovered an extraordinary talent for painting horses, cows, sheep, goats, &c., in which he not only surpassed his instructor, but became one of the most celebrated painters of animals of his time. He frequently designed them in the most singular and difficult attitudes, but always with a correctness of design and character for which he is remarkable. He was invited to the court of the Elector of Mentz, where he did not confine his talents to landscapes and cattle. He painted the portrait of that prince, and those of his principal courtiers, for which he was munificently rewarded. By the recommenda- tion of his patron, he was employed in portrait paint- ing at several of the courts of Germany ; and if he had been solely intent on the aggrandizement of his fortune, he would have entirely confined himself to so lucrative a pursuit. But his predilection for his favourite department was not to be subdued by this seductive allurement. The love of gain yielded to the pleasure of following the path to which nature had directed him. He established himself at Frank- fort, where he painted his favourite subjects with the most encouraging success. His works were purchased with avidity, and he received commis- sionsi from almost every court in Europe. A me- ROOS] PAINTERS AND ENGRAVERS. [rosa lancholy catastrophe interrupted this flattering career, and deprived the world of the exercise of his estimable abilities. In 1685, a dreadful fire broke oilt in the night in the city of Frankfort, and the house of Roos was situated in that quarter in which the flames raged with the greatest violence. Anxious to save some valuable objects, he entered the house, and fell a victim to the flames, in the fifty-fourth year of his life. The landscapes of J. H. Roos present us with very picturesque scenery ; his colouring is fresh and vigorous ; his pencil is firm and decided, and the de- sign of his animals is marked by precision and cha- racter. We have several admirable etchings by this able artist, in which we admire the spirited exertion of his point, and his excellent conduct of the chia^ ro-scuro. The following are his principal plates : A set of eight Plates of Animals ; dated 1665. A set of twelve Plates of domestic Animals. Two large Landscapes, with Ruins and Animals. A Shepherd sleeping at the foot of a Monument, near his Flock. [Bartsch, who speaks of him in the highest terms of commendation, describes, in torn. i. of Le Peintre Graveur, thirty-nine of his etchings, to which Wei- gel, in his supplement to Bartsch, has added five, and has given an account of the variations to be found in diflerent impressions.] ROOS, Theodore, was the younger brother of John Henry Roos, bom at Wezel m 1638. He was first a scholar of Adrian de Bie, but afterwards was instructed by his brother. In 1659 he was in- vited to the court of Manheim, where he was taken into the service of the Elector. His first perform- ance was a large picture representing the portraits of the principal magistrates, still preserved in the council chamber. He afterwards visited several other courts of Germany, where he met with equal encouragement, particularly at Baden and Hanau. The Duke of Wurtemburg employed him in several historical works, and appointed him his^principal painter. The pictures of this artist are chiefly con- fined to Germany, where they are justly esteemed, especially his portraits, which are said to have the merit of a perfect resemblance. His touch is firm and facile, and his colouring vigorous and clear. It is to be regretted that he had not paid more at- tention to the correctness of design, in which re- spect his best productions are frequently deficient. He died in 1698. By this artist we have a set of six etchings, of small upright landscapes, with ruins, dated 1667. They are charmingly executed, and are extremely scarce. [In addition to these six landscapes, described by Bartsch, P. G., torn, iv., Weigel describes a Holy Family with the date 1671, which is in the royal collection at Dresden.] ROOS, Philip, called Rosa da Tivoli. This painter was the son of John Henry Roos, born at Frankfort in 1655. Endowed by nature with the genius of a painter, and assisted by the excellent lessons of his father, he gave early proofs of extra- ordinary capacity, and was particularly noticed by the Landgrave of Hesse, in whose service his father w^as at that time engaged, who took him under his protection, and to promote his improvement sent him to Italy, with a pension suflicient to support him during his travels. On his arrival at Rome, his application to his studies was assiduous and ex- emplary, and he was regarded as the most laborious young artist of his time. By his unremitting at- tention to his art, he had acquired a facility which is almost incredible. Of his extraordinary readi- | ness of hand, a remarkable instance is recorded by C. le Blond, who was at that time a student at Rome. " It happened one day," says he, " that a few young artists and myself were occupied in design- ing from the bassi-rilievi of the arch of Titus, when Roos, passing by, was particularly struck with some picturesque object which had caught his at- tention, and requested one of the students to accom- modate him with a crayon and paper. What was our surprise when, in less than half an hour, he produced an admirable drawing, finished with ac- curacy and Jmesse." He designed every object in his pictures from nature, and to facilitate his studies, he established himself at Tivoli, where he kept a kind of menagerie of animals, for the purpose of drawing them with the greater correctness. It is to be lamented, that, with possession of such powers, this able artist should have degraded his talents by indulging in all the excesses of intemper- anceand dissipation. His pictures, however, though Eainted with surprising promptitude and despatch, ave no appearance of negligence or inattention. They usually represent pastoral subjects, herdsmen with cattle, &c., which he frequently painted nearly as large as life. His groups are composed with judgment and taste, and the landscapes in his back- grounds, his skies, and distances, are treated in a very masterly style. His cattle, in particular, are designed with unusual truth and spirit, and each animal is marked with the genuine character of its species. He died at Rome in 1705. Rosa da Ti- voli is said, by Huber, to have etched a few plates of pastoral subjects, which are very scarce. [If the preceding character of his works be just, the pic- tures ascribed to him in England are libels.] ROOS, John Melchior. This artist was the younger son of John Henry Roos, born at Frank- fort in 1659. After being instructed some time by his father, he travelled to Italy, where he studied a few years, and on his return to Germany settled at Nuremberg, where he met with considerable en- couragement as a painter of history and portraits, but his inclination leading him to paint landscapes and animals in the style of his brother, in the latter part of his life he devoted himself entirely to that branch, in which, although he never reached the excellence of Rosa di Tivoli, his pictures possessed suflicient merit to procure him the patronage of the Landgrave of Hesse Cassel, in whose service he was employed several years, and for whom he painted many of his most esteemed works. He died m l/Sl . There is only one etching known by this artist, it represents a Bull standing, seen in front ; it is in- scribed J. M. SooSffec. 1685, [and is very rare.] ROOS, Joseph, a German painter and engraver, born at Vienna in 1728. He painted landscapes and cattle with considerable reputation, and was much employed by the Elector of Saxony. He was a member of the Academy of Dresden, and was af- terwards made keeper of the Imperial Gallery at Vienna. His principal works are in the apartments of the castle of Schoenbrun. We have a few etch- ings by this artist, which are executed in a neat and spirited style, among which are the following : A set of six Plates of various Animals ; inscribed Joseph Boos, inv. etfecit, dquaforti, 1754. Ten Plates of Sheep and Goats. ROPER, . This artist is mentioned by Edwards as a painter of sporting pieces, race-horses, dogs, and dead game. Some of his pictures were in the exhibitions in Spring Garden, in 1761 and 1762, which period he did not long survive. 657 bosa] A DICTIONARY OF [ROSA [ROSA, Anna di, also called Belthano-Rosa, and Annella di Massimo, was born at Naples in 1613. She- studied first under her uncle Francesco di Rosa, and afterwards under Massimo Stanzioni. She obtained great reputation as an historical paint- er, though it may be difficult at this time to distin- guish her works, as most of them were painted con- jointly with her husband, Agostino Beltrano, and finished by Stanzioni, who sold them as his own. Some, however, pass under her name, and are high- ly extolled ; among these are the Birth and Death of the Virgin at the Pieta, but not without a suspicion that she was assisted by Massimo. She has been compared with Elizabeth Sirani for her beauty, ta- lents, and tragical death ; the latter being poisoned by her servant at the instigation of some envious artists, and Annella murdered by a jealous husband, in 1649, but whether from a suspicion of infideUty, or from envy of her superior skill and reputation, is uncertain.] ROSA, Chistofoeo. This painter was born at Brescia about the year 1520. He excelled in paint- ing perspective views, and lived in habits of inti- macy with Titian, by whom he was occasionally employed to paint the architecture in some of Ms pictures. There are several of his works at Brescia and at Venice, particularly in the antechamber in the library of St. Mark, in the latter city. He died of the plague in 1576. ROSA, PiETRO, was the son of the foregoing art- ist, and from the friendship that existed between his father and Titian, he was received into the school of that great painter, of whom he became one of the most favoured disciples, and few of his numerous pupils have approached so near to his admirable piinciples of colouring. Of this he has given proof in the pictures he painted for the cathe- dral at Brescia, and for the churches of S. Frances- co and le Grazie. This promising young artist fell a premature victim to the plague, in the same year with his father. ROSA, Francesco di, called Pacicco. This painter was born at Naples about the year 1600, and was brought up in the school of Massimo Stan- zioni. His style is commended by Lanzi for the correctness of his design, and the expressive beauty of his heads. His colouring is tender and harmoni- ous, with a fine impasto, by which its freshness and vigour is preserved. His easel pictures are frequent- ly found in the private collections at Naples, and he painted some altar-pieces for the churches, of which the most deserving notice are his pictures of S. Tommaso d' Aquino, in the church of la Sanita; and the Baptism of S. Candida, in S. Pietro d'Aram. He died at Naples in ,1654. ROSA, Salvator. This distinguished artist was born near Naples in 1615. He was the son of a land surveyor, who bestowed on him a liberal education, and having shown a decided partiality for the art of painting, he was placed under the care of Francesco Francazano, an artist of some reputation, who had married his sister. By the death of his father, he was reduced to such a state of indigence, that he was under the necessity of maintaining himself by the fortuitous produce of his juvenile performances, which he exposed for sale in the public market-place. He had languished for some time in this obscurity, when some of his sketches attracted the notice of Giovanni Lanfran- co, who, regarding them as the productions of un- common genius, inquired after the young artist, and with a liberality we have too seldom an opportunity 658 of recording, relieved his wants, and encouraged him in the pursuit of his studies. He received some instruction from Aniello Falcone, an eminent painir er of battles, and afterwards became a disciple of Giuseppe Ribera, called II Spagnoletto, under whom he studied until he was twenty years of age, when he accompanied that master to Rome. The Cardi- nal Brancacci, who had become acquainted with his merit at Naples, took him under his protection, and conducted him to his bishopric of Viterbo, where he painted an altar-piece, representing the Incredulity of St. Thomas, for the cathedral ; and other histo- rical works. On his return to Rome he met with more powerful patronage from Prince Giovanni Carlo de' Medici, who employed him in several im- portant works, and invited him to return with him to Florence, where, during a residence of nine years, he distinguished himself not less by his abilities as a satirical and dramatic poet, and his extraordinary talents of performing the principal parts in his own comedies, than by his powers as a painter. On his return to Rome he painted some altar-pieces for the churches, among which are four pictures in S. Ma- ria di Monte Santo, representing Daniel in the Lions' Den, Tobit and the Angel, the Resurrection of Christ, and the Raising of Lazarus; and in the church of S. Giovanni de Fiorentini, the Martyr- dom of St. Como and St. Damian. Although Salvator possessed an inventive genius, and a commanding facility of execution, his powers were better adapted to the scale of easel pictures, than to figures of lai-ger dimensions. Of this he has given evident proof in his admirable picture of At- tilius Regulus, formerly in the Palazzo Colonna, at Rome, now in the possession of the Earl of Darn- ley. In his pictures of that description, we equally admire the boldness of his scenery, and the correct and spirited design of his figures. His landscapes- are featured by an eccentric austerity, which is pe- culiarly his own. Instead of selecting the cultured amenity which captivates us in the views of Claude or Poussin, he made choice of the lonely haunts of wolves and robbers ; for the delightful vistas of Tivoli, or the Campagna, he substituted hollow glens, or rocky precipices ; in lieu of the rich foli- age, and luxuriant verdure, of their trees and plains, we are presented with -dreary wastes, or the trunk of a storm-struck oak, spreading its shattered branches through the troubled air. The inhabit- ants of these gloomy regions are admirably suited to their savage solitude. They are peopled by assas- sins, outlaws, and ferocious banditti. His marines represent the desolate and shelvy shores of Calabria, whose terrific aspect is sometimes rendered doubly disastrous by the fearful terrors of shipvnreck. He frequently represented battles and attacks of caval- ry, in which the fury of the combatants, and the fiery animation of Ihe horses, are perfectly delineat- ed. Notwithstanding the singularity and fierceness of his style, he fascinates us by the unbounded wildness of his fancy, and the picturesque solemnity of his scenes. " fie gives us," says Sir Joshua Reynolds, " a peculiar cast of nature, which, though void of ^ace, elegance, and simplicity, though it has nothing of that elevation and dignity which be- longs to the grand style, yet has that sort of dignity which belongs to savage and uncultivated nature ; but what is most to be admired in him is, the per- fect correspondence which he observed between the subjects he chose and his manner of treating them. Every thing is of a piece ; his rocks, trees, skies, even to his Handling, have the same rude and wild ROSA] PAINTERS AND ENGRAVERS. [rose character which animates his figures." He died at Rome in 1673. This ingenious artist has left us about ninety etchings, executed in a spirited and masterly style. They are distinguished by an in- telligent management of the chiaro-scuro, and there is an uncommon vivacity and expression in the heads. He marked his plates wiui a inonogram composed of an S. and an R. thus, ^. The fol- lowing are his principal plates : A set of sixty-two Prints of banditti, soldiers, and other figures ; single and in groups. The Fall of the Giants. The Death of AttJlius Regulus. The finding of (Edipns. Democritus meditating. The Execution of Polyoratea. 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. An Allegorical subject ; called The Genius of Sahator. A set of six Plates, in the form of irieses, representing Tritons, Sea Nymphs, &c. [Salvator Rosa was also excellent as a portrait painter. Much that is related of his private Ufe, and some part of his artistic, is mere romance ; Lady Morgan's account is not less true, and is more entertaining than most. The name, however, has a charm, and people admire his pictures, whether they understand them or not. There are many good pictures by him in England, both of sea-pieces and savage scenery ; and some fine historical subjects, which are of a melancholy cast. In the National Gallery there is a quiet, sombre landscape, with figures intended for Mercury and the woodman, which cost a great deal of money, (1800 guineas,) but does not impress the spectator with any particu- lar admiration of the powers of the painter.] ROSA, SisTo. See Badalocchio. ROSALBA, Carriera. This ingenious lady was born at Chiozza, in the Venetian states, in 1675. She was instructed in the art by Giovanni Diamentini, and for some time applied herself to oil painting, which she afterwards abandoned for miniature and crayons. She carried these branches of the art, particularly the latter, to so unusual a Eitch of perfection, that few artists can be said to ave equ^ed her. She visited Paris, in company with Pellegrini, her brother-in-law, where she paint- ed the Royal Family, the princes of the blood, and most of the nobiUty, and was received into the Academy, presenting at her reception a picture of one of the Muses. The portraits of Rosalba are gracefully designed and charmingly coloured. Her tints are blended with uncommon tenderness and delicacy, and her heads exhibit a lovely expression of truth and nature. She was constantly employed at most of the courts of Europe, and every where left proofs of her extraordinary abiUty. A constant application to her art, during a long life, deprived her of her sight when she was upwards of seventy, though she uved several years afterwards, and died in 1757. [ROSASPINA, Francesco, a very distinguished Italian engraver, was born at Bologna in 1760. It is not stated under whom he studied, but Joubert ranks him with Bartolozzi, Morghen, and Volpato. He is allowed to be the best imitator of the first, but it requires some qualification in ranking him with the second, notwithstanding his great excel- lence. He was equally skilful in the management of the burin, in the crayon manner, and in that of aquatint. Among his most esteemed prints are. The Bance of Cupids, after Alhano ; Cupid bending his Bow, after Franceschini; St. Francis, after Domeni- chino ,^ the Dead Christ, afUr Correggio ; and several portraits among those of the Illustri Italiani ; par- ticularly that of Marcantonio Raimondi. He also engraved some of the battles of Napoleon, in the style of bassi-rilievi, after the designs of Appiani. The series of twenty-five' prints, in the crayon and tinted manner, qftei- Parmigiano, are engraved by him in the finest taste, and with great intelligence, and in execution nothing can be more beautiful. He is also entitled to great praise for his superin- tendence of the engraving and publication of the work entitled La Pinaeoteca, corisisting of about seventy-two of the best paintings in the Academy of the Fine Arts at Bologna, of which Academy he was the professor. In these the drawing and character of the respective pictures are preserved with the nicest exactness possible. Whether this excellent artist has paid the debt of nature is not ascertained, but, at all events, that career is terminated which entitles him to notice, and a place among the best of his time. ROSE, Nicholas. See Liemacker. ROSE, Susan Penelope. According to Lord Orford, This lady was the daughter of Richard Gibson, the Dwarf, by whom she was probably in- structed in the rudiments of the art. She was the wife of a jeweller, and painted portraits in water- colours with great freedom. Her miniatures were of a larger size than usual, and possessed consider- able merit. She died in 1700, aged 48. RSSEL, Augustus John. This artist resided at Nuremberg about the year 1750. He distin- guished himself as a painter of insects in miniature, which are said to have been designed with accuracy, and very highly finished. [He is also called Soe- sel von Rosenhof. He was born at Arnstadt in 1705, and died at Nuremberg in 1759. He studied and wrote on Entomology, and in 1746 pubhshed his celebrated work on the subject, illustrated with plates : it is entitled Insekten-BelusOgungen, in 4 vols. 4to.] ROSELLI, NicdLO. According to Baruffildi, this painter was of Ferrara, and nourished about the year 1568. He is supposed to have been brought up in the school of the Dossi ; though in some of his works, in the Certosa at Ferrara, he appears to have imitated the style of Benvenuto Garofolo. He painted several pictures for the churches in his native city, among which are an altar-piece in the cathedral, representing the Virgin and Infant in the clouds, beneath St. John the Evangelist and St. Anthony ; and a picture of the Purification, in the church of S. Maria Bianca. ROSETTI, DoMENico. This artist was bom at Venice about the year 1690. He painted architec- tural views and perspective with some success, but is chiefly known as an engraver. He was invited to Dusseldorp by the Elector Palatine, where he engraved twelve large plates of the history of Alex- ander, from Gerard Lairesse, which are now become very scarce, as few impressions of them were taken. He executed several of the plates for the collection of prints after some of the most celebrated pictures at Venice, published by Domenico Louisa, in that city, in 1720. [He engi-aved the prints for a History of the Bible, printed at Venice in 1696 ; and several 659 BOSi] A DICTIONARY OF [ROSS others of a miscellaneous character, after Palma Veeehio, Sassano, Tintoretto, P. lAberi, S^c. ; some of which are of a still earlier date : Zani says he operated in 1675. The year of his decease is not clearly ascertained.] ROSI, Alessandro. In the Abecedario, by Or- landi, this artist is said to have been born at Flo- rence in 1627. He was a scholar of Cesare Dan- dini, under whose tuition he became a reputable painter of history. There are many of his pictures in the churches and private collections at Florence, and in the state. In the cathedral at Prato is an admired picture by him of S. Francesco di Paolo ; and in the collection of the Grand Duke, two Bac- chanalian subjects, which are highly esteemed. He died at Florence in 1697. B.OSLER, Michael, an obscure German en- graver, who resided at Nuremberg about the year 1626. He engraved several portraits for a folio volume, published in that city, entitled Icones Bib- liopolarum et Typographorum. [There is nothing stated that is satisfactory respecting this engraver. Zani mentions Michael Roster, a German engraver, who flourished about 1728, and Nagler calls him JRossler, of Nuremberg, who lived in the first half of the 18th century.] ROSSMAESSLER, John Augustus. This art- ist was bom at Leipsic in 1752, and was instructed in design by Frederick Oeser. He has engraved a great variety of book-plates and vignettes, which are admired for the spirit and neatness of the execution. We have also by him a few plates of views in the environs of Leipsic. This ingenious artist died at Leipsic, much regretted, in 1783. ROSS, James, an English engraver, who flour- ished about the year 1778. We have by this artist several views of the city of Hereford, very neatly engraved ; they are small plates, and are taken from drawings by G. Powle. ROSSELLI, CosiMO. This painter was born at Florence in 1416. It is not known under whom he studied, but he had already acquired some reputation in his native city, by the works he had executed for the churches, particularly a picture represent- ing the Miracle of the Sacrament, in S. Ambro- gio, when he was invited to Rome by Sixtus IV. to - assist in the ornaments of his chapel, in conjunc- tion with Domenico Ghirlandajo, Pietro Perugino, Sandro Boticelli, and others. The best picture he painted in the chapel was Christ preaching, in which he is said to have been assisted by his disci- ple Pietro di Cosimo, who painted the landscape. He died in 1484. [There is considerable uncertain- ty respecting the dates of his birth and decease. Lanzi says he was living in 1496, and Zani that he died in 1506. Being unable to rival his competitors in design, he loaded his pictures with brilliant co- lours and gilded ornaments, to please the Pope, who commended and rewarded him above all the others. The best that can be said of him is, that he was the master of Bartolomeo del Porta. Pier di Cosimo was born in 1441, and died in 1521. Though the preceding remark belongs to Cosimo Rosselli, it has been repeatedly applied to Pier di Cosimo, and has caused some confusion respecting them. It is true that the latter was more remarkable for his colour- ing than for his design, but that is observable in works posterior to those painted by Cosimo in the Sistine chapel. Pier di Cosimo was the master of Andi'ea del Sarto.] ROSSELLI, Matteo. This painter was born at Florence in 1578, and was first a scholar of Gre- 660 forio Pagani. He afterwar^ became a disciple of 'assignano, with whom he visited Rome, and im- proved his style by studying the works of RaflFaelle and Polidoro da Caravaggio. : On finishing his studies at Rome he returned to Florence, where he resided the remainder of his life, and his works are Uttle known out of that city. He was much em- ployed by the Grand Duke Cosimo II., and embel- lished the Villa di Coggio with several frescoes, re- presenting the history of the family of Medici. He sometimes emulated the style of Lodovico Cardi, called Cigoli, as particularly appears in his picture of the Nativity, in the church of S. Gaetano, which is considered his finest work, and in the Martyrdom of S. Andrea, at the Ognissanti. Although the works of Roselli are not distinguished by the mas- cuUne and vigorous design, and animated expres- sion, which are found, in some of the painters of his country, they are estimable for a correct and simple imitation of' nature, a certain quiet accord and so- lemnity of effect, on which the eye dwells with more complacency than on the vivid productions of the most florid colourist. He particularly excelled in fresco painting, in which his works still retain their pristine purity and freshness. Such are his paint- ings in the cloister of the Nunziata, particularly that representing Pope Alexander IV. approving the institution of the order of the Serviti, which Pietro da Cortona regarded as an admirable work of' art. He died in 1650. ROSSETTI, Giovanni Paolo. According to Vasari, this painter was a native of Volterra, and flourished about the year 1568. He was a nephew of Daniele Ricciarelli, called di Volterra, under whom he studied at Rome, and is said to have painted history with considerable reputation. After the death of his uncle he left Rome, and returned to Volterra, where he executed some altar-pieces for the churches, of which one of the most esteemed was a picture of the taking down from the Cross, in the church of S. Dalmazio. [Zani says he operated as late as the year 1600.] ROSSI, Andrea, an Italian engraver, who re- sided at Rome about the year 1770. We have, among others, the following prints by him : The Portraits of Joseph II. and the Archduke Leopold; a/ier Pompeo Battoni, A Bust of the Virgin ; after Carlo Dolci. St. Margaret of Cortona kneeling before a Crucifix; after Pietro da Cortona, [He was born about 1 726, and died in 1 790. There are several heads of popes engraved by him, and subjects after Caracci, Novelli, and Frezza.] ROSSI, Antonio, was born at Bologna in 1700, and was educated in the school of CavaUere Marc A.ntonio Pranceschini, of whom he was a favourite disciple, and who recommended him, in preference to his other pupils, to execute the commissions which, from his extensive occupation, he was in- capable of undertaking. Of the numerous pictures he painted for the public edifices at Bologna, his Martyrdom of S. Andrea, in the church of S. Do- menico, is the most creditable to his talents. He was much employed in decorating, with his figures, the architectural and perspective views of Orlandi and F. Brizzio. [He died in 1753, according to Lanzi, but others place his birth in 1697, and his death in 1750.] ROSSI, Francesco. See Salviati. ROSSI, Giovanni Batista. This artist is men- tioned by Florent le Comte as an engraver, who at- RtlSS] PAINTERS AND ENGRAVERS. [ROSS tributes to him a set of perspective views of Rome, published in 1640. ROSSI, GiROLAMO, called de Rubeis the elder. This artist was born at Rome about the year 1630, but was brought up at Bologna, under Simone Can- tarini. His genius led him more to engraving than painting, and we have several plates by him, after the Bolognese painters, which possess considerable merit; among others are the following: The Portrait of Pope Pius V. ; after Scipione Gaetano. Two Cupids playing ; after Guercino. The Virgin and Infant, with St. Jerome and St. Francis ; after Lodovico Caracci, inscribed, Hieronimv^ de Ru- heis pictor, delineavit incidit. St. Charles Boromeus kneeling before a Crucifix ; after An. Caracci. [Bartsch asserts that his etchings only amount to six ; the Two Cupids playing, after Ouerdno ; the Virgin and Infant, af&r L. Garacci ; a half-figure of the Virgin ; St. John the Baptist, after Ghiido ; Two Infants, after Guido ,- and Cupid, after Guerci- no. He flourished about 1670.] ROSSI, GiROLAMo, called de Rubeis the young- er, was the son of the preceding artist, born at Rome about the year 1680. He chiefly resided in his native city, where he engraved a variety of plates, after the Italian painters. He also executed several of the portraits of the cardinals of his time, for a set, which was afterwards continued by Pazzi and others. They are feebly engraved. We have also by him the following prints : The Virgin and infant Jesus ; after Coreggio, The Martyrdom of St. Agapita ; after Gw. Odazzi. [Nagler gives a list of twenty-one prints by the younger Rossi, among which he enumerates those of Pope Pius v., and of St. Charles Boromeus kneeling, attributed above to his father. Accord- ing to Zani, he operated as late as 1749, but none of the dates quoted by Nagler come near to that period.] ROSSI, Muzio. According to Crespi, this paint- er was born at Naples in 1626, and was for some time a disciple of Massimo Stanzioni. From the school of that master he went to Bologna, where he frequented the academy of Guido, and at the age of eighteen was sufficiently advanced in the art to compete with the ablest artists of the time ; when he painted an altar-piece for the Certosa, represent- ing the Nativity, which was considered a prodigy of juvenile ability. On his return to Naples, he was engaged to paint the tribune in S. Pietro in Majella, which he had not entirely finished when his coun- try was deprived of his extraordinary talent, in the bloom of life. He died in 1651. ROSSI, Pasquale, called Pasqualino. This artist was bom at Vicenza in 1641. Without the instruction of a master, he is said by Orlandi to have reached a respectable rank as a painter of his- tory, by studying and copying the best works of the Venetian and Roman schools. Of his pictures in the churches at Rome, the most deserving attention are, Christ praying in the Garden, in S. Carlo al Corso; and the Baptism of Christ by St. John, in S. Maria del Popolo. In the church of the Silves- trini, at Fabriano, is a picture by him of the Ma- donna and Bambino ; but perhaps his most esti- mable production is his celebrated altar-piece in the cathedral at Matehca, representing St. Gregory in- terceding for the Souls in Purgatory, painted in the finest style of Guercino. He also painted gal- lant assemblies and musical parties, which are esteemed in the choicest collections. He died in 1700. [Lanzi, as well as several other writers' of credit, says he was hving in 1718; Zani says he died in 1725.] ^ ROSSO, II, called by the French Maitre Roux. This eminent artist was born at Florence in 1496. Although he was not a disciple of Andrea del Sarto, he was at first an admirer of his manner, and after- wards improved his powers by studying the works of Michael Angelo and Parmigiano. Endowed with a read;^ and inventive genius, he scorned to be the servile imitator even of Buonaroti, and at an early age he ventured to compete with the ablest of his contemporaries in the cloister of La Nunziata, where he painted a large picture of the Assumption of the Virgin, which was distinguished by a novel and intrepid style, in which he displayed both originality ani taste. After painting several other pictures for the churches at Florence, particularly the Marriage of the Virgin, in S. Lorenzo, he went to Rome, where his talents were already known. He painted an altar-piece for S. Maria della Pace ; and the Decollation of St. John, for the church of St. Salviati. II Rosso had acquired considerable celebrity when that city was taken and plundered, in 1527; and with many other artists, was obliged to fly from Rome. He took refuge at Volterra, where he painted a fine picture of the Deposition from the Cross, for the Oratorio di S. Carlo. He afterwards went to Venice, where he painted for Aretin his celebrated picture of Mars and Venus, which has been engraved by his disciple Domenico Barbiere. Not meeting with the success he ex- pected in Italy, he resolved on visiting the court of Francis I. of France, who was at that time the great encourager of art. He was very favourably received by that monarch, who immediately en- gaged him in his service, and appointed him super- intendent of the great works which he was then engaged in at the Chateau of Fontainbleau. As 11 Rosso was not less eminent as an architect than a painter, he undertook the building of the great gal- lery in that palace, which was executed from his plan, and which he decorated with several paintings and ornaments in stucco, many of which were afterwards destroyed by his rival and competitor, Francesco Primaticcio, to make way for his own works. Of twenty-four pictures, emblematical of the principal actions of Francis I., thirteen still re- main, of which a particular description has been given by the Abbe Guget. The style of II Rosso, though singular, is grand. He displayed a dignity of character, a lively expres- sion in his headG, a tasteful arrangement of his habiliments, an effective management of his light and shadow, and a daring execution ; though these excellencies were accompanied by a wildness and extravagance, too frequently attached to a fertile and exuberant imagination. This able artist was well versed in literature, and had a taste for poetry and music. His conversation was agreeable, and his manners polished. The possession of such ac- complishments secured him the regard and good graces of Francis I. He was in the full possession of royal favour, and of the pubUc estimation, when he sacrificed these enjoyments to a mean and un- founded suspicion. He had contracted a friendship with Francesco Pellegrini, a Florentine painter, who was in the habit of visiting him frequently, when his house was robbed of a considerable sum. He rashly suspected Pellegrini to be the robber, against whom he brought a formal accusation ; he was in consequence of the charge put to the torture^. , 661 ■'.* ROSW] A DICTIONARY OF [rott and after suffering the most horrible torments was declared innocent. The remorse of having so un- justly exposed an innocent person to so dreadful a trial, preyed upon his mind, and he put an end to his existence by poison, in 1541. [ROSWORM, , a painter, of whom there is no account. He was in England about the year 1665, and copied some of Sir Peter Lely's pictures in small.] , ROTA, Martino. This eminent engraver was bom at Sebenico, in Dalmatia, about the year 1540, but he chiefly resided at Rome and Venice. By whom he was instructed in the art of engraving is not ascertained, but he proved himself an artist of great ability. His design of the figure is unusually correct, and his extremities are marked with pre- cision. His plates are executed entirely with the graver, and though they are not very highly finished, they are wrought in a neat, clear style. His print representing the Last Judgment, after Michael An- gA> Bwmaroti, is justly considered as his master- piece, whether we consider the neatness of the execution, or the exactness with which he has pre- served the correct drawing of the painter, on a scale so different from the original. This fine print, which is inscribed Martinus Hota, 1569, has been very closely copied by Leonard Gaultier, though it may easily be distinguished from the original, not only by its inferiority, but by observing that the face of the portrait of M. Angelo, which is repre- sented in a small oval at the top, is in the original turned towards his right shoulder, in the copy it is towards the left shoulder. There is also a copy of it by J. Wierix. He engraved some plates from his own designs, and from the principal Italian paint- ers. He usually signed his plates with his name, but sometimes marked them with a singular mono- gram, consisting of an M. and a wheel by the side of it, in reference to his name, Jtota, in Latin, signi- fying a wheel, ]\/[_ The following are his principal plates, which are difficult to meet with in good impressions : PORTRAITS. Maximilian II., Kom. Imper. 1575. The Emperor Rodolplius II. 1692 ; -with the cipher. Ferdinand I. in the costume of his time. 1675. Henry IV., King of France. VARIOUS SUBJECTS FROM HIS OWN DESIGNS. The Resurrection ; dated 1577. The same subject, differently treated. The Murder of the Innocents. The Last Judgment ; dedicated to Rodolphus II. 1573. Another print of the Last Judgment. This plate was left imperfect at his death, and was finished by another band. The Scourging of Christ. 1568. SUBJECTS AFTER VARIOUS MASTERS. The Martyrdom of St, Peter ; after Titian. Mary Magdalene penitent ; after the same. Prometheus chained to the Rock ; after the same. Christ appearing to St. Peter ; after Raffaelle. 1568. [Malpe affirms that Martin Rota was born in 1532, but Zani asserts that he operated in 1540. Bartsch describes 114 prints by him, which he believes to be a complete list, and the dates range from 1558 to 1586. He denies that the print of the Resurrection, dated 1577, is by him. It is to be regretted that Zani has not quoted a single print in support of his assertion; but he is positive as to the fact. He says, remarking on the date given by Malpe, B Rota operava come ho accennata, e sicuramente nel 662 1540. As many of the prints described by Bartsch are without dates, Zani may have had reason to be- lieve some of them to be of the time he mentions. Bartsch does not allude to the assertion. After the print of the Last Judgment, the portraits by Martin Rota are the most admirable, and held in the highest esteem by collectors. Of these his chefs d'ceuvre are, Albert de Lasco, Baron de Kaizsmarck, Ro- ■ dolph II., and Ferdinand I. The Battle of Lepanto, a large print by him, is of the greatest rarity. It is a lizarre composition, the offspring of his imagina- tion without congruity.] ROTARI, CoNTE PiETRO. This painter was of a noble family of Verona, born in 1707, and, among other accomplishments, was instructed in design. For some time he merely practised the art as an amusement, but his progress was so flattering, that he at length resolved to adopt it as a profession, and he became a scholar of Antonio Balestra, under whom he studied until he was eighteen years of age. He afterwards visited Venice, where he passed two years in contemplating the works of the best masters of that distinguished school of colouring. In 1727 he went to Rome, where he entered the school of Francesco Trevisani, and was occupied four years in studying the great works of art in that metropolis. By the advantages of travel, and an assiduous application to his pursuit, he became a correct and graceful designer, and joined to the ex- pressive airs of his heads, an elegance of contour, and a tasteful disposition of his draperies, in which he was not surpassed by any artist of his time. His principal works in Italy are his picture of the An- nunciation, at Guastalla ; and the Birth of the Vir- gin, in the church of S. Giovanni, at Padua. He afterwards visited the courts of Vienna and Dresden, where he met with the most flattering encourage- ment ; and in 1756 was invited to St. Petersburg by the Empress of Russia, who appointed him her principal painter, in which capacity he died, in 1762. We have several slight but spirited etchings by this artist, some of which are from his own com- positions, and others after the works of Balestra j among others are the following : The Portrait of Filippo Baldinucci. 1726. St. Francis kneeling before a Crucifix ; from his mm design. The Education of the Virgin ; the same. SUBJECTS AFTER ANTONIO BALESTRA. Abraham and the Angels. David with the Head of Goliah. St. Jerome ; half-length. Venus and JEneas. ROTTENHAMER, John, was bom at Munich in 1564, and was instmcted in the rudiments of de- sign by an obscure artist, named Donnaver. At an early period of his life he went to Rome, where it was not long before he distinguished himself by painting small pictures of historical subjects, which, though they retained somewhat of the German taste, were ingeniously composed, and touched with great neatness and spirit. He had acquired some reputation by his easel pictures, when he was com- missioned to paint an altar-piece for one of the churches at Rome, representing several Saints, with a glory of angels. The ability which he discovered on this occasion excited universal surprise at the extent and versatility of his talents. A desire of improving himself in colouring, prompted him to visit Venice, where he particularly attached himself to studying the works of II Tintoretto, in the Scuola di S-. Marco ; and he appears to have imitated the rove] PAINTERS AND ENGRAVERS. [roul style of that master with uncommon success. During his stay at Venice, he painted some pictures for the pubUc edifices, of which the most admired were, the Annunciation, in the church of S. Bartolomeo ; and a picture of S. Cristina, at the IncurabUi. Ferdi- nand, Duke of Mantua, employed him in several considerable works, for whom he painted one of his most admired pictures, representing Nymphs dancing. After a residence of many years in Italy he returned to his native country, and established himself at Augsbourg, where he met with great en- couragement. He painted a picture for the great altar of the Holy Cross, representing all the saints, which is considered one of his most capital perform- ances, and was much employed for the private col- lections. He was patronized by the Emperor Ro- dolphus II., for whom he painted a capital picture of the Feast of- the Gods, a composition of many figures, gracefully designed, and coloured with all the splendour of the Venetian school. His cabinet pictures are by no means uncommon, and they are found in the choicest collections. The back-grounds are frequently painted by John Breughel, and some- times by Paul Brill. He was fond of decorating his compositions with rich and splendid accessories, and was particularly desirous of introducing naked figures into his pictures, which he piqued nimself on designing vrith taste, and colouring with delicacy. He usually made choice of gay and agreeable sub- jects, and the airs of his heads are expressive, though not sui^ciently varied. Though Rotten- hamer resided great part of his life in Italy, he never entirely lost sight of the taste of .his country. His design, though not very incorrect, is formal and mannered. He died at Augsbourg in 1606. [1604 is the date given by several writers.] ROVERE, Giovanni Mauro, called Fiammin- GHiNo. This painter was bom at Milan in 1570, of parents originally of Flanders. According to Orlandi, he was brought up under the Procaccini, whose style he followed, particularly that of Giulio Cesare. He painted history with some reputation, and when he did not suflFer himself to be led away by a dangerous impetuosity, produced some pic- tures worUiy of the school in which he was edu- cated. Such is his altar-piece of the Last Supper, in the church of S. Angelo, at Milan, which is ad- mired for the grandeur of tiie composition, and the expressive character of the heads. There are several of his easel pictures in the private collections at Milan. He died in 1640. [He was also a good painter of battle-pieces, and landscapes with ani- mals ; and there are engravings by him of such sub- jects, after his own designs ; tiiey are marked J. M. R. F. He had a brother, who painted architecture and perspective, and showed considerable talent ; his name was Giambatista, and he was called il Oenovesino. Several others of the same family prac- tised painting, but not with much distinction.] [ROVIRA Y BROCANDEL, Hipolito, a Spanish painter and engraver, was born at Valencia in 1693. It is not known imder what master he first studied, but it is certain that he assisted in the atelier of Evaristo Muuos, where, solely by applicar tion, observation, and study, without other aid, he became an excellent engi'aver. Though he made great progress at Valencia, he hoped that by a visit to Rome ne might arrive at a higher state of per- fection ; accordingly, in his 30th year he started for that city. On his arrival there he devoted him- self to the study of the antique in the palaces, gal- leries, and churches, with such ardour that he passed days and nights without any other sustenance than bread and water. He never undressed ; and his en- thusiasm for these grand works was so great, that his only boast was that he had copied aU of them that had given him pleasure. Under this influence also he copied in chiaro-scuro the whole collection in the Famese palace. He occupied himself at unusual hours, and at gi-eat inconvenience, in this arduous undertaking, but with such success as to elicit the admiration and praise of , the professors of the capital. Sebastien Conca declared publicly that Annibal Caracci could not have copied better. His enthusiasm supported him during his labours ; but his midnight studies, fastings, and other privations, had their eflect on his physical and moral faculties, and, inste&d of improving, his talents seemed to diminish ; and on his return from Rome the works he executed were not equal to those he had per- formed before his departure thither. He had, how- ever, when at Rome, jmd in fuU possession of his faculties, painted the portrait of the general of the Dominicans ; and on Rovira's return to Madrid the reverend father was at the court. The queen, Elisabeth Parnese, was desirous of having an exact Eortrait of Lodovico I., and the general spoke so ighly of the talent of Rovira, at the same time presenting his own portrait and that^of Cardinal Cienfuegos, as proofs of his ability, that the artist was sent for to execute that of Lodovico. He at- tended at the time appointed, coolly prepared his palette, with infinite grace posed his model, traced the contours, and sketched the whole with a facility that gave the queen and all present the utmost satisfaction. But after these nappy preliminaries his mental disorder returned, and he began daubing the sketch, and covered it so with colour that not a trace was discernible. Recovering his senses, he rushed from the palace, quitted Madrid, and a few days afterwards was found at Valencia in the ut- most destitution. Here the Marques de Dos Aguas took him under his protection, and received nim into his house. After awhile he was commissioned to paint in fresco the vault of the sanctuary of S. Luis, and, what was remarkable, finished it without exhibiting the least aberration of mind. About this time, hearing that Corrado Guiacuinto, with whom he had formed a friendship at Rome, had arrived at Madrid, as painter to Ferdinand VI., he set out, as though it were only a visit to the next street, and walked, without any provision, to the court at Madrid, saluted his friend, and, without bidding adieu, returned on foot to Valencia. It was at last found necessary to place him, for his own safety and comfort, in the hospital de Miseri- cordia, where he died in 1765. In the first volume of the Museo Pictdrico of Palomino, there are se- veral prints by him, which show his talent as an engraver.] ROULLET, John Louis, an eminent French engraver, born at Aries, in Provence, in 1645. He was first instructed in the art of engraving by John Lenfant, but he afterwards became a pupil of Francis de Poilly, and was the ablest of his scholars. On leaving that master he went to Italy, where he passed ten years, and acquired a purity and correct- ness of drawing which enabled him to engrave with success after the great masters of the Italian school. His print of the Marys with the dead Christ, after the celebrated picture by Annibale Caracci, formerly in the Orleans collection, now in the possession of the Earl of Carlisle, is one of the most admirable productions of the art, for the firm and correct 663 roul] A DICTIONARY OP [rowl drawin|, the beauty of the graver, and the fidelity with which he has preserved the fine expression of the original picture. The following are his princi- cipal works : PORTRAITS. LoviisXIV. ; a half-length. Francis de Poilly, Engraver to the King, ad vivum. 1680. John Baptist Lully, Musician to the King ; after Mig- nard. Ascanius Philamarinus, Cardinal Archbishop of Naples. SUBJECTS AFTER VARIOUS MASTERS. The three Marys, with the dead Christ; cfierAn. Cairacci. The Virgin and infant Jesus ; mftej- the same. Two of the angles of the dome of the church of the Jesuits at Naples, representing St. Matthew and St. Luke ; of- fer Lanfraneo. The two other angles, representing St. Mark and St. John, are engraved by F. Louvemont. The Visitation of the Virgin to St. Elisabeth; after Migtmrd. The virgin, with the infant Jesus in her arms, who is holding a Bunch of Grapes ; after the same, and in- scribed to Madame de Maint^on. [He died at Paris in 1669.] ROULLIERE, La. This artist is mentioned by Papillon as an engraver on wood of some merit, who flourished about the year 1700, but he has not speci- fied any of his works. ROUSSEAU, Jambs. This artist was bom at Paris in 1626. After being instructed in the ele- ments of design in his native city he went to Rome, where he applied himself to the study of perspective and landscape, and designed the most remarkable views in the vicinity of that city. He formed an intimacy with Herman Swanevelt, whose sister he married, and, assisted by the advice and instruction of that able artist, he became an eminent painter of landscapes and architectural views. On his return to Paris he met with the most favourable reception. He was employed by Lo^is XIV. in ornamenting the chateaux of Marly and St. Germain en Laye, and was made a member of the Academy at Paris. He was in the height of his reputation at the time of the revocation of the Edict of Nantes, when, on account of his being a Protestant, he was obliged to leave France, and his name was erased from the hst of the academicians. He retired into Holland, where he was invited to England by the Duke of Montague, , and was employed, in conjunction with Charles de la Fosse and John Baptist Monnoyer, in ornament- ing his mansion of Montague House. He was afterwards employed in painting several landscapes and perspective views for the palace of Hampton Court. The landscapes of Rousseau generally re- present select and classic scenery, embellished with the views of magnificent architecture. He appears to have taken for his model the admirable produc- tions of Nicholas Poussin. We have a few etchings by this artist, which are executed in a spirited style ; among which are, A set of six Landscapes, with architecture and figures. The Repose in Egypt ; after An. Caracci. St. John Baptizing the People of Israel ; after the same. [He was bom at Paris in 1630, and died at London in 1693. His easel pictures resemble more the manner of Oaspar than of Nicholas Poussin. Of his etchings Dumesnil, tom. iv., has given descrip- tions of eight after his own designs, and of eleven from pictures in the cabinet of Jabach. The former are finished with the graver in a bold style, and show the good taste and ability of the master.] ROUSSEAU, John Francis, a French engraver, who resided at Paris about the jfear 1760. He has engraved a great number of vignettes and other 664 book-plates, after Oraveloi, Cochin, and others. We have also the following prints by him : The Virgin and infant Christ ; after Vander Werf. St. Jerome ; after Mola. ROUSSELLET, Giles. This artist was bom at Paris in 1614. It is not known under whom he learned the art of engraving, but his style resembles that of Bloemaert. His drawing is correct, and his prints possess considerable merit, though in some of them the lights are more covered than is neces- sary, which gives a heaviness to their effect. The number of his plates is considerable, of which the following are the most esteemed : portraits. Charles de Vaiois, Duke d'Angouleme. Peter Seguier, Chancellor of France ; after Le Brun. Richard de Belleval, Chancellor of the University ; after the same. subjects after various masters. The Frontispiece to the Polyglot Bible ; after S. Bourdon, The Holy Family ; with St. Elisabeth and St. John pre- senting the infant Jesus with a Bird ; after Raffiwtle. The Holy Family; after the sam£; called La Belle The Holy Family, with St. Elisabeth, St. John, and two Angels ; ajier the same. G. Edelinck has engraved the same subject. St. Michael discomfiting the Evil Spirit; after the same. The Annunciation ; after Guido. Four plates representing three of the Labours of Her- cules and his Death ; after the same. David playing on the Harp ; after Domenichino. The Entombing of Christ ; after Titian. Four plates of the Four Evangelists ; after Valentin. The Servant of Abraham meeting Rebecca; after N. P&ussin. Moses saved from the Nile by Pharaoh's Daughter; after the same. The Holy Family ; after S. Bourdon. St. John the Evangeust ; after the same. The Crucifixion ; after Le Brun. The Dead Christ in the lap of the Virgin ; after the same. The Dead Christ supported by an angel ; after the same. The Holy Family ; after the same. Mary Magdalene penitent ; after the same. St. Bernard kneeling before the Virgin ; after the same. St. Theresa in contemplation ; after the same. [He died in 1686. His prints amount to about 74, of which Naeler has given a list.] ROUSSELET, Mary Ann. This lady was the wife of Peter Tardieu, the engraver, and was pro- bably a relative of the precedfing artist. She. en- graved several plate^for BufFon's Natural History; and among other prints we have by her, St. John in the Desert ; after Charles Vanloo. [She also engraved some sea-pieces aft^r Bach- huysen, William Vander Velde, and J. Vernet. She flourished from about 1760 to 1770.] ROUSSIERE, [FRAN901S DE la.] This artist is noticed by Mr. Strutt as the engraver of a por- trait of Michael de Castelnau, Ambassador from France. [He lived about the middle of the 17th century ; very little of him is known.] ROUX, Maitre. See Rosso. [ROWLANDSON, Thomas, a celebrated de- signer and etcher of caricatures and humorous sub- jects, was born at London in 1756, and died there in 1827. At a very early period he gave presage of his innate talent for caricature, by sketching hu- morous representations of his schoolmaster and fel- low scholars : the margins of his books were covered with these handy-works. In his sixteenth year he was sent to Paris, and entered as a student in one of the drawing academies there, where he made rapid advances in the study of the human figure ; eowl] PAINTERS AND ENGRAVERS. [roye and during his residence, which was nearly two years, he occasionally indulged his satirical talent in portraying the characteristics of the people, whose fantastic costume and manners, at that time, scarcely required the exaggerations of caricature. On his retarn to London he resumed his studies at the Royal Academy, where he had been admitted a student before his visit to Paris. His father, who was a city tradesman, became embarrassed from in- judicious speculation, and young Rowlandson would have been without support but for the liberahty of his aunt, a French lady, who had manied his uncle Thomas. This lady, whose maiden name was Chat- telier, amply supplied him with money ; and to this indulgence, perhaps, may be traced those careless habits which attended his early career, and for which he was remarkable through life. At her decease she left him seven thousand pounds, besides other valuable property. He then indulged his predilec- tion for a joyous Ufe, and mixed with the gayest of the gay. Whilst at Paris he imbibed a love for gaming ; and now frequented the most fashionable houses for play in London, where he alternately won and lost without emotion, till he was at length minus several thousand pounds. In this manner he dissipated more than one valuable legacy. He has been known, after having lost all he possessed, to return to his professional studies, sit down coolly to fabricate a series of new designs, and to exclaim, with stoical philosophy, " I 've played the fool, but (holding up his -pencils) here is my resource." However coarse and slight may be the generality of his humorous and political etchings, many of which were the effusions of a few hours, his early works were wrought with care; and his s'tudies of the human figure at the Academy were scarcely inferior to those of Mortimer. From the versatility of his talent, the fecundity of his imagination, the grace and elegance with which he could design his groups, added to the almost miraculous despatch with which he suppUed compositions on every subject, he might, had he been careful of his reputation, have become one of the best historical painters of his time. Sir Joshua Reynolds and Benjamin West each de- clared that some of his drawings would have done honour to Rubens, or any of the greatest masters of design of the old schools. His style, which was purely his own, was quite original. He drew a bold outline with the reed jpen, in a tint composed of ver- milion and Indian ink, washed in the general effect in chiaro-scuro, and tinted the whole with the pro- per colours. This manner, though sUght, was most effective. For many years he was too idle to seek new employment, and his kind friend and best ad- viser, Mr. Ackermann, the well-known pubhsher in the Strand, supplied him with ample subjects for the exercise of his talent. At that gentleman's suggestion he executed the illustrative designs for those popular volumes, " The Travels of Dr. Syn- tax," " The Dance of Death," " The Dance of Life," and other well-known productions of the versatile pen of Mr. Coombe. • The writer of his memoir in the Gentleman's Magazine, from which this is abridged, says, that no artist of the past or present school, perhaps, ever expressed so much as Row- landson with so little efiort, or with so evident an appearance of the absence of labour. His works are very numerous ; many hundreds of his drawings have passed through the hands of the editor, some of them forming a consecutive series as rich and racy as Drunken Barnaby's Journal, axA only re- quiring the " versification descriptive" by a Braith- waite or a Coombe, to make them as popular as Old Barnaby or Doctor Syntax were in their days.] ROY, C. Le. This name is afiixed to the por- trait of And. Hercules Card. Pleury, engraved after Autreau. [Claude Leroy flourished at Paris about 1709. He engraved the portraits of Fleury, Boileau, Bossuet, and Cardinal W. Dubois, all after H. Rigaud.'] ROY, Henry le, an obscure engraver, by whom we have a set of six plates of Butterflies, Beetles, and other insects, etched in a style resembling that of Hollar, and retouched with the graver. They are inscribed Henry le Roy, fecit ^. 72, 1651. [ROY, Jean Baptiste de, commonly called De Roy of Brussels, a landscape and cattle painter, was born at Brussels in 1759. From his earliest infancy he showed a great disposition for drawing, and his father, to encourage his predilection, took him to Holland that he might have the opportunity of studying the works of the celebrated masters of that country. These and nature were his only teachers ; but by assiduous attention to both he soon attained to considerable eminence as a painter. The pictures of Paul Potter, Cuyp, and Berchem, decided his choice of the department to which he would devote his talents ; but the style he adopted differs from theirs, and is more analogous to that of Ommeganck than to any of the cattle painters of the Dutch school. His subjects are generally homed cattle standing in groups, grazing in meadows, or ruminating during meridian heat. His pictures seldom exhibit, like those of Cuyp, the warmth of sunshine tempered by rising clouds producing shade, and. promising a refreshing shower; on the con- trary, they glow with a full unmitigated blaze, and no sign to excite hope of meUoration : this is their general character. Still they possess great beauties ; they are attractive by their brightness of colour; the catde are accurately designed, skilfully grouped and contrasted, and very carefully finished. In the Museum at Brussels there is a picture by him less liable to the censure of excessive heat. It re- presents a group of four cows and a bull, with a herdsman, issuing from a wood and passing through a pool to an adjacent meadow. Most of the best modern collections in Belgium possess specimens of his works. He had many scholars, some of them distinguished painters at the present time, in whose productions his style may be recognised. He died in 1839, and left numerous studies and sketches from nature, which are deservedly held in great estimation.] [ROYER, Jean le, and Aubin-Olivier, bro- thers-in-law, who Uved in the middle of the 16th century, and were both in the service of Henry II. of France, the one as a medallist, the other as a printer. Both were skilful engravers on wood, and jointly executed the figures necessary for the under- standing the " Book of Perspective," by Jean Cousin, printed and published by Jean Le Royer, in 1560. These geometrical figures are very beautiful, and consist of about sixty illustrations. Jean availed himself of his knowledge of design to embellish the works that he printed ; so that the greater part of the fleurettes, vignettes, and the ornamental letters, whether in metal or in wood, employed in his edi- tions, are his own work. In 1553 he obtained let- ters patent, in which he is designated " Printer in ordinary to the King, and especially in mathematics." Dumesnil has given an interesting account of the geometrical figures in Cousin's book, in torn. vii. of " Le Peintre Graveur Francais," but was unable to 665 rube] A DICTIONARY OP [rube furnish a catalogue of the other ornamental works of this learned and artistic printer.] RUBEIS. See Rossi. RUBENS, Peter Paul. In presenting the memoirs of the illustrious head of the Flemish school, we have to speak of the consummate painter, the enlightened scholar, the skilful diplomatist, and the accomplished man of the world. Peter Paul Rubens was the son of John Rubens and Mary Pipelines, both descended from distinguished fami- lies of the city of Antwerp, where his father filled the situation of one of the principal magistrates. The calamities of civil war, which desomted the Low Countries about the year 1570, obliged him to abandon his charge, and to take refuge at Cologne, where our artist was born, in 1577, on the feast of St. Peter and St. Paul, on which account he re- ceived at the baptismal font the names of those apostles. In his early years, his mind was culti- > vated with the most attentive care, and in the pro- gress of a classical education, he discovered uncom- mon vivacity of genius, and unusual docility of disposition. The city of Antwerp having again been placed under the dominion of Spain, the father of Rubens returned to his native city, and re-entered on the administration of his office. On finishing his studies the young Rubens was placed as a page to the Countess of Lalain, in which capacity he remained a short time, in a situa- tion by no means agreeable to his wishes. His -father dying soon afterwards, he obtained his mo- ther's permission to pursue the bent of an inclina- tion he had discovered for painting, and he was placed under the tuition of Tobias Verhaecht, a landscape painter of some respectability ; but his genius leading him more immediately to historic painting, he became a disciple of Adam van Oort, whose works were then in high reputation. The depravity and extravagance pf that artist could not fail of disgusting a student whose elevated mind, and urbanity of manners, were as remarkable as the brutal outrages of his instructor, and he soon quitted that master to enter the school of Otho Venius, who was at that time considered one of the most distinguished masters of the Flemish school. To his talents as a painter, Otho Venius united the most polished manners, and an extensive acquaint- ance with hterature. The possession of qualities so congenial with his pursuits, rendered the tuition of Otho Venius particularly agreeable to o;ir student, who conceived the strongest attachment and the most profound veneration for his instructor. Rubens had reached his twenty-third year, when his preceptor assured him, that his lessons could be of no further advantage to him, and recommended a journey to Italy, as the surest means of leading to perfection those talents which had already dis- played-themselves with such extraordinary promise. In following the advice of his master, Rubens grati- fied his own particular inclination, which had been long bent on such a project. He had for some time been favoured with the patronage of the Arch- duke Albert, then governor of the Netherlands, who, on this occasion, forwarded his views, by giving him a particular recommendation to Vincenzio 6on- zaga, Duke of Mantua, and in 1600 he set out on his travels to Italy. On his arrival at Venice, he passed some time in examining the most celebrated works of the Vene- tian masters, and pursued his journey to Mantua,, where he was received by the Duke with the most marked distinction. To fix him near his person, he 666 appointed him one of the gentlemen of his chamber, and this honour was the more acceptable to Ru- bens, as it gave him the opportunity of a more inti- mate acquaintance with ttie great works of Giulio Romano, in the Palazzo del T., which were the ob- jects of his particular admiration. The contempla- tion of the poetry of Homer, personified by the graphic powers of Giulio, excited his emulation to the highest pitch ; and it is reported, that whilst he was occupied in painting a picture of the history of Turnus and .^Eneas, intending to warm his imagin- ation by the rapture of poetry, he repeated, with energy, the lines of Virgil, commencing, Ille ctlam patriis agmen ciet, &c. The Duke, who overheard him, entered the apart- ment, and was not a little surprised to find his painter's mind stored with all the gi-aces of litera- ture. Rubens had been two years in the service of the Duke of Mantua, when he requested and re- ceived the permission of his protector to revisit Venice, for the purpose of studying the works of Titian and Paolo Veronese, which had made so deep an impression on him in his passage through that city. It was by studying the best principles of colouring at the fountain-head, that he acquired that splendid style which is so much admired in his works ; and on his return to Mantua, he evinced how much he had profited by his studies at Venice, in the three magnificent pictures he painted for the church of the Jesuits, which may be regarded as some of his finest works. The Duke of Mantua being desirous of possessing the best copies he could procure of some of the most celebrated pictures at Rome, cast his eye on Rubens as the most capable of executing such a commission, and was at the same time influenced by the obliging intention of affording his- favourite an opportunity of visiting the great emporium^ of taste and virtu. He re- ceived this flattering mark of his patron's distinction with gratitude and delight; and during his resi- dence in the metropolis of art, he sent his employer transcripts of. several of the most distinguished paintings, which were executed with no common abihty, and were esteemed by his patron little infe- rior to the originals. He was employed by the Archduke Albert to paint three pictures for the church of S. Croce in Gerusalemme, representing the finding of the Cross by St. Helena, Christ bear- ing his Cross, and the Crucifixion. The two last are considered amongst his most admirable produc- tions. In 1605, the Duke of Mantua having occasion to send an envoy to the court of Spain, selected Ru- bens for the purpose, and directed him to return to Mantua from Rome, to enter on his embassy. He set out for Madrid, carrying with him magnificent presents for the Duke of Lerma, the favourite minis- ter of Philip III. He exerted at that court his political and pictorial talents, with a dignity and propriety that raised the latter, without debasing the former, and accomplished the object of his mis- sion entirely to the satisfaction of his employer and the King of Spain, whose portrait he painted, and received from that monarch the most flattering marks of esteem and approbation. Soon after his return from his embassy, the Duke of Mantua per- mitted him to revisit Rome, having been engaged to ornament the tribime of S. Maria in Vallicella, where he painted three admirable pictures, in which he appears to have imitated the style of Paolo Vero- nese. On leaving Rome, Rubens visited Genoa, rube] PAINTERS AND ENGRAVERS. [rube where the distinguished reputation he had acquired in the other parts of Italy excited the pubhc curi- osity, and he was employed in several considerable works, which increased hi? celebrity. He, painted two pictures for the church of the Jesuits, represent- ing the Circumcision, and St. Ignatius working a Miracle, which were highly applauded. Rubens had now been absent eight years from his native country, when he received the intelli- gence, that his mother was dangerously ill, and though he returned to Antwerp with all possible speed, he did not arrive until after her death. The loss of a parent, to whom he was tenderly attached, was a severe affliction to Rubens, and he had form- ed the project of returning to Italy, when the Arch- duke Albert and the Infanta Isabella employed every inducement to retain him in their service. He consequently abandoned his intention, and established himself at Antwerp, where he built a magnificent house, with a saloon in the form of a rotunda, which he enriched with antique statues, busts, vases, and pictures, by the most celebrated painters. It was in the midst of these select pro- ductions of art, that he conceived and executed the greater part of the chefs d!(Buvre which have im- mortalized his name. He now passed several years in the tranquil and successful exercise of his great abilities, during which time he- embellished the pub- lic edifices of the Low Countries with an almost incredible number of his admirable paintings. To accompUsh the extensive undertakings in which he was engaged, and at the same time to keep alive his intercourse with the Muses, whose society he always courted with avidity, the occupation of his time was regulated with a precision which nothing was permitted to derange. He never paint- ed without having read to him some passage of his- tory or poetry, and the works of ancient or modern writers were equally famiUar to him, as he perfectly understood and spoke with fluency seven different languages. This constant accumulation of know- ledge had enriched the mind of this great painter with inexhaustible resources. The extraordinary and well-merited fame acquir- ed by this admirable artist, could hardly fail of ex- citing the envy, and consequently the injustice, of his contemporaries. Rubens, generous and affable, the hberal and beneficent encourager of art, found himself assailed by the calumnies of those who were most indebted to him for assistance. With the most audacious eflrontery, they attempted to insinuate that he owed the best part of his reputation, in the great variety of works for which he was celebrated, to the talents of his disciples Snyders and Wildens, who he occasionally employed in forwarding the animals and landscapes in some of his pictures. Cornelius Schut, who was in want of employment, accused him of poverty of invention) Abraham Janssens had the hardihood to defy him to a trial of strength ; and even Theodore Rombouts ventm-ed to vUify his works. The exalted mind of Rubens treated these atrocities in a manner becoming the elevation of his feelings and the philanthropy of his heart. He reUeved the necessities of the first, by procuring him employment ; he answered the chal- lenge of the second, by a dignified neglect ; and re- plied to the sarcasms of Rombouts, by an exposure of his famous Descent from the Cross. The more effectually to establish his claim to the title of the universal painter, he finished with his own hand some of his most admirable landscapes, his lion- huntings, and other miscellaneous subjects, which covered his calumniators with shame and con- fusion. The fame of Rubens had long been established at the court of France, when he was commissioned by Mary of Medicis, in 1620, to ornament the gal- lery of the palace of the Luxembourg. He accom- pUshed this great work in twenty-four compart- ments, representing, in very ingenious allegorical and emblematical subjects, the principal events of the life of that princess. The series was painted at Antwerp, except two pictures, which he finished at Paris, in 1623, when he arranged the whole in the gallery. If the surprising number of large pictures painted by Rubens were not sufficient testimonies of the abundance and facility of his genius, this immense gallery, completed in three years, would amply demonstrate it. It was at this period that he became acquainted with the Duke of Bucking- ham, who accompanied Prince Charles through France, in his way to Madrid, and who afterwards became the purchaser of his rich museum of works of art. On his return to the Netherlands he was honoured with several conferences with the Infanta Isabella, on the then critical state of the govern- ment of the Low Countries, who was so satisfied with his political intelligence and capacity, that she sent him to Madrid for instructions, preparatory to a negociation for peace between Spain and Eng- land. In 1628 he arrived in the Spanish capitm, where he was received in the most gracious man- ner by Philip IV. and the Duke de Ohvares, and acquitted himself in his diplomatic capacity en- tirely to the satisfaction of the king and nis minis- ter. During his residence at the court of Spain, his powers as a painter were not neglected. PhiUp was in possession of taste, and Ohvares had splen- dour. Rubens was alternately caressed by both. The royal collections of the Escurial, Pardo, and Madrid, an inexhaustible mine of art, were thrown open to his view. The Duke de Olivares had just completed his foundation of a convent of Carmelites, at the small town of Loeches near Madrid, and the King, as a mark of favour to his minister, commissioned Ru- bens to paint four pictures for their church, which he executed in his grandest style, and the richest glow of his colouring. They are of large dimen- sions, and in composition and execution are not ex- celled by any of his works. The first is an allego- rical subject of the Triumph of the New Law, which he has personified in the most beautiful and graceful manner. The figure of Religion, seated on a superb triumphal car, drawn by four angels, with others bearing the cross, with characteristical sym- bols ; four figures expressive of the various charac- ters of Infidelity or Ignorance, over which Religion is supposed to triumph, follow the car, like slaves or captives bound with chains. The group is crowned with beautiful cherubim that hover in the air, with chaplets in their hands, disposed with singular art and the most charming effect. The companion pic- ture represents the Interview of Abraham with Mel- chizedek, who offers him bread, and the tenth of his spoils. In the drapery of the priests and the armour of the soldiers, Rubens has exhausted every resource that his rich fiind of colouring could supply. The other two pictures, of equal size and excellence with the above, represent the Four Doctors of the Church and the Four Evangelists, with their distinctive em- blems : compositions of undescribable majesty and expression. He also painted eight grand pictures for the great saloon of the palace at Madrid, which 667 • rube] A DICTIONARY OF [rube are regarded as matchless specimens of his colouring; they represented the Rape of the Sabines ; the Bat- tle between the Romans and Sabines j the Bath of Diana ; Perseus and Andromeda j the Rape of Helen; the Judgment of Paris ; Juno, Minerva, and Venus ; and the Triumph of Bacchus. For those extraordinary productions he was magnificently re- warded, received the honour of knighthood, and was presented with the golden key, as gentleman of the chamber to the king, in 1627 he returned to Flanders, and had no sooner rendered an account of his mission to the Infanta, than he was sent to England, for the purpose of sounding the dispo- sition of the government on the subject of a peace, the principal obstacle to which had been removed by the death of the Duke of Buckingham. Though he was not at first presented to the king in the ^.* quality of an envoy, Charles was too zealous a lover of the art not to receive this illustrious painter with every mark of distinction. He engaged him to paint the ceiling of the Banqueting House, where he re- presented the Apotheosis of James I. In the frequent visits with which the king hon- oured our painter whilst he was engaged in this considerable work, Rubens, with infinite delicacy and address, took a favourable opportunity of touch- ing on the subject of a peace with Spain, and find- ing that monarch no way averse to such a measure, at length produced his credentials, and the king appointed some members of his council to negociate with him on the subject of a pacification, which was soon after effected. Charles was so much pleased with the conduct of Rubens on this trying occasion, and so satisfied with the exertions of his pencil, that he munificently rewarded him for his labour; and on the 21st of February, 1630, confer- red on him the honour of knighthood. The import- ant object of his mission being thus happily accom- plished, he returned to the Netherlands, where he was received with all the honours and distinction due to his exalted merit. Rubens had now reached his fifty-eighth year, was in full possession of the plenitude of his fame, loaded with wealth and honours deservedly ac- quired, when he experienced some attacks of gout of a more violent nature than those to which he had previously been subject, and they were succeeded by an infirmity and trembling of his hand, which obliged him to renounce all works of large dimen- sions, and to confine himself to easel pictures. He also found it necessaiy to abandon all public busi- ness, except the instruction of his disciples, and limit his epistolary correspondence to a few distin- guished artists, with whom he delighted to hold an intercourse as long as he lived, on which occasion he expressed himself with a warmth of feeling bor- dering on enthusiasm. We are indebted to the Che- valier Mechel for the preservation of one of his let- ters, and of some fragments of his advice to his pupils, which are sufficiently interesting to warrant their insertion. A short time before his death, he wrote a letter to Francis du Quesnoy, called II Fi- ammingho, the celebrated sculptor, in acknowledg- ment of the receipt of some casts of the marbles he had executed at Rome, in which he wrote to him in the following terms : " I cannot express to you the obligations I feel for the models you have sent me, particularly for the casts of those admirable chil- dren with which you have decorated the tomb of M in the Chiesa del Anima. It is not art, but nature, that we admire in forms so tender and full of life. In what terms shall I address you, . 668 on the universal and well-merited applauses you have acquired by the admirable statue of St. An- drew, which you have lately finished. Your fame and celebrity reflects honour on our country. Did not the infirmity of age, and a fatal gout, which de- vours me, confine me to my chair, I would fljr to Rome, to indulge myself with the sight of objects so deserving of admiration. But as I cannot look for that pleasure, I must satisfy myself with the hope of seeing you soon among us ; and I doubt not that our country will be proud of the works with which you will enrich it. May it please Heaven that this may happen before death, which soon will close my eyes for ever, deprives me of the inexpress- ible satisfaction of contemplating the wonderful productions of that able hand which I kiss with the most profound sentiments of my heart." Of the process pf his colouring we have some intimation in the following extract from his lessons. " Begin," says he, " by painting in your shadows lightly, tak- ing particular care that no white is suffered to glide into them, it is the poison of a picture, except in the lights ; if once your shadows are corrupted by the introduction of this baneful colour, your tones will no longer be warm and transparent, but heavy and leady. It is not the same," continues he, " in the lights, they may be loaded with colour as much as you may think proper, provided the tones are kept pure ; you are sure to succeed in placing each tint in its place, and afterwards, by a light blending with the brush ox pencil, melting them into each other, without tormenting them, and on this pre- paration may be given those decided touches, which are always the distinguishing marks of the great master." Rubens continued to exercise his art until the year 1640, when he died, at the age of 63. He was buried with extraordinary pomp m the church of St. James, under the altar of his private chapel, which he had previously decorated with one of his finest pictures. His widow and children erected a monument to his memory, with an epitaph, which, as it is particularly explanatory of his varied facul- ties, and of the honours which were conferred on him, is here inserted. D. 0. M. PETRUS PAULUS EUBENIUS, Eques, Joannis hujus Urbis Senatoris Piliua, Steni Toparcha. H. s. E. Qui inter cseteras, quibus ad miraculum, Excelluit Doctrinffi, Historise priscse, Omniumque bonanim artium, et elegantianim dotes, Non suum tantum sseculi, Sed et omnis ae-vi, Apelles dici meruit, Atque ad Kegum Principumque Virorum amicitias, Gradum sibi fecit. A Philippo IV. Hispaniarum Indiarumque Rege Inter Sanctions Consilii Scribas adscitus ; Et ad Carolum Magnae Britanniae Eegem Anno M.DC.xxix. delegatus, Pacis inter eosdem Prinoipes raox initse Eundamenta feliciter posuit. Obiit anno sal. m.dc.xl. .Sltatis lxiii. Domina Helena Fonnentia Vidua ao Liberi Saoellum hoc Aramque, ac Tabulam, Deiparae Cultui conseoratam, memoriae Rubenianae L. M. ponl dedicarique curarunt. a. J. P. Perhaps no painter has left behind him so many and so considerable proofs of the excellence and va- riety of his powers. He painted history, portraits, landscapes, animals, fruit, and flowers ; and it would be diSicult to decide in which he most excelled. rube] PAINTERS AND ENGRAVERS. [rube Flanders, France, Italy, and England, abound with the admirable productions of his pencil ; and it will be easily conceived that a particular detail of them is beyond the compass to which a work of this na- ture is necessarily limited. From his birth he had evinced a lively, elevated, and universal genius, and had enriched his mind with an extensive and inti- mate acquaintance with history, poetry, and the belles lettres. With the possession of such re- sources, he invented with facility j and his inces- sant practice gave him an unexampled dexterity of execution. Of the fertile powers of nis imagination, regulated by learning and taste, he has given abund- ant demonstration, in his admirable series of alle- gories, in the gallery of the Luxembourg. His genius was adapted to the grandest compositions j and his powers appear to have expanded themselves in proportion to the scale on which they were called upon to act. He did not, like Rafl&elle, possess that mild inspiration of sentiment which manifests itself in the graceful and beautiful, but he was ani- mated with that poetic fire, that displays itself in eflFects which astonish and surprise. His most abundant compositions seem to have been produced without effort, and creation appears to have been an operation of his will. Rubens has been unjustly refused the merit of an able designer. His drawing is, however, generally grand and facile, his outline free and flowing, and he had a competent acquaintance with anatomy; though it cannot be denied that correctness occa- sionflly yielded to the impetuosity of his concep- tions and the vivacity of his execution, yet, in his great works, we meet with naked figures as admir- able for their drawing as for their inimitable colour- ing. Such is his stupendous picture of the Fallen Angels, in the Dusseldorf Gallery. Of this aston- ishing production Sir Joshua Reynolds has favoured us with the following description : " If we consider the fruitfulness of invention which is discovered in this work, or the skill which is shown in composing such an infinite number of figures, or the art of the distribution of the light and shadow, the freedom of hand, the facility with which it is performed, and what is still more extraordinary, the correctness and admirable taste of drawing of figures foreshortened, in attitudes the most difBcmt to execute, we must pro- nounce this picture to be one of the greatest efforts of genius that the art has produced." It will not be attempted to be denied, that he preferred the brilliancy of effect to the beauty of form, and too frequently sacrificed the correctness of design to the magic of his colouring. His works exhibit those qualities which evince a daring and enthusiastic conception, rather than the characteristics of a re- fined meditation or profound thought. He had studied the antique, Michael Angelo, and RaflSielle ; but, far from his studies having elevated his mind to a feeling of the beautiful ideal, or an elegant se- lection of nature, he continued to attach himself to an unembellished imitation of the models of his country. This defect is particularly discernible in his female forms, which have seldom any preten- sions to elegance or grace. Although Rubens was not incapable of expres- sion, yet we must not look to his pictures for the graceful and dignified airs which captivate us in the works of Raffaelle or Domenichino; and he was more capable of expressing the violent affections of the mind, than the placid and the bland. As a colourist, Rubens deservedly holds a distinguished rank.,! If he is less chaste than Titian, he is more brilliant. Rubens claims our applause by the lus- trous splendour of his tints ; Titian secures our approbation by the purity of his tones and harmony of nis effect. As an executive painter, Rubens may with truth be said to have surpassed every artist that has hitherto appeared; and the unexampled promptitude of his handling has given rise to an opinion, however erroneous, that the greater part of his large pictures were chiefly painted by his dis- ciples, and ultimately retouched by himself. By this commanding power, which he possessed in the highest degree, Rubens was enabled to represent every object he undertook with the most character- istic propriety. His animals, especially those of a ferocious kind, are painted with a spirit and energy that is unequalled ; his lions and tigers are touched with a fierceness peculiarly adapted to their charac- ter ; and his horses, always of the noblest race, are designed with a fire and animation that is inimi- table. In his landscapes he reminds us of the grandeur of Titian, and they are no way inferior to those of that illustrious painter. The picturesque forms of his rocks and trees, the deep shadows in his glades and glooms, the watery sunshine, the dewy verdure, the airiness and facility of his touch, exhibit a charm, and show a variety of invention, which form a striking contrast with the mild ame- nity and uniform glow we admire in the fascinating productions of Claude Lorraine. " The pictures of Rubens have this effect on the spectator, that he feels himself in no wise disposed to pick out and dwell on his defects. The criticisms which are made on him are indeed often unreasonable. His style ought no more to be blamed for not having the sublimity of Michael Angelo, than Ovid should be censured for not resembling Virgil." [The pictures ascribed to Rubens in Smith's Ca- talogue raisonne, vols. ii. and ix., amount to about eighteen hundred ; of these, no doubt, a great num- ber were executed by his pupils and assistants, un- der his direction, and from sketches or designs fur- nished by himself. The names of these scholars and coadjutors were Anthony Van Dyck, Justus Van Egmont, Theodore Van Thulden, Abraham Diepenbeck, Jacques Jordaens, Peter Van Mol, Cornelius Schut, Jan Van Hoeck, Simon de Vos, Peter Soutman, Deodati Delmont, Erasmus Quel- linus, Francis Wouters, Francis Snyders, John Wildens, Lucas Van Uden, Jodocus Mompers : of these, the greater number assisted in the figures; Snyders, in the animals and fruit; Wildens, Van Uden, and Mompers, in the landscapes. Several other distinguished Flemish painters of the period, who were not his disciples, adopted his style; among these, the most eminent were Martin Pepin, Gerard Seghers, and Gaspar de Crayer. There are upwards of twelve hundred engravings of pictures attributed to Rubens ; but reliance must not be placed on' many of them as being taken from his genuine works. Those by the Bolswerts, Paul Pontius, De Jode, and other contemporary engrav- ers who worked under the master's supervision, . may be considered genuine; for even if the execu- tive part of the picture was not entirely by his hand, he designed and finished it, and it became his child by adoption. Monsieur Burtin, in his Treatise on the Knowledge necessary to Amateurs of Pictures, says, that " M. Va,n Parys, of Antwerp, one of Rubens's descendants by the female side, assured him that it was known by a continued tradition in the family, that there scarcely exist two hundred pictures or sketches painted entirely by Rubens 669 rube] A DICTIONARY OP [bubi himself after his return from Italy, and that among these there were not above twenty large ones, the rest having been all easel pictures, generally painted on panel, the size of which was not more than a foot for sketches, and scarcely ever beyond five feet for his finished pictures." " Having asked M. Van Parys," continues M. Bnrtin, " if the tradition con- veyed information which were the twenty great pictures, he acknowledged that he knew only of three, namely, St. Ildefonso, St. Ambrose repelling Theodosius, and St. Ignatius exorcising the Demo- niacs; three marvels of art which the gallery at Vienna has the happiness to possess." Let others, who, like M. Van Parys, have implicit faith in tradition, believe this report ; records, on which greater reliance may be placed, afiirm the contrary. However, there is a qualifying word in M. Van Parys's reply ; he only knew of three large pictures. Monsieur Burtin, the connoisseur, and instructor of amateurs, could have supplied further information ; perhaps he had not, at that time, a large picture by the master in his collection. The inscription for the monument to the memory of Rubens was writ- ten by his friend Gevartius ; but the mommient was not erected until about a century after his death. This pious act was performed by Jean Baptiste Van Parys, a descendant of the family, and a canon of the church in which Rubens was buried. It may be noted, that his second wife, (for he had only two,) Helena Forment, afterwards married Baron J. B. Broechoven, a Flemish nobleman in the Spanish service in the Netherlands. Thei-e are nine pic- tures by Rubens in the EngUsh National Gallery; namely. The Abduction of the Sabine Women ; An Allegory of Peace and War, or Peace and Plenty, presented by the late Marquis of Staflbrd; The Conversion of St. Bavon, probably a study for the large picture in the church of St. Bavon in Ghent, bequeathed by Holwell Carr ; The Elevation of the Brazen Serpent, obtained by purchase; A Land- scape, with a view of the Chateau de Stein, pre- sented by Sir George Beaumont ; A Holy Family, with St. George, and other Saints, said to be por- traits of Rubens and his family, as may be said of many other Holy Families by him ; A Landscape, Sunset, bequeathed by the late Lord Farnborougn ; The Apotheosis of James I., a sketch; and. The Judgment of Paris, for which the nation paid 4000 guineas, but for what good purpose it is difficult to say. In the Appendix to Pictorial Notices of An- thony Van Dyck, &c., by Mr. W. H. Carpenter, (a work containing an account of many curious and interesting facts relating to artists of the time, ex- tracted from authentic documents,) will be found several letters which passed between Rubens and Sir Dudley Carleton, which throw great light on Rubens's artistic life, and the nobleness of his cha- racter in his mode of dealing with those who were desirous to possess his works. He candidly avows that such and such were not wholly executed by him, but being from his designs, and having re- ceived the last touches from his hand, he considers them as entirely his own. These letters are tran- scribed from the originals in the State Paper Office, and are given (those by Rubens) in the original Italian, with a correct literal translation. Every person who feels interested in the matter should read them ; they are the cream of his artistic his- tory. There are, also, in Mr. Carpenter's work, copies of warrants, orders for payment, receipts for money, and other documents from the same authen- tic source, relating to this great man, which wiU 670 give great pleasure to his admirers, and for which Mr. Carpenter is entitled to their thanks.] Rubens occasionally amused himself with the point, and we have a few etchings by hihi, which are e2?ecuted in a bold and masterly style, though slight. They are as follow : St. Francis receiving the Stigmata. Mary Magdalene Penitent. St. Catherine ; a design for a ceiling. An old Woman holding a lighted Candle, with a Boy lighting another by it. When Rubens had etched the plate, a few impressions only were taken off, which are now become extremely scarce. It was afterwards finished by another hand. There is a copy of tins print by Cornelius Visscher, The Portrait of an English Minister ; signed P. P. Ru- bens, fecit. RUBENSTEIN, or RIEBENSTEIN. This artist was a native of Germany, but resided in Eng- land several years. He painted dead game and still-life, and sometimes portraits. He was a mem- ber of the Society of Painters, in St. Martin's Lane, and died in London about the year 1763. RUBIALES, Pedro de. This Spanish painter was a native of Estremadura, and flourished about the year 1545. Little is known of his works in Spain, as he resided the greater part of his life at Rome and Florence, where he studied under Fran- cesco Salviati, whom he assisted in many of his works. One of his best productions was his picture of the Conversion of St. Paul, in the church of Spi- rito Santo in Sassia, at Rome. He was also a co- adjutor of Giorgio Vasari, in some of his works. [Dr. Juan de Valverde, in his work on anatomy, speaks highly of the knowledge of Rubiales in that science, and couples his name with that of Michael Angelo. Rubiales painted as late as 1560 ; the time of his decease is not ascertained.] [RUBIRA, Don Andres de, a Spanish painter, was born at Escacena del Campo, and was a scho- lar of Domingo Martinez at Seville. His applica- tion and activity were very useful to his master in the diflferent works which he was commissioned to paint ; for, it is said, he sketched the greater part of the pictures in the ancient chapel of the Cathedral, and they were terminated by Martinez. When Francisco Vieira, painter to the King of Portugal, returned from Rome by way of Seville, he prevail- ed on Rubira to accompany him to Lisbon, and the latter profited much by the instructions of this ex- cellent master. On his return to Seville he exhi- bited such increased talent in his art, that he was soon employed on works of great importance, such as the pictures in the chapel of the Holy Sacrament, in the collegiate of San Salvador, a great part of those of the college of S. Alberto, and most of those that decorate the cloister del Carmen calzado. He also occasionally painted conversation pieces, inte- riors, and what are called Bambocciati. There is a picture by him of a blind man, of tall stature, sing- ing and playing on the guitar, which is painted so naturally, and vidth such power, that at first view it appears to be the work of^Velasquez. Rubira died at Seville in 1760.] [RUBIRA, Josef de, son of the preceding, was born at Seville in 1747- Though only thirteen at his father's death, he would not submit to be in- structed by another master, but with the httle he had learnt from his father, and by copying the works of Murillo, he arrived at considerable profi- ciency in the mechanism of the art. He was an ex- cellent copier of the works of Murillo, and, among ruch] PAINTERS AND ENGRAVERS. [rugg others, copied a magnificent picture of a Holy Fa- mily by that master, for Don Francisco de Bruno, which has deceived many an amateur. He died in 1787.] RUCHOLLE, Peter, an indifferent French en- graver, who flourished about the year 1690. He engraved a few portraits, among which we have that of Charles Emanuel, Duke of Savoy ; after Vandyek ; with the address of J. Mcyssens. And Louis XIV. ; after H. Rigaud. [RUED A, Gabriel de, a Spanish historical paint- er, resided at Granada at the commencement of the seventeenth centipy : there are several pictures by him in that city, which are held in great estimation. He was appointed painter to the holy church of To- ledo in 1733. He died on Christmas Eve, in 1641.] [RUPO, JosEF Martin, an historical and por- trait painter, was bom at the Escurial, and was educated at liie academy of S. Fernando. He was a successful competitor for the prizes given by that estabUshment, and regularly obtained the filst or second, during the time he was studying there ; and these competition pictures by him are still preserved in the academy. He afterwards painted many pub- he works, among which are particularized those that represent the Life of S. Juau de la Cruz, in the cloister of the Carmehtas descalzos ; and the por- trait of Ferdinand VI., which was in the monastery del Paular, in the collection of the kings of Spain. He flourished in the second half of the eighteenth century.] RUGENDAS, George Philip, was born at Augsbourg in 1666, and was first instructed in de- sign by Isaac Fishes, a painter of history ; but his genius leading him to paint battles and skirmishes of cavalry, he formed his style by studying the works of Borgognone, and the prints of Tempesta. He had acquired considerable reputation by his pictures of that description, when he resolved to visit Italy, and, 1692, went to Venice, where he passed some time, and was assisted in his studies by Giovanni Batista MohnarL From Venice he went to Rome, where it was not long before his talents became known, and he met with such flattering encourage- ment in that metropolis, that he had thoughts of establishing himself there ; but the death of his fa- ther obliged him to retina to Augsbourg, and he quitted Italy with regret in 1695. In a few years after his return to Augsbourg, the war of the Suc- cession broke out, when Rugendas had a melan- choly opportunity of persondly witnessing those scenes of slaughter and desolation, which his ima- gination had so frequently traced with his pencil. During the siege, bombardment, and pillage of Augsbourg, by the French and Bavarians, in 1703, when all the citizens were overwhelmed with alarm, confusion, and despair, when himself and his pro- perty were at the mercy of the. furious assailants, he exposed himself to the most imminent danger, to contemplate, with the eye of a painter, the attacks of the besiegers, which he designed with sang-froid, surrounded on all sides with carnage and destruc- tion. He afterwards pubhshed a set of etchings from the drawings he had made under such extrar ordinary circumstances. Rugendas merits a distinguished place among the painters of battles. Though he possessed an abund- ant and fertile imagination, his compositions are the result of judgment and reflection ; his design is correct, and he consulted nature in every object he drew. Many of the most illustrious personages of Germany employed his pencil, and his works are found in the choicest collections of his country j they are very numerous, as he possessed a surpris- ing facihty of execution. His works exhibit three different styles, according to the various periods of his hfe. In the first he appears to have been less attentive to the correctness of design than the charm of colouring ; in the second, his colouring is less attractive, but his drawing is decided and correct, and his touch more animated ; in his last and best manner, he successfully combined an har- monious colouring with accuracy of design, and un- common freedom of pencil. This ingenious artist died at Augsbourg in 1742. Independent of his extensive occupation as a painter, Rugendas de- voted a considerable portion of his time to engrav- ing, and has executed a great number of plates, both etchings and in mezzotinto ; among which are the following : ETCHINGS. A set of six Plates ; entitled, Capricci di Giorgio Filippo Sugendas. 1698. Eight Plates ; entitled, Diversi Pensieri fatto per Gior- " gio FUippq Rugendas, Pittore. 1699. A set of eight Plates, representing horsemen. Six Plates of Cavalry marching. The military operations of the French and Bavarian armies at the siege of Augshourg ; in six Plates. 1704 . MEZZOTINTO. Pour Plates of Skirmishes between the Prussian and Hungarian Hussars. Four Plates of Huntings of the Lion, Tiger, &c. [Besides battles, he painted horse markets and horse exercises, and his pictm'es are filled with ob- jects. In design he is generally vigorous and bold, but frequently unequal in his colouring ; and many of his works have become black and obscure. There is a picture of the battle of Blenheim by him, and also of that of Narva, in which 8000 Swedes under Charles XII. defeated 80,000 Russians. He was the ancestor of numerous painters and engravers of the same name, some of whom are Uving at the present time.] RUGENDAS, Christiat*. According to Hu- ber, he was the son of the preceding artist, by whom we have a great number of prints in mezzotinto, after the designs of his father, representing marches, halts, battles, &c. [He engraved about sixty of his father's designs ; and there are by him about thirty etchings from his own, which are much esteemed. He died at Augsbourg in 1781, at the age of 73.] RUGGERI, GuiDo. This artist was a native of Bologna, and flourished about the year 1550. He was a disciple of Francesco Raibohni, called II Francia, and, accompanied Primaticcio to France, where he assisted that master in his great work at Fontainbleau. He is, however, more known as an engraver than a painter. He engraved several plates from the designs of Primaticcio, which are executed in a style resembling that of Marco da Ravenna ; and it is not improbable that he learned engraving in the school of Marc Antonio Raimondi. His plates were usually marked with a monogram composed of a G. and an R. joined together, with an F.for fecit, ^p . [The etchings attributed to this master partake of the manners of Giulio Bona- sone, Caraglio, and Giorgio Ghisi; but there is great uncertainty respecting them. Bartsch classes twenty-two under the monogram F. G., (N°. 86, tom. ix.,) and mentions others in iv. and xv. with different signatures ; all which Nagler places to the 671 eugg] A DICTIONARY OF [RUIZ account of Guido Ruggieri. The inquirer wiU do well to consult both those authorities on the subject.] RUGGIERI, Giovanni Batista, called del Gessi. This painter was a native of Bologna, and was for some time a disciple of Domenichino, but he afterwards became a scholar of Francesco Gessi, whom he accompanied to Naples, and assisted him in some of his principal works in that city, and at Bologna. He visited Rome in the pontificate of Urban VIII., where he was patronized by the Mar- chese Giustiniana, and painted some pictures for the churches and palaces. In S. Maria della Minerva is a fine picture by him of the Nativity ; and in S. Caterina a Monte MagnanapoU, he painted in fres- co Mary Magdalene and St. Catherine, with St. John the Baptist, St. Dominic, and St. Philip Neri. His principal works at Bologna are, the Assump- tion of the Virgin, the Adoration of the Magi, and the Descent of the Holy Ghost, in the church of S. Barbaziano, which have sometimes been mis- tciken for the works of Guido. This promising art- ist died at Rome, at the premature age of 32, much regretted by the admirers and professors of the art. [Zani says he was born in 1606, and died in 1640.] RUGGIERI, Ercole, called del Gessi. Ac- cording to Malvasia, he was the brother of the pre- ceding artist, and was also educated in the school of Francesco Gessi, whose style he followed with so much success, that his works are with difficulty dis- tinguished from those of his master. Such are his picture of the Death of St. Joseph, in the church of S. Cristina di Pietralata, at Bologna ; ,and the Vir- gin and infant Jesus, with St. Catherine, and other saints, at the Servi. RUIDIMAN, or REUTTIMAN, John Conrad. This artist is mentioned by Mr. Strutt as the en- graver of some plates of foliage, and other orna- mental designs, published at Augsbourg. [His name was Reutlimann ; he was a goldsmith, and lived in the first half of the seventeenth century.] RUINA, Gasparo, an indifierent engraver on wood, by whom we have a cut representing the Cre- ation of Adam, which is evidently taken from the painting by Michael Angelo, in the Vatican, though it is inscribed, Hieronymo de Grandi, pinxit. Oaspar jRuina, fecit. . [Zani and Brulliot say he was the en- graver who marked his prints with three darts crossed, and sometimes accompanied with the letter G. There are several historical, mythological, and alle- gorical prints by him, signed Gasparo, f. or Gasparo Jtuina, f. His manner is peculiar j his shadows are produced by numerous fine hatchings, which make them, in many places, appear black. He lived about the end of the sixteenth century.] RUISCH, or RUYSCH, Rachel. This cele- brated paintress of flowers and fruit was bom at Amsterdam in 1664. She was the daughter of Fre- derick Ruisch, the celebrated professor of anatomy. At a very early age, without the instruction of a master, or any other assistance than that of copying the prints that accidentally fell in her way, she had given such convincing proofs of an extraordinary disposition for the art, that her father procured her the lessons of WiUiam van Aelst, an eminent flower painter. She not only surpassed her instructor, but it may be very reasonably questioned whether she has not excelled every other artist, in the depart- ment which she adopted, not excepting even the admirable productions of John van Huysum. With- out partaking of the enthusiasm of Descamps, who unequivocally asserts, that " in her pictures of 672 flowers and fruit she surpassed nature herself," it may be very justly said that she has represented those subjects in so admirable a manner, as to pro- duce perfect illusion, which is rendered more exqui- site by the selection of her objects, and her tasteful and picturesque manner of grouping them. The extraordinary talents of this lady recommended her to the particular patronage of the Elector Palatine, who, in 1708, appointed her his paintress. That Erince was so great an admirer of her pictures, that e possessed a considerable portion of her finest works, for which she" was munificently rewarded. Rachel Ruisch continued the exercise of her extra- ordinary talents with undiminished excellence, un- til she had reached a very advanced age, and died at Amsterdam in 1750. [She married, when young, a portrait painter, Jurian Pool, and is frequently called by that name. They lived together about fifty years, and had ten children, yet she always signed her pictures with her maiden name. She was more successful in painting flowers than frait, and she chose exotics in preference to those that were indigenous to her country. She is admirable in her manner of grouping as well as in pencilling ; and each flower is relieved by its neighbour, and all kept in perfect harmony. With gi'eat taste and judgment she introduced among her flowers the in- sects peculiar to the country whence they were de- rived ; and these she depicted with microscopic accuracy. The labour she bestowed on her works prevented their being numerous ; two, a flower and a fruit piece, are said to have occupied her for seven years ; and these she bestowed on one of her daugh- ters as a marriage portion. It must, however, be confessed that some of her pictures have lost their pristine lustre, and become dark; and others are attributed to her in which she had no hand. In Smith's Catalogue raisonne, vols. ,vi. and ix., are descriptions of about thirty only, a proof of their great rarity. They continue to command large prices when brought to public competition.] [RUIZ DE LA IGLESIA, Francisco Ignacio, was born at Madrid about the middle of the 17th century, 'and was a disciple of Francisco Camilo; but he perfected himself in the knowledge of colour- ing in the school of Juan Carrerio. He was ap- pointed painter to Philip V. in 1689, and had other services in the palace. He painted several portraits of that monarch, habited in the short black cloak and rufi'; a dress which he adopted on his arrival in Spain. He was employed, with Antonio Palomino, in ornamenting several of the public buildings and churches at Madrid, both in fresco and in oil ^ and others were the work of his own hand. He died in 1704, and was buried at Saint Felipe Neri, where he had painted an episode in the History of the Life of Saint Joseph.] [RUIZ GlXON, Juan Carlos, lived at Seville, about the year 1677- It would seem that he had practised under Herrera the younger, as his style entirely resembles that master's. "This is particu- larly observable in a picture of the Immaculate Conception, surrounded by numerous angels, in the cathedral at Seville, in which the grand taste, fine colouring, and bold execution would make it pass for a work of that master, but that Ruiz has signed it with his name, as he did all his productions.] [RUIZ GONZALEZ, Don Pedro, a painter of history and other subjects, was born at Madrid in 1633, and at the age of thirty commenced the study of painting under Juan Antonio Escalante. After the death of that master he placed himself in the HUNC] PAINTERS AND ENGRAVERS. [rupp school of Juan Carreno, under whose instructions he made such progress that in a short time he was patronized by many persons of rank. He painted for the church of S. MUlan three pictures, which were destroyed by the fire that occurred in 1720. He particularly excelled in small pieces, which he sketched with so much grace, and coloured so beau- tifully, that they passed for the works of some of the great masters of the Venetian school. He had the same facUity in the use of the crayon; and the drawings he made in this manner he washed, and always signed with his name, averring that he did the latter that his faults might not be attributed to others. Althwgh he commenced the study of the art late in life, he succeeded so well as to die rich at Madrid jn 1709. His public works were in the ' churches of S. Isidoro el Real, La Merced Calzada, Enfermeria de la Tercera orden de S. Francisco, S. Justo, S. Gines, S. Luis, and Monjas de Santa Ana, at Madrid.] RUNCIMAN, Alexander. This painter was a native of Scotiand. He is said to have served his apprenticeship to a coach-painter, and by dint of practice to have acquired a facility of hand, and a considerable intelligence in colouring, though he was still uninstructed in the design of the figure. He tiaveUed to Italy, and on his return exhibited some pictures in 17J^. The next year he settled at Edinburgh, where he conducted the Academy of Arts recently estabUshed in that city, where he painted some historical pictures, among which was the Ascension, in the episcopal church. He was patronized by Sir James Clerk, who employed him to decorate his mansion at Pennycuick with some subjects from Ossian. He died about the year 1780. There are a few etchings by this artist from his own designs, among which are the following : Sigismiinda weeping over the Heart of Tancred. A View in Edinburgh, called the Netherbow Port. [Runciman died in 1785, in his 49th year. His best works are his sketches ; his faults of extrava- gance are only multiplied by his pictures, in which he aimed at the manner of Fuseli.] [RUOPPOLI, Giuseppe, a painter of flowers and fruit, and particularly excellent in the repre- sentation of grapes, was born at Naples in 1600, and died there in 1659.] RUPERT, Prince Palatine of the Rhine. The invention of engraving in mezzotinto was for some time ascribed to this illustrious personage, from a tradition received by Vertue from Mr. KiUegrew, of Somerset House, to whom it had been communi- cated by Evelyn, the author of Sculptura. The cir- cumstance which led to the discovery is thus re- lated: The Prince, going out early one morning, observed a soldier employed in cleaning his musket from the rust, which the night dew had occasioned, and on examiniag it perceived something Uke a figure corroded upon the barrel, with innumerable small holes, close together, like friezed work on gold or silver, part of which the soldier had scraped away. He conceived an idea that some contriv- ance might be found to cover a copper-plate with such a grained ground of fine pressed holes, which would give an impression all black, and that by scraping away those parts which required to be white, the efiect of the drawing might be produced. He communicated this idea to Wallerant Vaillant, a painter in his service j they made several experi- ments, and at last invented a steel roller, cut with tools, to make' teeth like a rasp or file, which pro- 2x duced the black ground, which in some measure answered the purpose intended. The authenticity of this account is rendered ex- tremely questionable by the authority of Baron Heineken, whose general accuracy entitles him to considerable credit, and who decidedly asserts, that the Prince was not the inventor of it. In his bopk entitled Idee Generate d'une Collection cotnplette cPHstampes, he affirms, that " it was not Prince Rupert who invented the art of engraving in mezzo- tinto, as Vertue and several other authors pretend to say. But it was the Lieutenant-Colonel de Sie- fen, an officer in the service of the Landgrave of [esse, who first engraved in this manner ; and the print, which he produced, was a portrait of Amelia Elizabeth, Princess of Hesse, efngraved as early as 1643. Prince Rupert learned the secret from this gentleman, and brought it into England, when he came over the second time with Charles II. [See also Laborde, Histoire de la Gravure en maniere Noire, Paris, 1839, and the article Sieqen.] The following are the prints in mezzotinto en- gravfed by Prince Rupert, some of which he marked vrith the initials R. P. F., the first letter surmounted with a crown, ry A Magdalene in contemplation ; after M. Merian. An Executioner holding a Sword in one hand and a Head in the other, probably intended for that of John the Baptist, after Spagnohtto. On the sword is his mono- gram, and the date 1658. He engraved the head of the executioner a second time, on a smaller scale, for Mr. Evelyn's Sculptwa, who informs us that it was presented to him by the Prince himself, as a specimen of the new-invented art. [Nagler describes 16 prints by himj one has the date 1636, but this is an etching, and not a mezzo- tinto. The British Museum contains the largest collection of his known works, among which are several of the Executioner, one of which is an ex- traordinary brilliant proof.] [RUPPRECHT, Friedrich Carl, landscape painter, etcher, engraver on wood, and architect, was born at Oberzenn, near Anspacb, in 1779, and died at Bamberg in 1831. After receiving some preliminary instruction at Nuremberg, he went to Dresden and improved himself by studying and copying the pictures of Claude, Titian, Paul Potter, and other of the old masters, in the gallery of that city j and also turned his attention to architecture and perspective, and acquu-ed considerable know- ledge of both. In 1802 he made a tour through the south of Germany to study landscape after nature,' but it being a time of war, he encountered much in- terruption in his progress, and, to support himself, was compelled to have recourse to portrait painting. He became acquainted with General Drouet, whose portrait he painted, and those of several of his oflB- cers, and ror some time accompanied the former through Germany as his interpreter. Portrait paint- ing was his resource, but landscape painting was his delight ; he practised it both in oil and water- colours, but chiefly in the latter. These are drawn ' with great minuteness, and finished like miniatures, at the same time not mannered, but have an air of freedom and originaUty. He is, however, better known to foreigners by his etchings, which are prized by intelligent collectors, as he never left any imperfect, but would destroy the plate if it exhibited the smallest defect. His countrymen compare his etchings to those of Boissieux, perhaps for the spirit of the execution rather than the subjects. The num- 673 RUPP] A DICTIONARY OP [eusc ber is not great, there being only about twenty-four, of which there are many impressions, and a, few proofs of destroyed plates ; to which may be added a few wood-cuts after the manner of Count Zanetti, and a lithograph. As an architect, he was employ- ed to restore the old cathedral of Bamberg to its primitive state, and he prepared the plans, models, and drawings, for that purpose, and for some years superintended the work, but did not live to witness the completion. The cathedral possesses about a hundred and thirty of his drawings, some of which are interesting to the antiquary, as representing cu- rious objects of ancient date discovered during the, progress of the restorations. In other respects, Rupprecht possessed much knowledge, particularly of history, and showed much critical sagacity in matters connected with the fine arts. An enlarged account of his life and works was published at Bam- berg in 1843, by J. Heller, and there is a portrait of him after Klein. ETCHINGS BV F. C. RUPPRECHT. 1. Portrait of E. T. A. Hofimann, for that -writer's Phan- tasiestiicken, published in 1819 ; there are four vari- ations ; the first, before the writing, is very rare. There is also a copy reversed. 2. Cover for " Germany's Celebration of the Battle of Leipsic," by K. W. Fasser, dated 1816, of which there are two variations. 3. A Feasant counting Money ; two variations, and a re- versed copy. Signed and dated 1814. 4. The Chapel in the "Wnnderburg, near Bamberg ; the artist is seated under a tree, drawing ; signed and dated 1815. Of this there were only a few proofs taken, and, as faults were discovered, theptate was destroyed. 5. The same Chapel, but, instead of the artist, on the right a female with a basket, and a man. This is in- scribed Mari'd Hulf Kirche in der Wunderbii/rg bei Bamberg, with signature, and date 1815. The first impression, without the signature, is very rare. 6. Mary with the Child, with two Angels, under a cano- py, half-length figures; beneath is inscribed Maria Hilf, 1738. On the right a view of the chapel of Wun- derburg, in which is the picture. Signed and dated 1815. There are three variations ; the last with a prayer. 7. The Chapel of St. Elizabeth, at Bamberg ; two im- pressions ; the second has the signature, and date 1815. 8. The Altenburg ; on the left, near the rocks, a group of trees ; from an old painting. R.f.\S16. 9. The Monument of Count Adelbert von Eabenberg ; three variations, the last dated 1816. 10. View of the Buins of the Castle of Eabenberg. 11. Monument of Adelbert ia the wood near Altenburg, of which there are three variations. 12. Engraved Title to B. v. Homthal's German Frii- lingskranzen, 1816. Mvpprecht fe. 13. Bamberg, from the north side, on the left a willow ; F. C. Rm/prechtffec'.WVJ. There are Jfojw variations ; the two first without signature, but with the rainbow ; the third has also the rainbow and the signature ; the fovrth is the finished plate, of great force, but without the rainbow. 14. View of the Church of the Capuchins at Bamberg, with a single bird flying over the roof; F. C. Rup- precht, fee. 1817. There are but few impressions, as the etching was erased. 15. The same, with a flight of twenty birds ; si^ature at bottom. There are two variations ; ihe first is with- out inscription, the second has Kapudner vmd Khster- Kirche St. Beinrich und Kimigunde in Bamberg. 16. Church of the Carmelites, and Convent of St. Theo- dore, in Bamberg, with Russian carriages, and Cos- sacks on horseback; signed F. C. Rupprecht, fecit, 1818. There are five variations ; the first faintly drawn sky, and a white spot at convent window ; se- cond, spot worked on, but comer still light; third, the gable darker; fourth, group of three Russians taken out, and three other soldiers introduced, one of whom leads a dog ; fifth, with the inscription Karmel- iter-Kirche und Khster St. Theodor in Bamberg^ 17. View of the town of Hbchstadt on the Aisch ; sign- 674 ed F. C. Rupprecht, fee. 1819. There are only a few impressions of the variations of this, as the plate was destroyed. The first, clouds do not touch mountains on the left ; second, the clouds touch mountains ; third, the sky deepened on the right. 18. The same subject etched for Haas's History of Slavo- nia ; signed, and dated 1819. Two variations ; first, clear etching without writing ; second, with jSochstadt am, der Aisch. 19. First and second View of the Town-hall of Bamberg, with the lower bridge and several ships, and many figures in foreground. Rupprecht etched this piece in 1815, but too faintly, and he also discovered some faulte in the perspective, he therefore erased it. He made a second attempt in 1819, but with no better suc- cess, for the aquafortis sunk too deeply. There are, however, several impressions of this latter plate exist- ing, which difier from the first ia being darker, and having the monogram C. R. f. _ At the bottom is in- scribed Het Stadhuys to Ba/mber'g. 20. First and second views of the Cathedral of Bamberg ; signed, and dated 1821. Rupprecht etched this view twice, the first being too faint. The second was per- fectly successful, and gives the best view of this vener- able cathedral. The fi/rst without clouds about the church, on the left the mark and 1821 , and on the right in the margin F. G. Rupprecht, f. 1821. Second, per- fect in the sky, and signed Vomkirehe zu Bamberg. 21. Visiting Card of the Count von Lamberg, with his name, crest, and various appropriate ornaments. There are impressions where the table is quite light. 22. The Artist's Card; a portfolio and palette on the wall. ENGRAVINGS ON WOOD. 23. 'The Virgin, with the Child on her lap, after Parmi- giamo. At the top F. C. R., and dedication. 24. Christ in the Grave ; three holy persons near him. Vignette to the work on the subterranean chapel near Bamberg. 25. An Apostle standing with folded hands, after Far- migiano and Zanetti; dated 1819. 26. St. John in a niche, with his left foot on the Dragon, &c. R. Longer, del., and Rupprecht's monogram, dated 1824. 27. Religion in the Clouds, with a cross and chalice ; vignette to Benkert's Religionsfreund fur Katholiken, 1820. There are two variations, the latter with the rays at the upper part continued throughout. 28. The Insignia of Priesthood ; a Vignette. 29. A lithograph View of the subterranean Chapel at Bamberg, which was discovered in 1819, at the foot of the Altenburg. ii.y. on the right. N°'. 23, 25, and 26, are chiaro-scuros printed with two blocks.] [RUSCHEWEYH, Ferdinand, a designer, en- f raver, and lithographer, who has distinguished imself by his masterly engravings after Cornelius, Overbeck, Steinle, and other great artists of the pre- sent German school; and also after Aneelico da Fiesole, Raphael, Giulio Romano, Michael Angelo, Thorwaldsen, and antique bassi rilievi, was a native of Mecklenburg. He commenced his studies at Berlin about 1803, passed some time at Vienna, and in 1808 went to Rome, and associated vrith his highly talented countrymen studying there, and whose tastes were congenial with his own. His en- thusiasm for the works of the oldA Italian masters, and his desire, in his department, to emulate the style of Marc Antonio, qualified him to be the pro- per exponent of those painters who were desirous of restoring the ancient simplicity and deep religious feeling of the art. Hence his name is indissolubly connected with those above named, who were de- termined to imbibe inspiration at the fountain-head, and by example to stimulate their countrymen not only to rival the geniuses of former times, but in purity of sentiment, truth of expression, and high poetic feeling, to surpass them. The engravings of Ruscheweyh, and others of the band, have diffiised the knowledge of the works of these great artists RUSS] PAINTERS AND ENGRAVERS. [ruys through Europe ; and historical art is resuming that dignified character that she maintained among the ancients. It would be inconvenient to enumerate the many subjects engraved by this artist, while at Rome, consisting of the beautiful illustrations of Goethe's Faust, aller the compositions of ComeUus, the sacred classical subjects by Overbeds, Schiller's Eleusinian Festivals, as depicted by Wagner, in ad- dition to a long list after the old Italians. On his return to his native country in 1832, he engraved the well-known admirable picture, by Bendemann, of the Jews in Exile, and Christ in the Temple, and Ruth and Boaz, after Overheck : the last was pubUshed in 1834, since when there is no further record of his ability. Nagler has given a good list of his works.] [RUSSELL, John, an EngUsh portrait painter, chiefly in crayons, was born at Guudford in 1744. He was a pupil of Francis Cotes, whose manner he followed, and.his portraits are not inferior to those by Cotes, though somewhat florid in colour. Time and dust have destroyed , a great many. He pub- lished a work on the elements of painting in cray- ons, which was considered valuable at the time, and went through two editions. He was also fond of astronomy, and constructed a model showing the appearance of the moon, for which he obtained a patent : he called it the Selenographia, and publish- ed a description with plates engraved by himself. In 1788 he was elected an R. A., and died in 1806.] RUSTICI, Francesco. This painter was born at Siena about the year 1595, and was a disciple of Francesco Vanni. He for some time imitated the style of Michael Angelo Caravagsio, and his pic- tures, representing subjects by torch-light, resemble those of Gerard Honthorst, called Gherard dalle Notti, though more select in his forms, and more correct in his design. He studied at Rome the works of Annibale Caracci and Guido, and painted some pictures for the public edifices and private col- lections, which, however, evince an originality of style which may be said to be entirely his own. His most esteemed production was his picture of the Anntmciation, in one of the churcnes at Siena. " If he pleases in his other performances," says Lanzi, " in this he enchants." In the collection of the Grand Duke of Tuscany is a fine picture by Rustici, of an expiring Magdalene ; and in the Pa- lazzo Borghese at Rome, a St. Sebastian, which is much admired. He died in the prime of life, in 1 625. [RUTGERS, , called the Old, was an excellent designer of landscapes with the pen and in water colomrs, but of whom there is no account. His manner is broad and vigorous, and his figures well grouped. One of his drawings represents fish- ermen, at break of day, dragging their nets in a river, with others on the opposite bank similarly ernployed.] RUVIALE, Francesco, called II Polidoeino. According to Dominici, this painter was a native of Spain, though he was brought up at Naples, where he flourished about the year 1540. Having seen some of the works of Polidoro da Caravaggio at Naples, whither he had fled from the sacking of Rome, he became his disciple, and followed the style of that great artist with so much success, that he acquired the name of II Polidorino. His prin- cipal works at Naples are, his picture of the dead Christ, with Jhe Virgin Maiy and St. John, in the chapel of the Royal Tribunal; and the Descent from the Cross, in that of the Vicaria Criminale. RUYSDAEL, [or RUISDAEL,] Jacob. This admired landscape painter was bom at Haerlem in 1636. It is not known under whom he studied, but Houbraken informs us, that, although he had given proof of extraordinary ability at the early age of fourteen, he did not at first follow paintingas a pro- fession, but for some years applied himself to the study and practice of surgery. He afterwards lived in habits of intimacy with Nicholas Berghem, and he is said to have been advised by that artist to de- vote his attention entirely to painting. His success warranted the recommendation of his friend ; his pictures were purchased with avidity, and he soon became one of the most popular painters of his time. It has been erroneously stated, that this artist travelled to Italy, where he formed the taste of his scenery by his studies in the vicinity of Rome. It would be diflicult to form a conjecture more improbable and unfounded. The landscapes of Buysdael represent the most interesting views in the neighbourhood of Haerlem, where he almost constantly resided ; or occasionally the rocky bor- ders of the Rhine, with cascades and waterfalls, which he treated in a style so admirably picturesque, that in those subjects he may be said to be unrivalled. In the pictures of Ruysdael, it is evident that he designed every thing from nature, and he is unusu- ally happy in his selection of it. His trees and broken grounds are of the most pleasing forms, his skies are light and floating, and there is an agreeable freshness in his verdure, which is almost pecuUar to himself. His touch is remarkably free and spirited, his colouring is chaste and clear, and his masses of light and shadow are conducted with a masterly in- telligence. The talents of Ruysdael were not con- fined to landscapes, he painted sea-pieces with equal success, and his pictures of fresh breezes and gales of wind are equal to the productions of any artist who has treated those subjects. The pictures of this captivating painter are now justly held in the highest estimation, and are found in the choicest collections. They are sometimes decorated with figures by Adrian Vander Velde, or Philip Wouwer- man, by which their value is considerably in- creased. He died at Haerlem in 1681., We have a few spirited etchings by the hand of this eminent painter, which, though shghtly executed, produce a very natural and masterly efiect. Some of them are now become extremely scarce. Mr. Strutt as^ serts, that "they bear some resemblance to the etch- ings of Waterloo." The collector will search in vam for this resemblance, as nothing can be more decidedly distinct than the prints of these artists. [The date of Jacob Ruisdael's birth is uncertain ; it must have been before 1636, as there are pictures by him signed, and dated 1645. Balkema places it in 1640; a glaring inaccuracy. The probability is that he was born at Haerlem in 1630, as it is known that he was but a few years younger than his friend Nicolas Berchem. The pictures of Buisdael are so numerous and so well known in England, that it is quite unnecessary to dissertate on their style- and excellences, whether in his landscapes, waterfalls, or searpieces; in each and all he is pre-eminently the poet as well as the painter. As every subject depicted by him is evidently from nature, it is clear that he did not find the romantic scenery of his grand landscapes in his own country. It is said Siat he visited Italy, but this does not rest on any sure foundation ; there is more probability that he resided for some time on the borders of Germany, and there took his celebrated picturesque views of valleys between ranges of mountains, with the re- 675 Hurs] A DICTIONARY OF [byck mains of ancient chateaux, the solemnity of woods and groves, or impetuous waterfalls. Those who wish to increase the wealth of Euisdael by robbing Everdingen, have made him a student of the wild scenery of Norway; but where is the authority? They find it in .the frowning rocks, Norwegian pines piercing the clouds, and foaming cascades tumbhng precipitously over the dehris caused by many a furious northern tempest. But it is known that Aldert van Everdingen spent much of his hfe in depicting that scenery, and it would be difficult to point out a picture by him of an entirely placid character. A large landscape, of this class, which is in the magnificent collection at Luton, and was recently exhibited, as by Jacob Ruisdael, at the British Gallery, bears the impress of Aldert van Everdingen's mind and pencil in every, part ; and there are many others by him in this country, that are equally misappropriated by the cupidity of deal- ers, and the credulity of collectors. Ruisdael does not need these additions to his wealth ; he is a sove- reign both by land and sea, and the number of his productions in both departments, and in all their varied aspects, must continue his supremacy against evely competitor. Smith's " Catalogue raisonne of the Dutch and Flemish Masters," vols. vi. and ix., contains a descriptive account of four hundred and forty-eight pictures by him, {mirms those that pro- perly belong to Everdingen, some doubtful, and a few duplicates,) and no doubt there are many more that have not come under that writer's notice". There is one picture in the Earl of Bute's collection at Luton, that deserves particular notice, as differing from all the other known productions of the artist. It represents the interior of the new church at Am- sterdam, and is enriched with figures by Wouwer- man. Waagen remarks, that as this great master in his few sea-pieces rivals the best pictures of the greatest marine painters, so in this he equals the most celebrated painters of architecture.] RUYSDAEL, Solomon. This artist was the elder brother of Jacob Ruysdael, bom at Haerlem in 1616. He painted landscapes and views of rivers in Holland, in which he imitated the style of John van Goyen, and was very probably his scholar. The pictures of Solomon Ruysdael are poorly paint- ed, and produce a slight and feeble effect. He died at Haerlem in 1670. [Most of the Datch writers agree that Solomon Ruisdael was about 20 years older than Jacob, but they are not agreed about the year in which he was born. Solomon's pictures have very little resemblance to those of Van Goyen. They are, in general, very poor aflfairs, and appear to be the work of one who scarcely understood the ele- ments of the art, and careless whether he imitated nature or not. Van Goyen was a great master, and would have been ashamed of such a scholar, espe- cially if he were called his imitator. He must have been alive in 1673, as that date appears on some of his pictures.] RUYTER, N. DE, a Flemish engraver, who flourished about the year 1688. He appears to have imitated the style of Paul Pontius, but without much success. Among others, we have a plate by him representing SiEma reposing after the Chase ; after Gerard Valck. [RY, PiETER Dankers VAN, bom at Amsterdam in 1605, was a good painter of portraits. He tra^ veiled in Sweden, and was painter to Ladislaus IV. He died in 1659.] RYCK, Peter Cornelius de. According to 676 ^ Descamps, ^this painter was bom at Delft in 1566. He was first placed under the tuition of James Wil- lems, but he afterwards became a scholar of Hubert Jacobs. On leaving that master he went to Italy, and passed some years at Venice, where he formed his style by studying the works of Giacomo Bassano. He painted history and pastoral subjects, which were esteemed in his time. [He died in 1628.] RYCKAERT, Martin. This painter was bom at Antwerp in 1591, and was for some time a disciple of Tobias Verhaecht, an artist of considerable celebri- ty. On leaving that master he went to Italy, where he studied several years, and returned to his native country with a great variety of designs he had made of the most remarkable views in the vicinity of Rome. With these resources, he distinguished himself as one of the ablest landscape painters of his time. He embellished his pictures with the ruins of ancient architecture, rocks, mountains, and waterfalls; and his landscapes exhibit a grander choice of scenery than is usually to be found in the artists of his country. His works are occasionally decorated with figures by John Breughel. It is re- ported of this artist, that being occupied in design- ing the fortress of Namur, he was seized by the sol- diers, and carried before the governor as a spy, who Uberated him, on being convinced of the innocence of his intention. He lived in habits of intimacy with Vandyck, who painted his portrait, among the eminent artists of that time. He died at Ant- werp in 1636. [Martin Ryckaert was born with one arm. His manner of painting resembles that of J. Momper. Balkema differs from all writers of credit in stating that he was born in 1570, and that he died in 1626. PiissU says he died at Paris.] RYCKAERT, David, was the son of the pre- ceding artist, bom at Antwerp in 1615, and was first instructed in landscape painting by his father; but the high estimation in which the works of Brower and Teniers were then held, induced him to attempt similar subjects, in which he was eminently successful. The Archduke Leopold, a great en- courager of art, favoured him with his particular protection. In 1651, he was appointed director of the Academy at Antwerp, and his pictures were so much admu-ed, that it was with difficulty he could keep pace with the demand for his works. He usually painted assemblies of peasants regaling, musical parties, and the interiors of chemists' la- boratories ; though he occasionally attempted sub- jects of a more elevated character. Towards the latter part of his hfe he frequently represented grotesque and fantastical objects, such as spectres, incantations, the Temptation of St. Anthony, &c. These absurdities appear to have been much in vogue about that time; and even the distinguished talents of Teniers were often employed in similar whimsicalities. He gave a Uvely and expressive character to his heads, his colouring is clear and transparent, and his pencil is light and spirited. The pictures of David Ryckaert are not often met with m this country, though they are to be found in the most select collections of Flanders and Brabant. [According to Immerzeel, he was born in 1613, and died in 1677, though others agree with the date riven in the text. It is said by FiissU and Zani that he was the son of David RychaeH, whom Bal- kema calls David Van Arp RychaeH, bom in 1545, and by whom there is a picture in the Museum at Amsterdam. He must have been 68 or 70 years old when the younger David was bom. The portrait painted by Van Dyck is not that of the younger ryck] PAINTERS AND ENGRAVERS. [ryne David, as it represents a man advanced in years, and he was only about 26 when Van Dyck died. Zani says the elder David Ryckaert was living in 1640.1 RYCKMAN, Nicholas, a Flemish engraver, born at Antwerp about the year 1620. From the appearance of ms style, it is probable that he was a pupil of Paul Pontius. His plates are executed with the graver in a neat, formal manner, and his drawing is generally incorrect. We have, among others, the following prints by him : The Adoration of the Magi; after B.'uhena\ The beat impressions are before the address of either Gas. Hu- berti, or Com. van Merlen. The Entombing of Christ ; after the same. The Holy Family ; after the same. Christ and the Twelve Apostles; after the same; thir- teen plates. The best mipressions are before the ad- dress of £. Coninck. AchiUes discoyered by Ulysses at the court of Lycomedes ; after the sams. RYDER, Thomas, an English engraver, who flourished about the year 1790. He executed several plates in the dotted manner, which possess great merit. Among others, are the following: The Captive ; after J. Wright. The Last Supper ; after West. The Murder of James I. Kin^ of Scotland ; after Opie. He also engraved after Angelica Kauffman, Shelley, S^e. [Thomas Ryder was born in 1746, and died in 1810- He was one of the artists employed by Boydell to engrave the Shakspeare Gallery, and for which he executed eight of the large plates. They are among the best, and are after Fuseli, Stothard, Smirhe, NorOuxte, Mamberg, Durno, Hamilton, and J. F. Jt^aud.'] RYLAND, William Wynne, an eminent Eng- hsh engraver, born in London in 1732. He was a pupil of Simon Francis Ravenet, who was at that time established in England. On leaving that mas- ter he went to Paris, where he studied design for some time imder Francis Boucher, and received the instruction of J. P. le Bas in engraving. After a residence of five years in Paris, where he engraved several plates, he returned to England, and was soon, afterwards appointed engraver to the king. He engraved two whole-lengths of his Majesty, after Mamsay, and a portrait of the Queen, afkr Cotes. In the latter part of his life he applied him- self to engraving in the chalk manner, principally from the pictures of Angelica Eaufimann, which style he is said ta have first introduced into England, and which he greatly improved. The following are his principal plates : PORTRAITS. George III., King of Great Britain, &c. ; after Ramsay ; whole-length. Charlotte, Queen of Great Britain, &o. ; after Goatee. John Stuart, Earl of Bute ; after Ramsay. SUBJECTS AFTER VARIOUS MASTERS. Antiochns and Stratonice ; after P. da Cortona. Jupiter and Leda ; after F. Boucher. The Graces bathing ; after the tame. Charity ; after Vandyck. Four plates representing the Muses, Urania, Thalia, Erato, and CUo ; after Cipriani. SUBJECTS AFTER ANGELICA KAUFFMAN. Patience ; oval. Perseverance ; the same. Maria, from Sterne's Sentimental Journey. Telemachus recognised at the court of Sparta. Achilles lamenting the Beath of Fatroclus. Penelope awakened by Eurjclea. Eleonora sucking the Venom from the Wound of Ed- ward. Lady Elizabeth Grey imploring Edward IV. for her husband's lands. The Judgment of Paris. Venus on her Car. The Flight of Paris and Helen. Venus presenting Helen to Paris. Juno borrowing the Cestus of Venus. A Sacrifice to Pan. Cupid bound, with Nymphs breaking his Bow. Cupid asleep, with Nymphs awaking him. Cymon and Iphigenia. The Interview between Edgar and Elfrida after her mar- riage with Athelwold. This plate was left imperfect, and was finished by Mr. Sharp, after his unfortunate death, for the benefit of his widow. [Fourteen plates engraved for the edition of Walton's Angler, published by Sir John Hawkins in 1760. Ryland introduced chalk engraving (lines com- posed of dots) into England, and in the latter years of his life devoted himself exclusively to engraving in this style, in which he had no equal, but chiefly, except a few drawings by the old masters, after the works of Angelica Eaufiman, a circumstance that is to be regretted, as the works of that lady have very little to recommend them to the lovers of art. He also engraved, in the same manner, the large plate of King John signing Magna Charta, after Mortimer ; this plate he left unfinished, and it was completed by Bartolozzi for the benefit of his widow. As an etcher, or where the needle and graver are combined, Ryland was also excellent. 'The prints which he engraved in France were executed in this styfe, of which Watelet says one Would suppose his etchings to be the work of a painter. In the work entitled "A Collection of Prints in Imitation of Drawings," published by Charles Rogers, in 2 vols, folio, there are fifty-seven by Ryland, besides the admirable 'mezzotint portrait of Mr. Rogers at the commencement. These, with few exceptions, are after the old masters, chiefly the Italian. He held the appointment of Engraver to George III., with a pension of £200 per annum ; and he carried on an extensive business as a printseller. Strutt laments " that his mercantile engagements should have occu- pied so considerable a part of his precious time, and prevented his pursuing the arts with that alacrity his genius required, which seemed formed for great and extensive exertions. The unfinished works which he left behind him abundantly prove that he had suf- ficient knowledge and judgment to carry them to great perfection." These last words refer to the sad event which abruptly put an end to Ryland's labours and life at once. He was executed on a charge and pre- sumption of forgery, in 1783. -Strutt, probably from delicacy towards the widow, has abstained from al- luding to the circumstance. Great interest was made to save him, but all was unavailing. Popes, and other monarchs, have pardoned, or commuted the punish- ment of criminals convicted, on conclusive evidence, of crimes of the deepest dye — of murder — ^in consider- ation of their great talents as artists ; but Ryland lived in a commercial country, where money is the god of idolatry, and where at that period the sus- picion, even, of violating its sanctity, was sufl[icient to put in force the barbarous laws then existing ; it was a time, too, when royalty exercised all its pre- rogatives but that of mercy. Dr. Dodd had been executed for a like offence about six yeai-s previ- ously, notwithstanding the universal prayers of the nation for a commutation of his sentence.] RYN; Rembrandt van. See Rembrandt. RYNE, John van, a Dutch engraver, who re- sided in London about the year 1750. He engraved 677 rysb] A DICTIONARY OF [ryth a variety of plates of views in England, the East Indies, &c., among which are the foUowing : A View of Batavia. 1754. Fort St. George, on the Coast of Coromandcl. Fort ■WilUam, in Bengal. A View of Bombay, on the Coast of Malabar. The Cape of Good Hope. A View of the Island of St. Helena. [This appears to be all that is known of him, ex- cept that he was born in Holland in 1712, and that he died in 1760; yet Zani marks him B. B.] [RYSBRACK, G , a painter of flowers, dead animals, and other objects of still-life, who lived in the 17th century, but of whom there is no record. His pictures are well painted, and signed.] RYSBRAECK, or RYSBRECHTS, Peter. This artist was born at Antwerp in 1657, and was a scholar of Francis Mile, whom he accompanied to Paris. Following the example of his instructor, he attached himself to the study of the landscapes of Poussin, whose great style is discernible in all his works. His pictures were much admired in Prance, and endeavours were made to detain him at Paris, by the most flattering encouragement; but his attachment to his native country prevailed, and he returned to Antwerp, where he exercised his talents with great reputation, and was made direct- or of the Academy there in 1713. The landscapes of Rysbraeck are distinguished by a grandeur of style, which though founded on an imitation of the admirable productions of Nicholas [Oaspar] Poussin, possesses sufiicient originahty to secure him from the imputation of plagiarism. His colouring is harmo- nious, his touch broad and free, and he possessed great facility of execution. There is, however, a want of variety, and a certain monotony in his pic- tures, which place them in a very inferior rank to those of his great prototype. An obscure land- scape painter of this name resided at Brussels, but his works are too indifierent to be confounded with those of our artist. [Rysbraeck etched six landscapes, which evince his skill in the happy choice of his views, and his noble mode of composi- tion ; but it is to be regretted that they are not exe- cuted with more freedom, and that he has not given more hghtness to the foliage of the trees. At the bottom of each, on the left, is inscribed P. Byshraeh pinx. fecit et excudit. They are named from the fibres in them, Diana at the Bath, The Woman in a Vail, The Fisheimen, Sun-rise, Conversation on the Road, The Woman with her back naked. The time of his death is not correctly ascertained, but Pilkington says in 1716. It was the manner of Oas- par, and not of Nicholas Poussin, that he imitated.] RYSEN, Warnard [or Werner] van. This painter was born at Bommel about the year 1600, and was a scholar of Cornelius Poelemburg. He resided some time in Italy, and on his return to Holland painted landscapes, with historical figures, in the style of his instructor, which were held in consideration. According to Descamps, he aban- doned painting, and became a dealer in diamonds. RYTHER, Augustine, an English engraver- and printseller, who resided in London about the year 1590. He engraved some plans of the Spanish invasion, and was principally concerned in engrav- ing the curious Map of Yorkshire, with a view of York in one comer, and Hull in the other; pub- lished in Saxton's collection, [The following extracts from an unpublished work of the late W. Y. Ottley, entitled "Notices of 678 Engravers, and their Works," show that Ryther was much employed in topographical engraving. "Sohert Adams, was surveyor of the buildings, &c. to Queen Ehzabeth, and, as Walpole observes, appears to have been a man of ability. He died A. D. 1595, and was buried in Greenwich church, with this inscription : ' Egregio viro, Roberto Adams, operum regiorum supervisori, architecturae peritis- simo. Ob. 1595. Simon Basil, operationum regia- rum contrarotulator hoc posuit monumentum 1601.' "Walpole states that Adams engraved a large Plan or birds'-eye view of Middleburgh, dated 1588; and also, that he drew and engraved a set of Charts, representing the different actions that took place in the Channel between the English fleet and the Spanish Armada, which was published in 1589 by Augustine Ryther. This account, which has been adopted by Strutt and others, is very erro- neous ; I speak not of the plan of Middleburgh, of which I know nothing, but of the charts ; for, although the name of Adams appears upon those plates, it is as the designer only, and not as the engraver. I was first assured of this fact by my erudite friend, Francis Douce, Esq., who at the same time informed me of the existence of a copy of the work in the British Museum, which I have since examined. This work, which appears to be of extreme rarity, consists of twelve plates, including the title. The Title has this inscription, within an ornament of scroll-work : ' Expeditionis Hispanorum IN Anoliam veea descriptio. Anno D. M.D.Lxxxviii;' at top are the Arms of England, and at bottom those of the Lord High Admiral ; it has no name of designer, engraver, or publisher; it measures, L. 19|^, H. 14|. Then follow ten Charts, of the same dimen- sions as the Title. They represent maps of the coast, with the different engagements be- tween the fleets, represented, in small, in those parts of the Channel where they occurred ; the names of the different towns, castles, and sea- ports being inserted in their proper places. The sea in all of them is covered with dots, as is the case in some of Saxton's maps, and the plates, like them, have narrow, ornamental borders. They are numbered 1 to 10, at the right-hand bottom corner, and each plate, like the title, has the Arms of England and those of the High Ad- miral. The Chart, No. I, represents the first discovery of the Spanish Fleet off the Lizard Point, and the 10th an attack made upon it by some EngUsh fire-ships off Calais. But as copies of all these charts are given upon a reduced scale in Pine's work on the Tapestries of the House of Lords, it becomes unnecessary to speak of them separately. Suffice it for me to add, that each plate is inscribed ' Roberto Adamo authore ,•' that the 1st and 4th have the date 1588, and that the 1st, 6th, and 7th have also the name of the en- graver: 'Augustinus Ryther Sculpsit.' The last plate of the work, L. 29^, H. 20J, is not numbered. It represents a general map of Great Britain and Ireland, with parts of the con- tinental coast, and shows the track of the Armada round the two islands, in its way back to Spain. Towards the left, at bottom : 'Ro. Adamo Authore — Augustinus Ryther Sculpsit' " Walpole, as has been said, states that the above plates were published by Ryther in 1589, and per- haps in this he may be correct} although a smajl eythJ PAINTERS AND ENGRAVERS. [UYTH book intended by him to accompany them did not make its appearance till the beginning of 1590. This work, an 8vo, or small 4to, of only 27 pages, is entitled : ' A DISCOURSE CONCEENINGE THE SPANISHE FLEETE iNVADiNGE Englande IN THE YEt;RE 1588, and overthrowne by her Ma"". Navie under the con- duction of the Right-honorable the Lorde Charles Howarde, highe Admirall of Englande ; written in Itahan by Petruccio Ubaldino citizen of Flo- rence, and translated for A. Ryther, unto the w"* discourse are annexed certain tables express- inge the several exploites, and conflictes had with the said fleete. These bookes with the tables be- longinge to them, are to be solde at the shoppe of A. Ryther being a little from LeadenhaU, next to the Signe of the Tower.' This Title is printed from an engraved plate ; and in the Dedication to the Lord High Admiral, which follows, Ryther speaks of the time which he had ' spent in the graving of the several Tables belonging to the booke,' wmch he terms ' a new yeeres gift ;' so that we may conclude that it was published at the beginning of the year 1590, which is the date of the Colophon. In his ad- dress ' to the Reader,' he says, ' If in the graven tables there be any thing which doth not please thee in regard of the worke, I crave pardon for it, because I count my selfe as yet but a yoong beginner, do but yet strive to attaine to that ex- cellencie, which I wish for.' And yet Ryther had, ten or twelve years before, engraved some of the maps in Saxton's collection. He adds, and I give it as a specimen of his good taste : ' In the booke it selfe me truth of every thing is set downe so neare as might be, and therefore it is so much the more to be regarded, being also by my friend translated faithfully, onely the Italian flourishes were here and there omitted, bicause in our Eng- lish toong they could not sound well without suspicion of flatterie. Farewell. Thine A. Ryther.' Then follows the narrative, in which the different plates are all along referred to in the proper places in the margin ; thus : ' As appeereth in the ' I. table,' ' As appeereth in the 2. table,' &c. I have been indebted for the loan of this rare and interesting Uttle volume to the. courtesy of Roger Wilbraham, Esq., who is also the possessor of what appear to be me ten original drawings, done by some Dutch artist of moderate ability, with the help of which Robert Adams prepared the more careful designs from which the above plates were engraved. It is stated by Sandrart, in his ' Academia Artis Pictorae,' p. 274, that the designs for the Tapes- tries OF the House of Lords, ten in num- ber, were made by Henry Cornelius Vroom, of Harlem,' an eminent painter of sea-pieces and shipping, and that they were wove by one Francis Spiring. Pine, in his work on those tapestries, supposes the charts of Robert Adams to have been done for them to be worked after; and, in fact, although the tapestries represent vietvs of the different engagements, whilst the plates of Adams are mere charts, some resemblance between the one and the other is apparent. I incline to the opinion, however, that in the first instailcej Vroom made his designs from written descriptions only; that upon their being trans- mitted, for approval, to England, the dilFerent engagements were not thought to be sufficiently distinguished by him from each other ; and that the charts of Adams were therefore sent to him, with directions to introduce into his work a little more of that appearance of order in the disposi- tion of the contending fleets, which he would there find. I have been led to this opinion by a set of prints of a small quarto size, representing the dif- ferent engagements between the English Fleet and the Spanish Armada, which bear so com- plete a resemblance of style to the above tapestries, as to leave little or no doubt that they were en- graved at the time from the first designs made by Vroom for that work ; for they want that regu- larity of appearance in the disposition of the two fleets which has been just mentioned. These prints measure, L. 7i, H. 5^, and are engraved in a firm manner, like that of Phil. Galle; but have no artist's name, and, in the first impres- sions, are not numbered. Mr. S. Woodburne possesses nine of these pieces, some of them how- ever of a later edition, with numbers, misplaced ; wanting, as I suppose, only one to complete the set ; and duplicate impressions of the four follow- ing are in my own collection. One of these represents an Engagement near ' Plimmouth,' which port is seen, with the name inscribed over it, in the upper part of the print on the right. — A second, an Action off ' Poort- LANT,' which name is written in the sky, on the right. — The third, an Action near ' Dunne NOSE,' which name is also inscribed. — The fourth is not distinguished by any written name, but may be known by five alarm-beacons in a line, all of them on fire, in the extreme distance on the left. " Enough has been said to show that there exist but very slight grounds for the supposition that the above Robert Adams practised the art of en- graving." " Ralph Aggas, a surveyor in the reign of Eliza- beth, supposed to have been a relative of Edward Aggas the printer. There is, I think, no good evi- dence of his having practised engraving, although fi-om his having been mentioned as an engraver by Walpole, Strutt, and others, it becomes necessary, as in the case of Robert Adams, that I should speak of him here ; but he designed, and appears to have been the publisher of the prints which follow : 1. A Large Plan, or Bied's-eye View of Lon- don and Westminster, &/eet 3 inches long, hy 2 feet 4 in height, engraved in wood, according to some accounts, upon six, and according to others, upon eight blocks. There is so much obscurity, nay, seeming dis- crepancy of evidence, in what has been written by different persons about this old Plan of London, that, upon a first view of the subject, I had but slender hopes of coming at any thing like the truth concerning it. After some research, how- ever, I have satisfied my own mind as to what appear the most material points ; and I shall now, as briefly as I can, lay before the reader the re- sult of my inquiries and deliberations, considering the tedious processes of inquiry and deliberation, themselves, to be but iU adapted to a work Uke the present. The antiquaries of the last centmy— Bagford, Letter to Heame, Feb. 1, 1714-15— Vertue, in Walpole's Anecdotes — Gough, British Topogfra- 679 ryth] A DICTIONARY OF [ryth phy, vol. i. pp. 774-5— sjjeak very decidedly of several impressions of this old Plan, extant in their time and examined by them ; and it appears clear that they had seen impressions of at least two different editions. It is, moreover, certain that we possess a faith- ful copy of the original plan, done from an im- pression of the first edition, engraved, the size of the original, upon eight plates of pewter, or other soft metal; which copy was I conjecture done in the reign of William III., by some Dutch engrav- er who accompanied that monarch to England. The great additions which had been made to the metropolis since the early part of Elizabeth's reign, when the first edition of the above old Plan was published, and the circumstance of its having become of extreme rarity, now rendered it a mat- ter of curiosity, and the Dutch artist thought it a good speculation to re-engrave it. The metal plates themselves, of this copy, after- wards came into the hands of Vertue, who repub- lished them, with the addition of his name, 'Ver- tue, Soc. Antiq. Lond. excudit 1737,' and, they were afterwards bought from him by the Society of Antiquaries, now the possessors of them. Walpole has carelessly stated that Vertue, him- self, re-engraved this copy, in which he has been followed by others. But it is proper to remark, (and I have to thank Mr. Douce for first inform- ing me df this fact,) that both in the library of the Antiquarian Society, and at the British Mu- seum, there exists an impression of these plates, evidently taken oflf, I should say, long before Ver- tue was born. Nor are these, stricfly speaking, first impressions ; as marks of the erasure of an inscription of two short lines, perhaps containing the name of the artist who made the copy, with its date — are, upon a careful examination, to be discovered in that part where Vertue afterwards put his name, especially in that impression which is preserved in the Ubrary of the Society of Anti- quaries. I ought not to omit to mention that in this copy, as published in 1737, by Vertue, and as it is now printed, a few small alterations appear from what it was at first ; as in the church and palace of Lambeth, the houses built against St. Paul's, and two or three other places : but these, made I suppose by some ignoramus, before Vertue had the plates, are, except the first, very trifling; and I can confidently assure those lovers of topographi- cal antiquities who have not leisure to investigate the subject for themselves, that, with these small exceptions, they have in this print a faithful copy of the first edition of the old Plan in question ; a true representation of the metropoUs of this now gi-eat empire ' A"". D°». m.d.lx.' : for this, I doubt not, was the date upon the first edition, as it is the date affixed after the title, ' Civitas Londintjm,' in the copy ; the word ' circiter,' inserted in small- er characters, above, having been added by the copyist, I suppose, because, in his time, it was thought by some, as Vertue has hinted — see ar- ticle, Aggas, in Walpole— that the old Plan repre- sented the city as it was in the time of Henry VIII., or Edward VI. The genuineness of this copy, and, as a con- sequence, the antiquity of the original plan of the first edition, from which it was taien, is proved, beyond all controversy, by its exact con- formity in every part (even to a small tree no- ticed and justly insisted upon by Mr. Smith, 680 the intelligent gentleman who presides in the print-room at the British Museum) with that engraved about 1570, upon a reduced scale, and pubUshed two or three years afterwards, in Braun's large work, entitled ' Civitates Orbis Ter- rarum,' which it is certain was copied from the old wood-print ; which small Plan was also copied in ' La Cosmographie Universelle,' &c., printed at Paris Anno 1575, in fol. When I first ascertain- ed this fact, after a long and careful comparison of Braun's Plan with the large one in question, at the British Museum, I prided myself not a little upon having made a new and important dis- covery ; but I now find, though it is not I believe generally known, that Bagford found it out before me, and let him therefore have the credit of it. I shall only add respecting the large copy, that any person conversant in the characteristics of wood engi'aving, vrill, upon examination, be soon convinced that it was made after and in imitation of a wood-print. This appears, throughout, in the absence of cross-hatchings, so difficult of applica- tion in wood engraving, but easy in engravings on metal, and most strikingly in the broad black line surrounding the print, done by many strokes of the graver, placed close to each other, so as to imitate the broad black line constantly surround- ing old wood engravings. As far as I can learn, no impression of the First Edition of the original wood-print in 1560 is now known ; nor of a Second Edition which there is good reason to believe was pub- lished with the addition of new streets or build- ings lately erected, many years later in Queen Elizabeth's reign ; for Aggas, in his verses upon the Plan of Oxford, hereafter to be mentioned, published 1588, expresses a strong desire to com- pliment her Majesty by publishing the Plan of London, with all its improvements, as it then appeared. [In the city of London Library at GuildhaU is an impression of the second edition of the Map with the arms of King James, not en- graved, but drawn with the pen, pasted over the original arms of Queen Elizabeth. — Editor.] But of a Third Edition, pubUshed in the reign of James I., and a Fourth, dated 1628, two or three impressions, at least, appear to be in existence. Mr. Dodd many years ago possessed one of these, of which he has given a description in the 1st Part of his ' Repertorium.' Instead of the arms of Elizabeth, on the left, over the city of Westminster, as in the large copy and in Braun's print, it had the arms of James I., England, Prance, and Scotland: but Mr. Dodd observes that part of the block had evidently been taken out in that place, and a new surface supplied, upon which the arms of James had been after- wards engraved ; and Bagford formerly remarked the same of the two or three impressions which had come under his notice. On this print, says-Mr. Dodd, are two tablets, one on the left of the observer, the other on the right. The tablet on the left has the title and a long prose inscription, beginning thus : , 'CIVITAS LONDINUM.— This ancient and famous city of London was first founded by Brute the Trojan, in the year of the world two thousand eight hundred thirty and two, and before the na- tivity of our Saviour Christ, One thousand one hundred and 30, so that since the first building it is 2 thousand 7 hundred 30 and 3 Years. And afterwards was repaired and enlarged by King ryth] PAINTERS AND ENGRAVERS. [SABB Lud,' &c. &c., and ending with this pious wish : ' God prosper it at his pleasure. Amen.' I take it for granted, that, in this inscription, Mr. Dodd has followed liie spelling of the original. It is somewhat surprising that he did not remark upon the date contained in it, viz. A. D. 1603, the precise year of James's accession to the throne. I would further remark that this inscription, which is given entire by Mr. Dodd, was, I think, probably printed from movable type placed with- in the above-mentioned tablet, (the alteration of the date, in each edition, seeming to render this necessary,) and also that the size of the tablet on the left, in the large copy already spoken of, ap- pears to be of proper dimensions to receive it; whilst the smaller tablet, on the right, seems equally weU adapted to the reception, without waste of space, of the verses about to be noticed. For within the tablet on the right, in Mr. Dodd's print, were these lines : ' New Troy my name when first my fame hegun By Trojan Brute, who then me placed here, On firuitfuU soyle, where pleasant Thames doth run. Sith Lud my Lord, my king and lover dear, Bncreast my bounds, and London, far that rings Through regions large, he called then my name. How famous since, I, stately seat of Kings, Have flourish'd, aye ; let others that proclaim : And let me joy, thus happy still to see This vertuous peer my soveraign King to be.' The last line, which is awkward enough, refers of course to James I., whose arms were at the top of the print, in this edition. I strongly suspect that in the former edition, or editions, printed in the reign of Elizabeth, the line ran thus : ' This vertuous ^/bir my soveraign Quene to be,' which, besides the compliment to her Majesty, would have bfeen prettily contrasted to the seventh line, in which the Kings of England are spoken of. Upon the whole it appears certain that an edition of this Plan was pubhshed in 1560 ; and it is probable that a second was published soon after 1588 ; as we learn from an inscription, al- ready mentioned, in Aggas's Plan of Oxford, print- ed in that year, that ten years before he had been desirous of publishing it, and we may conclude had been making preparations for it; a third edition, printed in 1603, has been just described; and a fourth with the date of 1618 is spoken of by Vertue and other writers of the last c.entury : so that this old Plan continued to be printed, doubtless with the requisite additions of new buildings, from the early part of Elizabeth's reign till the last-mentioned date; after which it is pro- bable the blocks were thrown aside and lost. I have nothing to add concerning Aggas's Map of London, save that jn the old editions, slips of paper were probably added at bottom, printed with movable type, and explanatory of certain initial letters, which appear, here and there, upon the body of the print. 2. A Plan, or Bird's-eye View op Cambridge, four feet long by three feet in height, engraved, it is said, on a plate, or plates, of metal, and pub- lished in 1578. 3. A Plan, or Bird's-eye View of Oxford, also engraved on metal, and of the same dimensions as that of Cambridge. A description of this print, made from a damaged impression preserved in the Bodleian library, is given in the work of Mr. Dodd, from which I extract the following par- ticulars : It is entitled ' Celeberrimae Oxoniensis Acade- mise Aularum et Collegiorum,' &c., ' elegans si- mul et accm-ata Descriptio. — Budulpho Agaso autore. An". Do"', 1578.' In illustration of the meaning of the term ' autore,' in this place, see our account of Robert Adams. The print, as will be presently shown, was not published till ten years afterwards. Distinct representations of the different Colleges and Halls are added at the sides of the Plan. Upon a large tablet in the body of the print are these verses : ' Near tenne yeares paste the authour made a doubt Whether to printe or laye this work aside ITntill he firste had London platted out, Which still he craves, although he be denied, He thinks the Citie now in hiest pride, And would make shewe how it was beste beseen, The thirtieth yeare of our moste noble Quene. The charge not greate, the thing a work of praise, Her present £app hereafter still to see, To keepe length, breadth, and coursinge of the waies. Number, height and forme of buildinges a^ they bee, Each man to knowe his owne by juste degree, With all thinges else that maie adorn the same. And leave her praise unto etemall fame. Meantime, the measure forme and sight I bringe Of ancient Oxford, noble nurse of skill, A Citie seated ritch in everye thinge, Girte with woode, water, pasture, com and hill, He tooke the vewe from north, and so he leaves it still. For there the buildinges make the bravest showe, And from those walkes the Scholers beste it knowe.' Upon a second tablet is inscribed ' Augitstinus Syther, Anglus, deliniavit, 1588.' Ryther, we know, practised engraving, and probably assisted in engraving the present work ; if it be not en- tirely by his hand. Perhaps, also, he had been employed to draw the elevations of the principal buildings, above noticed, and the ornamental parts; and therefore used the term 'deliniavit' upon this occasion, as more honourable than ' sculpsit.' "] RYX, Nicholas, was bom at Bruges in 1637^ It is not said by whom he was instructed; but having learned the rudiments of design, he em- barked in a vessel bound for the Levant, and tra- velled through Palestine, where he made designs of the most remarkable views in the vicinity of Jerusa- lem, and delineated vidth great precision the various customs and habiliments of the inhabitants of the Oriental countries, their caravans, camels, and inodes of travelling. On his return to Flanders he painted pictures of those subjects, which were much esteem- ed. In 1667 he was received into the Academy at Bruges. [He painted with great facility, and his manner resembles that of Vander Kabel. He died in 1695. The name is sometimes written JRyckxJ] s SAAL, T., an indifferent engraver of vi^ettes, and other book-plates. They are executed with the graver only, in a stiff, formal style. He lived about the year 1672. SABBATINI, Andrea, called da Salerno. This eminent painter was born at Salerno abont the year 1485. According to Dominici, he was the son of an opulent merchant, who intended him for the same profession; but having shown an early inclination for the art, which his father did not dis- courage, he conducted him to JJapl^s, and placed 681 sabb] A DICTIONARY OF [SABL him under the tuition of Raimo Epifanio, a painter of little celebrity, under whom he studied some time. The Cardinal Caraffa having employed Pietro Peru- gino to paint the great altar-piece of the archiepis- copal church, representing the Assumption of the Virgin, the beauty of the performance nad excited universal applause, and it became the object of Sabbatini's particular admiration. He solicited and obtained his father's permission to visit Perugia, to profit by the lessons of a painter whose works he so highly esteemed. On his journey he encountered some artists, who had just left Rome, who were so loud in their praise of the works which Rafiaelle was then employed on in the Vatican, that he deter- mined to visit that capital, and endeavour to gain admission into his academy^ In this attempt, he succeeded, and in a short time was found of suffi- cient ability to be intrusted by Raffaelle to execute, from his designs, some of the frescoes in the Vati- can, in S. Maria della Pac^, and in La Torre di Bor- gia. Whilst he was prosecuting his studies under Raffaelle, he formed an intimate acquaintance with Polidpro da Caravaggio, for whose eminent talents he had a particular respect. He had distinguished himself among the able disciples of his illustrious instructor, when he received intelligence that his father was dangerously ill, and with great regret he found himself under the necessity of returning to Salerno, to pay the last sad duties to an expiring parent, who died soon after his arrival. His first production after his return to Salerno, was an altar- piece for the church of the Benedictines, represent- ing the Virgin and infant Saviour, with two Saints of the order ; and he afterwards painted a picture for the Franciscans, of St. Francis kneeling before the Virgin and Infant, with a glory of angels, which is highly commended by Dominici. He afterwartis established himself at Naples, where he was soon regarded as the ablest artist of their school. His celebrated fresco works in S. Maria delle Grazie, have been, for the most part, unfortunately destroyed by the alterations which were found necessary to be made in that church ; but his oil pictures in that sanctuaiy, as well as those in the other public edi- fices at Naples, sufliciently establish his reputation. Of these the most esteemed are the following : The Assumption of the Virgin, in the Capella Brancacci, in the cathedral; the Adoration of the Magi, in S. Spirito di Palazzo ; and the Madonna and Bambi- no, with St. Elisabeth and other Saints, in S. Dome- nico Maggiore. There are several of his works at Gaeta, and in other cities in the kingdom of Naples, where his easel pictures are frequently found in the private collections. In comparing Andrea Sabbatini with the other disciples of Raffaelle, Lanzi observes, that if he was inferior to Giulio Romano, he however greatly sur- passed Raffaelle del Colle, and others of that rank. He was a correct and tasteful designer, and his colouring is fresh and harmonious; his attitudes are elegant and select, and his masses of light and shadow are conducted with intelligence. He may be accused of occasionally being too abrupt and harsh in his deUneation of the muscles. He died in 1550, aged about 65. [Most of the writers agree that Andrea died at the age of 65, but there is a difference among them as to dates. Lanzi and Zani, who are the most likely to have examined the inatter, say he was bom about 1480, and died about 1545. Andrea's works are almost unknown out of Naples : the Museo Borbonico, and the churches of that city, contain a great number. His earlier 682 works are of the old Neapolitan school; in others, the artist strikingly resembles Raphael in his youth- ful Florentine period. Among these are two ex- tremely beautiful little pictures in the Museum of Naples, from the history of S. Placido. There exist also several highly-finished works, evincing a noble refined feeling, and which are distinguished by their beautiful drawing, and light but warm colouring. The best is an Adoration of the Kings in the Museo Borbonico. His later works are more superficial ; but they too are excellent in some por- tions, particularly in the heads.] SABBATINI, Lorenzo, called Lorenzino da Bologna, was born at Bologna about the year 1540. We are not acquainted by what master he was instructed in his native city, but after having Eainted several pictures for the churches at Bologna e visited Rome, during the pontificate of Gregory XIII., where he improved his style, by an attentive study of the works of Raffaelle, and imitated the great style of that master with such success, that he has by some been considered as a disciple of that great painter, although he was born twenty years after the death of Raffaelle. In his smaller pic- tures he seems to have been emulous of imitating the graces of Francesco Mazzuoli, called II Par- migiano, in which he was eminently successful. He was employed by the pope in the Capella Paolina, in the Vatican, where he painted, in con- junction with Frederigo Zuccaro, several subjects from the life of St. Paul. In the Sala Regia he 'painted an emblematical subject of the Triumph of Faith over Infidelity, personified by a representa- tion of Religion holding in one hand the cross, and in the other the chalice, at her feet several figures descriptive of Heresy. These, and other works, were executed so much to the satisfaction of the pope, that he was appointed superintendent of the decorations then going on in the Vatican. Of his numerous pictures in the public edifices^t Bologna, the following are the most deserving of notice : The Crucifixion, in S. Maria delle Grazie ; the Assump- tion, in the church of la Morte ; S. Gioachino e S. Anna, in S. Martino Maggiore ; and his most cele- brated performances in S. Giacomo, representing S. Michele vanquishing the Rebel Angels ; the Four Evangelists ; and the Four Doctors of the Church. He died at Rome in the prime of life in 1577. [Zani says he operated in 1553; if so, it is probable that he w^as born earlier than 1540 ; Ticozzi says about 1530. According to Lanzi, he availed himself of a design by Michael Angelo, in painting a Pieta for the sacristy of the church of St. Peter. No wonder that his pictures exhibit grace and grandeur, as Raphael, Parmig^ano, and Michael Angelo were his models. Rosini (Storia della Pittura Itahano, plate 144) has given an outline of the Assumption of the Virgin by him, in the Pinacoteca di Bologna.] [SABLON, Pierre, a designer and engraver, was bom at Chartres, in the department d'Eure et Loire, in 1584, according to the inscription on the oval border of his portrait : Pierre Sablon Char- train, xxiii ANS. 1607. On the margin is inscribed Me contemplant vn jour en deux diiierses glaoes Je veis le mien Protl despainot naiuement ; Lors je deliber^ en moy soudaineMent- De grauer ce Pourtraict dont to' voyez les traces. There are only three other prints known by him ; Lamech and Cain, copied after that by Lucas van Leyden, (Bartsch, N°. 14,) but left in an unfinished state ; it is the counterpart of the original, and has the date 1524 above on the right, (the 5 reversed,) SACC] PAINTERS AND ENGRAVERS. [SACC and the master's mark ; at the bottom P. Sablon f. 1602. The good Samaritan, a small square print mentioned in the collection of Paignon Dijonval ; and the Portrait of Rabelais, a three-quarter bust turned to the right, but full face. It is a medallion ; on the border is inscribed Franc. Rabelesius ; in the exergue. Sum petulantis plene caching. Pers. P. Sabhmf.'] SACCHI, Andrea. This celebrated artist was bom at Rome in 1594. He was the son of Bene- detto Sacchi, a painter of little note, by whom he was instructed in the rudiments of design ; but he had afterwards the advantage of studying under Francesco Albano, of whom ne was the most dis- tinguished disciple. On leaving the school of that painter he improved his style, by an attentive study of the works of Raffaelle, Polidoro da Caravaggio, and the antique marbles, by which means he ac- quired a correctness and severity of design, for . which his works are remarkable. He was favoured with the protection of the Cardinal Barberini, who employed him in ornamenting his palace with seve- ral allegorical works, painted in fresco, which were greatly admired. Several of the public edifices at Rome are embellished with his works, some of which have been ranked among the most admired productions of art in that capital. Such are his celebrated picture of the Death of St. Anne, in the church of S. Carlo a Catinari ; the Angel appear- ing to St. Joseph, the principal altar-piece in S. Giuseppe a Capo le Case ; and his S. Andrea, in the Quirinal. But his most distinguished perform- ance is his famous picture of S. Romualdo, formerly in the church dedicated to that saint, now in the gallery of the Louvre. This admirable production was considered one of the four finest pictures at Rome. The composition is extremely simple, it re- presents the Saint seated in a soUtary valley of the Apennines, surrounded by some of his order, ex- plaining to them his reasons for retiring from the world. Every thing in the picture breathes tran- quillity and repose. The expression in the head of S. Romualdo is admirable, as is the attention with which the monks are listening to his discourse. The surprising efiect that he has given to a group of six figures, all habited in white drapery, without the aid of contrast, and without the appearance of mo- notony, is the wonder and admiration of the artist. The admirers of Andrea Sacchi regard him as the greatest colourist the Romafi school can boast of, and he is ranked among the most correct of its designers. Though profound in the theory of the art, he was slow and dehberative in his works, and he was accustomed to remark, that the fame of a painter depended more upon the quality than the quantity of his productions. To this we may at- teibute the paucity of his pictures, which are, not- withstanding, in general but shghtly terminated. His compositions are not often abundant in figures, but they are suflSciently numerous to give a just re- presentation of his subjects. Mengs estimates his talents nearly on a level with those of Pietro da Cortona, which, without raising him to the eleva- tion of the great luminaries of the art, assigns him an honourable station among its able professors. He died at Rome in 1661, aged 62. [If Andrea Sacchi was born in 1594, he would have been 67 years old at the time of his death in 1661 j but Pascoli says he was bom in 1599, which would make him 62. The date of his death, according to the inscription on his monument as given by Pas- ' coli in full, is the 2Ist of June, 1661, at the age of 62. Lanzi, quoting from " Stato della Ch. Lateran," says, " his epitaph gives his age 63 years 4 months ;" Passeri places his birth in 1600 : so much for authori- ties. The proper characteristics of Andrea Sacchi are gravity, majesty, simpUcity, sober colouring, and a pleasing harmony of tone. The celebrated picture of St. Romualdo is not in the Louvre, it was restored when the allies had possession of Paris, and is now in the Vatican. Mengs showed the narrowness of his ideas of what constitute great- ness in art, when he placed Sacchi on a level with Pietro da Cortona : fiutter and gaudiness, and fre- quent inaccuracy in design, are not to be held up against gravity, majesty, and correctness.] SACCHI, Carlo. According to Orlandi, this painter was bom at Pavia in 1617, and learned the first rudiments of design in his native city from an obscure painter named Rosso. He went to Rome, where he resided some time, and afterwards visited Venice, to study the works of the great masters of colouring. The works of Paolo Veronese were the particular objects of his imitation, in which he was not unsuccessful. One of his most esteemed pro- ductions is his picture of St. James raising a person froin the dead, in the church of the Osservanti, painted much in the style of Paolo. He died in 1 706. [He etched two prints, not remarkable for excellence ; an Adoration of the Shepherds, after Tintoretto, and an Adoration of the Magi, after P. Veronese.'] [SACCHI, Francesco, or Pier Francesco, of Pavia, a painter of history, landscapes, and per- spective, highly extolled by Lomazzo, and who, it is said, lived as early as 1460, and operated as late as 1526, in Lombardy and Genoa ; but Lanzi suspects that there must be some error in these dates, or that the name belonged to two different artists. The style of P. F. Sacchi, in his historical pictures, re- sembles that of his countryman, and contemporary, Carlo del Mantegna, the scholar of Andrea Man- tegna, from what may be gathered from those in Mantua, there remaining no vestiges of them in Genoa. He was a. good perspective painter, de- lightful in landscape, and a diligent, correct de- signer. His altar-piece of the Four Doctors of the Church still exists in the oratory of St. Ugo. With respect to Carlo del Mantegna, he was a native of Lombardy, who, having studied under Andrea, and cultivated a complete acquaintance with his style, afterwai-ds introduced it into Genoa. There he not only painted but taught with a degree of success that would seem incredible, were it not that the works of his imitators are still in existence.] [SACCHI, Gaspare, of linola, flourished in the early part of the 16th century, and painted many pictures in Ravenna, and other parts of Romagno. In the sacristy of Castel S. Pietro at Imola, there is an altar-piece with his name, and the date 1517; and at Bologna in S. Francesco in Tavola, another dated 1521.] [SACCHI, N II, a native of Casale, operated in the early part of the 17th century. He painted in S. Francesco, at Casale, a picture repre- senting a drawing of lots for marriage portions, in which is seen a great assemblage of fathers, mothers, and young daughters j in the countenances of the last their different sentiments are vividly expressed. At S. Agostino di Casale is a standard with the Virgin and Saints, containing portraits of several princes of the house of Gonzago, by him, but which has been attributed to Montcalvo.] [SACCHI, or SACCO, Scipione, is said by ScanneUi to have been a scholar of Raphael. He was 683 SACC] A DICTIONARY OP [SADE of Cesena. He painted a picture, in a grand style, of St. Gregory, for the cathedral of Cesena, which is in- scribed CkBsenas, 1545 ; and another of the Death of S. Pietro Martire for the church of S. Dominico. Lanzi says, doubtless he was of the school of Ra- phael, and not remembered out of Romagna.] [SACCHIATI, PiETRO, a native of Ravenna, and bom about 1598, is noticed by Basan, as an en- graver in wood, and in chiaro-scuro, after various masters. As Basan's notice is very succinct, and no other account exists, it must be left to time to discover his works, which are possibly attributed to some other artist.] SADELER, John. This eminent engraver was born at Brussels in 1550. The profession of his father was to engrave ornaments on steel and iroii, to be inlaid with gold or silver, and John Sadeler was brought up to the same business. At a very early age, however, he applied himself to the study of the human figure, which he drew correctly, though with the stifihess and formality usual at that period in the artists of his country. He was nearly twenty years of age before he commenced engraving on copper, when he executed some plates from the designs of Crispin Vanden Broeck, which were so favourably received, that he was encouraged to devote his attention entirely to engraving. He travelled through Germany to Italy, where he di- vested himself, in a great degree, of the dry and hard manner which is discernible in his earliest works. His plates are executed with the graver only, in a neat, clear style, and discover the hand of an able artist. His drawing is generally correct, and there is a fine expression in his heads. John Sadeler engraved with equal success portraits and historical subjects. His prints are very numerous, of which the following list comprises the most de- serving of notice : PORTRAITS. Clement VIII. ; Pont. Max. Mary of Medicis. Charles, Hereditary Prince of Sweden. Otho, Henry, Count of Schwarzenberg. Sigismund Feyerabend, famous Printer. George Hoefni^el,'Pamter of Antwerp ; Jtyiibert.) Martin Luther ; in an arabesque border. SETS OF PRINTS, Eight plates of the Creation of the World ; after Cris- pin Vanden Broeck. Six of the History of Adam and Eve ; after Michael Coxis. Sixteen subjects &om the Book of Genesis ; after M. de Vos. A numerous set of plates of the Life of Christ ; after the same. Seven plates of the Passion of our Saviour ; after Chris- topher Schwarz. A very numerous set, called the Hermits ; engraved in conjunction with his brothers ; after the same. [In great request for their merit, and the variety of the landscapes.] The Twelve Months of the Year ; after P. Stephens, or Stephani. The Four Seasons ; after Hans Bol. The Four Times of the Day ; after Theodore Bernard. SUBJECTS AFTER VARIOUS MASTERS. ' The Bich Man and Lazarus ; after Bassano. Christ entertained by Martha and Mary ; after the same. These two prints, with a third, representing Christ with the two Disciples at Emmaiis, engraved by Raphael Sadeler, after the same painter, are usually called Sadeler' s Kitchens. The Angel appearing to the Shepherds ; after the same ; [fine eflFect of night.] 684 15S7. The Nativity; after PoUdoro da Ca/ravaggio. The Virgin, with the Infant sleeping, and an Angel; after An. Caracci. St. Jerome praying; after Giles Mostaert; [finished with great care.] ■ MaiT Magdalene in meditation ; after the same ; [finished with great care.] St. Roch, with two Pilgrims ; after the same. Jesus calling to him the little Children ; after Jodocm de WintjKe. The Prodigal Son ; after the same. The Annunciation; after Peter de Witt, called Pietro Candido. Christ at table with the Disciples at Emmaiis ; after the The three Marys at the Sepulchre ; after the same. The Last Supper ; after the same. The Martyrdom of St. Ursula and her Companions; after the same. The Nativity ; after J. van Achen. The Holy Family, with Mary Magdalene ; after the same. The Crucifixion ; after the same. The Last Judgment ; after the same. Mary Magdalene penitent ; after Federigo Sustris. Christ appearing to Magdalene ; after the same. > Mankind surprised by the sudden advent of the Deluge ; after Theodore Bernard; [capital.] Mankind surprised by the coming of the Last Day ; after the same ; [capital.] The Trinity ; after Antonio Maria Viani. Several Landscapes ; after Paul Brill, and others. He died at Venice in 1600. [For a more copious list of his engravings, see Nagler. Some writers say he lived till 1610 ; but the latest date quoted is Joa. Sadeler sculpsit Venetiis An. D. 1600.] SADELER, Raphael, was the younger brother of the foregoing artist, born at Brussels in 1555, and was bred to the same profession, under his father. The success John Sadeler met with as an engraver, induced Raphael to turn his thoughts to the same pursuit, and he became a disciple of his brother. They travelled together through Germany, where Raphael engraved a variety of plates, after John van Achen, Matthias Kager, and other masters of that school. They afterwards settled at Venice, where they executed a great number of plates, many of which are deservedly esteemed. Following the example of his brother, Raphael Sadeler worked entirely with the graver, which he handled with boldness and precision. His drawing of the figure is generally correct, and the extremities are care- fully marked. His prints are nearly as numerous as those of his brother, and some of them are very fine, particularly those after Van Achen, as well as some of his portraits. The following are his prin- cipal plates : portraits. Paul V. : Pont. Max, St. Charles Borromeus, Cardinal. Ernest, Archbishop of Cologne. Leopold of Austria, Bishop of Salzburg and Passau. Ferdinand, Archduke of Austria. Charles Emanuel, Duke of Savoy, on horseback. John Dietmar, Abbot of Furstenberg. Hypolitus Guarinonius, M. D. SUBJECTS AFTER VARIOUS MASTERS. A set of four plates of the Life of the Virgin ; frmn his own designs. Twenty-eight plates of the Life and Passion of Christ ; the same. Mary Magdalene at the Sepulchre, with St. Peter and St. John ; after J. de Winghe. Lot and his Daughters ; after the same. The Holy Family,, with St. Elisabeth and St. John; after John van Achen. The Entombing of Christ ; after the same. The dead Chnst in the Sepulchre, with Angels ; after the same. [This and the two preceding are held in particular estimation.] sade] PAINTERS AND ENGRAVERS. [SADK Mary Magdalene penitent ; after the same. The Judgment of Paris ; o/ifer the same ; [dated 1579.] The Virgn and infant Christ; after Peter de Witt, called P. Candida. 1593. The Immaculate Conception ; after the same. The Presentation in the Temple: after the same. 1691. The Resurrection of Lazarus ; after Rottenhamer. The Marriage of St. Catherine ; after Henry Goltzius. The dead Christ, attended by the Marys, St. John, and Angels ; after J. Stradan. An emblematical subject on the uncertainty of life, re- presented by Death seizing a Lady at a Feast ; after the same. The Crucifixion; after Palma. The Virgin sucking the infant Christ ; after An. Ca- racci. The Holy Family, with St. John presenting a Cross; afier RaffaeUe, without the name of the painter or his own ; inscribed Qui non accipit, S;o. The Annunciation ; after Fedemgo Zuccaro. The Adoration of the Magi ; after Bassano. 1593. Christ at table with the Disciples at Enunaus; after the same ; called one of Sadeler's Kitchens. The Four Seasons ; after J. Stradan. A set of six Landscapes ; after P. Steevens, or Ste^hani. Two Landscapes with figures ; after Matt. Brill. Four Landscapes, with uie history of the Prodigal Son ; eifier Paul Brill. A numerous set of prints, entitled Bavaria Sancta, en- graved conjointly with Ids son Raphael, and published by him at Antwerp in 1624 and 1628. Several Emblematical and Allegorical subjects ; after Martin de Vos. The great Battle of Prague, in eight sheets ; very scarce ; [and is considered to be his finest work.] According to Huber, Raphael Sadeler died at Venice in 1616. [For a full account of his en- f ravings Nagler should be consulted. Raphael adeler was born in 1561, as is clearly proved by the inscription on a print of the Nunziata of Fede- rigo Zuccaro, engraved by him after that by Corne- lius Cort, which runs thus : Joannes Sadeler excud. Coloniae Agripp. (Agrippinae) a. d. 1580 — JRaphael Sadeler sculpsa aetatis suae 19.] SADELER, Egidius, or Giles, was the nephew and the disciple of the two preceding artists, born at Antwerp in 1570. After being well grounded in the principles of design, he took up the graver, and with the assistance of his relatives, in a few years he acquired a perfect use of that instrument, and in taste and freedom of stroke surpassed his instructors. He had passed some time in Italy, where he en- graved some plates after the painters of that school, when he was invited to Prague by the Emperor Rodolphus II., who retained him in his service, and assigned him a pension. He enjoyed the favour and protection of the two succeeding emperors, Mat- thias and Ferdinand II. He used the graver with a commanding facihty, sometimes finishing his plates with surprising neatness, when the subject required it ; at other times his burin is broad and bold. His plates are very numerous, representing historical subjects, portraits, landscapes, &c., some of them from his own designs, many of which are much esteemed, particularly his portraits, which are executed in an admirable style. The following are considered his best prints : PORTRAITS. The Emperor Rodolphus II. on horseback, with a Battle in the back-ground ; after Ad. de Yries. The Emperor Matthias. 1616. The Empress Anne, his consort. 1616. The Emperor Ferdinand II. on horseback ; in two sheets. 1629. . Burckhard de Berlihing, Privy Counsellor to Rodol- plius II. Christopher Guarinonius Fontanus, Physician to the same. John Georee Goedelman, Jurisconsult. Joachim Huber, AuJic Counsellor. ^ Jacob Chimarrhaeus, Grand Almoner. Cardinal de Dietriohstein, Bishop of Olmutz. 1604. John Matthew Warenfels, AuHo Counsellor. 1614. Adam, Baron de Trautmansdorf. Siegfried de Kolonitsdi. Ferdinand de Kolonitsch. Torquato Tasso, Poetarum Princeps. 1617. Qctavius Strada, Antiquary. Peter Breughel, Fainter, of Brussels. 1606. Martin de Vos, Painter, of Antwerp. Si^mond Bathori, Prince of Transilvania. [Those of Fontanus, Tasso, the Bishop of Olmutz, and Strcuia the antiquary, are rare.] VARIOUS SUBJECTS PROM HIS OWN DESIGNS. A set of twelve plates, representing Angels with the Instruments of the Passion. A set of fifty-two Views near Rome, entitled Vestigi delle Antichitd di Roma. The Burning of Troy, an etching ; JBg. Sadeler I fecit, aquaforti. Charity, represented by a female figure with three chil- dren. Narcissus admiring himself in a Fountain. Pan and Syrinx. St. Sebastian dying, with an Angel drawing out the Arrows from his side. St. Dominick receiving the Institution of his Order iiovn St. Peter and St. Paul. The Scourging of Christ. The Crucifixion. The great Saloon at Prague ; in two sheets. SUBJECTS AFTER VARIOUS MASTERS. The Virgin and Infant ; after RaffaeUe. The Angel appearing to the Shepherds ; after Bassano. The Murder of the Innocents ; after Tintoretto. The Last Supper ; o/ifer the same. St. Peter called to the Apostleship ; after F. Barocdo. The Entombing of Christ ; after the same. The Scourging of Christ ; after Giiiseppe Cesare d'Ar- pino. The Martyrdom of St. Sebastian; after the younger Palma. The Rich Man and Lazarus ; after the same. Angelica and Medora ; after Carlo Cagliari. Hercules and Omphale ; after B. Spranger. The Marys at the Tomb of Christ ; in the representation of beings the constant objects of their adoration. The modern artist takes licence, and while he imitates the old masters in forms and subjects, and seems to adopt their legendary my- thology, falls below them in the expression of pious belief; in fact, his work is not conducted, like theirs, with religious awe. Three large historical pictures by Schick are mentioned in terms of high approba- tion; they represent the Sacrifice of Noah, (some call it the Sacrifice of Abraham,) David playing befoVe Saul, and Apollo with the Shepherds; the last is in the palace at Stuttgard. He excelled in portraiture, and painted several members of the Humboldt family, and other distinguished persons, most of them of the size of life. His landscapes are of the heroic kind, enriched with subjects from the ancient poets. His works in general are highly commended by his countrymen for the correctness of the design, the beauty of the colouring, and their imaginative qualities. He died, according to Count Raczinski, at Stuttgard, in his thirty-first year ; but Michiel says in 1818, which would make him 39.] SCHIDONE, or SCHEDONI, Bartolommeo. This captivating painter was bom at Modena in 1560. Although ne is generally allowed to have been brought up under the Caracci, it is remarkable that his works exhibit little resemblance to the style which characterizes that distinguished school. He rather appears to have formed his ideas by an atten- tive study of the works of Raflfaelle and Coreggio, particularly the latter, with whose admirable pro- ductions he was constantly surrounded. Schidone had gained considerable reputation by some juvenile perfonnances in the public edifices at Modena, when the Duke Ranuccio took him under hisprotection, and gave him as a residence his VUla at Pelegara, that he might pursue his studies more commodiously, and vidth greater tranquilUty. He painted several admirable pictures for his patron, whfch, with many other works of art, in the pos- session of the Duke of' Modena, were afterwards placed in the collection of the King of Naples. In the Palazzo Pubblico, at Modena, he painted his celebrated frescoes of the history of Coriolanus, and seven emblematical figures, in which he emulated the grandeur of Coreggio ; and in the cathedral is an admirable picture of S. Geminiano resuscitating a dead Child, which has often been mistaken for a production of that master. His large vsrorks are ex- tremely rare, among the most esteemed of which are his picture of a Pieta, in the Academy at Parma ; and the Conception, in the church of S. Francesco, at Piacenza. His Holy Families and Madonnas, though apparently his favourite subjects, are not often met with, and the paucity of his pictinres is to be attributed to his unfortunate propensity to gam- ing, in which fatal pursuit he wasted his substance and time. His death is said to have been occasion- ed by the distress of his mind, brought on him by losing in one night more than he was able to pav. He died in 1616. " Of Bartolommeo Schidone it may be said, that no follower of the great style of Coreggio has ap- proached so near him in the graceful and expres- sive airs of his heads, and the elegant turn of his figures. His management of the chiaro-scuro ex- hibits the breadth and intelligence of that admira-, ble painter, and his colouring partakes of the im- pasto and purity which distinguish the works of his great prototype. His design is not very correct, but he conceals this deficiency by the loveliness of his attitudes, and the enchanting harmony of his tones. The pictures of Schidone, rendered interest- ing by their extraordinary beauty, as well as their extreme rarity, are held in the highest estimation, and are very valuable. [If Schidone died young at the latter end of 1615, or the commencement of 1616, as stated by Tira- boschi and Zani, he must have been born later than 1560, for 56 cannot be called young. Zani does not mention the year of his birth, but says he operated in 1604, and died in 1615. This therefore is the earliest date of which he had acquired a know- ledge ; and no earUer work is quoted by any other writer. It is not likely that an artist of his talent would live till he was 44 without producing some- thing that would make him known ; nor is it pro- bable that if he were born- in 1560 he would have been a pupil of the Caracci. Lodovico was born in 1555, Agostino in 1558, and Annibal in 1560, so that with the last there was no difference of age, and very trifling with the others. Bartsch notices an etching of a Holy Family by him, which he con- jectures to be a production of his youth; it is in- scribed Sarin. Schidono, but it bears no date. It should be noted, that Schidone was an excellent portrait painter ; he painted those of his protector the Duke of Parma and family, and also all the princes of the house of- Modena, so skilfully, that they are reckoned equal to the best masters of Italy in that department. Zani says he was a poet, but does not quote or refer to any of his writings.] SCHLEY, Jacob Vander, a Dutch engraver, born at Amsterdam in 1715. He was a disciple of Bernard Picart, whose style of engraving he imi- tated, and finished several of the plates left imper- fect at the death of that master. We have also a few portraits and book ornaments by this artist; among which are the foUovidng : PORTRAITS. John Baptist Boyer, Marquis d'Argens ; after Van Pee. Anthony Bernard Prevot, Almoner to the Prince of Conti ifrom the same. Bernard Picart, Engraver ; after M. des Angles. 1734. Henry de la Tour d'Auvergne, Viscount de Turenne ; after the same. [The prints after Coypel for the edition of Don Quixote, published at Amsterdam In 1746. He died in 1779.] SCHLICHT, Abel. This artist was bom at Manheim in 1754. He has engraved several plates in aquatinta, which are mentioned by Huber in fa- vourable terms. Among others are the following : A Storm and Shipwreck ; after fertiet. A Calm ; after the sam£. A Landscape, with cattle ; after A. Vandevelde. A Landscape, with figures and animals ; after Berghem. A Landscape ; after Pynaker. Several architectural Views; after Bibiena, Pannini, and others. [He was a painter and architect as well as an en- 711 schl] A DICTIONARY OF [SCHM graver; he studied perspective under L. Quaglio, and was a professor at the academy of Dusseldorf. Rost places his death in 1790, but he etched a print after Ostade in 1820, and did not die till 1826.] [SCHLOTTERBECK, Wilhelm Priedrich, a designer and engraver, was born in 1777 at Hartin- fen in Switzerland, and was a scholar of C. von lechel of Basle. He had a great predilection for the aquatinta style of engraving, which was then a novelfy, and it may be said that his success in it made that branch of the art popular in Germany. He engraved many large prints in that manner after Claude, Both, P. Hackert, and of views taken by himself. He joined the Chalcographic Institu- tion at Dessau in 1798, where he engraved the four fine landscapes by Claude Lorraine, then at Cassel, but now in the Hermitage at St. Petersburg ; and in 1801 he went to reside at Vienna, and was em- ployed in Mollo's Repository of Arts for several t years. Prom 1808 till the time of his death, he was ., .occupied in making drawings of the picturesque scenery in the Tyrol, at Salzburg, in various other parts of Germany, and in Hungary, of which he executed a gi-eat number for Mollo. They are very beautiful, and are deservedly held in great estima- tion. He died at Vienna in 1818. Dr. Giulio Per- rario, in his account of classical prints, has mis- named this artist Scheletterbek, and says that he has, in his collection, two very large prints in aqua^ tinta by him, after John Both, pubUshed at Vienna in 1804, which he considers very rare, as he had not seen any others elsewhere.] [SCHLOTTERBECK, Christian Jakob, a painter and engraver, but chiefly the latter, was bom at BrehUngen in Wiirtemberg, in 1755. He engraved a number of portraits, among which are those of Lavater the physiognomist, Ferdinand Kobell, and J. J. Moser. Of his other productions the principal are Titian's Mistress after the picture in the Or- leans' collection, Herodias with the head of John the Baptist, the Laocoon, and busts of Castor and Pollux, Minerva, Mercury, and Diana, from the an- tique, and some frontispieces and vignettes. He died about 1820.] SCHMIDT, George Frederick, was bom at Berlin in 1712, and was instructed in design and engraving by G. P. Busch, an obscure artist; but he afterwards went to Paris, where he became a pupil of Nicholas Larmessin. Under that able art- ist he arrived at a perfection, for the neatness and firmness of his graver, which has seldom been sur- passed. In 1742 he was received into the Academy at Paris, and engraved for his reception plate, his fine portrait of P. Mignard. In 1744 he returned to BerUn, and was soon afterwards appointed en- graver to the King. He resided at Berlin till 1757, when he was invited to Petei-sburg by the Empress Ehzabeth, and engraved several plates with great success, particularly portiaits. He returned to Ber- lin in 1762, when he discovered a new talent of etch- ing and engraving, in the manner of Rembrandt, in which style he executed several plates with great ability. He also engraved in the manner of Delia Bella, and Benedetto Castiglione, with the greatest success. He died at Berlin in 1775. The follow- ing is as ample a list of the prints of this ingenious artist as our Umits will peiinit. portraits. The Empress Elizabeth of Kussia : after L. Tocgui. Michael, Count de "Woronzow ; after the same. Nicholas Esterhazi, Count of the Roman Empire ; after the same. 712 Frederick Henry Louis, Prince of Prussia; after A. Vanloo. John Paul Bignon, Abbe de St. Quentin ; after Rigaud. Constantine Scarlati, Prince of Moldavia. Charles Gabriel de Caylus, Bishop of Auxerre ; after Fontaine. Louis de la Tour d'Auvergne, Count d'Evreux; after Rigaitd. Charles de St. Albin, Archbishop of Cambray ; after the same. Peter Mignard, Painter to the King ; after the same. Anthony Pesne, Painter to the King of Prussia ; after a picture by himself. Maurice Quentin de la Tour, Painter to the King ; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Virgin and infant Clirist, with St. John ; after Vandfyck, The Presentation in the Temple ; after Pietro Testa. Alexander and his Physician ; qfter Ann. Caracci. Timocleus justified by Alexander ; after tlie same. A Bust of the Virgin ; after Sassqferrato. Dutch Boors regaling ; after A. Ostade, in the style of Visscher. PRINTS ETCHED IN THE STYLE OF REMBRANDT. His own Portrait, drawing. The Portrait of Rembrandt ; after a picture by himself. Christ resuscitating the daughter of Jairus ; c^ter Rem- brandt. Christ presented to the People ; after Re?nbrandt. The Presentation in the Temple ; after Dietriey. A variety of Busts and Portraits ; (g'ter Rembrandt, and in his manner. [Lot and his Daughters, after Rembrandt, very rare, be- fore the letters. The Young Jewess and her Father, both after the same. The Mother of Rembrandt. The young Lord — and an old Man with a Beard, after the same. The works of G. F. Schmidt amount to about two hundred pieces. Though all of them exhibit talent of a high order, there are some that are par- ticularly prized for their rarity aS well as beauty. Of these the portrait of the Empress Elizabeth is admired for the splendour of the accessories ; the portraits of the painters Mignard and La Tour are chefs, d'ceuvre ; Count Esterhazy, Priederic Miiller, a Lutheran pastor, Count Rasuraowski, Jacob Mounsey, Constantine Scarlati, the Baroness Louise Albertine de Brandt, and Antoine Pesne, are all very rare, especially proofs before the letters.] [SCHMIDT, Isaac, born at Amsterdam in 1740, ' received his first lessons in painting from Jan Van Huysum, and subsequently became a scholar of J. M. Quinkhart, with whom he remained six years. After some attempts at portrait painting, in which he did not succeed to his wishes, he applied himself to landscape, and painted several good pictures in concert with Juriaan Andriessen. His works in this way are not numerous, as he devoted much of his time to teaching, and to poetry and music. He also wrote some comedies, and translated a Life of Rubens. He was one of the founders of the draw- ing academy at Amsterdam in 1759, and continued to be a director till the time of his death, which oc- curred in 1818.] SCHMUTZ, J. [Johann]Rudolp, a Swiss paint- er, born at Regensperg, in the canton of Zuric, in 1670. He was a scholar of Mathias Puessli, and at first apphed himself to the study of historical painting, but not succeeding to his wishes, he turned his thoughts to portraiture, to which his genius was better adapted. He visited England at a period when Sir Godfrey Kneller was in the zenith of his reputation, and attached himself to an imitation of his style. His talents had recommended him to a schm] PAINTERS AND ENGRAVERS. [SCHO flattering share of the public favour, when he died in 1715.^ ^ SCHMUTZER, Joseph and Andrew. These artists were natives of Vienna, and flourished about the year 1735. They were brothers, and are included in one article, as they frequently worked conjointly on the same plate. Andrew imitated the style of Van Dalen and Bolswert, and handled the graver in a bold, clear style. We have, among others, the following prints by them : PORTRAITS. The Emperor Charles VI. ; after Meytens. The Empress Elizabeth Chnstiana ; after Aoerbach. Gustavus Adolphus, Baron de Gotter. SUBJECTS AFTER VARIOUS MASTERS. Two Views of a Temple ; after G. Galli Bibiena. Three subjects from the History of Decius ; after the pic- tures by Rubens in the gallery of the Prince of Licht- enstein. [Andrew died at Vienna in 1739, and Joseph in 1740. There was another brother of the name of Adam, who was also an engraver, but very inferior to the other two ; he was the eldest, but died about the same time as his brothers.] SCHMUTZER, Jacob, was the son of Andrew Schmutzer, born at Vienna in 1733. After learn- ing the rudiments of design in his native city, he went to Paris, where he became a pupil of J. G. Wille, and adopted the pleasing style of that artist. On his return to Vienna he was appointed director of the Academy established by the Empress Maria Theresa. He engraved several plates, which are executed with the graver in a neat, clear style, among which are the following : PORTRAITS. Francis I,, Emperor of Germany. Maria Theresa, his Empress. Joseph Winceslaus, Prince of Lichtenstein. "Wenceslans, Prince of Kaunitz ; very rare. Martin de Meytens, Painter to the Emperor. C. "W. E. Dietricy, Painter. Mutius Scevola before Porsenna ; after Huberts. St. Gregory refusing the Emperor Theodosius the en- trance into the church ; after the same. Venus rising from the Sea ; c^er the same. [These three are among the most esteemed of his prints for the skill displayed in the execution ; the last iS' very highly finished. Nagler calls this engraver Jacob Mathias, and gives a list of forty-seven prints by him. He may be ranked among the most skilful engravers of his time, and several excellent scholars were produced under his direction. He died at Vienna in 1811.] SCHNELLBOTZ, Gabriel. This engraver is noticed in the Series of Engravers. He is said to have resided at Wittenberg about the year 1590, where he engraved some plates, which he marked with an arrow, on which he placed an S. [The name is difierently written Schnetlbofz, Schnellboltz, Schnellholtz ; the last is the correct spelling. Some say he was born at Merseburg, others at Witten- berg, in 1536. It appears that, in addition to his practice as a designer and engraver, he carried on the business of a printer and bookseller at Witten- berg, and published several works there in 1562 and 1563. One of them is entitled " lUustrium Du- cum Saxonise vivas efiigies ab anno nativitatis Chris- ti 842 usque ad annum 1563," which was reprinted in 1570, in German verse, with the title "Abcon- trafactur und Bildness aller Grossherzogen, Chur- und Fiirsten, welche das Land Sachsen regieret haben." Gedrucht zu Wittenberg durch G. Schnell- holtz, Anno 1563. The mark S on a perpendicular arrow is the rebus of his name. Nagler calls him Formschneider and Buchdrucker. Zani says he was an engraver on wood, and operated in 1590. Strutt says he engraved a considerable number of very ex- cellent prints.] SCHNITZER, John, an old engraver on wood, who flourished about the year 1486. He executed the cuts of the Oeographical Charts far the edtiion of Ptolemy, published at Ulm in the above year. The Map of the World is ornamented with ten heads, representing the winds, rudely cut. It is inscribed, Insculpmm est per Johannem Schnitzer de Arnsheim [SCHNORR VON CAROLSPELD, Johann Veit, commonly called Veit Hans, was born in 1764 at Schneeberg, in Thuringia, where his father was a member of the council. He was intended for the law, and studied jurisprudence till he was twenty-five, when his strong predilection for the fine arts induced him to abandon it, and he entered the school of Oeser, at Leipsic, of whom he became one of the most distinguished scholars. Schnorr's works are multifarious. He painted historical sub- * jects and portraits in oil ; made designs and drew in black chalk, Indian ink, sepia, and in water colours ; modelled in clay and plaster ; in short, e:^ercised his abiUties in every branch of art. It is, however, by his skill as an engraver that his reputation has spread beyond his own country. He was a spirited engraver in aquafortis, and in the chalk and dotted manner. His subjects in this line consist of por- traits of eminent persons, poetical illustrations, from his own designs and after the antique, bas-reliefs, and vignettes. Of these Nagler has given a list, and recorded many particulars of the artist that do not properly belong to this Dictionary. A sale of many of his works took place at Leipsic in 1842, probably after his death, which are described in Wfeigel's Catalogue made on the occasion.] SCHOEN, Martin. This venerable artist, who was at the same time a painter, an engraver, and a goldsmith, may be considered as the father of the. German school of engraving. He was born at Culmbach, a small town in Franconia, according to Huber, about the year 1420. Of his performances as a painter little is known. In the church of the hospital, at Colmar, are preserved two of his pic- tures, representing the Nativity, and the Adoration of the Magi, both of which subjects he engraved.' If he was not the earliest of the German engravers, he began to practise the art when it was in its very infancy, and carried the mechanical part of it to an astonishing degree of perfection. Although his drawing is incorrect, and his compositions partake of the stifihfess and formality which characterize the works of the early German artists, his productions prove him to have possessed a fertile imagination, and exhibit both genius and judgment. In his print of the Death of the Virgin, there is a fine ex- pression in the heads, and the accessories are finish- ed with a beauty and deUcacy of execution which has scarcely been surpassed. The prints of Martin Schoen appear to have been engraved from 1460 till 1486, in which year he died, at Colmar, where he chiefly resided. His plates are numerous, and are principally from his own compositions. He usually marked his prints with an M. and an S. with a kind of cross between them, thus, ^^u ^ • The fol- lowing are his principal plates ; 713 SCHO] A DICTIONARY OP [SCHO SACRED SUBJECTS. The Life of tlie Virgin ; twelve plates. Twelve plates of the Passion of our Saviour. The Annunciation. The Nativity. The Adoration of the Magi. The FUght into Egypt. The Wise and the Foolish Virgins ; ten plates. The Last Judgment. Christ bearing his Cross. The Crucifixion. The Death of the Virgin. This was also engraved hy Israel van Mecheln, Wenceslaus, and others. A small set of the Apostles. St. Anthony carried into the Air hy Demons. St. Sebastian tied to a Tree. VARIOUS SUBJECTS. Two Alchymists fighting. A set of twelve subjects of Ornaments for goldsmiths. A Ciborium. An incense Cup, or Censer. Engraved also by J. van Mecheln. A Bishop's Crosier. The Battle of the Saracens against the Christians, in which St. James appears on the side of the latter. This was probably his last plate, as it was not entirely iinished. [It is now settled that the name of this artist was Martin Schongauer, but it is not equally certain whether he was a native of Culmbach, Colmar, or AuMbourg, or what were the precise years of his birth and death. It must, however, be apparent to every one who has perused the accounts that have been written concerning him since the publication of Bryan's Dictionary, that the dates given above are erroneous. It is surprising that Bryan should have overlooked the statement by Bartsch in vol. vi. of " Le Peintre Graveur," published in 1808, (eight years previous to his own work,) and rely on that of Huber. Zani and Bartsch place Martin Schongauer's birth in or about 1445 ; but Ottley, with still greater probability, places it in 1453. They all concur that he died in 1499." When it was a question of the priority of the discovery of en- graving, it suited tne theories of the disputants to carry back to as remote a period as any plausible circumstance would seem to justify, the date at which their respective countrymen flourished, on whom they were disposed to confer the honour ; in most instances, however, conjecture has been sub- stituted for fact. When inquirers like Zani, Bartsch, and Ottley investigate the several claims, whatever may be their predilections, they are not easily mis- led by possibilities, or even probabilities, but apply such tests as must decide the question one way or other, or show that discovery is almost hopeless. Injustice to Huber it must be mentioned, that he was the first writer who excited a doubt of the cor- rectness of the dates respecting Schongauer. In the first volume of his " Manuel des Curieux et des Amateurs de I'Art," he states " that one of his friends, M. de Lerse, a great connoisseur in what- ever related to the fine arts, had informed him that during some stay which he made at Colmar, he had had occasion to search the ancient manuscripts pre- served there, which treat of Schoen and his family ; and that it appeared from these documents that he had lived longer than was commonly believed." The pgrtrait of Martin Schongauer, engraved by Bartsch and prefixed to the sixth volume of " Le Peintre Gravem-," was taken from a painting formerly at Nuremberg, afterwards in the collection of Count Pries, and now at Schleissheim, or Munich, on which is inscribed Hipsch Martin Sehongaiier Maler 714 1483 ; and in the picture is an escutcheon of arms, bearing a crescent gules on a field argent. On the back of the picture is written in old German to the following purport : " Master Martin Schongauer, painter, called Hipsch (handsome) Martin, on ac- count of his art, born at Colmar, but of a citizen family of Augsbourg. Noble by origin, &c. Died at Colmar the year 1499, the 2nd of February. May God shew him mercy. And I, Hans Larg;k- mair, was his disciple in the year 1488." The print, to those accustomed to examine portraits by the old German masters, would not indicate a person beyond the age of thirty. Albert Durer had a vehement desire to be personally acquainted with Martin Schongauer, and for that purpose made a jour- ney to Colmar in 1492 ; he, however, was not grati- fied, Martin, it seems, being from home at the time, but he was kindly received by his brothers, Gaspar, Paul, and Louis. If Martin had died in 1486, Al- bert would not have gone to Colmar to visit him in 1492. On a drawing in the possession of Baron Heineken was written, in German, " This piece was designed by Hiibsch (handsome) Martin in 1470, being then a youth. I, Albert Durer, have learnt that, and have written this to his honour, in the year 1517." Bartsch observes, " that all the prints of Martin Schongauer exhibit an almost equal per- fection in the management of the burin, wnich in- duces the belief that he had not commenced en- graving on copper, or rather that he had not taken (preserved) proofs till after he had acquired, by great practice in ornamenting plate, a thorough command of the instrument ; for it is said that he united the art of the goldsmith with that of the painter." On this Ottley remarks, " If the truth of this observation be acknowledged, it will follow, as highly probable at least, that none of the engravings of Schongauer now known appertain to a period more remote than about the year 1475; at all events, there seems every reason to believe that by far the greater portion of them were executed in the last twenty years of the century in which he lived." They who are curious in the matter will find it ably discussed in Bartsch, Peintre Graveur, torn, vi., and in Ottley's Inquiry on the Origin and . early History of Engraving ; and in both an ample catalogue of the prints engraved by and attributed to the artist. It is related that there was a friendly correspondence, and an exchange of their drawings, between Pietro Perugino and Schongauer ; and that Michael Angelo, in his youth, studied and co- pied in colours the print of St. Anthony tormented by Demons, or coloured an impression of 'it, being particularly struck with the extravagance and va- riety of the composition. With regard to his pic- tures, there is much more uncertainty. There are works attributed to him in the galleries of Nurem- berg, Munich, Schleissheim, and Vienna; but con- noisseurs are divided as to the authenticity of seve- ral. Those at Colmar have the greater number of sufirages. One in particular, the Virgin in the Rose-bush, placed behind the altar in the cathedral, is celebrated for its size, composition, and excellent state of preservation ; if character be added, these are the chief tests by which others attributed to him may be judged. This picture is painted on a gold ^ound, as, it is asserted, are almost all the authen- tic works of the master,' and the figures are of the size of life. The Virgin is represented with the infant Jesus on her lap, seated among roses, and two an- gels holding a crown above her. It is carefully executed, and the colours are so blended that the SCHO] PAINTERS AND ENGRAVERS. [sCHO touch of the pencil is imperceptible. The Cruci- fixion, at Vienna, is also one of his approved pic- tures ; it is full of expression, if not of beauty, and is thought to participate in the style of the school of Cologne.] SCHOEN, Bartholomew. According to Pro- fessor Christ, this artist was the brother of Martin Schoen. The prints attributed to this engraver, though they bear a resemblance to those of Martin, are not executed with so much neatness and ex- pression. They are usually marked with a B. and an S. in the old German cnaracter, with a cross be- tween them, thus, IjPf^' The following ai-e said to be by him : An old beggar Man, -with an old Woman in a Wheel- barrow. Two grotesque Heads of an old Man and a Woman. A Man playing on a Lute, and an old Woman holding a Ladle in one hand, and a Jar in the other. A Lover and his Mistress. He also copied the Life of Christ, and other plates, firom Martin Schoen. [It is a subject of doubt whether there ever was an artist of the name of Bartholomew Schoen, or Schongauer. The celebrated Martin had four bro- thers, Gaspar, Paul, Louis, and George ; but there is no mention of Bartholomew. The engraver to whom the above marks appertain was probably known, in his time, by some other name of which there is now no record. It is certain that he was of a very early period; Professor Christ reports that he had seen a print by him with the date 1 479. The mas- ter's mark is to be found in the middle of the lower part of his prints within the border line. In addi- tion to the twelve prints of the Passion of Christ, engraved after Martin Schongauer, Bartsch has given a hst of ten others by this master, in which only two of the above named (the Lover and his Mistress, and the old beggar Man, with an old Wo- man in a Wheelbarrow, which he calls- Za Brouette) are included. The following are the titles : Le Cavalier avec la Dame en croupe. Le Faysan a la Masse d'Armes. L'Enfant dans le Bain. L'Enfant nud assis. Le Paysan a I'Ail. A circular print. L'Enfant aupres du petit Pot. In two circles. Le Concert. Circular. La Brouette. Les deux Amans. Les Sauvages. " Le Paysan a la Masse d'Armes " has also been en- graved by another ancient but anonymous master, and there is a print by Israel von Mecheln of " les deux Amans," which appears to be the original of this, but which Bartsch says he dares not affirm. The five following piints were not known to Bartsch or Nagler: 1. An old Woman holding a Stick in her right hand, on the left of the print, appears to be taking a purse of money which a man on the right holds out in his right hand ; his left hand is placed on the old Woman's bo- som. The mark is on a hillock at bottom towards the right. H. 3J in., W. 21 in. (Collection of Henry Ralph WiUett, Esq.) 2. Two Peasants, a Man and a Woman, walking to the left ; the Man has a club on his right shoulder, the Woman carries a goose in her left hand. H. 3 in. 2 lines, W. 2 in. 3 lines. (Collection of Henry Ralph Willett, Esq.) 3. A Pilgrim visiting a holy Hermit in his solitude. The latter wears a cowl, and is sitting on the left leaning both hands on his stick. The Pilgrim, whose han£ and feet are naked, is seated between two stumps of trees which support a sloped roof leaning against a grotto, at the entrance of which is a stone table. At top, near the leaves of the tree behind the hermit, is a bird about to descend with some iruit in his beak. The monogram is in the middle at bottom. H. 5 p. 8 1., L. 5 p. (Revil's Sale at Paris in 1838.) 4. Ornamental foliage, commencing at bottom on the left and extending in three principal branches over the whole of the plate. Two bii'ds, one of which is nearly hidden in the root of the branch, the head and neck only being visible, the other is perched on the branch which extends to and drops on the right. The mono- r'am is in the middle at bottom. H. 4 p. 6 1., L. 3 p. 1. (ReviVs Sale at Paris i'n 1838.) 5. Two Men wrestling. (Wilson's Sale in London, March, 1830.) SCHOEN, Erhard, a German engraver on wood, who flourished about the year 1530, and was probably of the same family with the preceding art- ists. His cuts are said to be executed with neatness and accuracy. Mr. Strutt mentions a frontispiece by him, representing a genealogical branch from Jesse to Christ, with figures of the principal per- sonages, very delicately cut. He marked his prints with a raonogram_ composed of an E. and an S. with a small knife under, thus, [Erhard Schon flourished from 1516 to 1550, as appears by the work entitled " Hortulus Animse," and other books published during that period, for which he furnish- ed the designs. Among the thirty-three wood-cuts attributed to him by Bartsch, there is one with his mark and the date 1524. He resided chiefly at Nu- remberg, where he published, in 1538, a treatise on the proportions of the human figure for the use of students. This work must have been useful and popular, as it went through three editions in five years, though the wood-cuts illustrative of the au- thor's principles are coarsely done, and apparently not calculated to facilitate the improvement of a learner. Jackson, in his treatise on wood engrav- ing, asserts that Erhard Schoen, like many others of the sixteenth century called wood engravers, only made the designs of those prints that have his mark, and never engraved. Zani is nearly of the same opinion ; he says it has not been proved. Jackson mentions some playing cards designed by this mas- ter, as being in greater request than any of his other works engraved on wood ; but. they are not alluded to by Bartsch or Nagler. It is supposed that he died about 1550, as there is nothing at present known that can be attributed to him after that year.] SCHOENPELD, or SCHOONPELD, John Henry. This painter was bom at Biberach in Swabia, in 1619, and was a scholar of John Sichel- bein, an indifferent artist, under whom he learned little more than the rudiments of design. He visit- ed the principal cities in Germany, and contem- plated the best works of the art in the difi'erent col- lections, and had given proofs of considerable talent, when he determined to visit Italy in search of im- provement. On his arrival at Rome he found em- ployment in the church of S. Elisabeta de Fornari, where he painted two altar-pieces, which gained him some reputation, and he was engaged in some of the embelUshments in the Palazzo Orsini. On his return to Germany, he distinguished himself as an historical painter at Vienna, Munich, Salzbourg, Augsbourg, and other cities of the empire. He also was much employed as a portrait painter, and his landscapes, decorated with figures and architecture, were much admired. Among his most esteemed works are his pictures of Christ conducted to Cal- vary J and the taking down from the Cross, in the church of the Holy Cross at Augsbourg, where he 715 SCHO] A DICTIONARY OF [SCHO resided in the latter part of his life. In the Senate- house of that city is another fine picture by Schoen- feld, representing the race of Hippomenes and Ata- lanta. His compositions evince a ready and fertile invention ; his design is not very incorrect, though his figures in general are rather too long, and his colouring is vigorous, though occasionally crude and glaring. He med at Augsbourgin 1689. We have a few etchings by this artist, executed in a dight style, among which are the following : A Head of our Saviour. A pastoral subject, with a Shepherd playing on a flute and a Shepherdess holding a triangle. ■ A Landscape, with a Man sitting on a rock. Infant Bacchanalians. [Schoenfeld was born in 1609 according to all the authorities, but there is not the same agreement re- specting his death. Zani and Fiissli place it in 1680, Nagler and others in 1675. His etchings a,nd other engravings, of which Nagler has given a list, amount to twenty-three ; but there are some addi- tional etchings of landscapes with rich architecture and figures, the latter, like many in his pictures, are out of all proportion to the other objects.] [SCHOBNMACKER-, or SCHOENMAKERS, Jan Pietersz, or Pietersz Jan, born at Dort in 1755, painted views of cities in the manner of Van- der Heyden. His pictures are much esteemed, and are to be found in the best modern collections in Holland. There were some in those of Baron Steengracht, Ziiylen van Nyevelt, Onderwater van Puttershoeck, and others. As he was on friendly terms with the most eminent of his contemporary brethren, he had their able assistance, occasionally, in figures, animals, and other objects. At one of the exhibitions at Dort there were four pictures by him, in which the vessels and figures were painted by J. C. Schotel ; these additions increase their va- lue considerably. He died in 1842.] SCHOEVAERDTS, [or SCHOVAERTS,] M., a Flemish painter of village festivals and merry-mak- ings, in the style of Teniers. His pictures are fre- quently met with in the Netherlands, and though they are very inferior to those of that master, they possess considerable merit. We have a few etch- ings by this artist, slightly executed, from his own designs, and after other masters. [The accounts of this master are not very satisfactory. Some make him a native of Holland, others of Germany ; his works, however, belong to the Dutch or Flemish schools, though they bear very little resemblance to those of Teniers, except occasionally in the sub- jects. His baptismal name has not been ascertain- ed. He signed his pictures, and his two known etchings, M. Schoevaerdts, from which it is conjec- tured mat it was either Martin or Michael. It is supposed that he was born in 1667. Balkema has confounded him with diristopher Schwarts, a to- tally difierent artist. The pictures of Schoevaerdts are generally crowded with figures in full activity, and Tie frequently introduces waggons and horses, and horned cattle. Two of his pictures have been engraved under the titles Fete cle campagne HoU landaise, and Setour de la Fete Hollandaise ; in the first is a charlatan haranguing the crowd, from which it may be inferred that he painted what the ItaUans call bambocciate. There are two village scenes by him in the gallery of the Louvre, under the name If. Sehoioaert.'] SCHOLLENBERG, H. J., a German engraver, who flourished about the year 1 630. He was chiefly employed in engraving portraits, which are neatly 716 executed, but in a stifl", hard style. [Nagler calls him Hans Jacob Schollenberger, and says he worked at Nuremberg from 1670 to 1690. Zani says he operated from 1622 to 1674.] SCHOONEBECK, Adrian, a Dutch engraver, who flourished about the year 1690. He engraved a variety of frontispieces and other book-plates, and published, in two volumes, the habits of all the re- ligious orders in Europe. [He was born at Amster- dam in 1650, and died at Moscow in 1714. He was a scholar of 'B. de Hooghe, whose manner he fol- lowed at first, but afterwards adopted mezzotinto. He was not very eminent in either. Laborde has noticed two of the latter, and Nagler has given a list of some others.] SCHOONJANS, Anthony. This artist was born at Antwerp in 1650, and was a scholar of Erasmus Quellinus, under whom he studied until he was nineteen years of age, when he travelled to Italy in search of improvement. During a resi- dence of ten years at Rome he distinguished him- self by an exemplary application to his studies, and painted some pictures for the churches, which gain- ed him considerable reputation. In 1678 he was invited to the court of Vienna by the Emperor Leo- pold, who appointed him his painter, and he had the honour of painting the portraits of the impe- rial family, and those of the principal nobility. He also was employed in decorating some of the churches, in which there are several altar-pieces by him. The desire of visiting England induced him to request the permission of his patron to absent himself some time from his service, and he came to this country in the reign of King William, and was employed in ornamenting some of the mansions of the nobility, and in portrait painting. Among other performances, he painted a staircase in a house, then called Little Montague House, situated at the corner of Bloomsbury Square. His portrait, painted by himself, was in the collection at Straw- berry Hill. In returning to Vienna he passed some time at Dusseldorp, where he painted some pictures for the Elector Palatine, who presented him vrith a gold medal and chain. A. Scnoonjans died at Vi- enna in 1726. [Others say he was born in 1655, and Balkema says he died in 1717, but he is not supported.] [SCHOOR, Nicolas Van, born at Antwerp in 1666, painted fanciful subjects of nymphs, genii, and infants sporting, as adjuncts to flower-pieces by Morel, and landscapes by Rysbraeck. He also made designs for the 'manufacturers of tapestry at Antwerp and Brussels. He died rich at Antwerp in 1726. In the museum at Ghent there is an equestrian portrait by him of Charles II. of Spain, when that prince was about the age of eighteen.] SCHOORE, J. V. A Flemish engraver, who flourished about the year 1 650. Among other prints, he engraved a plate of St. Vincent ; after Anthony Salaert. [SCHOOTEN, George, or Joeis, Van, an his- torical and portrait painter, bom at Leydenin 1587, was a scholar of Conrad Vander Maas. He was a painter of considerable talent, though his works at present are but little known. Suyderhoef engraved one of his portraits, and J. G. Van Vliet a picture of Christ and the Woman of Samaria, which is one of his best prints ; it is inscribed J. (Joris ?) van Schooten, 1635. He died in 1658. He is supposed to have been one of the early masters of Rem- brandt.] SCHOOTEB, Francis. This artist engraved a scuo] PAINTERS AND ENGRAVERS. [SCHO portrait of Des Cartes, the philosopher, it is in- scribed Franciscus Schooler ad viv. del. sculp. [This is probably the same as F. ran Schooten, a professor of mathematics and philosophy at Leyden in the middle of the seventeenth century. He designed and engraved the portrait of Des Cartes, which is inscribed Franciscus a Schooten Pr. Mat. ad vivum delineavit et fecit, anno 1644, and prefixed to an edi- tion of the " Geometria" of that date.] SCHOREL, or SCHOOREEL, John. This painter was bom at Schooreel, a ^all town near Alkmaer, in 1495. At the age of fourteen he was placed under the tuition of an obscure artist, named William Cornelisz, and for three years had not the advantage of superior instruction. He had, how- ever, made considerable progress in design by the vivacity of his genius, and his attentive studies after nature. In 1512 he went to Amsterdam, where he became a disciple of James ComeUsz, an historical painter of some celebrity, and under that master acquired an ability which rendered him one of the most promising young artists of his time. The reputation of John de Mabuse, who was at that time in the service of the Duke of Burgundy, and resided' at Utrecht, induced him to visit that city, for the purpose of profiting by the instruction of that master, with whom however he did not re- main long. He afterwards travelled through Ger- many, and passed some time at Nuremberg, where he resided with Albert Durer, and was treated with great kindness by that distinguished artist. His next journey was to Venice, where he found, as- sembled from all parts, a number of people, for the purpose of embarking for Palestine, and among them met with an ecclesiastic of Gouda, by whom he was persuaded to accompany him to the Holy Land. On his arrival at Jerusalem he became ac- quainted with the superior of the monastery of Sion, by whom he was shown the most interesting views and antiquities in the city and vicinity, of which he made accurate designs. He painted for the con- vent a picture representing the Incredulity of St. Thomas; and in 1520 embarked for the Isle of Rhodes, where he was received with distinction by the grand master, who was a native of Germany, and painted views of the city and fortress. Prom thence he sailed for Venice, and afterwards travelled to Rome, and, during a residence of three years, contemplated the most remarkable objects of an- tiquity, and the principal works of the great masters in that capital. Adrian VI. then filled the Papal chair, and, notwithstanding the little respect he felt" for the art, he employed his countryman Schorel in several works in the Belvidere, and he painted a whole-length portrait of the pope, which was sent to the college of Louvain, which had been founded by that pontiff. On his return to Holland, Schorel established himself at Utrecht, and was much employed by the noble family of Lochorst, for whom he painted one of his most celebrated pictures, representing Christ's Entry into Jerusalem, which was placed in their chapel in the principal church. For the church of the monastery of St. John, at Haerlem, he "painted a picture of the Baptism of Christ, in which he imitated the style of Rafiaelle ; the airs of the heads are graceful and expressive, and the composition and design, though not entirely divested of the stiffness and formality which prevailed among the Flemish artists of the time, is superior to every thing that had preceded him. Many of the princi- pal works of this artist were destroyed during the troubles in the Low Countries. He died at Utrecht in 1562. [There is a great d.eal of romance in several ac- counts of Schoreel, founded on his erratic course of life, and probably very Uttle certainty with regard to many of the pictures attributed to him. That he distinguished himself by nobler aspirations in art than most of his countrymen is true, and his works were better understood and more admiired abroad than at home, for he had neither successor nor imitator in th§ same elevated style ; the pictures of his contemporaries, Jan de Mabuse and Lucas van Leyden, were more consonant to their taste. It can hardly be said that he was the pupil of Jan de Mabuse, or of Albert Durer ; his visits to them were but of short duration ; Mabuse was too near to his own age to be his master, and of habits too dissi- pated for the taste of Schoreel, and his desire of seeing foreign parts was too strong to allow him to practise much under the amiable and more learned Albert. One of his quick perception would, how- ever, profit by .whatever he saw excellent in both. Many pictures have been attributed to him, and described in very glowing language, by different writers, and their authenticity denied by others. Alfred Michiels, in his work, " Histoire de la Pein- ture Flamande et HoUandaise," tom. iii., has cited fifty-one, real and apocryphal, from accounts by various authors, and from his own observation. The Death of the Virgin, formerly in the Boisserie col- lection, and now at Munich, is doubted by compe- tent judges in such matters; "Waagen says it has been named Schoreel without any real ground for the appellation. The Adoration of the Kings in the Museo Borbonico at Naples, which strongly resembles the Death of the Virgin, though some- thing more sombre in tone, is there placed amon^ pictures of the Florentine school, and is attributed to Fihppo Lippi. Waagen, in his account of works of art in England, (1838,) mentions a picture by Schoreel that was, at the time he was in that coun- try, at Corsham House, in Wiltshire; but as the greater part of the collection of pictures that deco- rated the family mansion of the Methuens has been since dispersed, it is uncertain where it is to be found at present. It is, however, deserving of note as a test picture of the master. It represents lovers passing the time with music and feasting, and measures two feet six inches in height, and is four feet wide. Waagen considered it very interesting, he says, " because it is probably a genuine work of a master so celebrated in the first half of the 16th cen- tury, no authenticated work by whom has hitherto been discovered." He adds, and it is a remark of great weight, " that at the time Sir Paul Methuen bought the picture by the name of Schoreel, the masters in that style, and of that period, were by no means in favour, and therefore it is not to be supposed that the name was falsely given to it by way of recom- mendation."] SCHORER, John Frederick. According to Professor Christ, this artist was a native of Nurem- berg, and flourished about the year 1619. He is said to have engraved on copper, but his plates are not specified. [He was born at Augsbourg, but in what year is not ascertained. Nagler has described nine prints by him, representing the Pour Seasons and the Four Elements, and a design for goldsmiths' work, with the dates 1615 and 1619. Brulliot has noticed several drawings, with his monogram formed of the letters H. F. S. united, and dated fi-om 1609 to 1639. It is supposed that he worked chiefly at 717 SCHO] A DICTIONARY OF [SCHU Nuremberg and Cobourg, and, from his initials, that he was called Hans Friederic jSchorer.l SCHORQUEUS, J. van, a Dutch engraver, who resided at Madrid about the year 1600. He engraved some frontispieces and other book-plates, which are executed with the graver in a neat, stiff style. Among others is a title-page to a Commentary on the Prophets, by Balthasaro, inscribed /. van Schor- gueas, fecit, in Madrid. [His Spanish names were Juan Scorquens. He was an excellent engraver of title-pages, of which he executed many for Spanish boots from 1618 to 1630J [SCHOTEL, John Christian, an eminently distinguished marine painter, born at Dort in 1787, was a scholar of A. Meulemans, and subsequently of Martin Schouman, who exercised him for two years in drawing sea-pieces in water colours and Indian ink. At the conclusion of his pupilage he devoted himself to the study of nature, for which purpose he would embark in an open boat on a tempestuous sea, and note down the appearances of the agitated elements. Hence it is that his pictures of storms have such an air of truth, and excite ge- neral admiration. Nor was he less successful in his representations of calms and river-views ; from the window of his residence at Dort he had objects of study constantly before him. His first exhibition of two paintings in oil at Amsterdam was eminently successful, they were received with applause by the artists, and sold for high prices. This was a stimu- lus for still greater exertion, and he was emulous of being the rival of his great countryman, Backhuysen. Prom 1814 to 1817 he worked in concert with his former master, Martin Schouman, on two pictures that embraced historical subjects, one representing the precipitous retreat of the French from before Dort, and the other the bombardment of Algiers by the allied fleets in 1816. The first of these pictures is in the possession of the literary society Diversa sed Una ; the other was purchased by M. van Polien van Nieuland. Schotel always made nature his model. His skies are expansive and full of air, his clouds light and floating. In his calms he equals the younger W. Vandevelde in the smoothness and transparency of the water ; and the agitation of the waves, their conflicting turbulence, and the driving clouds, in his storms, almost rival the magnificent representations of Backhuysen. All his pictures, whether calms or storms, are finished with the most scrupulous care, even to the smallest details. In 1827 the Prince of Orange purchased two large and very beautiful pictures of the artist, to present to the Emperor of Russia ; these the editor saw at the Hague, in Schotel's possession, when they were brought for the Prince's inspection, and they were considered his chefs d'ceuvre. He received honours from his own sovereign and other crowned heads, and was a member of several academies and socie- ties, of arts. His pictures were eagerly purchased by the rich and tasteful of his countrymen, and foreigners were equally anxious to obtain them. Some of the best collections in England are en- riched with specimens, but they are generally of the cabinet size. This admirable painter died at Dort the 21st of December, 1838. His son, Peter John Schotel, paints in the style of his father, but chiefly breezes, calms, or river-scenes of small dimensions. It requires some attention and acuteness to dis- cover a difference, and the amateiu: should be on his guard, if he be particularly desirous of having a pic- ture by the elder Schotel, as the letters J. C. have been placed on some by the youngear for the pur- 718 pose of deception, not by the artist, but by unscru- pulous dealers. Indeed the merit of the latter is so great that it assists the fraud, and many are not aware that there are, or were, two marine painters of the same name, flourishing at nearly the same period.] SCHOUMAN, Artus, a Dutch painter and en- graver, born at Dort in 1710, and was a scholar of Adrian Vander Burg. He painted historical sub- jects and portraits, and engraved some plates in mezzotinto, in a very indifferent style. [Aart Schou- man was a painter of merit, particularly of birds, which he painted after nature in the nxanner of Hondekoeter and Weeninx. He also painted land- scapes with animals, portraits, and small historical or poetical pictures ; many of the last subjects are taken from Ovid's Metamorphoses. He was an able designer and good colourist. His mezzotinto prints are after Gerard Dou, Sctialcken, Paul Potter, Frank Hals, &c., so he made a good choice of mas- ters, whatever was his skill in Scraping. He resided constantly at the Hague, where he died in 1792.] SCHRODER, Hans or John, a German en- graver, who flourished about the year 1600. He engraved some plates of ornamental foliage, &c. [SCHROEDER, Frederic, was born at Hesse Cassel in 1768, some say in 1772, and was a scholar of Klauber, a German engraver. He was one of the artists employed to engrave the plates for Le Musee Laurent et Robillard, Le Voyage si Constantinople, and other similar publications. He confined himT- self chiefly to landscapes, and engraved several after Swaneveldt, Vemet, La Hire, Kuril du Jardin, and Bemmel. He also assisted in the back-grounds and ornamental parts of plates in which the figures were executed by other artists ; among which were the Sabines by Massard, and Henry IV.'s Entry into Paris by Toschi. Schroeder was hving at Paris in I83I.] SCHUBART, Peter. This artist was a native of Germany, but resided at Venice about the year 1696. Professor Christ ascribes to him the en- g ravings marked with the letters P. S. d. E., which e interprets, Peter Schubart de Ehrenherg. SCHUBLER, A. G. J., a German engraver, who resided at Nuremberg about the year 162i3. He was chiefly employed in engraving portraits for the booksellers, which are very indifferently executed. He engraved part of the plates for a work entitled Icones JBibliopolarum et Typographoruim, published at AltdoriFand at Nuremberg in 1626. SCHULZE, John Gottfried. This artist was born at Dresden in 1749, and learned the rudiments of design' froin Charles Hutin. After being initiated into the art of engraving by Giuseppe Camerati, he went to Paris, where he profited by the lessons of J. G. Wille, and other eminent engravers. On his return to Saxony he engraved several plates of por- traits, and other subjects, particularly some prints for the Dresden Gallery, which are executed in a neat, firm style. Among others, we have the fol- lowing prints by him : The Portrait of Joseph II., Emperor of Germany. Jupiter and lo ; after SchenoM, Ceres ; after Carlo Loti. The Centaur Nessus and Dejanira; after Rttbens. PRINTS ENGRAVED FOR THE DRESDEN GALLERY. Cupid embracing Venus ; after Giulio Romano. Venus tying the Wings of Cupid; after Louisa Eliz. Le Brun. Venus reclining ; after Mario Viani. A Vestal ; after Angelica Kcmffman. SCHU] PAINtERS AND ENGRAVERS. [SCHU The Head of Christ ; after Caracci. The Eooe Homo ; afier Guido. [Nagler calls this engraver Christian Gottfned Schuke, and says he was born in 1750, and died in 1819. He specifies 36 of his prints ; the latest date is 1818.] SCHUMANN, John George, was born at Dres- den in 1761, and was instructed in design in the Academy there. He engraved several plates of laijd- scapes, which were executed in a neat, spirited style. He resided some time in London, where he en- graved some prints in conjunction with Mr. Byrne. We have, among others, the following by him : A Landscape ; after Sm/sdael. A View in Saxony ; after Kleugel. Two Landscapes with animals ; after the same. A Landscape, Morning; after Both; engraved ponjointly with Mr. Byrne. A View of Windsor Castle ; after Sodgea ; the same. [The proper names of this engraver are John Gottloh or Gottfried Schumann. He died at Dresden in 1810. Nagler gives a list of 26 prints by him.] SCHUPPEN, Peter van, a Flemish designer and engraver, bom at Antwerp in 1623. After be- ing instructed in the rudiments of drawing in his native city, he went to Paris, where he became a pupil of Nanteuil, and engraved, in the style of his instructor, several portraits from his own designs, which are not inferior to the best productions of the time. His design is correct, and he handled the graver with great fii-mness and dexterity. He also engraved several historical subjects, after various masters. We have, among others, the following prints by him : PORTRAITS. Louis XIV. ; after C. Le Brim. 1662. Kenand, Cardinal d'Este. 1662. Julius, Cardinal de Mazarin ; after Mignard. The Chancellor Seguier ; after C. Le Brun. Francis Villani, Bishop of Tournay ; afier L. Francois, Francis M. le Tellier, Marqiiis de Louvois; after Le Febre. Louis le Pelletier, President of the Parliament; after de Largilliere. Francis Vander Meulen, Painter ; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Virgin and infant Christ ; after Raffaelle. 1661. The Holy Family, with St. John, who holds a pigeon ; after Seb. Bourdon. The first impressions are before the drapery was put over the nudity of the infant. The Holy Family ; after Gaspar de Grayer. St. Sebastian, with an angel drawing out the arrow; after Vandyck. King David ; after Ph. de Champagne. [The generality of writers say that Peter van Schuppen, the elder, was born in 1628, and died in 1702 ; some agree with the dat« in the text. Laborde diflFers from all of them. He places the artist's birth between 1625 and 1630, and his death between 1710 and 1715. The elder van Schuppen's prints are numerous, Nagler specifies 1 19.] SCHUPPEN, Peter van, the tounger, was the son of the preceding artist, born at Paris about the year 1673, and studied painting under Nicholas de Largilliere. He is said to have been a reputable painter of history and portraits, and was invited to the court of Vienna, where he was appointed painter to the emperor, and director of the Academy in that city, where he died in 1751. [Several writers call this artist Jacques or James ; Zlani says he was born in 1669, in which Fiiessli agrees.] [SCHUPPEN, H. VAN, whether ITans or JETenri/ is uncertain, as there are no particulars of him. His name appears at full length, ff. v. Scuppen, or his monogram, H, V. S., (the H and V joined, the S on the bar of H,) on landscapes engraved after Gio- vanni Maggi, who flourished at Rome in the early part of the 1 7th century.] SCHURMANS, Anna Maria. This extraordi- nary lady is regarded as a prodigy in the world of learning and art. She was born at Utrecht in 1607, and from her cradle discovered an unprecedented quickness of parts. She is said to have been able to read when she was only three years old, and at seven had made great proficiency in Latin, which she had acquired from occasionally hearing the lessons her brothers received from their preceptor. Her father, inferring from thence that she had an extraordinary disposition for literature, cultivated her talents with care, and procured her the means of acquiring that knowledge for which she after- wards became so justly celebrated. The Latin, Greek, and Hebrew languages became so familiar to her, that she not only wrote but spoke them with a fluency and correctness that surprised the most learned. She also made a great progress in the Oriental languages, which have a relation to the Hebrew, such as the Syriac, Chaldean, Arabic, and Ethiopic. Her acquaintance with the modern lan- guages was not less extensive ; she perfectly under- stood, and spoke readily, the Italian, French, Ger- man, and English. She was also competently versed in geography, astronomy, and the sciences, sO' as to be able to judge of them with exactness; and was deeply read in divinity and theology. These erudite acquirements were not made by neglecting the accomplishments usual to her sex, or the study of the fine arts. She excelled in music, wjcal and instrumental, in painting, sculpture, and engravings in all of which she was equally successful. She Eainted her own portrait, and those of several of er friends, and sculptured several busts, some of which are preserved in the cabinets of the curious. She etched and engraved some plates, among which is a portrait of herself, inscribed Anna Maria Sehur- mans an. cetat. xxxiii. cio.io.cxl. a. m. s. fee. with these verses : Cemitis hie pict& nostras in imagine vultus : Si negat Ars formam, gratia vestra dabit. In Holland is preserved a bust of Anna Maria Schurmans, modelled in wax, by herself, to which she afiixed the following lines : Non mihi propositum est humanam eludere sortem, Aut vultus solido sculpere in sere meos : Hseo nostra effigies, quam aeck expressimus, eece Materise iragui, mox peritura, damns. This learned lady died at Altona in 1678. [It is said that she painted history, portraits, flSwers, birds, and insects, and was equally excellent in all. Unfortunately it is not stated where her genuine works are to be found. Some that have been at- tributed to her are very doubtful. Her hand-writing was very beautiful, of which there is abundant proof in the many existing letters, in all languages, ad- dressed to the most learned persons of her time.] SCHURTZ, Cornelius Nicholas, an indiffer- ent German engraver, who resided at Nuremberg about the year 1670. He engraved some portraits, and other book-plates, in a poor, feeble style. [He was living in 1689. He engraved some portraits of several celebrated physicians, and small emblemati- cal subjects ; his prints are marked with his name at full length, or with the letters C. N. S., and sometimes the same letters in a monogram.] SCHUT,' Cornelius. This painter was bom at Antwerp in 1600, and was one of the most celebrated disciples of Rubens. Possessed of a lively and in- 719 SCHU] A DICTIONARY OP [SCHU ventive genius, which had been cultivated by a liberal education, and aided by the instruction of so able a master, it was not long before he distinguished himself among his numerous fellow-students. On leaving the academy of Rubens he was employed in several works for the churches, in which he ac- quitted himself in a manner worthy of the school in which he was educated. The reputation he ac- quired by his first public performances rendered him so self-sufficient a,nd presumptuous, that he had the temerity to offer himself as a rival to his illustrious instructor, whose works he criticized, and accused their author of want of genius and inven- tion. The generosity of Rubens returned these imprudent calumnies with acts of kindness and liberality, applauded his pictures, and recommended him to employment. Schut was endowed with a fertile and prolific imagination, and a facility of execution, which qualified him for the functions of a machinist. Of this he gave ample proof in his frescoes in the cupola of the cathedral at Antwerp, and in other large works of that description in the public edifices of that city. Of his altar-pieces in the churches, the most deserving of notice are his pictures of the Nativity, and the Assumption of the Virgin, in the church of the Jesuits, at Antwerp ; a Dead Christ, with the Virgin and St. John, in the church of St. James, which has sometimes been mistaken for a work of Vandyck ; and the Martyrdom of St. George, in the cathedral. He painted several historical and 'fabulous subjects for the private collections, which ai^ ingeniously composed, though occasion- ally too much scattered and confused. Vandyck painted the portrait of Cornelius Schut, among the eminent artists of his country. He died at Antwerp in 1660. This artist etched a consider- able number of plates from his own designs, which are executed in a spirited style, resembling that of Benedetto Castiglione ; among many others, we have the following : The Holy Family, with St. John. The Virgin and infant Christ. The Martyrdom of St. Lawrence. The Saints in glory. Christ praying on the Mount. Mars, Venus, and Flora. Bacehus,'Ceres, and Fomona. The Triumph of Peace. A great number of Madonnas, Saints, and other devout subjects. [For a list of his numerous etchings the inquirer is referred to Nagler. There is pretty confusion among writers respect- ing Cornelius Schut, especially those of his own country. Some say he was born in 1590, and died in 1649 ; others, that he was born in 1590, and died in 1660 ; others, as is stated in the text, that he was born in 1600, and died in 1660; and again, that he was born in 1600, and died in 1675. This diversity of dates shows that the writers were not aware that there were two painters of the same names, who were relations and contemporaries. The one was brother, the other son, of Peter Schut the engineer, who was in the service of Philip IV. of Spain. Cor- nelius, the son of Peter, was born at Antwerp, and was partly instructed by his uncle ; he after- wards went with his father to Spain and practised at Seville, where he died in 1675. He was one of the founders of the Academy in that city, and con- tributed liberally to its support. He filled. the oflfices of consul in that institution in the years 1663 and 1666, and was president in the years 1670 and 1674. 720 Of his ability and character Bermudez speaks in eulogistic terms. Some of his pictures are to be fpund at Seville, and it is said that his drawings re- semble those of Murillo, and frequently pass for such. As there is at present a manufacture of that article in action, it will be fortunate for purchasers if they get no worse counterfeits. It is a question whether the elder Cornelius Schut (for so the uncle may be called to distinguish him from his nephew) was ever in Spain, though it is said he visited his brother Peter at Madrid, and painted a large picture on the principal staircase of the imperial college there, representing St. Francis Xavier baptizing the Indians ; for it is also said he died in Spain in 1675, evidently showing that the writer was con- founding the two painters. In this confusion of dates it may be fairly conjectured that the earlier apply to Cornelius the brother of Peter, and the later to Cornelius the son. This, however, will leave a large margin for the time of the birth of Cornelius the brother, as Peter, it is said, operated in 1600, and had a son born to him in that year. There wants proof that Cornelius Schut, the elder, was a scholar of Rubens, in the strict meaning of the term. The latter employed him, as he did many other painters of talent who were not his scholars, in executing some of his large commissions ; and it is not likely that Schut, if he had been brought up in the school of Rubens, would have had the audacity to challenge his master to a trial of skill. There are baf> tie-pieces attributed to Cornelius Schut, the younger; but as the name is written Schuyt it leaves the mat- ter in doubt, no writer of any authority having men- tioned that either exercised his talents that way.] SCHUTER. By this engraver, who flourished about the year 1760, we have a plate of the portrait of Rembrandt, engraved for the first volume of prints, from the paintings in the collection of the Marquis Gerini. SCHUTZ, Christian George, a German land- scape painter and engraver, born at Floersheim, in the electorate of Mentz, about the year 1730. He painted small pictures of views of the Rhine and landscapes, neatly touched, and very highly finish- ed. He etched a few plates, among which are. Two Landscapes ; after Hatisman. A pair of Mountainous Landscapes ; from his own [His subjects resemble those of Zachleven and Grifiier, but his pictures in their treatment are very inferior to both ; they are, comparatively, dry and hard. There were several landscape painters of the same name, but none of importance among the older ones. The name is sometimes written Schultz.'] SCHUUR, Theodore Vander. This painter was born at the Hague in 1628. After receiving some instruction in the rudiments of design in his native country, he went to Paris, where he frequent- ed the school of Sebastian Bourdon, under whom he passed three years, and had already become an able designer, when he determined to visit Italy, for the completion of his improvement, and arrived at Rome in 1651. He contemplated the great objects of art with which he was surrounded with astonish- ment and delight ; and his application to his studies was indefatigable. . He had acquired considerable celebrity by some historical pictures he had exhibit- ed to the public, when he was favoured with the patronage of Christina, Queen of Sweden, who, af- ter the abdication of her throne, resided at Rome, and employed him in several works. After a resi- dence of fourteen years at Rome, Vander Schuur SCHW] PAINTERS AND ENGRAVERS. [SCHY returned to Holland, in 1665, and was received by his countrymen with the most flattering distinction. He was made a member of the Academy at the Hague, and was employed in decorating the public edifices. He painted the ceiUng of the hall of the Burgomasters, in the town-house, representing an emblematical subject of Justice, Temperance, and Fortitude, ingeniously composed, and designed more in the Roman taste than that of his country. One of his most esteemed works is a large picture repre- senting the Portraits of the Officers of the armed citizens, painted in 1675. He died in 1705. [His gictures exhibit very little of the Dutch taste. As e was well acquainted with perspective and archi- tecture, he enriched his back-grounds with the ruins of ancient Greece and Rome, which he introduced with the skill of a p£dnter, and the knowledge of an antiquary.] SCHWABE, Lambert. See SuAvitrs. SCHWARTS, Christopher. According to d'Argenville, this artist was bom at Ingolstadt in 1550, and learned the elements of the art in his na- tive city. He afterwards went to Venice, where he entered the school of Titian, and profited by the lessons of that great master of colouring. His countrymen have honoured him with the title of the Rafiaelle of Germany, with what propriety it is difficult to discover. His works exhibit neither the correctness nor the dignity of that illustrious paint- er, and he appears to have been more ambitious of imitating the impetuous energy and vigorous colour- ing of Tintoretto, than the grandeur and majesty which characterize the Roman and Florentine schools. After passing some years at Venice he returned to Germany, when Albert V., Duke of Ba- varia, invited him to Munich, where he wasappdint- ed painter to the court, and resided in that city the remainder of his life. He painted many pictures for the churches and pubUc edifices at Munich, and for the collection of his patron ; several of which have been engraved by John Sadeler. His princi- pal merit consists in the abundance of his compo- sitions, and the force of his colouring. The airs of his heads are neither beautiful nor expressive, and there appears in his works a national stifihess and formality, of which he could never divest himself. One of the most esteemed works of Schwartz is a picture of the Entombing of Christ, in the Dussel- dorf Gallery. He died at Munich in 1594. SCHWARTZ, a German engraver, who resided at Nuremberg about the year 1626. He engraved portraits and book-plates in a very indifierent style, among which are the prints in a book published at Nuremberg in the year above mentioned, entitled Icones Biblv^olarum et Typographorum. [SCHWARTZ, Hans, or Johann, it is said was bom in 1480 at Groningen, went to Italy to study, and painted history and landscapes. Zani calls him Owvanni di Gfroningen, detto Giovanni Vrede- man, and marks him as a painter and engraver, and says he engraved in wood. It is said that he died in 1541. Some one has remarked that John Schwartz painted landscapes in the manner of Schoreel, but as there is no example of that kind quoted, and as there were several artists of the name of Schwartz who flourished at nearly the same period, it is not easjr to determine whether the painter and engraver are identical or not. A noble author, in a recent elegant work on " Christian Art," mentions Hans Schwartz as the painter of a beautiful Adoration of the Kings at Munich, and says he was a pupil of Schoreel ; and in a note his 3 A lordship calls Anthony More a pupil of Schwartz. According to dates Schwartz was fifteen years se- nior to Schoreel, and other writers say More was pupil to the latter. It seems irreconcilable that Schwartz, being fifteen years older than Schoreel, and thirty-two, or, according to some writers, thirty- nine, years older than More, they should be pupils of the same master. There is no chronological reason against More having been instructed by Schwartz, but there is some difiiculty in estabhsh- ing, either chronologically or topographically, that either of them were pupils of Schoreel, considering his age and the erratic life he led up to a period when both of them were accomplished masters in the art of painting. The difiiculty is greater, cer- tainly, with respect to Hans Schwartz than An- thony More. Query, Is this the Hans Schwartz who married the widow of Hans Schauflfelein in 1540?] SCHWARTZENBERG, Melchior. Accord- ing to Professor Christ, this artist was an engraver on wood, and executed some cuts of frontispieces for Feyeraband the bookseller. [He operated from 1530 to about 1550.] [SCHWEGMAN, Hendrik, a flower painter and engraver, was born at Haerlem in 1761, and studied under P. van Loo. He engraved and coloured the prints for a work entitled " Icones Plantarum rari- orum ;" he also etched several landscapes after E. van Drielst and others, in the manner of Anthony Waterloo. He died at Haerlem in 1816.] SCHWEICKHARDT.H.W. [Henry William,] a modern Dutch painter, who, in consequence of the disturbances in Holland in 1786, came to England, and resided in London for several years. He paint- ed landscapes and cattle, and particularly frost- pieces, which were held in some estimation. They were painted in a neat but spiritless style, and pro- duced a poor, feeble effect. He etched a set of plates of animals, which he dedicated to Mr. West in 1788. [He was born at Brandenbourg in 1746, and died at London in 1797- He was supposed to be Dutch from having resided some time at the Hague.] SCHWEIZER, John. This artist was a native of Heidelberg, and flourished about the year 1660. He was but an indifferent engraver, and worked principally, if not entirely, for the publishers of books. Among other prints by him, we have a por- trait of William Balthazar Freuhers, after Schik, and he engraved the frontispiece and plates for a work entitled Parnassus Seidelbergensis, omnium il- lustrissimce hujus academiee professorum icones exhi- bens, some of which are from his own designs j [and also some animals after J. H. Boos, perhaps copied from prints by that master. Schweizer died in 1679.] SCHYNDAL, or SCHENDEL, Bernard. This painter was born at Haerlem in 1659, and was a scholar of Hendrick Mommers. He painted assem- blies of peasants regaling, fairs, merry-makings, and the interiors of Dutch kitchens, in the style of John Molenaer. He treated those subjects with consider- able humour, and his pictures are ingeniously com- posed, though greatly inferior to the admirable pro- ductions of Brauwer or Ostade. He died in 1/16. [Others place his birth in 1634, and his death in 1693.] SCHYNVOET, J., a Dutch engraver, who re- sided in London about the year 1700. He engraved some plates of bird's-eye views xif gentlemen's seats, from his own designs, which are executed in a style resembling that of John Kip. [He is called Jacob, 721 scia] A DICTIONARY OP [scot but very little seems to be known of him ; it is sup- posed that he operated as late as 1727. There are prints of gardens and other subjects by him after Simoh SchynvoetJ] SCIARPELLONI. See Ceedi. SCILLA, or SILLA, Agostino. According to Hackert, this artist was born at Messina in 1629, and was a scholar of Antonio Ricci, called II Bar- balunga. He discovered an early genius for paint- ing, and had a competent knowledge of history and poetry. Such was the promise he evinced of excel- ling in the art, that Barbalunga prevailed on the senate to settle a pension on him, to enable him to pursue his studies at Rome, where he frequented the school of Andrea Sacchi. After a residence of four years at Rome, he returned to Messina, rich in de- signs he had made after Raffaelle and the antique. He was a reputable painter of history, and had established an academy at Messina, which was much frequented until the stormy revolution which took place in Sicily, in 1674, obliged him to fly from Messina, and he returned to Rome, where he died in 1700. There are several of his fresco works in the churches of S. Domenico, and the Nunziata de Teatini, at Messina ; and in S. Orsola, an oil pic- ture, representing the Death of S. Ilarione, which is much admired. [He particularly excelled in paint- ing the heads of old men ; and the landscapes, figures, and animals in his historical pictures are all surprisingly true to nature. In some of his works he was assisted by his brother Giacinto, a good art- ist, who lived till about 1711. Agostino had a son, Saverio, who was also a painter, but he did not sup- port the reputation of his father or his uncle.] SCOLARI, Giuseppe. This artist was a native of Vicenza, and flourished about the year 1580. He was a disciple of Giovanni Batista Maganza. He painted history both in oil and in fresco ; and there are many of his works in the churches at Vi- cenza, Verona, and Venice, which are favourably mentioned by Zanetti. According to Papillon, he executed several cuts in wood, which, though rudely executed, evince the hand of the master; among which are the following : The Entombing of Christ. The Dead Christ, with the Virgin Mary. St. Jerome holding a Crucifix. The Rape of Proserpine. [The accounts of this artist, as far as regards the engravings on wood, is not to be implicitly re- lied on.] SCOPPA, Orazio, an Italian engraver, who flourished at Naples about the year 1642, and was probably a goldsmith. He engraved a set of fifteen plates of designs for chalices, crosiers, and other ecclesiastical ornaments. They are etched in a spirited style. [SCORODOMOPF, Gawril, or Gabriel, a de- signer and engraver, was bom at Petersburg about 1/48, but came to England when young arid studied under Bartolozzi, whose manner he imitated. It is said he was the first Russian that obtained reputa- tion as an engraver. He flourished at London from 1775 to 1782, and engraved after Sir J. Reynolds, West, Hamilton, and Angelica Kaufiman, and some compositions of his own. He also engraved por- traits of the Empress Catherine II., the Grand Duke of Russia, and other princes of that country, after F. Roeotoff, probably after his return to Peters- burg, where he died in 1792. His prints after An- gelica Kauffinan, and those of the imperial family, are considered his best.] 722 SCORZA, SiNiBALDO. According to Soprani, this artist was born at Voltaggio, a small town in the Genoese state, in 1589, and was a scholar of Giovanni Batista Paggi. He excelled in painting landscapes, which he decorated with groups of figures and animals, tastefully composed, and touch- ed with spirit. " It would be difl[icult," says Lanzi, " to find in Italy a pencil which ingrafted so suc- cessfully the neatness of the Flemish execution with the taste of the Italians." He also painted easel pictures of sacred and fabulous subjects, which are found in the choicest private collections. He died in 1631. [He copied so accurately with the pen some of Albert Durer's prints, that many of the best judges in Italy were deceived hy them, and supposed they were the original engravings.] SCOTIN, Gerard, the elder, a French en- graver, born at Gonesse, near Paris, in 1642. He was a pupil of Francis Poilly the elder, whose style he imitated, though very inferior to him. Among others, we have the following prints by him : The Marriage of St. Catherine ; after Alex. Veronese. The Communion of the Magdalene ; after Domeniehino. The Circumcision ; after P. Mignard. The Baptism of Christ ; oi'ter the same. The Presentation in the Temple ; after C. Le Brun. The Country Life ; after Dom. Feti. [He died in 1718.] SCOTIN, Gerard, the younger, was the. ne- phew of the preceding artist, born at Paris in 1690, and was instructed in design and engraving by his uncle. He came to England, and resided some years in London, where he was chiefly employed for the booksellers. In 1745 he engraved, in con- junction with Baron and Ravenet, the six plates of the Marriage h. la Mode, after Hogarth. We have, among others, the following prints by him : The Birth of Adonis ; after Boucher. Notre Dame des Victoires ; after the same. Belisarius; after the supposed picture by Vandyck, at Chiswick. Vortigem and Rowena; after Blacheney. Alfred receiving the account of the defeat of the Danes ; after the same. [Nagler calls this engraver Louis Gerard, but does not quote any signature as authority.] [SCOTIN, Jean Baptiste, said to be the son of the elder Gerard, flourished at Paris in the first half of the 18th century. He engraved after H. Rigaud, Boucher, Watteau, Lancret, Pater, and other French painters. Some of his prints are dated as early as 1710, and that of the Column of Versailles, /. B. Scotin, I'aine sc] SCOTIN, J. B. The name of a very indifferent artist, afiixed to some anatomical prints in Boudon's Anatomy, published at Paris in 1734. [SCOTT, John, a very eminent engraver of ani- mals, particularly of horses and dogs, was born at Newcastle, where he served his apprenticeship to a tallow-chandler. At the expiration of his time his love for art induced him to visit London, and his friend Pollard, a Newcastle man, kindly gave him lessons in the elements of drawing and engraving. Pollard, it seems, was the only master to whom he was under any obligation for instruction, till the ability he displayed in his art introduced him to the notice of some of the painters of the time, especially those who were engaged in publishing extensive works. His name mil be found in publications by Tresham and Ottley, Britton's Cathedral Antiqui- ties, WestaU's Illustrations of the Book of Common Prayer, Physiognomical Portraits, &c. ; but it is in the " Sportsman's Cabinet," and a " Series of Horses scot] PAINTERS AND ENGRAVERS. [SCRE and Dogs," that he excels, as an engraver of ani- mals, all the English artists that had preceded him. Some of his detached pieces are of great excellence; particularly Breaking Cover, afier Philip Rdnagle ; the Death of the Fox, after Sawrey Gilpin ; War- wick, a famous racer, after Abraham Cooper ; and some landscapes with animals, or figures, c^er Wee- nix, Gainsborough, CallcoU, and others. He died in 1828, at the age of 54.] SCOTT, Samuel, an eminent English painter of views and sea-pieces, who resided in London from ahout the year 1725 till his death. Of this inge- nious artist, Lord Orford speaks in the following terms : " If he was but second to Vandevelde in sea-pieces, he excelled him in variety, and often introduced buildings into his pictures with con- sunmiate skill. His views of London Bridge, the .Quay at the Custom-house, &c., were equal to his marines, and his figures were judiciously chosen and adniirably painted; nor were his washed draw- ings unequal to his finished pictures." He died of the gout in 1772. [Scott was an excellent painter in his style, and his pictures are deserving of more attention than has been bestowed onthem ; but no comparison can be instituted between his works and those of W. Vandevelde.] [SCOTTO, Felice, flourished at the end of the 15th century. He is reckoned among the Milanese painters, but was probably of some other school, his manner of designing 'being more tasteful, and his colouring clearer, than theirs in general. He painted many pictures at Como for private individuals, and at S. Croce several in fresco relating to the life of S. Bernardo. His genius was varied and expressive, and his pictures display judgment in the composi- tion ; he was one of the best artists of the period in those parts of Italy.] [SCfOTTO, or SCOTTI, Francesco, an Italian engraver, was born at Venice about 1760, and was a scholar of Vangelisti. He is kno\\'n by several well-executed portraits and historical subjects. His fac similes of original drawings by celebrated mas- ters, especially those by Raphael, are particularly fine. These, with others by Rosaspina, form the splendid work published by the Abate Celotti under the title " Desegni originali di Rafiaello per la pri- ma volta publicata, esistenti nella Imp. Academia di Belle Arti di Venetia," 1829, folio. The painter Bossi intended to have published this work, as he -was the earlier possessor of the di-awings made by ,Scotto, but died before he could accomplish his pur- pose. After his death Abate Celotti bought the drawings and plates, and published them as above mentioned. Among other important works, there is an engraving by F. Scotto of Leonardo da Vinci's celebrated picture of Modesty and Vanity. His de- cease is not reported.] [SCOTTO, or SCOTTI, Gieolamo, bom in 1780, was educated in the school of Longhi, at Mi- lan. He was one of the earlier pupils of this master, and ranks among the best of them, as may be seen in his plates, which exhibit much of the new and improved style of engraving. The following are worthy of notice : The Virgin in the Clouds, with the Child in her arms, after Raphael. Madonna di Foligno, (the Virgin and Child only,) after the same. Mater pulchrae dileotionis, after a picture h^ Raphael, discovered at Genoa in 1823. Madonna with the Child in her lap, the young St. John, and another little Boy, &om a picture by Raphael, in the possession of the Duke of Terranuova. 3 A 2 Mary Magdalene anointing the feet of Chi'ist, after P. Veronese. The healing of the Children by virtue of the garments of St. Philip, after A. del Sarto. This print is dedicated to Charles Albert, King of Sardinia, 1834. It is not stated whether this artist be still living.] [SCOTTO, Stefano, a Milanese painter, who flourished at the latter part of the 15th and com- mencement of the 16th centuries. He was an ad- mirable painter of arabesques, and had the honour of being the master of Gaudenzio Ferrari.] [SCRETA, Charles, or Karl, an historical and portrait jpainter, was born of a noble family at Prague in 1604. He showed an early disposition for the arts, and commenced the study of them, but the distractions of war obliged him to leave his father-land, and betake himself to Italy. For se- veral years he resided at Venice, Bologna, and Flo- rence ; in 1634 he accompanied his friend, WiUiam Bauer, to Rome. There he studied the antique and the works of the masters of the 16th century with great diligence. , He also frequented the schools of the principal contemporary masters, and studied their diflferent manners. By his talents and appli- cation he obtained high reputation in Italy, and was even admitted as professor in the Academy at Bo- logna. On his return to his native country the emperor Ferdinand III. and the nobility honoured him with many commissions. In 1644 he became a member of the Academy at Prague, and in 1652 the principal of the institution. The Emperor Fer- dinand confirmed the title of his family to nobility, and he spent the remainder of his life admired and honoured. He died in 1674. His works in history, allegory, and portraiture are rather numerous ; many of them have been engraved. Several of them may be ranked among the best productions of his time. They exhibit a successful study of the antique and of nature; an observance of symmetry, decorum, and dignity in the characters. But with all his acquirements he belongs to the class of the Eclec- tics, and his works have not had any important in- fluence on the art. It would, however, be interest- ing to trace his many imitations of the styles of the great masters of the ItaUan, Spanish, and Flemish schools, particularly in single half-length or three- quarter figures, some of which are perfect decep- tions. They are not copies, and many a supposed connoisseur has been puzzled to decide respecting the master, or has decided erroneously. His imitations of Guido, Domenichino, Lanfranco, the Caracci, MuriUo, and Rubens, are particularly deceptive; he was less successful, though by no means indif- ferent, in his attempts at Raphael, Titian, and Paul Veronese. His pictures are to be found at Prag^ue, Salzburg,Dresden, and Schleissheim, in the churches, palaces, and private collections. There are some in England, of which the possessors are not at present aware. His subjects are taken from sacred history, or legends of the Saints ; of the latter he delighted to pamt imaginary portraits, and such is their sbrong resemblance to nature that no doubt he had Uving models. It is recorded that he painted his own portrait twice under that guise ; once in the charac- ter of St. Giles, in the church of St. Martin, and again as St. Luke painting the Virgin, in the church of St. Mary, at Prague. One of his portraits in the Gallery at Prague has been particularly admired ; it represents a lapidary and glass-cutter in his work- shop. He engraved a large philosophical thesis on two plates, which was pubUshed with the title " Philosopbia Universa in Universitati Pragensi ;" 723 SCRl] A DICTIONARY OF [SEOE it is an allegory formed of busts and statues of members of the house of Lobkowitz : signed Car. Scretafec. 1666.] [SCBIVEN, Edward, an elegant engraver in the chalk and dotted manner, was bom in 1775, and died .in 1841. He engraved chiefly for print- publishers and booksellers, and his works have a strong resemblance to the school of Bartolozzi. A refined taste pervades all his productions, which are too numerous to give an account of in detail. Some' of them are in " Specimens of ancient Sculpture," pubhshed by the society of Dilettanti, in Dibdin's Aedes Althoipianae, in Tresham's Gallery of Pic- tures, and other expensive publications. He en- graved the Studies of Heads from Benjamin West's large picture of Christ rejected; many detached plates for Boydell and other publishers, of the pic- tures of EngUsh artists ; a series of portraits, chiefly after Peter Lely, of the ladies commemorated by Hamilton in Memoirs de Grammont ; and most of the respectable periodicals of the day were embel- lished by portraits from his graver. It is not. ex- aggerated praise to say, whatever pictm-e he en- graved, whether an historical composition or a portrait, it was improved in the translation.] SEAMER. This artist is mentioned by Mr. Strutt as the engraver of a slight etching, repre- senting a man on horseback giving his purse to a country girl, who has got a basket of eggs upon her arm. Ix&cnbed. M. Seamer, Jun. fedt. 1734. SEBASTIANO, Era; See Piombo. [SEBILLE, Gysbert, a Dutch painter, of whom little is known, except that he lived in the middle of the 17th century. He painted the Judgment of Solomon for the Town-house of Weesp, of which place he was a burgomaster. There are other pic- tures by him in that building, among which is an assembly of the magistrates in 1652.] SECANO, Geronimo, a Spanish painter, born at Saragossa in 1638. After learning the rudiments of the art in his native city, from an obscure artist, he visited Madrid, where he studied with assiduity the works of the great masters in the royal collec- tion, and returned to Saragossa an able designer. Of his works in the public edifices in that city. Palomino particularly notices his frescoes in the cupola of .the chapel of San Miguel, and some oil pictures in the S. Pablo. He died in 1710. [For the last twenty years of his Ufe he practised as a sculptor as well as painter, but his works in this de- partment are little Known.] SECCANTE, Sebastiano. This painter was a native of Udine, and flourished about the year 1576. He was a disciple of Pomponio Amalteo, and was a respectable painter of history and portraits. In the church of S. Giorgio, at Udine, is an altar-piece by this master, representing Christ bearing his Cross, with angels holding the instruments of the Passion, which is spoken of by Lanzi in very favourable terms. [He married the daughter of Pomponio Amalteo, and is pronoimced the last good painter of his school. There were others of the same name and family, who lived about the same period, but produced nothing worthy of record.] SECCHIARI, GiULio. This painter was a nar tive of Modena, but was educated at Bologna, in the school of the Caracci. He afterwards visited Rome, where he gained considerable reputation. The Duke of Mantua invited him to his court, for whom he painted several pictures, which were de- stroyed or carried away at the sacking of that city, in 1630. There are some of his works in the 724 churches at Modena, which are commended by Tiraboschi, particularly an altar-piece in the cathe- dral, representing the Death of the Virgin. He died in 1631. [SECU, or SEEUW, Martin de, born at Ro- merswalen in 1520, was a scholar of Francis Floris, and a good historical painter. His style of painting is free and delicate, and not deficient in grace, but there appears to be too much of haste and inac- curacy in his drawing. His principal pictures are at Middelbourg, where he died in 1574.] SEDELMAYER, Jeremiah James. Baron Heineken mentions this artist as a painter and en- graver. He executed some plates of views of the Imperial Library at Vienna, from his own designs ; published in 1737. [He was born in 1704, and died in 1761. He engraved many other subjects, por- traits and history, but none of general importance. Nagler gives a list of them.] SE6AERS. The name of this artist is afiixed to a portrait of Godef. Chodkiewie, of Russia. SEGALA, Giovanni. According to Zanetti, this artist was born at Venice in 1663. He was a scholar of Antonio Zanchi, and painted history with con- siderable reputation. That writer highly commends a picture by this master, representing the Concep- tion, in the Scuola della Carita, at Venice, which he asserts may compete with the ablest artists of his time. He died in 1720. [SEGARRA, Jayme, a Spanish painter, who flourished about the year 1 530, as appears by his having painted the principal altar-piece of the an- cient hermitage of Notre Dame de Belen, now the Misericordia, in that year. This work represented various passages in the life of the Virgin, and was executed to the satisfaction of the brotherhood, but since the renovation of the hermitage, the pictures by Segarra have been removed, and kept in a chamber of the building, as specimens of the art in his time, their places being supplied with others by Fray Juncosa.] SEGERS, or SEGHERS, Gerard. This emi- nent painter was born at Antwerp in 1589. He was first a scholar of Henry van Balen, but afterwards entered the school of Abraham Janssens, and had made considerable progress in the art when he went to Italy. On his arrival at Rome, he attached him- self particularly to the vigorous style of Michael Angelo Caravaggio, and became a disciple of Baito- lommeo Manfredi, who had studied under that mas- ter. To the striking opposition of light and shadow, and the broad relief of Cairavaggio, he added a rich-, ness of colour, which is almost general in the paint- ers of his country, and his pictures, though exhibit- ing a violence of contrast, which is not authorized by a legitimate observance of nature, eclipsed, in point of efiect, every thing that was placed near them. He had acquired considerable celebrity by his productions of that description, when he was in- vited by Cardinal Zapara, the Spanish ambassador at Rome, to accompany him to the court of Madrid. He presented him to the king, who received him in the most favourable manner, and engaged him in his service, with a considerable pension. He paint- ed several historical subjects, and musical convers- ations, which were greatly admired, and after pass- ing some years at Madrid, the desire of revisiting his native country, where the reputation he had ac- quired, both in Italy and Spam, rendered his fel- low-citizens impatient to possess his works, induced him to rejjuest permission to return to Flander^. On his arrival at Antwerp, he painted some pictures seoe] PAINTERS AND ENGRAVERS, [SEGO for the churches in imitation of the style of Cara- vaggio, which were not so favourably received by the public as he expected. The clear and splendid colouring of Rubens and Vandyck had at that time obtained possession of the public estimation, and he was under the necessity of adopting a system more tender and agreeable than that which he had hither- to followed as his model. The facility with which he effected this change in his manner, proves the flexibility of his powers, and some of his latter pic- tures may be ranked among the estimable pro- ductions of the Flemish school. It was at this pe- riod that he painted his celebrated picture of the Elevation of the Cross, for the church of the Jesuits at Antwerp ; the Adoration of the Magi, for the cathedral, which is admirably engraved by Vorster- mans ; and Peter denying Christ, of which we have a fine print by Bolswert. His most esteemed pro- duction is his picture of the Marriage of the Virgin, the principal altar-piece in the church of the Car- melites at Antwerp. The compositions of Gerard Segers are judicious- ly arranged, and his design is more correct than that of me generality of his countrymen. He was well acquainted with the principles of the chiaro- scuro, though usually too abrupt in the opposition of his Ught and shadow, and his colouring is more vigorous than chaste. It is asserted by d'Argen- viUe, and after him by Descamps, that Segers visit- ed England ; but this rests on no other authority, nor is he mentioned in the Anecdotes. Vandyck painted his portrait, at Antwerp, among the emi- nent artists of his country, which is engraved by Pontius. He died in 1 65 1. SEGERS, or SEGHERS, Daniel, was the younger brother of the preceding artist, bom at Ant- werp in 1590. His taste leading him to design flowers and fruit, he became a disciple of John Breughel, who at that time painted those subjects, which he afterwards changed for landscapes. He had made considerable progress in that branch of the art, when he entered the society of the Jesuits, at the age of sixteen, and abandoned painting dur- ing his noviciate. When the term of his probation was expired, he obtained permission of his superiors to visit Rome, where his brother had at that time distinguished himself. During his residence in that city, he designed every curious plant, flower, or in- sect that he met with, and returned to Flanders with a rich assemblage of drawings of those objects. The ability he afterwards displayed, proved that a sojomTi in the metropoUs of art is beneficial to every painter, whatever may be the department to which he particularly devotes himself. Segers cultivated himself the flowers which served him for models, and he gave to his imitations the beauty, brilliancy, and variety with which nature had clothed the ori- ginals. He accompanied them with insects and butterflies, designed and finished with a verity and precision, which seemed to dispute with reality. His talents were not without advantage to the reli- gious body into which he was incorporated. Many of the princes of Europe were desirous of possessing . his works, to whom they were sent as presents, whilst his convent profited by the valuable testi- monies of acknowledgment which were received in return. The Prince of Orange deputed Thomas WUleborts Boschaert, his principal painter, to visit Segers, and to endeavour to procure a picture by him, on which occasion he pamted one of his most capital works, which was presented to that prince in the name of the society, who were munificently recompensed for the picture. He frequently paint- ed garlands and borders of flowers, in which the in- terior space was enriched by historical subjects, which Rubens did not disdain occasionally to exe- cute. He died at Antwerp in 1660. SEGERS, Hercules, a Dutch painter of land- scapes and animals, who resided at 5ie Hague about the year 1650. He was a contemporary of Paul Potter, whose style he imitated, and after the pre- mature death of that celebrated artist, his pictures were held in considerable estimation. His land- scapes exhibit very agreeable scenery, and his cattle are correctly drawn, and touched with spirit. [Hercules Segers, Se^hers, or Zeghers, was bom, according to Balkema, in 1625, and died in 1679; others say he was born in 1629, and died in 1675. Whichever may be the correct dates, he was an art- ist of great ability, and it is surprising that his pic- tures are so rarely recognised. It is said that he imitated the style of Paul Potter ; this is not cor- rect ; nature weis the model both imitated. Zeghers was equal to his contemporary in the representation of cattle, though with less of laboured finish, and far superior to him as a painter of landscape. In the latter his scenery is extensive and varied, and the play of light and shadow, according to the divi- sions, is scientifically true. Like Jacob Ruisdael and Philip de Koningh, he made a flat country in- teresting by his artistic management. It may be suspected that Rembrandt was his director in the study of nature, so much is there of that master's skilful method in the colouring and chiaro-scuro of Zeghers. That he was a favourite with Rembrandt may be gathered from finding no less than six of his landscapes in the inventory of that master's effects, taken under a law process in 1656. It is said that he invented a method of engraving and printing landscapes in colours on cloth ; and also that in 1660 he practised engraving in what is now called the aquatint manner ; if so, it deprives Le Prince of the honour of being the inventor. In the British Museum there are nineteen prints from etchings by this artist, and six variations, or dupli- cates, making twenty-five in all. Most of these show expansive grandeur of landscape, both cham- paign and mountainous, with rocky precipices and trees that have sustained the shock of maiiy a storm; others,mefely aflat country stretching farinto the horizon, like the bird's-eye views of Rembrandt, Ruisdael, and De Koningh. In the executioti they are free to coarseness, and the appearance is alto- gether peculiar. One piece in particular seems to have been impressed by a wood block, or an iron Elate ; the objects are palpable, and a tinted wash as been passed over it. Perhaps this was an ex- periment of the process alluded to above, of print- ing pictures in colours on cloth, and such a proce- dure might also give rise to the supposition that he was the inventor of aquatint engraving. One of the etchings has been adopted by Anthony Water- loo, who has added some foliage to the trees in the composition; it appears among his works. It is apprehended that an impartial examination and comparison of some sketches attributed to Rem- brandt with these etchings by Zeghers, would shake the faith of the possessors of the former, without detracting from the artistic value of the work. In the Bibhothlque at Paris there are three etchings by him, of which there are not impressions in the British Museum ; they were purchased at the sale of W. Y. Ottley's collection in 1837.] [SEGOVIA, Juan de, a Spanish marine paint- 725 SEGO] A DICTIONARY OF [semi er, who resided at Madrid in the middle of the seventeenth century. He painted with facility, and in a graceful manner, and in the representation of his subjects left nothing to be desired but a little more correctness in the figures ; all the rest exhibit- ed talent and truth. His pictures were held in great estimation by the amateurs of Madrid.] [SEGURA, Antonio de, a painter and architect employed by Philip II. in 1580 to paint an altar- piece for the monastery of St. Yuste, and for that purpose to copy the celebrated picture of Titian known as the Apotheosis of Charles V., or the Glory of Titian. Though he was doubtless employed on many other works of a similar kind, this only is particularized. He died at Madrid in 1605, and Philip III. settled a pension on his widow.] [SEILLER, John George, of Schaffhausen, a mezzotinto engraver, lived at the end of the sixteenth and commencement of the seventeenth centuries. His principal plates are portraits, and are rather to be considered with regard to the time than the me- rit of their execution, with a few exceptions. La- borde has specified several, of which the following have his approbation : The Emperor Joseph I. G'est un bon travail. J. H. Heidegger. Assez ielle planche. A Monk attempting to kiss a Girl. Trh bon travail. The Empress Eleonora. Bonne execution. The engraver Kilian. Belle planche. His plates are inscribed J. G. Seiller, fecit, or J. Oeorg Seiller fecit et ex., and sometimes Jbh. Georg Seiller scaffusianus fecit.'] SEIS, P. P. A. Robert de. We have by this artist a slight but masterly etching, executed in the style of Rembrandt, representing Lot andhisDaugh- ters. It is inscribed with his name, to which is added the word fecit, from which we may conclude that it is tengraved from a design of his own. [This is the same as Paul Pontius Anthony Robert de Seri. See that article.] SELMA, Fernando, a modem Spanish en- graver, now resident at Madrid. He is said to have been a pupil of Emanuel Salvador Carmona, and has engraved some plates in the style of that artist, among which are the following : La Madonna del Pesce ; after the picture by Raffaelle, in the Escurial. Fernando Selma, sc. 1782. The Virgin and Child ; after another picture hyRaffaelle. [Fernando Selma was bom at "Valencia in 1750, and died in 1810. He is among the best of the Spanish engravers. His later manner resembles more that of Edelinck than of his master, Carmona. He engraved the portraits of Cortes and Soils, pre- fixed to the quarto edition of " Historia de la Con- quista de Mexico," published at Madrid in 1783, and afterwards engraved the plates for the " Maritime Atlas of Spain," which occupied him several years. He also engraved a portrait of Charles V. after Ti- tian, Magellan the navigator, and various others ; but one of his best plates is the Spasimo of Raphael. He was a man of considerable acquirements, and cultivated the two opposites, mathematics and poe- try, in addition to the arts.] SEMENTI, or SEMENZA, Giacomo. This painter was born at Bologna in 1580, and was a fellow-student with Francesco Gessi, first under Denys Calvart, and afterwards under Guido Reni. According to Malvasia, he was one of the most suc- cessful followers of the style of Guido, and painted several pictures, for the churches at Bologna, which have been sometimes mistaken for the works of that 726 master. Such are his pictures of the Martyrdom of S. CeciUa, in the church of S. Elena ; the Man-iage of S. Catherine, in S. Francesco; and the Cruci- fixion, in S. Gregorio. According to Baglione, he visited Rome in the pontificate of Urban VIII., and was favoured with the protection of Cardinal Prince Maurice, of Sa- voy, for whom he executed several considerable works. There are some fresco paintings by this master in S. Carlo a Catinari ; and in S. Maria d'Araceli, in the Capella Cavalieri, is an altar-piece painted in oil, representing the Virgin and infant Christ, with S. Gregory and St. Francis. He died at Rome, in the prime of life. SEMINI, Antonio-. According to Soprani, this painter was born at Genoa about the year 1485, and was a disciple of Lodovico Brea. He afterwards studied the works of Pietro Perugino, and was a successful follower of his style. His picture of the Nativity, in the church of S. Domenico, at Savona, has been compared to the best productions of that master, and even to some of the juvenile works of Raffaelle. He was living in 1547. SEMINI, Andrea, was the elder son of the pre- ceding artist, born at Genoa in 1510, and was first instmcted in the art by his father. He afterwards studied under Perino del Vaga, who had takeii refuge at Genoa in 1528, after the sacking of Rome. By the advice of his instructor he went to Rome, to contemplate the works of Raffaelle and the beauties of antiquity. After a residence of eight years in that capital he returned to Genoa, where he was engaged in several works for the churches and pub- lic edifices, of which the most esteemed were a pic- ture of the Nativity, in the church of S. Francesco ; and the Adoration of the Magi, in La Nunziata. In thes.e, as well as his other productions, he is a faith- ful follower of the style of Raffaelle, though not always sufficiently correct in his design. According to Baldinucci, he painted portraits with great suc- cess. He died in 1578. SEMINI, Ottavio. This artist was the younger son of Antonio Semini, and was born at Genoa about the year 1515. He learned the rudiments of design from his father, and was, when very young, placed under the tuition of Perino del Vaga, with whom his elder brother was a student. Possessed of a more lively genius than Andrea, his progress was uncommon, and in a short time he was suf- ficiently advanced to accompany his brother to Rome, for the completion of his studies. The works of Raifaelle were the particular objects of his ad- miration, and he copied with great attention the antique bas-reliefs of the Colonna Trajana. He re- turned with his brother to Genoa, and, in conjunc- tioh with him, executed several considerable works. He decorated the fa9ade of the Palazzo Doria with statufs and architecture, designed in the finest taste; and painted some frescoes in the interior, particularly the Rape of the Sabines, so much in the style of Raffaelle, that Soprani reports that it was mistaken by Giulio Cesare Procaccini for a work of that master. He was invited to Milan, where he passed the latter part of his life, and executed some of his principal works. In the church 6f S, Angelo he decorated the chapel of S. Girolamo with several subjects, one of which is particularly admired, re- presenting the obsequies of that Saint. He died at Milan in 1604. [SEMITECOLO, Niccolo, a Venetian painter of the fourteenth century. His name is written on \ a picture which represents the Virgin, with some SEMP] PAINTERS AND ENGRAVERS. [SEPU circumstances relating to St. Sebastian, still pre- served in the Chapter Library of Padua : " Nico- leto Semitecolo da Veniexia impense, 1367." The work is an excellent specimen of the school and time ; the naked parts are tolerably well drawn, and the proportions of the figures are bold and free, though somewhat extravagantly so. It bears no resemblance to the works of Giotto, being inferior in point of design, though equal to that master in regard to colouring.] SEMPELIUS, D. G., a German engraver, who flourished about the year 1580. He copied some of the prints by Albert Durer with great success. Among his best imitations is his copy of the De- scent of Christ into Hell, from the set of plates of the Life of Christ, by that master. It bears the date of the original, 1512, as well as the year in which it was engraved, 1580. SEMOLIE, II. See Franco. [S^feNAVE, Jacob Albert, born at Loo in 1758, was a painter of familiar subjects. His works were formerly more appreciated by foreigners than by his own countrymen ; but since his death they have discovered their merits. He was, however, a mem- ber of several academies and learned societies. He painted a picture representing the atelier, or work- room, of Rembrandt, in which he introduced the portraits of a great number of artists, contempo- raries of that master. This he presented to the academy at Ypres, and was in return made an hon- orary director. In the church of St. Loo is a pic- ture by him of the Seven Works of Mercy. His works are distinguished by purity of drawing, ori- ginality in the composition, and a perfect imitation of nature. He died at Paris in 1829.] [SENEFELDER, Alois, the discoverer, or in- ventor, of the art of lithography, was born at Mu- nich about 1771. His father was a performer at tlie royal theatre of that city. It would be beside the purpose of this work to give a history of the processes adopted and the difficulties encountered by the artist in bringing this mode of multiplying drawings to perfection. Like many other discoveries or inventions, it originated in necessity, and was promoted by accident. He was placed by his fa- ther in the university of Ingolstadt, for the purpose of studying jurisprudence, but his inclination led him rather to the stage and the study of the drama. In neither was he successful. By his first piece, Die Madchenkenner, he cleared fifty florins ; his second did not pay the expenses. By the death of his father his means became straitened, and he could not aflbrd the cost of passing his composi- tions through the press ; he therefore endeavoured to devise some other method of printing them him- self. He tried various experiments in engraving and stereotyping, but failed through want of practi- cal knowledge, and also from the expense of the copper-plates, which he ground and polished after using for one purpose, to make them available for another. To diminish both the difliculties and ex- pense, he made use of a fine piece of Kelheim stone for the exercises of writing backwards, and tried to print from it, bnt without much success. As he was ignorant of the method used by engravers of cover- ing their ground for etching, whereby they are en- abled to correct mistakes and cure defects, he had invented a chemical ink for the pui-pose, consisting of wax, soap, and lamp-black. One day when he had prepared a stone for etching, his mother enter- ed the room and requested him to write a bill for the washerwoman, who was waiting for the linen. He had not even a shp of paper for the purpose, having- used all in taking proof impressions, and even his inkstand was diy. As the matter was urgent, he wrote the list on the prepared stone with the che- mical ink, intending to copy it at leisure. After- wards, when about to clean off the writing, it oc- curred to him that by the application of aquafortis and water he might etch the stone so as to leave the writing in sufficient relief for printing from. The experiment succeeded, and as soon as he had brought this new discovery into a practical form, he applied himself to the means of bringing it into operation. Of the use of the stone as a substitute for copper, Senefelder disclaims the priority ; but his experiments upon it led to the discovery of che- mical lithograjihy, and his perseverance under nu- merous difficulties entitles him to the honour of an original inventor. Etching on stone had been pre- viously practised, but abandoned for the greater fa- cility of copper ; it had, however, never arrived at the state of^ perfection to which it was brought by Senefelder, indeed it was a lost art. With regard to the art itself, Senefelder published an account of it in 1818, which was shortly after translated into French and English, so as to make it generally known throughout Europe. His own practice was confined to his native country, where he soon ini- tiated a number of able scholars, and having ob- tained a tardy patronage, he was appointed to the office of inspector of the royal lithographic estab- lishment, with a handsome salary, and ■with per- mission to exercise his private business also. Being at length arrived at a state of ease and competence, he devoted himself to the perfecting of the art, and hved to witness its acknowledged utility not only with regard to pictorial representations, but to the general business of mankind. Alois Senefelder died at Munich in 1834. For the history of his pro- cesses in the art, the inquirer is referred to the ac- count published by himself in 1809; andfornumer- ous particulars relating to Senefelder and his works, his coadjutors, pupils, and publications, to the very full details in Dr. Nagler's " Kunstler Lexicon."] SENEX, John, an English engraver, who flour- ished about the year 1720. He engraved the plates for the London Almanacks, from the year 1717 to 1727. with the exceptioii of that for the year 1723, which was executed by John Clarke. [SEPP, Jan Christian, born at Amsterdam in 1739, was a painter of insects, which he represented with the greatest accuracy. He published some works on Entomology, in which he was assisted by his son. The principal is, " The Natural History of the Insects of Holland ; " it occupies five or six volumes quarto, and is illustrated with upwards of two hundred and fifty finely coloured plates. Sepp was a member of the society Felix Meritis at Am- sterdam, where he died in 181 1.] [SEPPEZZINO, Francesco, a Genoese histo- rical painter, of whom little is known except that he was born in 1530, and studied under Luca Cam- biasi and Gianbattista Castilh. As an artist he was respectable, but there is no record of any public work by which an opinion may be formed of his abihties. He died in 1579.] SEPTIMUS, Hercules. See Setti. [SEPULVEDA, Mateo Nunez de, a Spanish, painter, who flourished in the middle of the seven- teenth century. In 1640 Philip IV. appointed him painter and gilder of the royal navy of Spain, and of the galleons and other vessels trading to the In- dies, in consideration of his talent as an artist^ 727 SEQU] A DICTIONARY OF [SERI and for his contribution of 500 ducats towards the expenses of the war in which his Majesty was en- gaged. His patent, among other privileges, gave him the sole right of paintmg all and singular the banners and standards, and other works required in the navy. He was to be paid for the same according to the estimate of two competent judges, the one on the part of the king, the other on the part of the painter, and in case of disagreement an umpire was to decide. He commenced this employment at Ca- diz in 1641, and painted two flags for the navy ; the one having the figure of Spain's tutelar Saint, Jago, and the other the Conception of the Virgin; for these he received the sum of 1350 reals. They were painted, as was then the practice, on serge ; were well drawn and coloured, and exhibited con- siderable freedom and intelligence in the art. This is the extent of Bermudez's account of Sepulveda ; others have spoken of him as a good painter in fres- co, but have not referred to any particular work.] i [SEQUEIRA, DoMiNGOS Antonio de, a Por- tuguese historical painter and designer, was born, according to Count Raczinski, about 1760, but Nagler says in 1768. His works are numerous at Lisbon, and embrace a great variety of subjects. It appears that he gave early proofs of artistic talent, and was sent in 1788, under the patronage of the Marquis Marialva, to Rome to complete his studies. He became a scholar of Antonio Cavallucci, and arrived at considerable distinction. After remain- ing some time in Italy he returned to Portugal, and was employed in the churches and palaces, and his smaller works were in great request by amateurs. Sequeira had great facility in designing, and used various methods to give effect to his drawingg. Sometimes he used the pen and Indian ink, some- times crayons, at others he woul^ produce his effects by twisted paper, the end of which he burnt in a candle. He succeeded better in his oil pictures when he painted figures of a small size, than in those of larger dimensions. Some of his subjects are from profane history, some relating to the family of his Eatron, Marialva, but the greater part are of a re- gions cast, in which St. Anthony of Padua comes in for a considerable share. One of these represents that Saint borne up "by angels, and is spoken of in terms of high commendation. In 1823 he went to Paris to exhibit his picture of the Last Moments of the Poet Camoens, which elicited the applause of Gerard, Vernet, and other French painters; after which he went to Rome, and continued to paint with all the vigour of his youth. He became ex- ceedingly devout, and his subj ects partook of his deep devotional feelings ; one, a Descent from the Cross, has been engraved, and is considered to be a work of great merit. The versatility of his talent has been the cause of some embarrassment in judging of the authenticity of several pictures attributed to him.] SEQUENOT, L. This artist was probably a native of France, and flourished about the year 1671. He engraved some frontispieces and other book-plates, which are executed in a poor style. [SERAFIN, Pedro, surnamed el Griego, a Span- ish painter who resided at Barcelona. In conjunc- tion with Pedro Pablo, another painter of that city, he painted the doors of the organ of the cathedral of Tarragona. The composition on the outside re- presented the Annunciation ; those within were the Nativity and the Resurrection. In addition, on a covering for one side of the organ, they painted figures of Faith, Hope, and Charity ; and for the ouier, S.S. Thecla and Catharine. For this work, 728 which gave great satisfaction to the Chapter, the artists were paid three hundred pounds, Catalonian money ; one hundred of which they received during the operation, and the remainder at the completion. There is nothing further recorded respecting Pedro Serafin.] SERAFINI, Sekafino de'. This ancient painter is mentioned by Vedriani, who describes a picture, painted by him,- in the cathedral at Modena, which is inscribed with his name, and dated 1385. It re- presents the crowning of the "Virgin, and is painted in the style of Giotto. [Although there is but little recorded of this art- ist, he was probably of some importance in his time, if we may conclude from the following inscription in a chapel, not named, painted by him : Mille trecento con septanta sei Erano corso gli anni del Signore E'l quarto entrava quando a so honore Questa Capella al nobel fin minei. Et io, che tutta in si la storiei Fni Serafin da Mutina Fittore. As some vinriters have called this artist Sebastiano, it may be as well to quote the inscription on the pic- ture alluded to above : Serq/mus de Serqfinis Pinxit 1385, die Jovis 23 Martii.'] SERENARI, Gaspeeo, was a native of Palermo, and flourished about the year 1750. At an early period of his life he went to Rome, where he fre- quented the school of Sebastiano Conca. On his return to Sicily he distinguished himself as a paint- er of history, both in oil and in fresco. His principal works at Palermo are the cupola of the church del Gesu, and an altar-piece in the church of the mon- astery of La Carita. [SERI, Robert be. See Seis, P. P. A., Ro- bert DE.] SERICCUS, SOYE, or SYTIUS, Philip. Ac- cording to Huber, this artist was a native of Flan- ders. He was a contemporary and disciple of Come- Uus Cort, and resided at Rome about the year 1568. Mr. Strutt has noticed this artist under three differ- ent names, Phihp Sericcus, Phihp Soius, and Philip Syticus, though it is evidently the same engraver. He engraved a set of twenty-eight portraits of the Popes, published at Rome in 1568. We have also the following prints by him : The Angel appearing to Joseph in his dream ; C. Cort, inv. Ph. Soy e, fee. St. Francis receiving the Stigmata ; F. Zticoaro, pinx. Soy e, fee. The Virgin with the infant Christ sleeping ; cifter M. Angela Biionaroti, Philippus Sericcus. 1566. The Crucifixion ; after the same. [It seems to be agreed that the names Serious, Sericeus, Syticus, Sytius, and Soye, all refer to one artist. On the print of the Virgin with the Infant sleeping, after Michael Angeh, the name is written Sericeus ; on the Crucifixion, after the same, it is Syticus ; on an oval portrait of Pope Pius V., the signature is Serious fedt ; others are signed Soye ; all evidently the work of the same hand. Other marks have been attributed to this master ; as P. S. interlaced, and P. S. in a circle, with the dates 1535 and 1538, but it seems without sufficient founda- tion. Zani calls him " the Master of the two Cocks fighting," (II Maestro ai due Galli in atto di com- battere insieme,) but that mark is generally attri- buted to Cornelius Cort and to Jerom.e Cock ; Zani, however, does not apply the appellation to Soye inadvertently, as he was quite aware of that circum- stance, but denies that they used the mark. Soye was probably of French origin. The following SERl] PAINTERS AND ENGRAVERS. [SEBV prints, in addition to those above named, are ascer- tained to be by this master : Adam and Eve in Paradiae ; after P. del Vaga, P. Seri- ims fecit. Juditn wiUi the head of Hojofernes ; after Giulio Clonio, Phil, de Soyef. Adoration of the Shepherds ; after F. Zucearo, Ph. Se- ricusfecit. The Angel appearine to Joseph ; after the same. A Pieta ; after Michael Angela. St. Jerome in a Landscape ; after H. Muziano. There are others which strongly resemble his man- ner, but with less certainty, having only the pub- lisher's address.] [SERIN, Jan, a painter of historical subjects and portraits, was born at Ghent in 1678. Balkema has confounded him with his father, N. Serin, an histo- rical painter of the same place, as he says that Jan Serin was a pupil of Erasmus Quellinus, who, ac- cording to his own account, died in the same year that the younger Serin was born. The elder Serin may have been the scholar of Erasmus Quellinus, and the younger, a scholar of Jan Erasmus, his son. 'A picture in the church of St. Martin at Tournay, St. Martiri dividing his Cloak with a Beg- gar, and several altar-pieces in the churches at Ghent, are attributed to Jan Serin by Balkema, but by others, with equal probability, to his father. The younger Serin was more celebrated as a portrait painter, which profession he exercised at the Hague. In 1748, when ne had reached his seventieth year, he painted the portrait of the Marquis de Fenelon, ambassador at the Hague, and that of the Mar- chioness. There is no reported account of the pre- cise year of his death, or that of his father.] > SERMONETA, Gikolamo Siciolante, called DA. This painter was bom at Sermoneta in 1504, and is generally called Girolamo da Sermoneta. He was one of the ablest disciples of Perino del Vaga, whom he assisted in his works in the Castel S. An- gelo. He was employed by Gregory XIII. in the decorations of the SaJa, Regia in the Vatican, where he painted in fresco the history of Pepin, king of France, after making prisoner Astolfo, king of the Longobardi, giving Ravenna to the church. In his oil pictures he is compared by Lanzi to the disciples of Raffaelle, for the resemblance of his style to the illustrious head of the Roman school. Such are his pictures of the Martyrdpm of S. Lucia, in S. Maria Maggiore; the Transfigfuration, in S. Maria d'Ara^ cell; and the Nativity, in La Pace. His most celebrated work is in the church of S. Bartholomew, at Ancona, representing the Virgin seated on a throne, with a choir of beautiful angels, with S. Bartholomew, St. Paul, and other saints, which is one of the finest works of art in that city. There are few of his works in private collections, except portraits, which he painted in an admirable style. He died in 1550. [There is probably an error in the date of the birth of Siciolante, as he was a dis- ciple of P. del Vaga; and certainly in the date of his death, as he was employed by Gregory XIII., who ascended the papal chair in 1572. The best authorities place Siciolante's death in 1580.] [SERRA, Miguel, was born in Catalonia about the year 1653. At the age of eight years he ab- sconded from his mother's house, on account pro- bably of her ill usage, and her having married a third time. He managed to get to Marseilles, where he obtained some instruction from an indif- ferent painter, and afterwards went to Rome, and remained there for some time, studying with great application the works of the best masters. At the age of seventeen he returned to Marseilles, and painted for the church of the Dominicans in that cit^ an altar-piece, representing St. Peter Martyr, which at once estabhshed his reputation. He was soon fully employed in painting for the churches and for private cabinets, thereby adding riches to his fame. He forwarded a picture to Paris, as a specimen of his talent, for which he was elected a member of the academy, atid appointed painter to the king. Having arrived at great honour and riches, he devoted his wealth to the succour of the poorer citizens of Marseilles during the plague of 1721, and in consequence became a ruined man. However, when the plague ceased, he returned with renewed ardour to his profession, and adopted for his subjects scenes which he had witnessed in that horrible time of public calamity. He painted pic- tures for the convents of St. Claire de Marseilles, for the Madelaine of the same city, and for the Car- melites of Aix en Provence. His easel pictures were also in great request, and, as he painted with great rapidity, are numerous. As a proof of the facility with which he exercised the brush it is re- lated, that being solicited to paint an altar-piece for a church in his neighbourhood, he invited the parties who made the request to stay and dine with him, and leaving them to enjoy a walk in his gar- den, he went and executed the work before the meal was served. He died at Marseilles in ] 728.] SERRES, Dominic. This artist was a native of Auch in Gascony. He came to England about the year 1765, and acquired considerable reputation as a painter of sea-pieces and landscapes. When the Royal Academy was instituted, he was chosen one of the members, and some years afterwards was ap- pointed marine painter to the king. In 1792 he was appointed librarian to the Royal Academy on the resignation of Mr. Wilton, who was apijointed keeper. One of his most considerable productions was a view of Lord Howe's Engagement with the combined Fleets of France and Spain, off Gibraltar, in 1782. Mr. Serres died in 1793. [Dominic Serres was a large contributor to the exhibitions at the Royal Academy for several years after its institu- tion. During the first ten years'he exhibited about forty pictures, all of them of English naval actions. As artistic works" they are of very little value, but are still looked at witii respect for the gallant deeds of which they are mementos. Many of his pictures were engraved by Canot, Mason, Pittler, Vivares, and others, and were popular in their day.] [SERVANDONI, Giovanni Geronimo, a very eminent painter of theatrical scenery and architec- tural decorations, was born at Florence in 1695, and received his instruction in the art firom Paolo Pani- ni. He adhered closely to his master's manner, but the subjects he painted in theatres and other pub- lic buildings, as Well as in mansions of the nobility, permitted a much greater display of poetic imagery, for which he was well qualified by nature and edu- cation. His reputation spread throughout Europe, and the principal theatres of Italy, Prance, Portu- gal, and other kingdoms, received their embellish- ments from his hand. In Paris he was received with enthusiasm, and so much satisfaction did he give to the king and nobility, that he was not only richly rewarded, but received the honour of knight- hood i hence he is called II Cavaliere Servandoni. Excellent, however, as decorative works may be that are intended to please the reigning taste of a nation, and administer to the gratification of the 729 SERW] A DICTIONARY OP [SETL frivolous votaries of fashion, they only charm for a season, and with a change of taste they are ex- punged to make room for some newer fancy. It would, therefore, be difficult perhaps to discover now any public decorative work of Servandoni by which to judge of that talent that so much delighted his contemporaries. In the Louvre there is a pic- ture of ancient ruins by him, painted in the manner of P. Panini. He died at Paris in 1766.] SERWOUTER, Peter, a Flemish engraver, bom at Antwerp about the year 1574. We have by him several plates, executed with the graver, in a neat, clear style, though without much taste. He was a contemporary with John Londerseel, and his style bears some resemblance to the works of that artist, Among other prints by him are the following : A set of twelve Huntings ; after D. Vinckenhooms. The Fall of our first Parents ; after the same. A Dutch Merrymaking ; after the same. Samson killing the Lion ; a/3fer the same, DaTid killing the Bear ; after the same. He marked his plates with a cipher composed of a P. and an S. with a "W. thus, ^. W. - [Peter van Serwouter has had the misfortune to be called by various improper names, such as Perje- couter, Persecouter, Persecuteur, Sevouter, Servatius Haeven, and others equally puzzling. In the article Perjecouter, thp prints marked with the monogram P S interlaced, (Bartsch, No. 34,) and with the dates 1535 and 1538, (Bartsch, P. G. vol. xv. p. 496,) are attributed by Strutt and others to an en- graver of that supposed name. The same mono- gram is applied by them to Peter Serwouter. But the engraver to whom that monogram properly be- longs was an Italian, judging from his style, and flourished forty years before Peter van Serwouter was bom. Nagler does not mention the P S mono- gram, nor the w, as being marks on Serwouter's prints ; his name, P. Serwouter, is on several plain enough, and one has P V S in a monogram. The dates are from 1608 to 1628 ; the last is the date of " Thibault's Academie de I'Epee," for which Ser- wouter engraved several of the plates, published at Brussels in that year.] SESSONE, Francesco. This artist engraved several of the plates for the Antiquities of Hercu- laneum, published at Naples. SESTO, Cesare, sometimes called Cesare Mi- lanese. This painter was a native of Milan, an-d flourished about the year 1500. He is generally re- garded as a disciple of Lionardo da Vinci, and is considered by Lanzi as one of the closest imitators of his style. In the Ambrosiana at Milan, is a head of an old man by this painter, so much in the style of Lionardo, that it is frequently mistaken for a work of that master. On some occasions he appears to have imitated the style of Raffaelle, with whom he was acquainted at Rome. In a picture he painted representing Herodias, he appears to have taken the head from the Fomarina of RaflTaelle; and a Holy Family, in the possession of Cavaliere Giro- lamo Melzi, is evidently composed and painted in imitation of the manner of that great master. He died at Milan in 1524. [It is matter of regret that there are not more au- thentic particulars recorded of Cesare da Sesto. An artist who could approach so closely to the manner of Lionardo da Vinci and of Raphael, as he did on several occasions, was more deserving of attention than many contemporary painters on whom writers of the period have dissertated at considerable length. 730 His name does not appear among those of the dis- ciples of Lionardo da Vinci, though he is generally considered to have been one ; neither can it be said that he studied in the school of Raphael, if it be true that the latter affably expostulated with him, saying, " It seems to me strange, Cesare, that beiiig bound in such strict ties of friendship as we two are, we do not in the least respect each other with our pencils," as if they had been rivals on a sort of equality. :He was intimate too with Baldassare Peruzzi, and they worked together in the castle of Ostia. Lomazzo held him up as a model in design, in attitude, and particularly for the skilful inanner in which he disposed his lights. In his 'celebrated altar-piece for St. Rocco he showed that he did re- spect Raphael with his pencil, and used the privi- lege of a friend by borrowing part of the composi- tion from a picture by him at Foligno. From the Dispute of the Sacrament he likewise borrowed ths figures of St. John the Baptist and St. John the Evangelist. These decorate the upper part of the picture; the lower part is occupied by SS. Cristo- foro and Sebastiano, the latter being remarkable for new and beautiful foreshortening. They bear such a resemblance to the manner of Correggio that they might be easily ascribed to him, but for the name ; such is the softness, union, and brightness of the carnations, and such the beauty of colouring and harmony of the whole painting. This picture used to be closed with two doors, on which were painted the two princes of the apostles, with St. Martin and St. George on horseback; all of which displayed the same maxims, though not equal diligence in the art. At the church of Sarono, situated between, Pavia and Milan, are seen four figures of saints on four narrow pilasters ; the two equestrians above named, and Saints Sebastian and Rocco, to whom especially invocations are made against the plague. These are inscribed Ccesar Magnus, f. 1533, and are generally assigned to Cesare da Sesto ; from which many are inclined to infer that he belonged to the family of the Magni ; but this is doubted by others. Lanzi found such a conformity of ideas in these frescoes and the altar-piece, that he is inclined to believe they are by the same painter, and he is not satisfied with the document which states, that Ce-, sare da Sesto died in 1524 ; nor is Zani, who nei- ther gives the date of his birth nor death, but mere- ly says he operated in 1524. The landscape parts of Cesare's pictures were painted, generally, by his friend Bemazzano, who was very eminent in that department ; and Cesare in return enlivened Ber- nazzano's landscapes with figures, but sometimes with such licence, that what should have been auxi- liary became principal. Cesare da Sesto has lost much of his due reputation by being such an excel- lent adopter of the manners of others ; but it is a compliment to his great skill to have his easel pic- tures attributed to Lionardo and Raphael. In the Ambrosian library at Milan is a youthful head of Christ, in the style of the former ; in the Manfrini gallery at Venice, two Madonnas, in the styles of both ; and in the Museo Borbonico, at Naples, an Adoration of the Kings, the Madonna and Child be- ing in the manner of Lionardo, and the other figures in that of Raphael.] SESTRI. See Travi. SETLEZKY, Balthazar Sigismund, a Ger- man engraver, who floarished about the year 1700, He engraved some portraits and historical prints, as well as omamental subjects, which are et<3ied and, finished with the gi'aver in a stiff, formal style. sett] PAINTERS AND ENGRAVERS. [SEYD [Setlezky was of Polish origin, but born at Augs- oourg in 1695, and died in 1/70. He engraved after Watteau, J. M. Roos, and H. Roos.] SETTI, Ercole, or Septimus, Hercules, an Italian painter and engraver, who flourished about the year 1560. He was a native of Modena, and, according to Lanzi, painted some altar-pieces for the churches in that city, which he sometimes in- scribed Ercole de Setti, and sometimes in Latin, Hercules Septimus. He etched several historical subjects, and some architectural ornaments, which he usually marked with the initials H. S., with the date. [He operated as late as 1593; there are only two etchings by him mentioned j one is after Guido, and the other a terminal figure.] [SEVE, Gilbert de, was born at Paris in 1615. It is not said by whom he was instructed, but he painted portraits, history, and allegory, with con- siderable ability. Several of his woriis were placed in the public galleries at Versailles and Fontaine- bleau ; and portraits by him of distinguished per- sons were engraved by Edelinck, Van Schuppen, Masson, and other eminent French engravers. He died at Paris in 1698.] [SEVE, Pierre de, brother of the preceding, was born at Moulins in 1623. He received instructions in the art from his brother Gilbert, and painted similar subjects. Edelinck engraved a Holy Family by him, and others were engraved by Simoneau, Landry, Gantrel, and Dolival. He died in 1695.] [SEVILLA ROMERO Y ESCALANTE, Juan DE, was born at Granada in 1627. He was first placed with Andres Alonso Argiielles, an indifler- ent painter, who taught him the elements of the art ; but he afterwards became a disciple of Pedro de Moya. From him it is probable that he imbibed the desire to imitate the style of Van Dyck, in which he succeeded. He also copied drawings by Rubens with great assiduity, and, aided by the counsels of Moya, he became an artist of consider- able ability, equal to most of his competitors in Granada, and generally preferred in any public work, although among his rivals was the presumptuous but clever Atanasio Bocanegra. He painted seve- ral pictures for the churches of the Carmelite and Augustine friars, and a large one of the Last Sup- per for the refectory of the Jesuits, and others for the monastery of St. Jerome. He died at Granada in 1695, and was buried in the parish church of St. Miguel. The severity of his character, and his ex- cessive jealousy of his wife, prevented him from re- ceiving any pupils, so he left no successor to con- tinue that style of art which he had so auspiciously introduced, particularly as regarded rich and forci- ble colouring in imitation of the great Flemish masters.] SEVIN, Peter, an obscure artist, who engraved some book-plates in a very indifferent style. Among others is the frontispiece to Tachard's French and Latin Dictionary, from his own design. He lived about the year 1689. [Peter Paul Sevin was a de- signer and painter ; he lived at Lyons, and was pro- bably employed in designing for the booksellers. Some of his works were engraved by Cossin, Gantrel, and Le Moine ; the last engraved his portrait of Madame La VaUiere, and that lady did not sit to very inferior artists.] SET] PEL, J. A. This artist is mentioned by Mr. Strutt as an engraver of portraits, which he frequently drew from the life. They are executed in a neat, though forntel style, with the graver. Among others, is that of John Schilter, [He was born at Strasbourg in 1660, and died there in 1714. He engiaved several plates with the burin so as to produce an effect similar to mezzotint : this perhaps induced him to attempt that manner also, of which he has left a specimen in a View of Strasbourg by Night, which is well executed.] SBUTER, John Gottfried, a German engraver, born at Augsbourg in 1718. He learned the rudi- ments of design from J. E. Ridinger, and was instructed in engraving at Nuremberg by G. M. Preisler. He afterwards went to Italy, and was em- ployed at Florence in engraving part of the plates from the pictures in the collection of the Marquis Gerini. We have also the following prints by him : Abraham sending away Hagar ; after A. Celesti. The Holy Family ; after A. del ^rto. Christ with Marma and Mary ; after L. da Vinci. The Adulteress before Christ ; after G. C. Procaceini. The Marriage at Cana ; after P. Veronese ; in two sheets. The Holy Family reposing in Egypt ; after F. Albano. [Gottfried Seuter, or Saiter, was a very industrious artist, and as he lived to a great age, dying in 1800, his works are rather numerous, particularly after the greatest of the Italian masters. He engraved part of the Florence Galleiy, and also several in that of Sans Souci ; he signed his name O. G. Saiter to his copies of Agostino Caracci's lascivious prints, published at Venice. For a detailed account of his works, which is too long to insert in this work, see Nagler.] [SEYDELMANN, Jacob Crescentius, cele- brated throughout Europe for his admirable draw- ings in sepia, was born at Dresden in 1750. He received his first instruction in art from Bernardo Bellotti, the nephew of Antonio Canaletto, who re- sided for some time in Dresden ; and was further improved by Casanova, who found him one of his most industrious scholars. Subsequently he went to Rome under the patronage of the elector, and formed a friendship with Raphael Mengs, who directed his attention to the treasures of art in that city, of which he made many drawings, both from the antique and the paintings of. the renowned Italian masters. These he finished in sepia in a manner entirely his own, and they were so much admired for their novelty and the beauty of the ex- ecution, that they sold readily at high prices. Many were purchased by English visitors, some by Baron von Riesch, and other noblemen of his country. He also drew the portraits of several persons of dis- tinction, and on his return to his native country he was received with honour, and appointed professor of drawing at the Academy of Dresden. The Aca- demy at Berlin sent him a diploma, and he was elected a member of several foreign Academies. In 1788 he commenced copying the principal pictures in the Dresden Gallery for the duke of Gotha, among which were the Notte by Correggio, and the Madonna di San Sisto by Raphael; and Titian's celebrated Venus for the Winkler, cabinet. Not- withstanding these distinctions and encouragenients, his love for Italy induced him to visit it again to make copies of several celebrated pictures at Rome and Naples, particularly of some by Raphael, which he executed of the same dimensions as the originals. In 1792 he returned to Dresden, and was employed by the Countess Radczivil to copy sopie of the finest pictures in the gallery to embellish the chapel of her country-seat. Two years afterwards he made another trip to Rome, and executed two large draw- ings after Raphael, and after an absence of eight months returned to superintend the continuation 731 seyd] A DICTIONARY OF [SHAR of the Dresden Gallery, for which he made many drawings for the engi-avers. This work, however, did not occupy the whole of his time ; he found leisure for otner undertakings. In 1804, for the fifth time, he went to Rome to execute a commission for the Count Marcolini. On his return he was commissioned by Alexander, emperor of Russia, to make copies of the Madonna di San Sisto, by Ra- phael; the Notte, and St. George, by Correggio; and several others, of the same size as the originals, for which he was most munificently paid by the emperor. For the Raphael copy he received one thousand ducats. He afterwards was invited to St. Petersburgh to retouch the pictures which had been . slightly injured in their transit, and was commis- sioned by the emperor to make two other drawings of a large size from the Magdalene by Correggio, and the Venus by Guido, in the Dresden Gallery. Besides the copies enumerated, after the highest order of masters, he made many after others of an inferior grade; particularly of Chevalier Vander- werff, in which he imitated the polished manner of that painter to perfection. Seydelmann was the inventor of this delicate style of painting in sepia, and stands hitherto unrivalled in it. E. G. Kriiger engraved an allegoiy representing the Genius of Truth, which Seydelmann designed for the Free- masons' Lodge at Dresden, and twelve other plates of antique heads ; and there are several portraits engraved after him by other masters. There is an etching by Seydelmann, after J. F. Bloemen, of a figure bathing in a cavern. His high reputation continued till the time of his death, which occurred at Dresden in 1829, and his works are likely to be long admired by the lovers of the elaborate and deli- cate in artj [SEYDELMANN, Apollonia, of the family de Forgue, wife of J. C. Seydelmann, was born at Venice in 1767. It is probable that she was in- structed by her husband, as she practised the same style of art, and obtained a great reputation for her small copies in sepia of the works of Raphael, Cor- reggio, Guido, Cantarini, Cignani, Domenichino, Carlo Dolci, and others. She also excelled in mi- niature painting. In 1789 she accompanied her husband to Italy, as electoral pensioner, and assisted in forwarding his larger pieces, a practice which she continued with so mudi ability that no diflFer- ence is discernible. A copy of Raphael's Fornarini, in the Borghese palace at Rome, was entirely exe- cuted by herself in 1823, and some smaller pieces are marked with her name only. For her ments she was admitted a member of the Academy at Dresden.] SEYMOUR, James. This artist was born in London in 1702. It is not known by whom he was instructed, but he was thought superior to Wootton in the design of a horse. He was the only son of a banker, and a great lover of the art, who drew well himself, and lived in habits of intimacy with Sir Peter Lely and the artists of his time. The noble author of the Anecdotes relates the following cir- cumstance of this painter. Charles, the old haughty Duke of Somerset, sent for Seymour to Petworth, to paint a room with portraits of his running horses, and one day at dinner drank to him with a sneer, " Cousin Seymour, your health." The painter re- plied, " My Lord, I really believe that I have the honour of being of your Grace's family." The Duke, offended, rose from table, and sent his steward to pay Seymom* and dismiss him. Another painter of horses was sent for, who, finding himself unworthy to finish Seymour's work, honestly told the Duke so, 732 and humbly recommended to him to recall Seymour. The haughty peer did condescend to summon his cousin once more. Seymour answered the mandate in these words, " My Lord, I will now prove I am of your Grace's family, for I won't come." He died in 1752. SEZENIUS, Valentine, a German engraver, who flourished about the year 1620. He engraved some plates of ornaments, and grotesque subjects, which he usually marked with the initials V. S. [SHARP, William, one of the most celebrated English line engravers, was bom in 1749, at Lon- don. His father was a gunmaker. He was ap- frenticed to a bright engraver of the name of Barak longmate, who was also well skilled in heraldry. At the expiration of his term of apprenticeship he commenced business as a writing engraver ; his first essays when an apprentice having been on publi- cans' pewter pots. His flatterers wished to qualify this assertion by substituting silver tankards, but Sharp insisted on the veracity of this humble com- mencement. There was no degradation in such employment, as it is the initiatory operation of all apprentices of bright engravers ; Hogarth had done the same. One of his first attempts in a superior branch of the art, was to make a drawing of the old lion Hector, who had been an inmate of the Tower of London for thirty years, engrave it on a small quarto plate, and expose the prints for sale in his window. The knowledge of his merit as an en- graver was, however, more diffused by his engrav- ing, after Stothard's designs, several of the plates for the " Novelist's Magazine," published by Harri- son, a work on which Heath, Angus, CoUyer, and other eminent artists, were also employed. He was soon distinguished among his contemporaries, and employed on works of art of the highest order, and proved himself the worthy successor of Woollett, but did not, like him, extend his practice to land- scape, except when it happened to be an accessory to the subject. As proofs of his extraordinary abi- lity, it is only necessary to adduce his prints of the " Doctors of the Church," after Guido, in which he has blended the freedom of Giacomo Frey with the careful practice of Raphael Morghen ; the portrait of " John Hunter,'' after Sir Joshua Heynolds, where- in there is a just discrimination shown in the qua- lity and texture of the several objects ; and " Lear in the Storm," after Benjamin West, which has all the fire and energy that the subject demanded, marked by the strength and application of the lines. His style is always masterly, not servilely borrowed from any of his predecessors or contemporaries, but formed from a judicious selection of the merits of all who excelled. These he combined and blended in a manner peculiarly his own, showing more of the artist and less of the mechanic than any other en- graver of his time. As this work has only to notice William Sharp as an artist, many amusing and cha- racteristic anecdotes of his private life, which may be found in other publications, must be omitted. One or two, however, which relate to the arts, should not be excluded. Sharp was employed, by Macklin the publisher, to engravejhe picture of the " Holy Family," by Sir Joshua Reynolds, (now in the National Gallery,) and produced a plate which, for all the higher qualities of the art, was considered by competent judges to be inimitable. About one hundred proofs were taken from it, and a few im- pressions, when Bartolozzi (it is written with re- gret) undertook, at the st/ficitation of Macklin, to improve it, by nearly obliterating the lines, and con- shah] PAINTERS AND ENGRAVERS. [SHER verting it into a dotted engraving ! Sharp, notwith- standing the honour he conferred on the arts of the country, had not the honour of being admitted a member of the Royal Academy. It is said that it was his own fault ; in other words, he was blamed for not beinga sycophant, and abandoning the cause of Woollett, Strange, Hall, and other eminent en- gravers, who had not been deemed worthy of that distinction. It is related as a fact, that Sharp soli- cited Sir Joshua Reynolds to be allowed to engrave his picture of the " Infant Hercules j" that the pro- posal was favourably entertained by the president, who, in the course of the conversation, offered to nominate him as an associate engraver of the Royal Academy. But Sharp, full of the honour of his own profession, rejected the offer, warmly espousing the cause of those other distinguished engravers, who considered themselves and meir art sli^ted in not being allowed to become Royal Academicians. This independent and generous conduct on the part of Sharp offended the dignity of the president j he was afterwards received coldly, and informed that the picture was engaged by Mr. Boydell. His en- graving of the portrait of the celebrated Kosciusko, after West, relieved him from an unpleasant and, at that time, dangerous predicament. He was sus- pected of entertaining revolutionary principles, ,and was examined before the privy council. At one of these meetings, after being long annoyed by ques- tions which he considered irrelevant, he deUberately pulled out of his pocket a prospectus for subscrib- ing to the portrait, handed it ,to Pitt and Dundas, requesting them to have the goodness to put their names to it as subscribers, and then to give it to the other members of the council to add theirs. The singularity of the proposal, at such a time, set them laughing, and he was soon after hberated. Sharp was by no means qualified to be a conspirator ; he was fond of good cheer, grew corpulent from in- dulging in it, and had the gout. Though an Epicu- rean in his living, he had implicit faith in mystical doctrines ; he believed in the divine mission of the madman Richard Brothers, in the immaculate con- ception of Johanna Southcote, and in the reveries of Emmanuel Swedenborg. J. T. Smith, in his Life of Nollekens, mentions a ludicrous mistake which occurred in the inscription placed by Sharp under the portrait of Richard Brothers. Sharp had written below, as now appears, " Fully believing this to be the man appointed by God, I engrave his likeness. W. Sharp." The writing engraver. Smith says, put the comma after the word " appointed," and omitted it in the subsequent part of the sen- tence. The mistake was not discovered till several impressions had been taken, when it was rectified; but the unrectified impressions are in the greater re- quest. Whether this be true, or only a hoax by Smith to put curious collectors on a false scent, the editor has not been able to ascertain ; there is no such impression in the British Museum. The Im- perial Academy of Vienna, and the Royal Academy of Munich, deemed him worthy of being ranked among their honorary members, and he was elected by both. He died at Chiswick in 1824, and was buried in the same churchyard as Hogarth, and where also repose the remains of De Loutherbourg. The following hst embraces his principal plates : The Doctors of the Church ; after Guido. Ecee Homo ; after the same. Portrait of John Hunter, two plates, one large and one small ; after Sir Joshua Reynolds. The Holy Family, two plates, one large and one small ; after the same. The Witch of Endor ; after B. West. Alfred dividing his Loaf with a Beggar ; after the same. Lear m the Storm ; after the same. The Children ii»the Wood ; after Bemoell. St. Cecilia ; after Domenichino. The Siege of, and Sortie from, Gibraltar : after Trwm- bull. , Some plates in Cook's Voyages ; after Webber. Portrait of Thomas Paine ; after Somney. The Portrait of Mr. Boulton. Sir Francis Burdett ; after Northcote. Sir Waiiam Curtis ; after Lawrence. Charles I., three faces; after VanDyck. The Earl of Arran ; after the same. Boadicea haranguing the Britons ; after Stothard. The three Marys and dead Christ ; after An. Caracci, from the picture at Castle Howard, but left unfinished. The British Museum contains a complete collection of Sharp's engravings, in a variety of states.] SHAW, James. This artist was a native of Wolverhampton, and was placed as a pupil with Mr. Penny. He painted portraits with some re- putation, and towards the latter part of his life re- sided in Charlotte Street, Rathbone Place, where he died, about the year 1784. [SHAW, Joshua, a self-taught artist, was born at Bellingborough in Lincolnshire, in 1776. He was left an orphan at an early age, and his childhood was passed in laborious employment. By some means he got apprenticed to a country sign painter, and when his time expired he set up for himself in the same Une at Mancnester, and married. He now endeavoured to improve himself in other branches of the art, and tried his hand on easel pictures in flower-pieces, still-life, and landscape, chiefly in copying works of the old masters. He came to London and exhibited some of his works, and at^ tracted the attention of the dealers, who found him employment in copying landscapes and cattle by Berchem, Gainsborough, and others in demand, which he executed much to their satisfaction and his own. He essayed original compositions, but was not equally successful. The trade hked his copies better, especially as their customers preferred works by the older masters to those of an unknown painter. The names of Berchem, Both, and Cuyp sounded better than Shaw, and the pictures were really good enough for those who see by their ears. Having for awhile gratified the public taste, he took his departure for America, and, it seems, practised his profession there for some time with success, and probably was at Uberty to paint originals, as our cousins were not sufficiently sophisticated five and thirty years ago, to judge of a picture's merit by the artist's name. Shaw had a turn for mechanics, and made some improvement in gun-locks in America; and it is said that he received a premium from the emperor of Russia for giving him lessons in naval warfare ; how he managed it is not told. Whether he be still living is uncertain, but he deserves a record for his abilities, and perseverance in great difficulties, and considering that his knowledge was self-acquired.] SHEPHERD, Robert. This artist was a native of England, and flourished about the year 1660. He engraved a few portraits, which are very indif- ferently executed. He copied on a smaller scale the battles of Alexander, from the prints which Gerard Audran engraved, after Le Brun, but they do him little credit. SHERLOCK, , was a native of England, and flourished about the year 1760. We have some portraits by him ; among which is that of N. J. Bapt. Cirri. He also engraved several landscapes, after Pillement, and other masters. 733 sher] A DICTIONARY OF [ship SHERWIN, John Keyse, an eminent English engraver, who flourished from about the year 1775 till 1795. On the death of Mr. WooUett he was ap- pointed engraver to the king. The following are his most esteemed plates : PORTRAITS. "Waiiam Pitt, Earl of Chatham. George Nugent GrenTille Temple, Marquis Of Bucking- ham; after Gainsborough. Dr. Louth, Bishop of London ; after Pine. Captain James Cook ; after Dance. Su- Joshua Reynolds ; after a picture by himself. William WooUett, Engraver to the King. Mrs. Siddous, in the character of the Grecian Daughter. SUBJECTS. The Holy Family ; after N. Poussin. Christ bearing his Cross; after the picture in the chapel of Magdalene College, Osrfard. Christ appearing to Magdalene ; at All Souls' College, Oxford. The Holy Family ; after N. Beretoni. The Fortune-teller ; after Reynolds. The Death of Lord Robert Manners ; after Stothard. [John Keyes Sherwin was probably born in Essex, where his father carried on the business of a cutter of wood pins, or bolts, for shipping, a labo- rious employment, in which the son was occupied till he was about sixteen or seventeen years of age. Whether he had an opportunity in any way of learn- ing to draw is not recorded, but being one day sent on business to the house of a gentleman, he saw a miniature 'Ijang on the table, which he eyed with great curiosity. The gentleman perceiving this asked him what he thought of it ; to his surprise young Sherwin replied, he thought he could do something like it if he had the means. Paper was placed be- fore him, and a pencil jiut into his hand, and he was desired to try. So horny had his hands become from the nature of his employment that he could scarcely handle the pencil, but in a short time he succeeded in making a tolerable copy. This excited an interest in his favour, and he was soon after placed under Bartolozzi to learn drawing and en- graving. Under this eminent master he made rapid progress, and in 1772 gained the gold medal at the Royal Academy for a drawing, said to be of Corio- lanus taking leave of his Family. His name is to be found in the exhibition catalogues of the Royal Agademy from 1774 to 1780, as an exhibitor of draw- ings in chalks, some of them copies, some originals ; among the latter is one of the story of Galatea from Ovid, and another described as Leonidas taking leave of his Family, &c. ; this was probably a rifan- mento of the one for which he obtained the prize. One of his drawings attracted much attention ; it was called The Joys of Life, and was executed in red and black chalk with a mixture of colour, in the manner of Bartolozzi. The composition consisted of a beautiful female, and a figure of Bacchus sur- rounded by Cupids strewing flowers. In aU his drawings he appears a skilful draughtsman. It is said that Bartolozzi employed him on a great por- tion of the celebrated print of Clytie, after Annibal Caracci ; a proof, if it be fact, of that master's esti- mate of his talents. In his larger works Sherwin's style of engraving has a greater resemblance to that of Woollett Jhan to that of Bartolozzi. He was not equally successful in his engraving from his own compositions as from those by other masters, though his prints of the Happy Village, and Forsaken Fair, had considerable popularity for a time. One of the best, and perhaps last, The finding of Moses, open 734 as it is to critical censure, deserves to' be recorded. In this composition the beautiful Duchess of Devon- shire represents the daughter of Pharaoh, and se- veral other ladies of high rank and fashion are in- troduced as her attendants. This print would have made his fortune had he been prudent; but the "joys of life" marred all by bringing the "sorrows" in their train. Sherwin was compelled to seek refuge in obscurity from the importunities and per- secutions of creditors who had willingly, while he appeared prosperous, administered to his follies. For a time he found shelter in the house of his publisher, but being hunted out by bailifis he re- tired to a small alehouse known by the sign of " The Hog in the Pound" at the corner of Swallow Street and Oxford Road, where waggoners from Uxbridge and Edgeware used formerly to refresh themselves and their horses ; and there he died. This informa- tion is obtained from a manuscript letter, dated October 1st, 1790, written by George Steevens, the editor of Shakspeare, to a correspondent at Cam- bridge, in which he says, " I am assured that Sher- win the engraver died in extreme poverty at the Hog in the Pound, an alehouse at the corner of Swallow Street; an example of great talents ren- dered useless by the imprudence of their possessor." Sherwin's decease is announced in the Gentleman's Magazine of the same year.] SHERWIN, William, an En^hsh engraver, who flourished from the year 1670 till I7II. It is not known by whom he was instructed in design and engi-aving. He is said to have been a royal en- graver by patent, and the only artist known to have received that honour, a distinction to which his excellence in his profession by no means entitled him. His plates are not numerous, though he ex- ercised his art for many years. We have several portraits by him, which are executed in a formal, stiflf style. He also engraved some frontispieces and other book-plates, from his own designs, among which are the greater part of the plates for the edition of God!s Revenge against Murder, printed in 1669. Among his portraits are the following : Charles I. on horseback, with a view of Richmond. Oliver Cromwell. Charles II. ; three plates, one a whole length; prefixed to Ashmole's Order of the Garter. Catherine, his Queen. Christopher, Duke of Albemarle. William III. when Prince of Orange. Henry, Duke of Norfolk. George I. when Elector of Hanover. Richard Atkyns, Typograph. Reg. ; scarce. SUngsby BetheU, Sherm of London ; scarce. Henry Scudder, B. D. Presbyt. William Ramesay, M. D. William Bridge, A. M. Presbyt. William Sermon, M. D. : inscribed, W. Sherwin, ad vi- vum, del. et sculp. 16/1. John Gadbury, Astrol. Judge PoweU. 1711. He also scraped a few mezzotintos, but they are very indifferent; among them is the portrait of Monsieur Beverland, which is very scarce. [SHIPLEY, William, the originator of " The Society for the Encouragement of Arts, Manufac- tures, and Commerce," was a drawing-master ; he kept a school for that purpose in London several years, and in 1758 received a gold medal as a com- pliment for his exertions in giving rise to the above- named institution. There is a print by Faber of a man blowing a lighted torch, which has the nam? of Shipley as the painter ; but whether by this art- ist is uncertain. He settled at Maidstone, and died sibe] PAINTERS AND ENGRAVERS. [SIEO there in 1804, at the age of ninety. He was brother to Dr. Jonathan Shipley, bishop of St. Asaph.] SIBELIUS, G., a Dutch engraver, who resided in London about the year 17/5. He was chiefly employed by Sir Joseph Banks, in his great botani- cal work. He also engraved a few portraits, among which are. Cardinal Beton ; engraved for Pennant's Scotland. Mrs. Rudd ; after Dodd. SIBMACHER, John. This artist etched several of the plates of die Antique Statues for Boissard's collection. They are executed in a slight, poor style. [He was of Nuremberg, and operated from 1596 to 1611.] SICHEM, Christopher van. This artist was a native of Holland, and resided at Amsterdam about the year 1600. He was a disciple of Henry Goltzius, and executed several wooden cuts from the designs of that master. He also engraved several copper-plates, but they are inferior to his engravings on wood. His prints are very numerous, which he usually marked with a monogram composed of a C, a V. and an S. thus, i^p , Among others are the following : PORTRAITS ON COPPER, The Emperor Charles V. : inscribed Carolua Quintus Imperator, ^c. Ch. v. Sicnem, sculp, et exc. Queen Elizabeth ; inscribed Elisabeta D. G. Angliee, S;c. Ch. V. Sichem, fecit. Robert Dudley, Earl of Leicester ; C van Sichem, sc. et exc. Francis Valesius, Duke of Alenpon ; the same inscrip- tion. A niimerous set of Portraits of the principal Reformers of the Church, published at Amsterdam in 1609 ; entitled Iconica Hceresiarcharum. A set of whole-length Portraits of the Counts of Holland and Zealand. WOODEN CUTS. A set of twelve Historical subjects ; Christ, van Sichem, fedt. Esther before Ahasuerus ; after L. de Leyden. The Adoration of the Shepherds ; after Ab. Bloemaert. The Circumcision ; after H. Goltzius. Judith with the Head of Holofemes ; after the same. St, Cecilia ; after the saTne. A set of four plates, Judith, David, Samson, and Sisera ; after the same. The Four Evangelists. [See next article.] SICHEM, Cornelius and Charles van. Ac- cording to Baron Heineken, these artists were of the same family with the preceding engraver. Their works are frequently confounded together, from the similarity of their style, and from their having used nearly the same mark. To Cornelius van Sichem is attributed a numerous collection of prints, amount- ing to upwards of six hundred, of subjects from the Old and New Testament, of which some are copied from other prints. [Christopher Van Sichem, according to Malpe, was bom about 1580. There is no authentic notice of Cornelius Sichem. Several writers have confused the Sichems with a supposed engraver of the name of Vichem. This mistake has arisen from finding ichem below the monogi'am ; the V in the monogram being the largest, they have erroneously concluded that it was the principal letter. With regard to Charles Van Sichem, there is more of probability that there was an engraver of that name, than of there having been one called Cornelius. K is fre- quently used as the initial of Karolus, or Karl, but there is perhaps no instance of its being used in Christopher, and there are two or three prints with the monogram K V S having ichem below, as in the case of C V S. So, two Sichems may be ad- mitted, Christopher and Charles, but Cornelius wants confirmation. Christopher and Charles were pro- bably brothers, as their works assimilate, and they flourished at the same period ; Christopher operated from 1601 to 1637, Charles to 1629, as appears by dates to monograms CVS and K V S.] SICIOLANTE, GiROLAMo. See Sermoneta. SIEGEN, Lieut.-Colonel von. To this gen- tleman, who was an ofiicer in the service of the Landgrav? of Hesse-Cassel, Baron Heineken at- tributes the invention of the art of engraving in mezzotinto, which he communicated to Prince Ru- pert, by whom it was brought to England. This discovery was made in 1643, in which year he scraped a plate of the portrait of AmeUa Elizabeth, Princess of Hesse. He also engraved, in the same style, a Holy Family, after Caraed. [It is now generally admitted that Louis von Siegen, or De Siegen, was the first who exercised the art of producing prints in the manner called mezzotinto. He was bom in Holland in 1609, his mother being of that country, but his father was of an ancient and noble family in Germany. He went to Germany in 1620 to receive his first education ; returned to Holland in 1626, and remained there till 1637, when he entered the service of the Land- grave of Hesse. Whether his services were civil or military is not quite clear, but he had the title of lieutenant-colonel. In 1641 he again returned to Holland, and employed that and part of the follow- ing, year in the execution of his first engraving, which he produced at Amsterdam in August, 1642. All his other known engravings were executed in Holland or on the borders of the Rhine. Siegen died in the military service of the duke of Wolren- buttel about the year 1680. Many interesting par- ticulars of this amateur artist and his family will be found in " L'Histoire de la graveure en mani^re noire," par Leon de Laborde, from which work the following list of Siegen's known plates is taken, and compared with that of Mr. Hugh W. Diamond, in the Archaeologia, vol. xxvii. 1. Bust portrait of Amelia Elisabeth, Landgravine of Hesse, with a dedication, dated 1642, signed L d S. H. 17 in., W. 12i. The second state of the plate has the date of 1643. 2. Eleonora Gonzago, wife of the Emperor Ferdi- nand III., called by others the Queen of Bohe- mia. On the lower left-hand comer, O. Hond- thorst pinxit anno, and on the opposite corner X. d Siegen inventor fecit, 1643. H. 20J in., W. 16| in. 3. Portrait of the Prince of Orange, inscribed Guilhelmus D. G. Princeps auriacus comes Nassaviee, etc., mdcxliiii., in one row of capi- tal letters at the bottom. Signed near the top, G. JSonthorst pinxit. L. d Siegen inventor fedt, 1644. H. 20fin., W. 16iin. 4. Portrait of the Princess of Orange, inscribed Augusta Maria Caroli M. B. Reg. filia Guilhel- mi Princ. Aur. Sponsa. In the lower left cor- ner, Hondthorst pinxit. L. a Siegen inv. et fecit, H.,21 in., (with the inscription,) W. 16J in,. 5. The Emperor Ferdinand III., in an oval, on the upper part of which is inscribed, Rom. Im- perator semper Aug. et Boh. Rex, and on the lower part, Lud. Siegen in Sechten ex pinxit novoqz a se invento modo sculpsit Anno 735 sien] A DICTIONARY OF [SILV Domini 1654. On the left at bottom L V S in a monogram, and opposite the date 1654. H. 16^ in., W. 12J in. 6. St. Bruno, a whole-length figure kneeling, turned towards the right, an open book before him. At the bottom are six verses ; on the left of the verses D'nis suis Patronis, &c. ; on • the right, In honorem S" Brunnonis, &c. L a Sjn S. An. 1654. H. 9i,in., margin If in., W. _ 71 in- \ 7. The Holy Family, after Annilal Caracei. Jo- seph holds a book in one hand, and a pair of spectacles in the other ; from the latter circum- stance it is generally known as " La Sainte Fa- mille aux Lunettes." It is dedicated to Prince Leopold of Austria. At the bottom, Ludw. a Siegen humilissime offert — Annib. Caratii pinx. Lower down, Lodovicq a S. novo suo modo lusit. In the second state of the plate it is dedi- cated to Cardinal Mazarin, and has the date 1657. The finest collection of the works of Siegen, Fiir- stenbergh, and other early engravers in mezzotinto, is in the British Museum.] SIENA Marco DA. See Pino. SIENA, Matted da. This painter was born at Siena about the year 1533, and went early in his life to Rome, where he was employed by Pope Gregory XIII. to exercise his talent of landscape painting in the loggie of the Vatican. He generally worked in conjunction with Niccolo Circignano, called Pomerancio, who painted the figures, and Matteo the landscape and architecture. They paint- ed in conjunction a series of thirty-two pictures of the History of the Martyrs, engraved by Caval- lerius. After the death of Gregory XIII. he con- tinued to be employed by his successor, Sixtus V. He died at Rome in 1588. [SIERRA, Francisco Perez, is reckoned among the Spanish painters, though born at Naples in 1627, and instructed in the art by Aniello Falcone, the landscape and battle painter, and master of Sal- vator Rosa. His father was a native of Gibraltar, but following the career of arms in the kingdom of Naples he married a daughter of the governor of Calabria. While a student, our artist had the ap- pointment of page to Don Diego de la Torre, secre- tary to the council of Sta. Clara, which was a great hinderance to his progress in painting, as he could only devote such time to it as he could snatch from his duties. He afterwards followed his patron to Madrid, where he entered the school of Juan de Toledo, a painter of battles, and by great assiduity became such a proficient as to attract the notice of Francisco Rici, and Juan Carrerio, who obtained employment for him in the house of the Marquis de Heliche. His patron, Don Diego de la Torre, also supplied him with a number of pictures by Spagno- letto, which he had brought from Naples, and em- ployed him in copying them ; and also in painting a series of Saints for a chapel in the church of the Angels, at Madrid, which he had founded. He painted for the same church a picture in honour of Santa Rosa of Lima. Later in life he was ap- pointed to the office of general manager of the prisons of Spain, and relinquished painting, except for his amusement. Abandoning his former sub- jects of saints, battles, and landscapes, he confined his pencil to flower-pieces, which were much ad- mired, and some of them found their way into the palace of the Buenretiro, and houses of the nobility. 736 In his old age he was afflicted with the palsy, which carried him off" in 1709.] SIGNORELLI, Luca. This painter was born at Cortona in 1439, and was a disciple of Pietro della Francesca. He proved one of the ablest artists of his time, and was one of the first of the Tuscan painters who drew the figure correctly, though not entirely divested of the dry, stiff" manner which pre- ceded him. His most considerable work is his cele- brated fresco in the chapel of the Virgin, in the cathedral at Orvieto, representing the final Dissolu- tion and Judgment of tne World, an immense com- position, exhibiting surprising variety and original- ity of ideas, and designed in a bold and daring stymie, in which he evinces a perfect acquaintance with foreshortening. A performance which was admired by Michael Angelo, and which that great artist did not disdain to imitate in some parts of his Last Judgment. In the greater part of his works he is not remarkable for the beauty of his forms nor the harmony of his colouring. Lanzi cites as an ex- ception to this his picture of the Communion of the . Apostles, in the church del Gesu, at Cortona, which unites elegance and grace with a sweetness of tint that approaches to the modern. He was invited to Rome to assist in the ornaments of the Sistina, where he painted the Journey of Moses and Zippo- rah, and the Promulgation of the old Law, copious and abundant compositions, exhibiting an arrange- ment superior to his contemporaries. There are several of his works in the churches of Arezzo, Pe- rugia, Urbino, Siena, and Florence, which estabhsh his rank among the most eminent artists of the Florentine school, at the period in which he lived. He died in 1521. [Among the painters at the period of the reno- vation of the art, Signorelli stands pre-eminent ; all writers are nearly unanimous as to his superior ex- cellence. A Dictionary, however, is not the place to dissertate on his great qualities as an artist, with relation to the time in which he lived, and the bene- fits derived from his productions. A reference to the print of the Last Supper in the Etruria Pittrice, and to those of the taking down from the Cross, and part of the Last Judgment in Rosini, Storia della Pittura, (plates 65 and 82,) will show his origin- al mode of composition and design, and the energy and expression he gave to his subjects. It will also be seen that his works have served as types to some of the illustrious painters, his contemporaries or im- mediate followers. Zani quotes two of his inscrip- tions ; Lucas Aegidii Signorelli Cortonensis 1502 Lucas Coritius. He also says he was living in. 1525.] SI6RILLI, B., a modern Italian engraver, who flourished about the year 1760. He engraved part of the plates for the collection of prints taken from the pictures of the Marquis Gerim. [SILO, Adam, a marine painter, designer, and engraver, was born at Amsterdam in 1670. A Storm at Sea, painted by him for the Dutch admiral. Grave, is spoken of as a learned composition, and by which he gained a great reputation. He was also skilled in the mechanical arts, and Peter the Great, of Russia, engaged him to instruct five young Russians in ship-building, for which each paid him 100 ducats. He painted several marine pieces for the czar J the drawing of the vessels only is commended, the sky and water not being in accordance with na- ture. There are nine etchings of skiffs, fishing boats, and other vessels, by him, signed A. Silo inv. etfect. It it said that he lived to the age of 90.] SILVESTRE, Israel, an eminent French en- SILV] PAINTERS AND ENGRAVERS. [SIMM graver, born at Nancy, in Lorraine, in 1621. He Wcis the nephew of Israel Henriot, by whom he is supposed to have been instructed in design and en- graving. He formed his style by studying the works of Delia Bella and Callot, and appeai-s to have been imitated in his turn by Sebastian Le Clerc. He designed and engraved a great variety of landscapes and views, which are executed in a neat, tasteful manner, producing a charming effect. He deco- rated his prints with small figures, correctly drawn, and touched with uncommon spirit. His merit recommended him to the patronage of Louis XIV., who employed him in designing and engraving views of the royal palaces, the public festivals, and the places he had conquered. He was appointed drawing-master to the Dauphin, and was made a member of the Academy. The prints of this artist are very numerous, amounting to upwards of one thousand. He went twice to Italy, where he made a great number of designs, which he engi-aved. He died at Paris in 1691. The following are amongst his most esteemed prints : A set of twenty-one Views of Italy and France, repre- senting edifices, ruins, and lancLscapes, with inscrip- tions in French. A set of thirteen Views in Home and the environs ; in- scribed Faites par Israel SUvestre, et mises enlumiere par Israel Henriot. Twelve Views of gardens and fountains ; entitled Alcune vedute de Giardini e Fontane di Soma e di Tivoli, Sjc, with descriptions in Italian. Four Views in the Kingdom of Naples, in the form of friezes. A set of six Views of Sea-ports in the Kingdom of Naples ; circular. Twenty-four circular plates of Views of Italian and other Sea-ports ; with descriptions in French. Twelve of the most remarkable Views in Paris and the environs, some of which are engraved by La Bella. A View of Paris, from the Bridge of the TuiUeries. A large View of Rome ; four sheets. Two Views of Campo Vaccino, and the Coliseum at Home ; the latter is scarce. The grand Carousal, or Royal Entertainment at Paris in 1662 ; in one hundred and eight prints. F. Chaveau en^aved some of these plates. The Pleasures of the Enchanted Island ; nine plates, with a vignette. A great variety of other Views and Landscapes. [A collection of 74 views of palaces, churches, fountains, gardens, &c., in France and Italy, was published, under the title " Paysages Diverses," at Paris and Rome ; and another under the title " Vues diverses de Rome et d' Italic," consisting of 105 views of Italian scenery.] SILVESTRE, Louis, was the eldest son of Is- rael Silvestre, bom at Paris about the year 1651, and was instructed in the rudiments of design by his father. He afterwards appUed himself to paint- ing landscapes and portraits, in which he had ac- quired considerable reputation, when he was in- vited to the court of Dresden by Augustus III., king of Poland and elector of Saxony, in whose service he passed many years as his principal paint- er. [Zani says he was the third son of Israel, that he was born in 1675, and died in 1760; others say he was born in 1644, and died in 1728. He studied painting under Bon Boullongne.] SILVESTRE, Alexander. This artist was the younger son of Israel Silvestre, and flourished about the year 1700. He etched some plates of land- scapes from the designs of Louis Silvestre, his brother, which are not without merit, though very inferior to the productions of his father. [Accord- ing to Zani he was the eldest son of Israel. There are gi'eat discrepancies among writers respecting the 3 B names and ages of all the Silvestres. Nagler says Alexander was born in 1650.] SILVESTRE, Nicholas Chables. According to Basan, this artist was the grandson of Israel Silvestre, and was born at Paris in 1700. He was drawing-master to the king and the royal family of France, and died in 1767. He engraved, among others, the following plates : Ubaldo and the Danish Knight searching for Rinaldo in the palace of Armida ; after Le Maine. A Hunting-piece ; after Audray. [By some he is called Nicholas Mark, and by others Charles Francis; but the latter name be- longs to his father, who was second son of Israel, and born in 1667.] SILVESTRE, Susanna. This lady was of the same family with the preceding artists. We have by her some plates of heads and portraits, after Van- dyck. [She was daughter of Israel Silvestre, and was married to Le Moine the painter. One of her prints is signed Susanna Silvestre Le Moine Sculp. The heads she engraved after Van Dyck are copies from other prints.] SILVIO, Giovanni. This painter was a native of Venice, and flouijshed about the year 1532. He is mentioned by Lanzi as a very able artist, and is supposed to have been educated in the school of Titian. In the coUegiata di Piovi di Sacco, near Padua, is a picture by this master bearing the above date, which is spoken of by that writer in very fa- vourable terms. It represents S. Martino between St. Peter and St. Paul, with three angels, two of which are supporting his crosier, and the third is playing on the harp. The composition is elegant and graceful, and the colouring is entirely Titianesque. [SILVIUS, or SYLVIUS, Anthony, whom Pa- pillon calls Silvius Antoniantts, are the supposed names of a designer and engraver on wood, who used the monogram /T and flourished from 1553 to about 1580. It is said that he was born at Antwerp in 1525, and was much employed by Christopher Plantin, the eminent printer and book- seller of that city, and by other pubhshers, in works requiring illustrations. The names, however, of Silvio Antonianus given to him by Papillon, proceed from a mistake of that writer. It would seem that he had observed the monogram on the wood cuts to an edition of Paerno's Fables, printed at Antwerp in 1567, and dedicated to Cardinal Borromeo by Silvio Antoniano, professor oi Belles Letires at Rome, and afterwards a cardinal himself, and hastily con- cluded that the editor was the engraver. Nagler has given a catalogue of books to which this en- f raver (whatever may be the name) is supposed to ave contributed the wood cuts, vignettes, or title- pages; more interesting to book than print col- SILVIUS, [or SYLVIUS,] Balthasar, a Ger- man engraver, who flourished about the year 1555. He executed some plates with the graver, in a coarse style, which are chiefly from his own designs. They are usually marked with the initials B. S. Among other prints by this artist, we have one re- presenting Lot and his Daughters, beariM the above date. [He engraved after Francis Ploris,' Karl Van Mander, Jerome Bos, and others.] [SIMMONS, John, a native of Nailsea in Somer- setshire, was a house and ship painter at Bristol, where he died in 1780. His name appears in the early catalogues of the exhibitions "at the Royal Academy as a portrait painter. There is an altar- 737 SIMO] A DICTIONARY OP [SIMO piece by him at All Saints' church, Bristol, and an- other at St. John's church, Devizes : one represents the Annunciation to the Virgin, and-the other the Resurrection. He painted the portrait of Ferguson, the astronomer, which has been engraved as vifell as some others by him. Probably the greater part of his.portraits are at Bristol, or in its neighbourhood. It is said; he was known to Hogarth, who thought favourably of his talents. In the Academy cata- logues his name is sometimes printed Simmonds of BrisM.'] SIMON, John. This artist was a native of Normandy, and was instructed in engraving in his own country. He came to England some years before the death of John Smith, and on seeing the works of that celebrated artist, he quitted the graver, and applied himself entirely to scraping mezzotinto. Sir Godfrey Kneller, upon some difference between him and Smith, employed Simon to engrave some of his pictures in mezzotinto, which he did with con- siderable success, as well as from the works of other masters. We have several portraits by him, among which are the following : Queen Elizabeth ; after Hilliard. Charles I. ; after Vandyck. William III. ; after Kneller. Mary, his consort ; after Vander Vaairt. Queen Anne ; after Kneller. George, Prince of Denmark. George I. ; after Kneller. George II., when Prince of Wales ; after the same, John, Lord Cutts ; cfter the same. William, Earl of Cadogan ; after the same. John TiUotson, Archbishop of Canterbury; after the same. John, Lord Sommers ; after the same. Sir Kichard Temple ; after the same. William, Earl of Cadogan ; after La Guerre. Horace, Lord Walpole ; after Vanloo. Henry RouTigny, Earl of Galway ; after de Graves. [This list might be considerably enlarged with the much grealter names of Williain Shakspeare, John Milton, Alexander Pope, Joseph Addison, Richard Steele, and others, compared with whom the foregoing are insignificant. John Simon was born about 1675, and died at London about 1 755 ; his principal works in mez- zotinto are the following : Half-len^h of the Princess Mary, daughter of George II. Peter deUvered ftom Prison ; after Berehet. The Cartoons at Hampton Court. Christ and his Apostles ; after Baroccio. Christ restoring sight to the Blind; after Laguerre; excellent. The Samaritan Woman ; after the same. Portrait of the Hon. Mrs. Walpole; after M. Dahl; excellent. Maria Stuart ; the expression infanline. Dorastus and Fannia ; after Berehet. A Pastoral Scene, of which the foliage and landscape are remarkable.] SIMON, Peter, a French engrayer, who resided at Paris about the year 1680. He is supposed to have been a pupil of Robert Nanteuil, to whose style his prints bear a great resemblance, and though inferior to the works of that eminent artist, his en- gravings possess considerable merit. His best plates are his portraits, some of which are from his own designs. We have, among others, the following prints by him : PORTRAITS. Louis XI V. ; after C. Le Brun ; the size of life. Louis de Bourbon, Prince of Conde; from his own design. Anna Maria Louisa of Orleans, Duchess of Montpensier ; the sam^. Elizabeth Charlotte, Duchess of Orleans ; the same. 738 Charles d'Ailly, Duke de Chaulnes, Peer of France; after La Borde. Jacdbm Cardinalis Rospigliosus ; [after C. Maratti.] Federigo Baroccio, Painter. , Among his historical prints we have. The Martyrdom of St. Cosmus and St. Damien ; after S. Rosa. [Moses at the burning Bush ; after N. Poussin.'] [SIMON, Peter, called the younger, a designer and engraver in the chalk and dotted manner, was bom at London in 1750. He was one of the en- gravers employed by Boydell on the large Shak- speare prints, and on other pictures by contemporary painters. Those he engraved for the Shakspeare gallery are among the best, of which are the fol- lowing : A scene from the Tempest ; after Fuseli. The Merry Wives of Windsor, two plates, one after Smirlce, and the other after the Reverend W. Peters. Scene from Measure for Measure ; after T. Kirk. Scene from Much Ado about Nothing ; after W, Peters. Midsummer Night's Dream ; after Fuseli. Scene from the Merchant of Venice ; after Smirke. Scene from As You Like It ; after W. Hamilton. Scene from the Taming of the Shrew ; after F. Wheat- ley. Another from the Induction to the Play ; after Smirke. Scene from Henry IV. ; after R. Westall. Scene from Borneo and Juliet ; after Miller. He also engraved many other prints that had great popularity, among which the following may be named : The Woodman ; after Gainsborough. The Philosopher Square, discovered by Tom Jones, and the Companion ; after Doionman. The Sleeping Nymph ; after Opie. Frances Isabella Ker Gordon ; after Sir J. Reynolds, The Three Holy Children ; after W. Peters. Bust of Clytie ; after J. B. Cipriani. Fair Enimeline, and a subject from the Vicar of Wake- field ; after Stothard. Peter Simon died about 1810.] SIMONE, Maestro. According to Dominici, this old painter was a' native of Naples, and flour- ished about the year 1325. He was a disciple of Filippo Tesauro, and when Giotto visited Naples, he improved his style by studying the works of that master. One of his principal works was a picture of the taking down from the Cross, at the great altar of the church of the Incoronata, which was esteemed little inferior to the works of Giotto. " ■ [Maestro Si- mone, called also Simone da Bologna, and Simone da Crociflssi, is by some considered a native of Cremo- na, and by others of Naples. He was first a disci- ple of Filippo Tesauro, and afterwards painted under the direction of Giotto. His style partakes of both. Giotto, at his departure from Naples, about I330t recommended him to King Robert and Queen Sancia, who employed him on many works in vari- ous chm'ches, particularly in S. Lorenzo, and Sta. Chiara. In the first he painted that monarch in the act of being crowned by his brother, the Bishop Lodovico, to whom, on his death and subsequent canonization, a chapel was dedicated in the episco- pal church, and Simone appointed to decorate it, but which he did not live to execute. Dominici particularly extols a picture by him of a Deposition from the Cross, painted for the great alt'ar of the Incoronata, and thinks it will bear comparison with the works of Giotto. Rosini refers to a picture by him of the Coronation of the Virgin, of which he has given an outline by Lasinio in his second volume of " Storia della Pittura Italiana ;" it represents Christ placing a crown on the head of the Virgin, both seated under a canopy, on which are three SIMO] PAINTERS AND ENGRAVERS. [SIMP rows of Cherubs and Seraphim ; it is simple and beautiful. At the bottom is inscribed, Simon de Bo- nonia Fecit Hoc Opus. He died about 1346. His son Francesco is also extolled for a fresco in the church of Sta. Chiara, of the Madonna enthroned, and a picture of the Trinity underneath. The pic- tui'es commenced by Simone in the chapel of S. Lo- dovico, Bishop of Tolosa, were finished by two of his disciples, Gennaro di Cola and Stefanone.] SIMONEAU, [or SIMMONEAU,] Charles, an eminent French engraver, born at Orleans in 1639. He was instructed in the rudiments of de- sign by Noel Coypel, and learned the art of engrav- ing from William Chateau. His first plates were executed with the graver only, in a style resembling that of I*oilly, but he afterwards introduced the point, particularly in the demitints and distances, and reserved the burin for the more prominent and vigorous parts. He engraved historical subjects, portraits, and vignettes, which are executed in a very neat and agreeable style. Among others, we have the following prints by him : PORTRAITS. Henrietta Maria, consort of Charles I. Charlotte Elizaheth, Duchess Dowager of Orleans ; after Rigaud. Charles Francis de Brienne, Bishop of Constance ; after Dum£e. Julius Hardouin Mansart, Architect to the King ; after de Troy. George Villiers, Duke of Buckingham. SUBJECTS AFTER VARIOUS MASTERS. The Holy Family, with St. Elisabeth and St. John ; after Raffaelle. The virgin and infant Jesus, with St. John ; after the same. The Adoration of the Shepherds ; after Ann. Caracei. Christ and the "Woman of Samaria ; after the same. Hagar and Ishmael ; after Andrea Sacchi. The Virgin and infant Christ, with Angels ; after Fro, Bartotommeo. The Stoning of Stephen ; after Ca/raeci. Christ, with Mai-tha and Mary ; after Domenichino. Christ's Entry into Jerusalem ; after C. he Brum. Christ bearing his Cross ; after the same. The Nativity ; after Noel Coypel. Christ among the Doctors ; after Ant. Coypel. The Triumph of Galatea ; mer the same. Venus curing the Wound of ^neas; after C. de la Fosse. The Journey of Mary of Medicis to Pont-de-C^ ; after Rvhens ; for the Luxembourg Gallery. The Conquest of Franche-Comt^ ; after Le Brun. This is esteemed his best print. [Charles Simmoneau died in 1728. His works are rather numerous ; Nagler gives a list of eighty- three plates by him. Many of them are of superior merit, and deemed worthy of being placed in the portfolios of tasteful collectors.] SIMONEAU, [or SIMMONEAU,] Louis, was the younger brother of the preceding artist, born at Orleans in 1656. He appears to have formed his style by an imitation of the works of the Audrans. By combining the point with the graver, he gave a pleasing variety to his plates, and his drawmg is correct. Though his prints are not so numerous as those of his brother, the works he has left us are little inferior. The following are his most esteemed prints : PORTRAITS. Giadnto Serroni, Archbishop of Albi. Anthony Amauld, famous Theologian ; after Ph. de Champagne. Anthony le Maitre, Advocate in Parliament ; after the same. Martin de Charmois, Counsellor of State ; after Seb. Bourdon. SUBJECTS AFTER VARIOUS MASTERS. Susanna and the Elders ; after Ant. Coypel. Lot and his Daughters ; after the same. Christ with Mai-tha and Mary ; after the same. Christ bearing his Cross ; after Ant. Dieu. The Elevation of the Cross ; after the same. The Crucifixion ; after the same. The Assumption of the Virgin ; after the ceiling by Le Brun in the chapel of St. Sulpice. Four Plates- of the Four Times of the Day ; after the same. The Four Seasons ; in four plates ; after the same. The ceiling of the Pavilion of Aurora, in the garden de Sceaux ; in four plates ; after the same. [Zani places his birth in 1660, and his death in 1727.] SIMONEAU, [or SIMMONEAU,] Philip, was the son of Charles Simoneau, and was instructed in design and engraving by his father. Either firom the want of talent, or of appUcation, he never made any considerable progress in the art. We have the following prints by him, which do not possess much merit : Two friezes, on one sheet, representing the Rape of the Sabines, and the Peace between the Romans and the Sabines ; after the pictures by Giulio Romano in the Orleans' coUectiou. The three Goddesses preparing for the Judgment of Pa- ris ; after the picture by Perino del Vaga ; in the same collection. Venus and Adonis ; after Albano. [SIMONET, Jean Baptiste, an engraver of considerable merit, was born at Paris in 1742, and died there about 1810. His engravings are chiefly from paintings by his own countrymen, some of them his contemporaries, among which are the works of Greuze, Moreau, Baudoin, and Aubry. He engraved also, for the Orleans' Gallery, Rachel hiding her Father's Idols, after Pietro da Cortona, and the beautiful vignette to the historical discourse on ancient painting in the " Musee Prancais ;" the vignette plates for an edition of Ovid's Metamor- phoses, published by Basan, and illustrations to the comedies of J. Racine. Some of his plates are from subjects which in France are called sentimental, but in England, where the people are more fastidious, are called free.] SIMONINl, Francesco. This painter was born at Parma in 1689, and was a scholar of Ilario Spol- verini. He excelled in painting battles, and sku-- mishes of cavalry, which were well composed, and painted with great spirit. His principal residence was at Venice, where he painted, in the Sala Capel- lo, a series of combats and warlike achievements, which were much admired. There are many of his works in the private collections at Venice, where he was living in 1753. SIMPSON, William, an indiflferent English en- graver, who flourished about the year 1635. He was chiefly employed by the booksellers, and, among other things, engraved the plates for Quarles's Em- blems. SIMPSON, Joseph, the elder. According to Lord Orford, the first employment of this artist was to grave coats of arms, and other embellishments, on pewter, but having some disposition for drawing, he found access to the society of artists of the time, where he studied the figure. He was afterwards employed by Tillemans, the painter, to engrave a copper-plate of Newmarket, after one of his pic- tures, to which he affixed his name. He lived about the year 1710. SIMPSON, Joseph, the younger, was the son of the foregoing artist, and his father had conceived sing] A DICTIONARY OF [SIHA great expectation of his success from the first speci- ihens of -his abilitjr ; but he died young, in the year 1736, without having attained much excellence. He engraved a plate»of a Holy Family, with St. John, St. Sebastian, and several angels ; after Filippo Lauri, dated 1728. SINGHER, Hans, or John. This artist was born at Hesse-Cassel, about the year 1510. He painted landscapes, with figures, in a free, bold manner, and chiefly resided at Antwerp, where he was received into the Academy in 1543. He was much employed in painting cartoons for tapestry. [SINGLETON, Henry, an EngUsh historical painter, was born at London in 1766. His father died while he was in his infancy, and he was brought up by his uncle, a miniature painter, by whom he was instructed in drawing. He became a student of the Royal Academy, and gained the gold medal for the best historical painting in 1788 ; the subject was taken from Dryden's Ode on Alexander's Feast, and was highly praised by Sir Joshua Reynolds. For more than fifty years he was a constant exhibit- or in the Royal Academy, but never arrived at any of its honours. His pictiu-es are numerous in histo- rical and fanciful subjects, but seldom exhibit signs of genius in circumstances novel or striking ; they have too much of manner and common-place. " Propose to Singleton a subject," said West, " and it will be on canvass in five or six hours." As was to be expected, a composition that cost so little la- bour was destined to a short existence. Some of his small drawings for book illustrations were po- pular, as also some sentimental pieces on a larger scale. Among his best works, are reckoned Christ entering Jerusalem, Christ healing the Blind, Corio- lanus and his Mother, Hannibal swearing Enmity to the Romans ; all of which were engraved in mezzotinto, and were favourite parlour prints for some time. His paintings of The Storming of Se- ringapatam. The Death of Tippoo Saib, and The Surrender of Tippoo's Sons as Hostages, had the good fortune to be engraved by Schiavonetti and Cardon, which, with the subjects, insured their po- pularity. There is an extensive series of small paintings by him of scenes taken from Shakspeare's Plays. There is much of fine fancy and discri- mination of character in them, and the colouring superior to any of his larger works ; if they were engraved, his fame as an artist would be greatly enhanced. He died in 1839.] [SINJEUR, GovERT, is mentioned among the painters of Rotterdam as having painted in the manner of Philip Wouwerman, but there are no particulars of him recorded. It would be an agree- able surprise to find the works of an original artist who painted in the manner of that consummate master ; it is to be feared, however, that it would prove lost labour to seek for them.] [SINTZENICH, Heineich, an engraver in the chalk and dotted manner, and in mezzotinto, was bom at Manheim in 1752. After receiving the ele- mentary instructions in art in the academy of that city, he was sent to England at the expense of the Elector to complete his studies under Bartolozzi. With this able instructor he remained about four years. On his return to his own country he was appointed engraver to the court, and executed many works in the several styles he had acquired in Eng- land. Among these are portraits of noble and otherwise distinguished persons in Germany, and subjects from pictures by eminent Italian masters, such as Pra Bartolomeo, A. Caracci, P. Veronese, 740 Domeriichino, Carlo Dolci, and Solimene ; as well as some after Rubens, Le Brun, and painters of later date. As his reputation increased he became a member of the academies of Munich and Berlin. Nagler has described fifty-four of his principal plates, and pointed out some of the variations. He died at Munich in 1812.] SIRANI, Giovanni Andrea. This painter was born at Bologna in 1610, and was one of the favour- ite disciples of Guido Reni. After the death of his admirable instructor he was employed to finish several of his works left imperfect in the churches at Bologna, particularly the large picture of S. Bru- none.attheCertosini. His first productions resemble the second style of Guido, in which he followed the suavity and tenderness of his master. Such is his picture of the Crucifixion, in the church of S. Ma- rino, at Bologna. He afterwards adopted a more vigorous opposition in his light and shadow, ap- proaching to the principles of Michael Angelo da Caravaggio, as is evident in the Feast of the Phari- see, at the Certosa ; and the Marriage of the Virgin, in S. Giorgio, at Bologna. He died in 1670. we have by this artist some very masterly etchings, from his own compositions, which are usually mark- ed with the initials G. A. S. or I. A. S., among which are the following : The Virgin and infant Christ, to whom St. John is pre- senting a Bird. St. Michael vanquishing the Evil Spirit ; oval. A Sibyl ; after Guido. Apollo and Marsyas ; an oval print. [The print of Apollo and Marsyas, signed Sirano, and another of Lucretia Dying, are all that Bartsch admits to be by G. A. SirSni.] SIRANI, Elisabetta. This ingenious lady was the eldest daughter of Giovanni Andrea Sirani, born at Bologna in 1638, and was instructed in the art by her father. She attached herself, however, to an imitation of the best style of Guido, which unites great reUef with the most captivating amenity. It appears almost incredible, that during so short a life, not having survived her twenty-sixth year, she could have finished the long list of works enumer- ated by Malvasia, from a register kept by herself, amounting to upwards of one hundred and fifty pic- tures and portraits ; and it is still more astonishing that they were chiefly of a large size,_and finished with a care which excludes all appearance of negli- gence or haste. Her first public works appear to have been painted in 1655, when she was seventeen years of age. Her compositions are elegant and tasteful ; her design is correct and firm ; and there is a freshness and suavity in her colouring, espe- cially in the demitints, which remind us of the best works of Guido. The airs of her heads are graceful and noble, and, like her admirable prototype, she was particularly successful in the expressive charactef she gave to her Madonnas and Magdalenes, which ajppear to have been her favourite subjects. Ehsabetta Sirani had acquired a distinguished reputation by the assiduous exercise of her extraor- dinary talents, when her brilliant career was inter- rupted by poison administered to her by her servant, in 1664. Her most admired works in the churches at Bologna are her pictures of the Baptism of Christ by St. John, at the Certosa; St. Anthony of Padua kneeling before the infant Christ, in the church of S. Leonardo; and the Virgin Mary with St. Anne contemplating the infant Christ sleeping, in S. Ma- ria di Galiera. There are several of her pictures in SIRC] PAINTERS AND ENGRAVERS. [skip the Zampieri, Caprara, and Zambeccari palaces at Bologna, and in the Corsini and Bolognetti palaces at Rome. "We have a few etchings by Elisabetta Sirani, which are executed in a spirited style, and the extremities are finely marked. They are some- times signed with her name, and sometimes with the initials E. S. F. Among others are the following: The Virgin in the Clouds holding a Rosary, with the,iu- fant Jesus ; fr&m her own designs. The Virgin weeping, surrounded by Angels, and con- templating the emblems of Christ's Passion ; Elisabetta Sirani, F. 1657. The Holy Family; after Raffaetle ; EUsabetha Sirani, sic incisum eisposuit. St. Eustacius kneeling before a Crucifix ; Elisabetha Si- rani,/. 1656. The Decollation of St. John ; Elbta. Sirani,/. 1657. [Bartsch describes ten etchings which he believes to be by Elisabeth Sirani ; some are signed, others not. No one has the initials E. S. P., and the St. Eustache, in its first state, is signed Elisabetha Sira- ni J. F. ; the copy is faintly signed Elisahetha Sirani, f. 1655. SIRCEUS, Philip. This artist is noticed by Florent te Comte, and is said to have engraved some prints after the designs of Michael Angelo Buonaroti. [This is the same artist as Serious, or Soye.] SJRIES, VioLANTE Beatrice. This lady was born at Florence in 1710, and was instructed in crayon-painting and in water-colours by Giovanna FratelUni. She afterwards went to Paris, where she learned the practice of oil-painting from a Flem- ish painter, who is not named. Her talent was chiefly confined to portraits, though she occasion- ally attempted historical subjects, as well as flowers and fruit. On her return to Florence from France, she was patronized by the Grand Duke, and was employed to paint a large picture of the portraits of the imperial family, which she executed to the satisfaction of her protector. The portrait of this ingenious lady with that of her father, painted by herself, is in the Florentine gallery of artists. [The greater number of her pictures are in oil, and are executed in good taste, and are admired for their trut)i and delicacy. She died about 1770.] [SKELTON, William, historical and portrait line engraver, was bom in London, 14th June, 1763. He WEis descended from the ancient family of Jhe Skeltons in Cumberland, by a branch which sub- sequently settled in Yorkshire. He was some time pupil of James Basire and of William Sharp. At starting on his own account, his patrons were Sir Richard Worsley, and Charles Townley, Esq. ; then Boydell and Macklin ; and still later, the Dilettanti Society greatly encouraged him ; and some of his best engravings are from the antiques pubUshed in their valuable works. The close of his professional labours was productive of the series of his Royal ' Portraits, embracing representations of every mem- ber of the royal family from George III. to the accession of Queen Victoria. These portraits he published on his own account; and their having produced him a fair remuneration, together with his previous professional success, he acquired a moder- ate independence, which enabled him to indulge in acts of charity and goodness to others. He was for nearly sixty years a guardian of the Asylum for Female Orphans (to w^hich charity his father, also named William Skelton, had been previously, and to the time of his death, a guardian). During the last fifty years he was on the acting committee ; and so complete was his undivided devotion to the true interests of that most valuable institution, that he was latterly designated the father of the charity. He died in Upper Ebury Street, Pimlico, on Sjin- day, the 13th of August, 1848, in the eighty-sixth year of his age, and was interred on the Saturday following in the cemetery at Brompton.] SKILLMAN, William, an Enghsh engraver, who flourished about the year 1655. Among other plates, he engraved the fagade of Albemarle House, and a View of the Banqueting House. [SKIPPE, John, of whose personal history very little seems to be known, was a gentleman of educa- tion, and an amateur artist. He engraved in chiaro- scuro a number of subjects, chiefly after the designs of Parmigiano, which he pubhshed from about the year 1770 to 1812. It is supposed that he received the elementary instructions in this art from John Baptist Jackson. Mr. John Jackson, in his " Treat- ise on Wood Engraving," (a most valuable work for all who wish to be acquainted with the art histori- cally and practically,) says, " that from the year 1754, the date of John Baptist Jackson's tract ' On the Invention of Engraving and Printing in Chiaro- scuro,' to 1819, when the first part of Mr. Savage's ' Hints on Decorative Printing ' was published, the only chiaro-scuro wood-engravings which appear to have been published in England were those exe- cuted by an amateur of the name of John Skippe." He adds, " The chiaro-scuros engraved by Mr. Skippe do not appear to have been numerous ; I have only seen three — St. John the Evangelist, St. Paul, and Hebe, all after drawings by Parmigiano ; the latter [last] is printed from four blocks, and each of the others from three. In point of execu- tion that of St. John is decidedly the best; it is much superior to any of the specimens given in John Baptist Jackson's work, and will bear a com- parison with some of the best chiaro-scuros of Nicholas Le Sueur." Nagler has fully described twenty-eight of these chiaro-scuros, and an aqua- tinted etching, by John Skippe, among which the Hebe is not mentioned ; so the number of his works is considerably greater than Jackson supposed. Of these described by Nagler, the editor has examined twenty-three, and several variations. It is possible that Jackson mistook one of the figures of St. John (of which there are three) for a Hebe. The figure of the saint standing and holding a chalice, has much the appearance of a female ; the other two are seated, each with an eagle and an open book. The Sibyl (No. 14 in Nagler) is inscribed to John Baptist Malchair, an amateur collector of the time, who had, among others, a fine collection of this class of prints, which, it would seem, Mr. Skippe had studied while practising the art himself, and had also profited by the taste and judgment of his friend. The inscription is, " Joanni Baptistae Malchair, a quo primura artis disciplinam hausit, hoc Exemplar ad opus M. Angeli, artificio qualicunque exactum,. Optime merito gratus defert Johannes Skippe." This circumstance is noticed on account of the earliest instructor of Mr. Skippe, and the friend by whom he was first disciplined in the art, being both named John Baptist. From inscriptions on several others Mr. Skippe appears to have been on terms of intimate friendship with persons of rank and learning. Among the nataes are those of John Lane, Esq., of Lincoln's Inn, Uvedale Price, Dr. John Symonds, Regius Professor a,t Cambridge, Dr. Blayney, Henry Jerome De Salis, and Jacob Walwyn. Neither the year of his birth nor death has been ascertained by the editor, but the earliest 741 slabJ A DICTIONARY OP [SMIB date that appears on a print by him is 1771, and the latest 1809. Some of his cuts, it may be noted, are from drawings by Raphael, Correggio, Giorgione, Titian, Tintoretto, Salvator Rosa, Rubens', Pierino del Vaga, Andrea del Sarto, and Baccio Bandi- nelli.] SLABBAERT. The name of an artist affixed to a portrait inscribed Paulus Perre, Syndic. Medio- hourg. et Leg. Belg. in Anqlia. 1660. [SLABBAERT, or SLABBARD, Karl, a Dutch painter of interiors and familiar subjects. From his manner of colouring, and the elaborate finishing of the accessories, it is supposed that he studied under Gerard Dou ; but it is only in those particulars he approaches that master. His figures are not well drawn, and have, in some measure, a resemblance to those of Isaac Ostade. The ordonnance of his compositions is not so censurable, and they who will excuse bad drawing in the figure in considera- tion of laboured pencilling, good colouring, and a pleasing general effect, will not despise Slabbaert. His pictures are not common ; there is one in the museum at Amsterdam, of an interior with a woman cutting bread, and two children in the attitude of praying ; one or two in the gallery at Salzdahlum ; and there are probably three or four in England, but they are not of sufficient merit to find a place in choice collections. With respect to his birth and death, the Dutch writers are silent. Whether the preceding artist be the same is not ascertained ; he operated in 1645, according to Zani, who describes him as a designer and engraver of portraits, but says nothing of him as a pamter.] SLATER, T., an English engraver who flourish- ed about the year 1 630. He engraved, among others, the portrait of George Webbe, Bishop of Limerick. SLINGELANDT, Peter van. This painter was born at Leyden in 1640, and was a scholar of Gerard Douw. He followed the highly-finished style of his master, and as far as patience and pol- ish are considered, he may be said to have equalled, if not surpassed, his instructor ; though we look in vain for the characteristic expression, the magical effect of the chiaro-scuro, and the correctness of de- sign, for which the works of Douw are eminently distinguished. Houbraken reports, as an instance of his slavish devotion to extreme finishing, that he was occupied three years, without intermission, in painting a small picture of the portraits of the fa- mily of Meerman, and that he was employed a month in finishing the lace of a ruff. When he painted a dog, a cat, or a mouse, which he was fond of introducing into his pictures, he was not satisfied until he had precisely represented each individual hair. Although he is tasteless and stiff in his com- positions and the design of his pictures, they still find purchasers, at considerable prices, among the admirers of mechanical and persevering labour. He died in 1691. [There are seventy of his pictures described in Smith's Catalogue raisonne, vol. i. and Supplement. The highest price on record given for one is about £480 sterling. The picture was purchased by a French gentleman of an Eng- lish brewer, and is now in the gallery of the Louvre; the Experts du Musee have valued it at twenty thousand francs, about £800. The best specimens of the master's works known in England, are in the Royal Gallery, that called the Bridgewater, but now the Earl of EUesmere's, and in the collection of Sir Robert PeelJ SLITEZER. This artist is mentioned by Mr. Strutt as the engraver of some large views of Scot- 742 land, executed in a style resembhng that of Michael Burghers. SLUYS, Jacob vander. This painter was born at Leyden in 1660, and was first a scholar of Ary de Voys, whom he left to become a disciple of Peter van Slingelandt. He imitated the polished style of his last instructor, though with less laborious finish- ing, and painted with considerable success small pictures of conversations,' domestic subjects, and modish assemblies, which he composed and treated in an agreeable style. His pictures are well colour- ed, and produce a pleasing effect, but his design is neither elegant nor correct. The works of Vander Sluys are little known, except in Holland, and are there chiefly confined to Leyden, in which city he constantly resided, and died there in 1736. SLUYTER, P., a Dutch engraver, who flourished about the year 1700. He was principally employed in engraving frontispieces, and other book orna- ments, for the publications of Peter Vander A a. [SMEES, Jan, a Dutch landscape painter and engraver, who flourished in the first quarter of the eighteenth century, and is supposed to have died in 1729. To judge of him by his five known etchings, he must have been an excellent painter in the man- ner of Jan Both. These etchings consist of land- scapes enriched with figures, animals, buildings, and ruins ; and are signed J. Smees in. et fecit. See Bartsch, Peintre Graveur, tom. iv., for descriptions.] SMIBERT, [or SMYBERT,] John. This art- ist was born at Edinburgh about the year 1684, and served his time with a common house painter ; but eager to handle a pencil in a more elevated style, he came to London, where, however, for subsistence, he was forced to content himself with working for coach painters. He was afterwards employed in copying for dealers, and learned to draw the figure by designing after casts. His efforts and ardour at last carried him to Italy, where he spent three years in copying portraits of Titian, Vandyck, and Rubens, and improved enough to meet with much business in portrait painting at his return. When his industry and abilities had thus surmounted the asperities of his fortune, he was tempted, against the persuasion of his friends, to embark in the uncer- tain but amusing scheme of the famous Dean Berke- ly, afterwards Bishop of Cloyne, whose benevo- lent heart was then warmly set on the erection of a universal college of arts and sciences in Bermu- da, for the instruction of heathen children in Chris- tian duties and civil knowledge. Smibert was en- chanted with a plan that he thought promised ti-anquillity and an honest subsistence in a healthy Elysian climate. It may easily be conceived how a man, so devoted to his art, must have been animated, when the Dean's enthusiasm and eloquence painted to his imagination a new theati'e of prospects, rich, warm, and glowing, with scenery which no pencil had yet made cheap and common by a sameness of thinking and imagination. In spite of remon- strances, he engaged with the Dean, whose zeal had ranged the favour of the court on his side. The King's death dispelled the vision; Smibert, how- ever, who had set sail, found it convenient, or had resolution enough, to proceed, but settled at Boston, in New England, where he succeeded to his wish, and died there in 1751. A panegyric on him, wriN ten there, was printed here in the Courant, 1730. [The two first founders of painting, as an art, in America, were Scotchmen ; the one was named John Watson, who settled in the capital of New Jersey, Perth Amboy, in 1715 ; the other was John Smybert. smir] PAINTERS AND ENGRAVERS. [SMIT (for so he wrote his name,) who settled at Boston, as above related, in 1728. The American Vasari, (so let him be called as the first collector of the biographies of American painters,) William Dun- lap, traces the iniluence of Smyberfs painting to Copley, Trumbull, and AUston. The man who had been brought up a house painter, yet had suificient ardour for improvement in a more elevated depart- ment of art, as to travel to Italy, and other places, to study and copy the works of Titian, Rubens, and Van Dyck ; and in whom Berkeley discerned those qualifications that are suited to instruct a people emerging from barbarism, was the sort of man to lay a good foundation for a school of art in the then state of America. It does not appear that he at- tempted any thing beyohd portraiture. At Yale College, in America, there is a large picture by him representing Dr. Berkeley, some of his family, and other persons, among which is the artist himself, on their landing in America; and the best por- traits of eminent magistrates and divines of New England andNew York, says thesame authority, who lived between 1725 and 1751, are by him. Smybert had a son named Nathaniel, who was of great promise, followed the profession of a painter for a short time, but died at an early age. Smybert and Allen Ramsay, the writer of the "Gentle Shepherd" and many other good things, were correspondents. Ramsay, in one of his letters to Smybert, dated 1736, says, " My son Allen has been pursuing the science since he was a dozen years auld; was with Mr. Hiffdig" (never met with his name before) "in London for some time, about two years ago ; he has since been painting here like a Raphael! sets out for the seat of the beast, beyond the Alps, within a month hence, to be away for two years. I 'm sweer to part with him, but canna stem the current which Jtowsfrom the advice of his patrons, and his own in- clinations." Well said, old Allan, spoken Hke a true Scotsman.] [SMIRKE, Robert, an excellent painter of hu- morous and sentimental subjects, taken from ppets and novelists, was bom at Wigton in 1752. At the age of nineteen he became a student at the Royal Academy, but did not exhibit there till the year 1786; in 1792 he was elected an associate, and in the same year an academician. It is said that he painted arms on coach panels ; so did Catton, whose name is among the first forty of the Royal Academi- cians. His pictures are numerous, generally of small dimensions, as they were mostly painted to illustrate plays, poems, or novels, and intended for the engravers. On such he seldom bestowed much variety of colour, but was particularly aitentive to the chiaro-scuro ; the same, indeed, may be said of his larger compositions, in which the deficiency in point of colouring is more conspicuous ; they appear weak. But he made ample amends by the skilful manner in which he arranged his subjects, and by a rich display of humour in his characters, which never degenerated into bufibonery or farce. He was always the gentleman when representing the ridi- culous, the afiected, or the grotesque. He makes the observer think and smile, but seldom causes him to laugh outright. His favourite subjects are from Scripture, English history, Shakspeare, Don Quix- ote, the Arabian Nights ; of the last, his illustrations of the story of The Hunchback, engraved by Da- niel], are in his happiest manner. The manner in which he illustrated the plays of our immortal bard may be seen in the Shakspeare Gallery ; and the truth of his conceptions of the several characters will be assented to by every tasteful reader of the poet. Many of his smaller designs, for book publi- cations, abound with pathos and sentiment. He was a severe critic on his own perfoimances, and was reluctant to exhibit them j two very uncommon qualities in a painter. In common with many others, he regarded with gi-eat suspicion a large portion of the soi-disant connoisseurs and admirers of the worlfs of the ancient masters ; not because he was insensible of the real merits of the old works, but because he considered such pretenders to be in- competent judges of them, and felt the depressing influence of their criticisms on modern art. He continued to practise his art till late in life ; it is said that his last were the designs for the bas-reliefs in front of the Oxford and Cambridge Club House in Pall Mall, of which his sons were the architects. He had formerly designed the bas-reliefs for the Ju- nior United Service Club, at the corner of Charles Street and Regent Street, also built under their direction. As most of his paintings and designs have been engi'aved by very eminent artists, they are generally known in England, and also on the continent, where they are held in high estimation. He died on the 5th of January, 1845.] [SMIT, Andreas, a Dutch painter of marine subjects, lived about the middle of the seventeenth century. There is a capital sea-piece by him in the Berhn gallery. The composition represents an ap- proaching storm; the sea is rising with a heavy swell, and several vessels are making preparation to encounter the tempest. There are several of his pictures in England, but they are attributed to other masters ; the Dutch writers seem to be unacquainted with his works, for they have not noticed him. There was also an Arnold Smit, who lived about the same period, and painted landscapes and sea- pieces. His large pictures of marine subjects re- seinble the darkest of Backhuysen. Such is the similarity of manner, however, in pictures signed A. Smit, And. Smit, and Arn. Smit, that it may rea^ sonably be suspected they are identical ; especially as the Dutch painters of the time were careless in their signatures, and there is no authentic record of either.] [SMITH, Anker, an excellent engraver of small book-plates in the line manner, was born at London in 1759. He received his education at the Merchant Tailors' School, and afterwards was articled to an attorney. As he was an excellent penman, and had a taste for the arts, he amused his leisure hours in copying line engravings with the pen, some of which were so accurately done, that on being shown to James Heath, he mistook them for prints. The ability to make accurate drawings of this kind is not what an attorney requires in a clerk, there- fore it was deemed advisable to ti-ansfer his services to an engraver of the name of Taylor. This master instructed him in the mechanical part of the busi- ness, and his natural talent soon enabled him to surpass his teacher. He became an assistant to James Heath, in whose name, -it is said, he executed several works, among which the Apotheosis of Han- del is named. Bell was now publishing an edition of the British Poets, and engaged him to engrave the illustrative plates ; and he was soon employed in a similar manner by other pubhshers, by which means his talents became known, and his name fa- miUar to the public. He also engraved several of the plates, which are highly esteemed, for Smirke's edition of Don Quixote. In this way his engi'avings are numerous. It is said that he practised also un- 743 smit] A DICTIONARY OF [smit i- der Bartolozzi ; his larger works have certainly much of that able master's manner. He was one of the engravers employed by Boydell on the " Shak- speare Gallery ;" and the print of " The Death of Wat Tyler," after the pictm-e by Northcote, obtain- ed for him the honour of being elected an associate of the Royal Academy. He engraved the plates for a smaller edition of Shakspeare's Plays, edited by Wood, and for the works by Coombe, on " The Ancient Marbles and Terracottas " in the British Museum; and several separate plates after Lionardo da Vinci, Titian, and Caracd. It is said that he was related to Hoole, the translator of Tasso and Ariosto. He died in 1819.] [SMITH, Benjamin, an engraver in the chalk and dotted manner, was born at London ; the year of his birth is not clearly ascertained. He was a pupil of Bartolozzi, and was one of the engravers employed by Boydell on his " Shakspeare Gallery," of which some of the best plates are by him. He en- raved chiefly after contemporary painters. Among is works are the following : Christ healing the Sick ; after B. West. St, Peter's first Sermon ; after the same. An Allegory of Providence ; after J. F. Rigaud. An Allegory of Innocence ; after the same. Sigismunda ; after Hogarth. Bacchus ', after Sir J. Reynolds. Shakspeare nursed hy Tragedy and Comedy, and The Infant Shakspeare attended by Nature and the Passions ; hoth after Bomney. An equestrian Portrait of George III. ; after Beechey. The Portrait of Napoleon ; after Appiani. WaUam Hogarth and his Dog ; after Hogarth. The Marquis Comwalhs ; after Copley. The Annual Ceremony of administering the Oath of Al- legiance to the Lprd Mayor elect, &c. Scene from Richard II. ; after Mather Brown. This excellent engraver, of whom there are so few particulars recorded, died in 1810.] [SMITH, Charles John, an engraver, was born at Chelsea in 1803; he was the son of an eminent surgeon, resident there for many years. He was in- structed in the art of engraving by Charles Pye. He became skilful in his profession, and was ex- tensively employed, particularly in some of the best antiquarian and topographical publications of the time. Among these are Stothard's Sepulchral Effi- gies, Cartwright's Rape of Bramber, Murray's Il- lustrations of Johnson, Dibdin's English Tour, and similar works, some of which were only for private circulation. In 1828 he engraved and directed the publication of a volume in imperial quarto, com- prising a series of facsimile autographs of royal, noble, and illustrious persons from the reign of Richard II. to that of Charles II., to which bio- graphical notices were furnished by John Gough Nichols, F. S. A. At the time of his death he was engaged in a work entitled " Historical and Literary Curiosities," of which six numbers were published ; two more, to complete it, were left unfinished. He was a fellow of the Society of Antiquaries. His death occurred in January, 1839.] [SMITH, Francis, a landscape painter, whose name and works appear in some of the earlier ex- hibition catalogues of the Royal Academy. In 1770 he exhibited Views of Naples and Constanti- nople ; two years afterwards his name appears to a View of Naples, an Eruption of Vesuvius, and an Old Temple near Pozzuoli ; and the following year to Views of London and Westminster Bridges, taken from the bottom of Arundel Street, Strand. There are some prints after drawings by him of Turkish 744 costume and ceremonies in tlie seraglio. It is sup- posed that he died in 1779-] SMITH, Gabriel. This artist was a native of England, and flourished about the year 1775. Hav- ing learned the rudiments of en|;raving in London he went to Paris, where he acquired the method of engraving in imitation of chalk drawings ; and on his return to England began to practise it, with the assistance of Mr. Byland, with some success. Among others, we have the following prints by him : The Blind leading the Blind ; after Tintoretto. Tobit with the Fish ; after Sal. Rosa. The Queen of Sheba's visit to King Solomon ; after Le Sueur. A Bear-hunt ; after Snydera. [He was born in 1724, and died in 1783. His principal plates were executed for Boydell.] SMITH, Jacob, an obscure English engraver, who flourished about the year 1730. Among other prints he engraved the portraits of Sir Isaac New- ton and Sir Hans Sloane, on one plate. The en- graving is executed in a singular manner, with one spiral line, begun in the middle, and continued to the border of the plate. SMITH, John. This eminent artist is consider- ed the best mezzotinto engraver that had appeared at the period at which he lived, about the year 1700. He is said to have served an apprenticeship to one Tillot, [or Tillet,] a painter in Moorfields. As soon as he became his own master, he learned the art of mezzotinto scraping from Isaac Becket, and received further instruction in it from J. Vander Vaart. Sir Godfrey Kneller having seen some of his perform- ances, took him into his employment, and engaged him to engrave many of his portraits, which are the best of his works. His prints are very numerous ; among which are the following : PORTRAITS after KNELLER. Charles II. with the Star. James, Duke of York, leaning on an Anchor. The Duke of Schomberg on Horseback. Meinhard, his Son, when Duke of Leinster. William III. Mary, his Queen. George, Prince of Denmark [an oval]. Queen Anne, when Princess of Denmark. John Churchill, Duke of Marlborough. John, Duke of Buckingham. Charles SackviHe, Earl of Dorset. Charles, Earl of Halifax. Arnold, Earl of Albemarle. "William, Earl of Jersey. Catherine, Duchess of Butland. Frances Bennet, Countess of Salisbury. Mary Somerset, Duchess of Ormond, with a black Boy. Henrietta^ Duchess of Bolton. Sir Richard Steele. Joseph Addison. Alexander Pope. William Congreve [very fine, 1710]. John Locke. Sir Godftey Kneller. John Smith, holding a Portrait of KneUer. [The en- graver's own Portrait, painted by Kneller in 1696, en- graved in 1716.] [To these may be added the following, after Kneller : Sir Christopher Wren, 1713. Lord Euston, whole length, 1689.] PORTRAITS AFTER VARIOUS MASTERS. Queen Mary II. with a high head-dress ; after Vatrder Vaart. James Fitzroy, Duke of Monmouth ; after Wisaing. Thomas Herbert, Earl of Pembroke ; after the same. Patrick Crawford, Viscount Gamock ; after Medina. smit] PAINTERS AND ENGRAVERS. [smit William Anstmther ; after the same. Sir Henry Goodricke ; after J. Hill. Mr. Sansom ; after Closterman. Mrs. Cross, Actress ; afier J. Hill. Arcangelo Corelli, Musician ; after Howard. William Penkethman, Comedian ; after Schutz. Godfrey Schalcken ; tifter a picture oy himself. [Charles XII. ; after D. Craft, 1701-2. William, Duke of Gloucester, and Benj. Bathurst ; afier T. Murrey. Anthony Leigh, in the character of the Spanish Friar. A heautiful print, in folio. Isaac Becket, J. Smith, fee. Thomas Murrey, Pictor, an oval. W. Wycherley ; after Sir P. Lely ; remarkably fine. Gulielmus Cowper, Chyrurgus ; (yier J. Closterman ; ex- cellent.] SUBJECTS AFTER VAEIOUS MASTERS. A set often Plates of the Lotes of the Gods ; after Titian. Venus standing in a Shell ; after Coreggio. Cupid and Psyche ; after A. Veronese. Tarquin and Lucretia; cfter the same. Time conquering Love ; after S. Vouet. Venus and Adonis ; after N. Paussin. The Virgin and infant Christ ; after F. Baroccio. The Holy Family; after C. Maratti. '' [A Woman asleep near a Light ; after G. Schalcken. The Story of Acteon, small figures ; afier P. Berchet. M. Magdalene ; after G. Schalcken. An admirable imi- tation of the manner of the orieinal master. There are proo6 of a second state, in which tears are introduced. The Angel and Tobit ; after Elsheimer.'] [These additions are of prints that Laborde thinks to be particularly deserwng of notice. Nagler has given a catalogue of 500. John Smith died about 1720.] [SMITH, John Thomas, a writer on the an- tiquities of London and Westminster, and a re- corder of obsolete customs and manners of the in- habitants, and many years keeper of the prints at the British Museum, was born in 1766. His father, Nathaniel, had been a pupil of RoubilUac the sculptor, and had formed an early friendship ^ith Nollekens, who was a pupil of Scheemakers. These two gained many of the best prizes of the Society of Arts ; Nathaniel carved three of the heads of River Deities, designed by Cipriani, which adorn arches of Somerset House. At the age of thirteen the subject of this article was introduced to the studio of Nollekens, to whom his father, Nathaniel, was then principal assistant. Here he had much practice in drawing, and after three years became a student of the Royal Academy. Having distinguished him- self by some drawings in imitation of Rembrandt and Ostade, he obtained a liberal offer from Sher- win the engraver, and became his pupU. For some years after his term with that skilful engraver, he was chiefly engaged as a drawing-master. In 1791 he commenced his first work, " The Antiquities of London and its Environs," which he completed in 1800, the whole work consisting of 96 plates in im- perial quarto. His next work for the illustration of the early architecture of the metropolis was the " Antiquities of Westminster ;" the Old Palace, St. Stephen's Chapel, (the late House of Commons,) &c., illustrated with 246 engravings of topographical subjects, (the greater part of which no longer exist,) to which he afterwards added a Supplement. The first part was completed in 1807; the Supplement in 1809. A disastrous fire at Bensley's printing establishment destroyed 400 copies of the first part of the work, and between five and six thousand of the prints ; this was a serious loss to Mr. Smith. These works were followed by another, entitled " Ancient Topography of London," which was not completed until 1815, and published, like the former, in imperial quarto, and contains 32 plates very bold- ly etched in a style resembling that of Piranesi. In 1816 he was appointed Keeper of the Prints in the British Museum, which, in some measure, pre- vented his extending the work as he had intended. He however found leisure to publish " Vagabondi- ana, or Anecdotes of Mendicant Wanderers through the Streets of London," which he illustrated with etchings of remarkable beggars and persons of no- toriety : to this Mr. Douce wrote an introduction. His last literary production was entitled " Nollekens and his Times." This, having nothing to do with his artistic talents, may be passed over. It amused the public for a time, gave pain to his friends, raised up a host of enemies, and in some instances gave rise to a suspicion of his veracity. He once told the editor that he had collected materials for a his- tory of St. Martin's Lane and Cranbourne Alley, in which he would give an account of all the painters, and other artists, who had dwelt in the locality for nearly a century ; and also of other remarkable per- sons, either good or bad, that came within the scope of his history. Alas ! his darling Cranbourne Alley is swept away, St. Martin's Lane is no longer the place of residence for artists, the historian is depart- ed, and the history lost. He died, after a short illness, on the 8th of March, 1833.] SMITH, Thomas, an ingenious English landscape painter, who resided chiefly at Derby, and was on that account usually styled Smith of Derby, in contra- distinction to the other artist of the same name who resided at Chichester. Without the help of a master he reached an eminent rank in his profession, and may be said to have been one of the first of the English artists who explored and displayed the charming scenery of his native country. We have several excellent prints enwaved from the works of this painter by Vivares. He died at the Hot Wells, Bristol, in 1769. [He painted, almost all the pic- turesque views of the Peak of Derbyshire ; 40 of these, engraved by Vivares, were published, collec- tively, by Boydell in 1760. Other views were en- graved by Mason and Elliot, and also some sporting subjects.] SMITH, John Raphael. This eminent artist was the son of Thomas Smith, of Derby, the land- scape painter, and was born about the year 1750. He probably was instructed by his father in the principles of design, but he adopted the branch of engi-aving in which he distinguished himself, par- ticularly in mezzotinto. We have a great variety of prints by this able artist, both from his own designs and after the compositions of other masters, of which his portraits are particularly admired. Among the most esteemed are the following : PORTRAITS after SIR JOSHUA REYNOLDS. The Duke of Devonshire. William Markham, Archbishop of York. Kichard Robinson, Archbishop of Armagh. Joseph Dean Bourke, Archbishop of Tuam. Lady Beaumont. Lady Caroline Montague, daughter of the Duke of Buc- cleugh. Mrs. Montague. The Marchioness of Thomond, when Miss Palmer. Lady Gertrude Fitzpatrick, daughter of the Earl of Ossory. Lady Catherine Pelham CUnton. Master Crewe, as Henry VIII. Master Herbert, as young Bacchus. Lieutenant-Colonel Tarleton. Mrs. Musters. Lieutenant-General Sir William Boothby. [The Duke of Orleans, called Egaliti, father of Louis Philippe.] 745 smit] A DICTIONARY OF [SNEL PORTEAITS AFTER VARIOUS MASTERS. Hyde Parker, Vice- Admiral of the Blue ; after Northf cote. Miss Coghlan ; after Gainsiorough. Mrs. Siddons, as the Grecian Daughter ; after Lawrence. Edward Wortley Montagu, in an Oriental dress; after Peters. He also engraved a variety of subjects from his own designs, and from the compositions of other masters. Mr. Smith died in 1811. [J. R. Smith was first apprenticed to a linen- draper at Derby. It is not known by whom he was afterwards instructed in mezzotinto engraving and drawing in crayons, but he became eminent in both. His engravings only amount to about 150 plates. He led a life of business and pleasure, but the latter predominated, and he lost the advantages fortune placed in his way. He had a good heart, encouraged merit in others, assisted George Mor- land, made the world acquainted with Chantrey's abilities, gave his advice kindly and generously to all artists who consulted him, and was no nian's enemy but his own. Let his merits cover his faults. For the last three years of his life he resided at Don- caster, where he died in 1812, in his 60th year.] SMITH, William, George, and John. These brothers were natives of Chichester ; William was born in 1707, George in 1714, and John in 1717- It does not appear that they had the advantage of any instruction in the art of painting, but they studied from nature with great assiduity, and had estab- lished in their family a kind of domestic academy, which supplied the place of a technical education. William devoted his attention chiefly to portraits, though he occasionally painted landscapes, flowers, and fruit. George, distinguished by the name of Smith of Chichester, excelled in landscape-painting, and reached a veiy eminent rank in that department. The youngest, John, also painted landscapes, in which he was httle inferior to his brother, but he died in the vigour of life. Of the merit of their productions, a very favourable idea may be formed, by examining the fine prints engraved from them by WooUett, Eliot, Peake, &c. We have several sets of small landscapes, very neatly etched by these ingenious artists, from their own designs. William and John Smith died in 1764, and George in 1766. [The Smiths of Chichester were very pleasing painters for the time in which they lived; but how much of their reputation would have descended to posterity if Woollett, Elliot, and Peake had not en- gi'aved their pictures ? Manj painters owe the pre- servation of their names even, to the value the en- graver has given to their works by his translation. A proof print of one of Smith's pictures by Woollett, is now worth considerably more than the original from which it was taken. John and George Smith etched, engraved, and published 53 prints of land- scapes painted by themselves, and of subjects from Rembrandt. There is also a collection of " Select Views in England and Wales," after them, by Vivares and others.] SMITS, [LuDOLF, or Ludewtk,] called Haet- CAMP. This artist was born at Dort in 1635, and acquired some reputation as a painter of flowers and fruit, but his system of colouring was so flimsy and unsubstantial, that the efiect of his pictures has hardly survived the life of the painter ; his works, with the name of the artist, being now almost ob- literated. He died in 1675. [SMITS, Nicholas, a native of Breda, and born about the year 1672, is mentioned as a good painter 746 of subjects called historical. His composition, draw- ing, and colouring evince considerable talent. It is said that he died in 1731, but the Dutch writers seem to know little or nothing of his history ; nor are his works of frequent occurrence.] SMITZ, Caspar, a Dutch painter, who, accord- ing to Graham, came to England soon after the Re- storation, and who, from painting a great number of Magdalenes, was called Magdalene Smith. For these penitents, his model was a woman that he called his wife. A lady, whom he had taught to draw, persuaded him to visit Ireland, where he painted small portraits in oil, had great business, and high prices. His flowers and fruit were much admired. In his Magdalenes he generally intro- duced a thistle in the fore-grottnd. In Painter's Hall is a small picture of a Magdalene, dated 1662. He died in Ireland in 1707.. [Some writers say he died in 1689. He engraved in mezzotinto a por- trait, a Magdalene in a Grotto, and Hagar in the Wilderness.] SNAYERS, Peter. This painter was born at Antwerp in 1593, and was a scholar of Henry van Balen. Although he painted history and portraits with considerable success, he distinguished himself more by his pictures of battles and landscapes, which were held in great estimation. He was much patronized by the Archduke Albert, who ap- pointed him his painter, and sent several of his pic- tures to Spain ; and he was favoured with many commissions from that court. His figures and horses are designed and painted with surprising spi- rit and anima,tion ; his compositions are rich and ingenious, and his colouring sometimes approaches to the splendour of that of Rubens. The battle- pieces of Snayers decorate the choicest collections in the Netherlands, and are sometimes met with in this country, where they are justly esteemed. Van^ dyck painted the portrait of Snayers among the emftient artists of his country. He died in 1670; [others say in 1662.] SNAYERS, or SNYERS, Henry, a Flemish engraver, born at Antwerp about the year 1612. It is not .ascertained from whom he learned the art of engraving, but he imitated the style of Scheltius Bolswert with considerable success. His drawing is tolerably correct, and his prints exhibit much of the character of the masters whose works he en- graved. We have, among others, by him. The Portrait of Prince Rupert ; after Vandyck. Adam Van Oort, Painter ; after Jor- The Virgin seated upon a step, surrounded with several Saints; after Rubens. The first impressions of this plate are very scarce. The Fathers of the Church ; after the same. The Death of St. Francis ; after the same. He also engraved some plates from Titian and other masters, and a few portraits. [He signed his engravings JSeinrich Snyers, H, Snyers, but never Snayers.'l SNELLINCKS, John, [or Hans Snellinx.] This artist was born at Mechlin in 1544. It is not known by whom he was instructed in the art, but he is celebrated by Karel van Mander, in the Life of Otho Venius, as an eminent painter of history and battles. There are some historical pictures by him in the public edifices in the Low Countries, which prove him to have possessed considerable abilities in that branch ; but his chief excellence consisted in painting skirmishes and attacks of ca- valry, which were considered among the ablest pro- Sney] PAINTERS AND ENGRAVERS. [SOGL ductions of the time. He principally resided at Antwerp, where he was much employed by the most distinguished personages of the country, and was appointed battle-painter to Albert and Isabella, the governors of the Netherlands. His compositions are judiciously grouped, his figures and horses are correctly and spiritedly designed, and the animated courage of the combatants is admirably expressed. He was perfectly acquainted with aerial perspective, and by his intelligent conduct of the chiaro-scuro, his pictures produce a surprising effect. The ta- lents of this painter were highly respected by Van- dyck, who not only painted his portrait among the distinguished artists of his time, but has etched a plate of it himself. He died in 1638. SNEYDERS, [properly] SNYDERS, Francis. This distinguished painter was bom at Antwerp in 1579, and received his first instruction from Henry van Balen. For some time he confined himself to painting fruit and objects of stUl-life, in which he excelled ; but he afterwards devoted his studies to a more difficult branch of the art, in which he not only surpassed all his contemporaries, but may be said not to have been equalled by any artist who has succeeded him. He painted animals and hunt- ings, which are composed in a grand style with sur- prising fire and spirit. The talents of Snyders excited the admiration of Rubens, who frequently intrusted him to paint the animals, fruit, &c. in his pictures, though he himself represented those subjects in so admirable a manner. Such was his excellence in colouring, and the spirited touch of his pencil, that even in competition with the powers of that illustrious painter, the whole appeared to be the production of the same hand. M. d'Argenville asserts that he travelled to Italy, where he studied for a long time the works of Benedetto Castighone. This cannot, however, be reconciled with chrono- logy, as Snyders was thirty-seven years older than the Genoese painter, who was bom in 1616. It is more probable that he never left Flanders, but con- stantly resided at Antwerp, except for a short time, when he was invited- to Brussels ' by the Archduke Albert, for whom he painted some of his finest works, particularly a stag-hunt, which was sent by the Archduke to Philip III. of Spain, who com- missioned him to paint several large pictures of subjects of the chase, and combats of wild beasts, which are still in the old palace of the Buen-Retiro. He also excelled in painting kitchens and larders stored with all kinds of dead game, fish, fruit, vegetables, &c., which have occasionally the ad- vantage of being decorated with admirable figures by Rubens or Jordaens. We admire, in the works of this eminent painter, the richness and variety of his compositions, the correct and spirited design of, his animals, and the characteristic ferocity with which he has marked their attacks and combats. His pencil is bold and free, and peculiariy adapted to express the various furs and skins of the different wild beasts he introduced into his pictures; and his colouring is clear, chaste, and vigorous. Some of his most capital works embellish the collections of this country, where they are held in high estima- tion. Vandyck painted an admirable portrait of Snyders, which was in the Orleans' collection. We have a set of sixteen etchings of various animals by F. Snyders, executed in so spirited and masterly a style, that it is to be regretted that he did not more frequently amuse himself with the point. They are now become very scarce. He died at Antwerp in 1657. [It is not correct to attribute these etchings of . animals to Snyders ; they are by Jan Fyt. The first impressions, which are very rare, were pub- lished by him in 1642, with a dedication to the Mar- quis de Solerio, and several of them have the name of Fyt in addition. Johannes Fyt pinxit et fecit, or Fyt only. Subsequently the plates fell into the hands of some person who erased the name of Fyt, and substituted that of Snyders : " Ziure d'Ariimaux Feint et Orave par Senedre." See Bartsch, Peintre Graveur, tom. iv. It will be observed that one of the prints, N°. 2, of the second series, has the date 1662 written backwards ; a close examination will satisfy the inspector that there has been some tam- pering with the last 6 ; it is coarser than the first ; the cause must be left to conjecture.] SOBLEO. See Desubleo. SODOMA, II. See Razzi. SOENS, John. This painter was born at Bois le Due about the year 1553. He was first instructed by James Boon, but he afterwards became a scholar of Giles Moestaert. Under that master he made great progress, and was considered one of the most promising young artists of his time. He travelled to Italy, where his manner of painting landscape was greatly admired, and he was employed by the pope, and several of the nobility of Rome, in the embel- lishment of their palaces. He passed some time at Parma, in the service of the duke. His manner was prompt and full of fire ; he had a perfect intelhgence of the degradation of tint in his distances. The figures he introduced into his landscapes were well drawn, and touched with great spirit. [He died at Parma in 1611. There is some difference respecting the year of his birth ; Zani says 154?.] SOEST, or ZOEST, Gerard. This artist was ' a native of Westphalia, born about the year 1637- He visited England some time before the Restora- tion, as he is said in the Anecdotes to have been, at that period, of established reputation as a portrait painter. His heads are animated with truth and nature, with a great relief, bold, yet higjhly finished. His draperies were usually of satin, in which he imitated the manner of Terburg; but he enlarged his style on seeing the works of Vandyck. He was enlisted among the rivals of Sir Peter Lely, the number of which is honourable to the talents of that painter. Emulation seldom unites a whole profession against one, unless he is clearly their superior. He was more successful in his portraits of men than women ; and his taste is said to have been too coarse and ungraceful to recommend him to the softer sex. The gentle manners of Sir Peter carried them all from his competitor, though he had a considerable share of business among the men. He died in 1681. SOGGI, NiccoLO. This painter was born at Florence in 1474, and was a disciple of Pietro Peru- gino. He painted history in the style of his in- structor, though his figures were designed in a dryer and more laboured manner than those of his master. His chief residence was at Arezzo, where some of his works are preserved in the public edifices. In the church of La Madonna delle Lagrime is a pic- ture by him of the Nativity, painted in a precise, formal style. He died at Arezzo in 1554. SOGLIANI, Giovanni Antonio. This artist was a native of Florence, and flourished about the year 1530. He was a disciple of Lorenzo di Credi, under whom he studied several years. On leaving that master, he endeavoured to imitate the works of Bartolommeo di S. Marco, but his genius was more . 747 soja] A DICTIONARY OP [sole adapted to the simple and agreeable style of his in- structor, than the grand gusto of II Porta. Among his most esteemed performances are, his picture of Cain and Abel, in the cathedral at Pisa ; and the Martyrdom of S. Arcadio, in the church of S. Lo- renzo, at Florence. [He was born in 1481, and died in 1533.] SOJARO. See Gatti. SOITZ, G. C, a German engraver, who flour- ished about the year 1530. He executed some of the portraits for a book entitled Templum Honoris, published at Vienna in the above-mentioned year. SOIUS, Philip. This artist resided at Rome about the year 1568. He engraved from his own designs a set of half-length figures of the Popes, from the year 204 to the year 1568, when they were published. They are executed with the graver in a stiff, formal style. [This is the same as Serious ; see that article.] , SOLARI, Andrea. This painter was a native of Milan, and flourished about the year 1530. He is sometimes called Del Gobbo, and by Vasari is de- nominated Andrea Milanese. That writer states him to have been a contemporary of Coreggio, and commends him as a graceful designer and an excel- lent colourist. One of his most esteemed works is his picture of the Assumption of the Virgin, in the church of the Carthusians, at Pavia, where he re- sided the latter part of his life. [Zani places his birth in 1458, and his death in 1508 ; he thinks him the same as Andrea Salaino, scholar of Lionardo da Vinci. Others deny this ; but it is probable.] SOLARIO, Antonio, called Lo Zingaro. Ac- cording to Dominici, this painter was born at Abruz- zo, in the kingdom of Naples, about the year 1-382. The history of this old artist is strikingly similar to that of Quintin Matys, of Antwerp. He had, like that artist, followed the business of a blacksmith until he was seventeen years of age, when he con- ceived an afiection for the daughter of Colantonio del Fiore, a Neapolitan artist, who promised him her hand, when he should merit it by becoming an eminent painter. He accordingly devoted himself with uncommon zeal to the study of design, and went to Bologna, where he became a disciple of Lippo Dalmasio, whose works were then held in the highest estimation. Aided by, the lessons of that artist, and stimulated in the prosecution of his studies by the ardour of his attachment, his progress was surprising, and he returned to Naples, where he distinguished himself as one of the ablest painters of that early period, and received the reward of his constancy and perseverance. Several of the works of Lo Zingaro are preserved in the public edifices at Naples, among which the most remarkable are some frescoes, in the cloister of S. Severino, representing the Life of Benedetto ; a dead Christ, with the Vir- gin and St. John, in S. Domenico Maggiore ; and in S. Pier Martire, some pictures of the Life of S. Vin- cenzio. He died about the year 1455. [The pictures by Antonio Solario hold a middle place between the school of Umbria and the German school of Alsatia. There are several in the Museo Borbonico. One in S. Lorenzo Maggiore, at Naples, of S. Francis giving the rules of his order to some monks, is grand and animated. Authors who wrote previous to Dominici say Solario was of Venice ; this is supported by an inscription on a picture of the Virgin, Christ, and St. John, (of which Rosini has given an oiitline, plate 37,) Antonius da Solario Venetus,/. The composition has the truth and simplicity of Raphael.] 748 SOLDI, Andrea. This painter was bom at Flo- rence about the year 1702. He had resided some time at Aleppo, and having painted the portraits of some BngUsh merchants resident there, they gave him letters of recommendation to some of their countrymen, with which he arrived in England in 1735. For some time he had considerable employ- ment, became a member of the Chartered Society of Artists, and exhibited with them in 1766. He did not long survive that period. SOLE, Antonio dal. This painter was born at Bologna in 1597, and was brought up in the school of Francesco Albano. He excelled in painting landscapes; and as he always worked with his left hand, he acquired the appellation of II Manchino dai Paesi. His pictures, like those of his instructor, exhibit very pleasing scenery, and his distances re- cede with a charming degradation. He decorated his landscapes with groups of figures, gracefully de- signed and composed, in the style of Albano. He died in 1677. [Zani says he was bom in 1606, and died in 1684.] SOLE, Giovanni Giuseppe dal, was the son of the preceding artist, born at Bologna in 1654, and was instructed in the first principles of design by his father, but he afterwards became a disciple of Do- menico Maria Canuti, and ultimately studied under Lorenzo Pasinelli. Following the example of his last instructor, he founded his system of colouring by studying at Venice the works of the best mas- ters of that school. He imitated the agreeable style of Pasinelli with great success ; and though he was inferior to him in the clearness and harmony of his colour, he surpassed him in the correctness and energy of his design. His compositions are regu- lated by judgment and reflection, and are embellish- ed with landscape and architecture, which he intro- duced into his picture with admirable taste. There are several of the works of this eminent artist in the public edifices at Bologna, which establish the respectability of his talents. Among the most esteemed are the Incredulity of St. Thomas, in the church of La Madonna di Galiera ; the Annuncia- tion, in S. Gabrielle ; and some frescoes in S. Bia- gio, which are accounted his finest works. He died at Bologna in 1719. [Giovanni Giuseppe dal Sole was ambitious of becoming every day more perfect in his art, and he raised himself by his application to one of the first stations among the painters of his time. He had constant commissions from noblemen, both native and foreign, and received invitations from the courts of England and Poland. For some time he pre- served a style conforming to Pasinelli's, and, in order to improve it from the same sources, made frequent visits to Venice. In many particulars he displays exquisite grace ; as in the hair and plumes of the angels, and also in the accessories, such as veils, bracelets, crowns, and armour. He seems to have been inclined to treat powerful themes, and was more observant than his master, Pasinelli, of costume, more methodical in composition, and bet- ter informed in architecture and landscape. In these, indeed, he is almost unique. The most beautiful specimens, perhaps, are to be seen at the Casa Zappi in Imola, representing Evening, Night, and Morning, all harmonized with the sober tints be- longing to the subjects. His works in general exhibit the most lovely play of vivid fluctuating light, more especially in holy subjects and celes- tial visions. Though exact and polished, he was by no means deficient in celerity in conducting sole] PAINTERS AND ENGRAVERS. [soli his works ; but he esteemed it unworthy of an up- right character to confer upon them less perfection than he was capable of bestoVidng. For the Giusti family at Verona he executed several scriptural his- tories and mythological subjects, truly beautiful; one, of Bacchus and Ariadne, which occupied but a week of his time, was pronounced by artists excel- lent. Yet he cancelled almost the whole, to re- model it according to his own wish, declaring that it was enough to have shown his rapidity of hand to satisfy others, but that it became his duty, by ad- ditional accuracy, to satisfy himself also. Hence his fresco, at S. Biagio in Bologna, which is his greatest work, cost him infinite labour in its com- pletion. In conducting his altar-pieces, few and valuable, as well as his pictures for private collec- tions, which are very numerous, he called for high remuneration, persevering in his determination to paint only with care. In his works two manners are observable ; the second partakes of that of Guido. A large portion of his pictures nearly approach the taste of that master ; so the surname of The modern Guido, conferred on him by so many, has not heen granted as a favour, but as his desert. Bartsch de- scribes three etchings by him; an allegorical re- presentation of Envy, a Group of Angels, after a design for a ceiUng by Pasinelli, and another of Olympus, after the same. Gori mentions one of St. Francis Xavier confuting, or rather confounding, by his holy doctrine, the satraps of Japan, also afler Pasinelli. Several portraits were etched by him in 1674, which were intended for the " Felsina Pit- trice," but are not found in that work.] [SOLEMACKER, J F , a landscape and cattle painter, of whom there is no satisfactory account. He lived at the same time as Wynants, Ruisdael, and Berchem. It is supposed that he was a pupil of the last, but of that there is no proof. He certainly was his imitator in the grouping and forms of his cattle in some instances ; but in the handling there is not the freedom of that master, and the colouring is less transparent ; his shadows are black, and the general appearance of his pictures heavy. There is, however, considerable merit in them, and they are sometimes mistaken for Berchem's. It is probable that he was Berfifem's senior, for the editor has seen landscapes by Wynants, in which the cattle and figures are by Solemacker, evidently painted contemporaneously; these have less ap- pearance of imitation. Whether he ever attempted to imitate Wouwerman, as some have said, the edi- tor -mW not take upon himself to affirm, as he has never seen any counterfeits of that inimitable mas- ter's works that have borne the stamp of Solemack- er's pencil. There are dark and heavy pictures, sometimes called Wouwerman's, evident attempts at imitation, but they are not by Solemacker. His skill lay in painting cows, sheep, and goats, not horses ; and there is no mistaking his pencfl. There is a piquancy in his manner, a pleasing rural choice in his subjects, and a freedom in his distribution of the objects, which, if it were not for the opacity of the colouring, would make his pictures valuable. They are generally of small dimfensions, always on panel, and a good specimen may be a locum tenens for a Berchem. The name is sometimes written Soolemaker, and, improperly, Zoolemaker^ SOLERI, Giorgio. This painter was a native of Alessandria, and flourished about the year 1573. It is not precisely ascertained by whom he was in- structed, but he was probably a disciple of Bernard- ino Lanini, whose daughter he married, though he did not adopt the style of that master. As a painter of portraits, Malvasia ranks him on an equality with Bartolomeo Passerotti, Giuseppe Arcimboldi, and Gio. Cremasco da Monte ; and Lanzi mentions two of his historical pictures in very favourable terms.— One is an altar-piece, in the church of the Conventuali, at Alessandria, representing the Vir- gin, to whom SS. Agostino and Francesco are re- commending the protection of the city of Alessan- dria. The other is a picture in the church of the Domenicani, at Casale, which is signed with his name, and the date 1573. It represents S. Lorenzo kneeling before the Virgin, with a group of three angels, designed with a grace which reminds us of Coreggio. He died in 1587. SOLIMENB, [or SOLIMENA,] Francesco, called l'Abate Ciccio. This eminent artist was born at Nocera de Pagani, a small town about eighteen miles distant from Naples, in 1657. He was the son of Angelo Solimene, a respectable paint- er, who had been a disciple of Cavaliere Massimo, who, discovering in his son a disposition for literary pursuits, had him instructed in classical learning, and he is said to have passed whole nights in the study of poetry and philosophy. This assiduous application did not, however, prevent his cultivating the principles of design, for which he showed an early and decided genius. As his father intended him for the profession of the law, the time he occu- pied in. the indulgence of his favourite propensity was by no means satisfactory to him, and he fre- quently remonstrated with him on the subject. Car- dinal Orsini, afterwards Pope Benedict XIII., hap- pening to pass through Nocera, honoured Antonio with a visit, and had the condescension to examine the youth in his classical acquirements. On ex- pressing his approbation of his progress, his father observed, that it would be much more considerable if his son did not sacrifice so much of his tinie to drawing. The prelate desired to see his designs, and was so surprised at the uncommon talents they evinced, that he persuaded his father to permit him to pursue the bent of his inclination. After study- ing two years under his father, he went to Naples in 1674, where he first became a disciple of Fran- cesco di Maria, but left that master to enter the school of Giacomo del Po. He afterwards went to Rome, where the works of Pietro da Cortona were for some time the models of his imitation. By con- templating the vigorous productions of Lanfranco and II Calabrese, he acquired a powerful efiect of light and shadow, which he afterwards softened, by adopting the sweetness and amenity of Guido and Carlo Maratti. By an accurate and well-arranged study of these matters, he formed to himself an e^i- cellent style, and distinguished himself as one of the most admired painters of his time. Among his most celebrated works are, the sacristy of S. Paolo Maggiore, and the Last Supper, in the refectory of the Conventuali at Assisi. Solimene possessed a fertile and extensive genius, and his powers were so general, that he equally ex- celled in history, landscapes, portraits, animals, and architecture. His compositions are rich and inge- nious, and his figures are elegantly designed, though sometimes wanting in correctness. His colouring unites tenderness with force,-the airs of his heads are graceful and expressive, and his draperies are judiciously cast. He was the contemporary and friend of Luca Giordano, and after the death of that master was regarded as the ablest painter of his time. He died at Naples in 1747. [Admitting 749 soli] A DICTIONARY OF [soli the merits of Soliraena, he must be ranked with those painters who caused the declension, and ac- celerated the downfal, of ItaUan art. Pietro da Cortona, Luca Giordano, Solimena, Sebastian Con- ca, Pompeo Batoni, regularly followed each other in depravity of style.] SOLIS, Francisco de, a Spanish painter, born at Madrid in 1629, was instructed in the art by his father, Juan de Solis, a painter little known. He painted histoiy, and Palomino mentions as his most esteemed work a picture of Santa Teresa, in the church of San Miguel, at Madrid. He died in that city in 1684. [Francisco de Solis was intended for the church, and educated accordingly. The little instruction he received from his father was intended rather as an amusement than as an induction to art ; for it seems that his father, who had studied under Alonso Herrera of Segovia, did not practise much as a professor. However, the little information he received had the effect of withdrawing him from the study of theology to that of painting, and when he was only eighteen he painted a picture, of his own invention, for the Capuchins of Villarubia de los Ojos. This was exhibited on one of the days of a jpublic solemnity in the convent de la Paciencia at Madrid, and attracted the notice of connoisseurs, particularly, of Philip IV., who directed him to sign his name and age on the picture. This circumstance brought him into public favour, and he obtained mucicL employment. When the queen, Louisa of Orleans, made her solemn entry into Madrid, he contributed to the splendour of the decorations by a series of paintings representing the labours of Her^ cules, from Claudio Coello's designs ; but the work;, which established his reputation was an Immacu-j late Conception of the Virgin, with the dragon at her feet: henceforward his Conceptions were the vogue. Few professors in Spain contributed so much to the advancement of painting as Francisco de Solis. For many years he held an academy in his house, to which all young artists were admitted free of expense, to draw from the living model. He wrote an account of the lives of Spanish painters, sculptors, and architects, and even engraved several of their portraits, which he intended to publish, but was prevented by death. This manuscript is lost, which is to be regretted, as he not only had the opportunity of collecting facts, but taste and skill to set them oflf to advantage. He left books, prints, and drawings, which were estimated at the value of six thousand ducats. His pictures are chiefly remarkable for their colouring. Bermudez has named the principal places where they were for- ' merly.] SOLIS, Virgil, a German engraver, born at Nuremberg in 1514. According to the usage of the time, he engraved both on wood and on copper, chiefly from his own designs. The copper-plates he engraved in the early partof his life resemble the works of Hans Sebald Beham, but when he after- wards engraved after the Italian masters, he adopt- ed a style more open and spirited. His wooden cuts are similar to those of Jost Ammon, both vrith re- spect to the composition and execution. His works prove him to have been a man of considerable ability, and though his design is formal and stiff; some of.his figures possess great merit. On account of the smallness of his plates, this artist is ranked among the little masters. His works are very nu- merous, amounting to upwards of eight hundred prints. He usually marked them with a cipher 750 composed of a V. and an S., thus, Y*- °^ l^' Among his multifarious productions are the fol- lowing : A variety of small Engravings on copper, representing hunting subjects ; dated 1541. A set of vases and ornaments for goldsmiths ; the same. The Marriage of Cupid and Psychej the Assembly of the Gods, Mount Parnassus, and several other subjects; after Raffaelle. The Bath of the Anabaptists ; copied from Aldegrever. WOODEN CUTS. Several sets of smaU historical subjects fi'om the Bible. The Metamorphoses of Ovid, in one hundred and seventy cuts ; published at Frankfort in 1S63. A set of cuts for the Emblems of Nicholas Rmser. 1581. Another set of cuts for the Emblems of And/reus Alciatiis. 1581. [There has been considerable discussion respect- ing Virgilius Solis, particularly whether he ever en- graved in wood i Zani says, decidedly, " non ha mai inciso in legno." Perhaps all that need be said on the matter is concentrated in the preliminary re- marks of Bartsch to the catalogue of his prints in tom ix. of " Le Peintre Graveur," of which the fol- lowing is the substance. " The little we know of the history of Virgilius Solis is supplied by an inscrip- tion at the bottom of his portrait engraved by a master who signs with the letters B. J." The in- scription, which is in German, may be thus ren- dered : ViRQiliiTis Solis was my name ; Through all the world extends my fame ; For artists many, form'd by me, Acknowledge my paternity And call me father. I did ever To serve them use my best endeavour ; I painted, ■graved with tlie burin ; lUumin'd, to make art alluring ; Design'd, to waken their ability ; And etched, to teach their hands facility ; And subjects traced on blocks of wood : — So, no one as my equal stood In executing works of art "With skill refined in every part. In justice, then, the voice of fame Has given me Solis for my name ; For that imports that, like the sun, I stand alone — the only one. "VfiieTi fifteen hundred sixty-two, As Christians reckon, onward drew. And, years I aowaiei. forty-eight, God pleased to call me from the state Of mortal life ; and His behest Has number'd me among the blest. By this we learn that he was bom in 1514, and that he died in 1562. The inscription details all the branches of art he exercised. He painted, and illuminated prints (Sandrart says that in the latter he excelled all the artists of his time). He engi'aved with the burin, and etched with aquafortis; he made designs, and traced them on wood prepared for being engraved. Consequently, it may be in- ferred, he did not himself engrave the numerous wood cuts that bear his monogram, as is generally pretended notwithstanding the many pieces that have the cipher of the wood engraver, in addition to that of Virgilius Solis; and notwithstanding also that a great part of these were not published till several years after his death ; a circumstance of it- self sufficient, if not to prove, at least to excite suspicion that the cutting was done by other hands. As regards the engravings with the burin and aqua- fortis which bear his mark, there are such various degrees of merit in them, that so far from indicating solo] PAINTERS AND ENGRAVERS. [some the several epochs of an individual artist's progress, we feel at once convinced that a great number of them are executed by different engravers, who ap- parently were his disciples, after his designs, on which they marked his cipher. The passage of the inscription that he had formed many artists hy the productions of his hand, and that they called him father, seems to coniirm this conjecture in a great measure. Besides, Virgil Solis having only attained to the age of forty-eight, and having died rich, as is gathered from the preface to the collection of Bible prints, it is to be believed that he did not gain his wealth by his personal exertions only, but also by the works executed for him by his scholars. Bartsch excuses himself for not having placed the prints by Virgil Solis in a class distinct from those of inferior execution, which, in his opinion, were engraved by his pupils from his designs, from the difficulty of discovering fine impressions for comparison; but all his prints have become so rare that scarcely any but bad impressions are to be met with, even in the richest collections. The cause of this rarity is perhaps less on account of their beauty than the smallness of their size, which rendered them liable to be lost; or perhaps they were given to young children to amuse themselves in colouring them. The latter reason seems to be the better, as, how- ever small the prints, they would have been, other- wise, preserved as book illustrations. It would seem that the wood cuts from the designs of Virgil Solis, after being used for the books they were originally intended to illustrate, were transferred to foreign printers, or booksellers, and hence some curious anomalies occur. Several are to be found in Arch- bishop Parker's Bible, printed by Richard Jugge in 1568. In the second edition, in 1572, two of the or- namental initial letters, originally intended for an edition of Ovid, are used. In the letter G, which forms the commencement of the first chapter of the Epistle to the Hebrews, the subject designed by the artist represents the story of Leda and the Swan ; and in the letter T at the beginning of the first chapter of the Epistle general of St. John, the sub- ject is Venus before Jupiter, with Cupid, Juno, Mars, Neptune, and other heathen deities. There is an improbable story related by John Evelyn, of Virgil SoUs having had his eyes put out by order of the magistrates of Nuremberg, for having engraved the Postures of Giulio Romano ; there is no men- tion by any writer of authority of such copies, nor the slightest evidence of his ever having been pun- ished in any way by the magistrates. Had he lent his talent to the propagation of those infamous designs, the writer of the inscription to his portrait would hardly have thought him worthy of being placed among the blessed after his death.] SOLOMAYOR, Luis de. See Sotomayor. [SOLVYNS, Francis Balthasar, a marine painter, was bom at Antwerp in 1760. His sea- pieces, however, are not numerous, as his fondness for travel led h'im to visit India, where he employed himself in observing and depicting the customs a.nd manners of the people. I/his work was first en- graved and published at Calcutta in 1799, and after- wards republished at Paris in 1808, in four atlas folio volumes, with the letter-press in French and English, at the price of a hundred guineas. It con- sist of nearly three hundred coloured plates of the occupations, festivals, and costumes of the Hindoos. In the preface to this latter edition, the author com- plains of the piracy committed on his former work by a London pubUsher. He says, " A Mr. Orme published in London a piecemeal collection, a sort of counterfeit of a set of sketches which I had for- merly pubhshed at Calcutta, and which, even in the country itself, were received with great applause. They were, however, no more than a rough outline of some part of what I now publish. An early and regular education in the imitative arts in the school of a most celebrated master ; painful journeys, con- tinued absence from my native country, long resi- dence in a foreign climate, care, fidelity, study, and expense, I have spared none of these to acquire true and ample information, and render my work as in- teresting and meritorious as the subject would ad- mit. May the reception which it meets from the public prove that the execution is not unworthy of the labour and expense." It met, however, with very little encouragement, and involved its author in pecuniary embarrassment. He died in 1824. One of his marine pieces, a view from Ostend, is in the palace at Vienna.] SOLY, Arthur, an obscure English engraver, who lived about the year 1683. He was employed by Robert White, and engraved a few portraits, among which are the following : His oivn Portrait ; dated 1683. Tobias Crisp, D. D., Rector of Brinckworth, "Wiltshire ; prefixed to his Sermons. 1689. Bichard Baxter, Presbyter. 1683. SOMER, or SOMMEREN, Mathias van, a Dutch engraver, who flourished about the year 1660. He engraved a set of landscapes, marked with the initials M. V. S., and his name is affixed to a small oval portrait of John Ernest, dated 1666. [There are many portraits by him ; among them, that of Oliver Cromwell.] SOMER, John van, was probably a relation of the preceding artist, and flourished about the year 1675. He engraved in mezzotinto some indifferent plates from the Dutch painters, and a few portraits, among which are the following : PORTRAITS. The Duchess of Mazarine. Charles Louis, Elector of Bavaria. , Michael Adriantszfde Buy ter], Dutch Admiral; after [KareT] Du Jaram. Peasants drinking ; after A. Both. Dutch Boors regaling ; after A. Oatade. A Flemish Concert ; after Teniera. A Conversation ; after Terburg. A Drinking Party ; after his own design. Abraham and the Angels ; after Peter Lastman. He usually marked his plates with the monogram SOMER, Paul van, was apparently of the same family with John van Somen After residing some time at Paris, where he engraved several plates, he came to England, and settled in London, where he died in 1694. He etched, engraved, and scraped in mezzotinto. We have, among others, the following prints by him : A Portrait of the Countess of Meath ; after Mignard. Tobit burying the Dead ; after Seb. Bourdon. Moses saved from the Waters of the Nile ; after N. Potessin. The Baptism of Christ ; after the same. Nil placet, &c., or the Fable of the Old Man and his . Ass ; after Griffier ; a set of six etchings. The Four Times of the Day ; from his own designs. The Adoration of the Shepherds ; from the same. The Holy Family ; from the same. some] A DICTIONARY OF [SORR [SOMER, or SOMEREN, Bernard and Paul, brothers, born at Antwerp, Bernard in 1579, andPaul in 1581. Bernard visited Italy, and on his return joined his brother at Antwerp, where, it is said, they painted some historical pictures. They were con- sidered as men of talent. Bernard died in 1632, and Paul in 1641.] [SOMMERAU, LuDwiG, a painter and engraver, but more known as the latter, was born at Wolfen- biittel in 1750. He was a scholar of Mechel at Basle. He engraved several portraits; and some pieces after Guido, Domenichino, Guercino, and Ma- phael, particularly about twenty of the designs for tapestry in the Vatican, by the last. These were published at Rome in 1780. The same has been published in London in 1837, with six additional plates, and explanations by Cattermole.] SOMPEL, or SOMPELEN, Peter van. This artist was born at Antwerp about the year 1600, and was instructed in engraving by Peter Soutman, whose style he followed with success. His plates are neatly executed, and produce an agreeable ef- fect, particularly his portraits, which possess con- siderable merit. We have, among others, the fol- lowing prints by him : portraits. Paracelsus, the famous Physician ; after Soutman. Henry, Count of Nassau ; after the same. Philip of Nassau, Prince of Orange ; after the same. The Emperor Chai-les V. ; after Rubens. Cardinal Ferdinand, brother to Philip IV. ; Governor of the Netherlands ; after Vandyck. Isabella Clara Eugenia, Infanta of Spain ; after the same. Gaston, Duke of Orleans, brother to Louis XIII. ; after the same. Margaret, his consort ; cfter the same. Philip the Bold, Duke of Burgundy ; after J. van Eyck. Frederick Henry of Nassau ; after G. Hondthorst. SUBJECTS. Christ with the Disciples at Emmaus ; after Rvhens. The Crucifixion ; after the same. Juno and Ixion ; after the same. [The only date by which we know when this master operated,' is 1643 on a print of Christ journeying to Emmaus, after Rubens.'] SON, [or ZOON,] Joris van. This artist was born at Antwerp in 1.622. He excelled in painting flowers and fruit, and treated those subjects with considerable success. His pictures are agreeably composed, his pencil is light and flowing, and his colouring chaste and clear. [His death is placed by Balkema in 1676.] SON, [or ZOON,] John van, was the son of the preceding artist, and was born at Antwerp about the year 1650. His genius led him to paint similar subjects to those of his father, by whom he was in- structed in the art, and whom he greatly surpassed. It was his constant practice to paint every thing from nature, and he copied every object before him with a precision and fidelity that approach to illu- sion. He came to England when young, and hav- ing married the niece of Robert Streater, he suc- ceeded to a great portion of her uncle's business. He painted flowers, fruit, dead game, va^es, curtains fringed with gold, Turkey carpets, and similar objects of still-life. These subjects he composed in a pic- turesque manner ; his touch was free and spirited, and his colouring rich and transparent. This artist is called Francis van Son in the Anecdotes, but Descamps and the other authorities style him John. He died in London in 1700. [Others place his birth in 1661, and his death in 1723.] SON, [Anthony, or Nicholas] de. This artist, 752 who flourished about the year 1628, imitated the style of Callot with success. We have several etch- ings by him from the designs of Callot, as well as some from his own compositions. Among others are the following : A set of smaU Landscapes with figures and buildings. The Village Fair; ffl/iej- CaZfo*. The Companion, representing a street, with a coach in the back-ground, an J several female fiigures. [This engraver was a native of Rheims. He is sometimes called Anthony, but several of his prints have N. de Sonfedt. SOPHONISBA. See Angosciola. SORELLO, Miguel. This artist was a native of Spain, but he established himself at Rome about the year 1650, where he learned engraving from James Frey. He engraved several prints after the Italian masters, but his principal work is a set of eight plates from the tapestry in the Vatican, de- signed by Raffaelle, representing The Nativity. The Purification of the Virgin. Christ giving the Keys to St. Peter. Christ descending into Hell. The Resurrection. Christ with the Disciples at Emmaus. Christ appearing to Magdalene. The Conversion of St. Paul. [As Giacomo Frey was born in 1681, and died at Rome in 1752, there is a mistake here of about 100 years. Sorpllo was born at Barcelona about 1700, and died in 1765. He was one of the engravers employed on the Antiquities of Herculaneum, pub- lished in 1757 and 1761.] [SORGH, M. See Zorg.J SORNIQUE,Dominick, a French engraver, born at Paris in 1722. He was a pupil of Charles Si- monneau, whose style of engraving he followed with considerable success, and executed a variety of vignettes, and other book-plates, in a neat, clear style. He also engraved several portraits and other subjects, among which are the following : portraits. Armand J. du Flessis, Cardinal de Bichclieu; after Nanteuil. John Louis, Duke of Epemon ; after the same. Louis de Bourbon, Admiral of France ; after Mignard- Marshal Saxe ; after Rigavd. SUBJECTS. Diana and her Nymphs ; after Coreggio. The Rape of the Sabines ; after L. Giordano. Peasants regaling ; after Teniers. [He was bom in 1707, and died in 1756. Had he been born in 1722, he would hardly have been a upil of Charles Simonneau, who died in 1728. See 'agler for a list of his works.] SORB I, PiETRO. This painter was born at Siena in 1556, and was for some time a scholar of Arcan- gelo Salimbeni, but he afterwards studied at Flo- rence, under Cavaliere Passignano, whose daughter he married. He adopted the system of his father- in-law, which was characterized by a mixture of the Florentine and Venetian taste. He accompanied Passignano to Venice, where he improved his man- ner, by studying the works of Paul Veronese, whose splendid style is discernible in his best pictures. Less prompt in his operation than Passignano, his colour is more durable, and his design more graceful and correct. There are several of his works in the public edifices at Florence and the other cities of Tuscany, particularly at Pisa, where he represented, in the cathedral, the Consecration of that Basilica, S SOTO] PAINTERS AND ENGRAVERS. [SOUT and painted an altar-piece of Christ disputing with the Doctors. He died in 1622. [SOTO, Juan de, a Spanish historical painter, flourished at Madrid in the early part of the seven- teenth century. He was one of the best scholars of Bartolome Carducho, and assisted him in several of his works. Although young, he was selected from among the great professors of his time to deco- rate in fresco the queen's dressing-room in the palace of the Pardo. He painted several pictures in oil, by which he obtained a high reputation ; they were much in the style of his master, pure in design, and harmonious in colour. The expectations he had raised were, however, disappointed by his early death in 1620, in the twenty-eighth year of his age.] [SOTO, Don Lobenzo de, was born at Madrid in 1634. He was instructed in the art of painting by Benito Manuel de Agiiero, whose manner he af- terwards imitated. He painted landscapes with great truth, and adorned them with figures of her- mits and saints. He did not confine himself to these subjects, but painted others of a higher grade ; one represents a circumstance in the life of Sta. Rosa, on a large scale, and served as the altar-piece to the church of Atocha, but is now, or was, at Ma- di-id. In consequence of an attempt by the govern- ment to impose a tax on the artists, similar to that which had been formerly frustrated by El Greco and Carducho, Soto abandoned the practice of his pen- cil at Madrid and retired to Yecla, in Murcia, where he obtained the post of collector of the royal rents. During this retirement from his profession, he made sketches of the sun'ounding countiy, which are praised by Palomino, to whom he had presented several. After an absence of about fifty years he returned to Madrid, but no longer exhibited the talent of his younger days ; his works were looked at with indifference, and the poor old man was re- duced to the necessity of selling them in the public places for a subsistence. He died in 1688, and was buried in the parish church of S. Justo y Pastor.] [SOTOMAYOR, Luis de, was born at Valencia in 1635; he became a disciple of Esteban March, the painter of battles, but not being disposed to submit to the extravagant quixotisms of that master, he left him, and entered the school of Juan Carreno at Madrid. After profiting' by his instructions and example, he returned to Valencia, where he obtain- ed much credit for his productions both in pubUc places and for private collections. He had a fine talent for composition, in which he displayed good taste, and was an excellent colourist. He painted for the Augustine nunnery their titular saint, and St. Christopher in company with Christ and the Virgin ; and for the barefooted Carmelites, two large pictures from a legend of the miraculous dis- covery of an image of the Virgin, called La More- nita, (or the httle brown Virgin,) which is an object of their greatest veneration. He again returned to Madrid, where he died in 1673, to the regret, it is said, of his professional brethren, who had formed a high estimate of his talents as an artist.] SOUBEYRAN, Peter. This artist was a na- tive of Geneva, and flourished about the year 1760. He resided several years at Paris, where he en- graved some of the plates for a collection of antique fems, in the king's cabinet, puWished by Mariette. 'hey were engraved from designs by Bouchardom We have also, among others, the following prints by him : The Portrait of Peter the Great ; after Caravac. The Arras of the City of Pai'is, supported by Genii ; after Bmicha/rdon. The fair Maid of the Village ; after Boucher. He also engraved a variety of vignettes and other book-ornaments after Cochin and others. [He was born in 1708, and died in 1775. Nagler places his birth eleven years earlier.] [SOURCHES, Louis-Fran?ois du Bouchet, Marquis de, grand provost of Prance, was born at the commencement of the seventeenth century. He designed and handled the point in the manner of Stefano Delia Bella, of whom, it is supposed, he took lessons, during the residence of that artist at Paris from 1640 to 1649. In the print department of the BibliothSque at Paris are preserved nineteen pieces by this amateur engraver, which are not com- mon. They are copies after Delia Bella, and are so exact that it is not surprising that proofs of them before the letters have been mistaken for the ori- ginals. But this cabinet does not possess a series of twelve pieces, which are more rare than the former, marked with a monogram supposed to be- long to this amateur. They are from original de- signs, engraved with the point in a style so strongly resembhng that of Delia Bella, that Messieurs Ma- riette and Gersaint were deceived, and placed one of them, in their an'angement of the cabinet of M. Paignon-Dijonval, among the works of Delia Bella. It represents two men fighting with swords. Ro- bert Dumesnil, " Le Peintre Graveur Francais," tom. ii., has given descriptions of these twelve pieces, which are entitled as follows : 1. Le Berger. 2. L'Homme de Quality, 3. La Dame de Quality. 4. LeDuel. 5. Le Porte-drapeau. 6. La Marchande de vieux Habits. 7. Le Depart pour la Chajsse. 8. Le Promeneur. 9. Le Pfecheur. 10. Le Puits. 11. Les Bamoueurs. 12. LeBatelier. The pieces after Delia Bella are entitled Diuerses figures et Maneiges de Cheuaux Gravies par le Mar- quis de Sourches. This inscription appears on the wall of a stable in one of them. Each print has a couplet referring to the qualities of the animals re- presented. According^ to le Pere Lelong, (Biblio- theque Historique de France,) this artist engraved the portrait of Madame de Nevelet, the wife of a counsellor of the parliament of Paris ; but it has escaped the researches of Dumesnil.] SOUTMAN, Peter, a Dutch painter and en- graver, born at Haerlem about the year 1590. He was a disciple of Rubens, and is said to have painted historical subjects and portraits with considerable success, particularly at the courts of BerHn and Warsaw. We have several prints by this artist, as well from his own designs, as from those of Rubens and other masters, which are executed with great spirit. He appears to have aimed at giving a striking eflfect to his plates, by keeping all the masses of light broad and clear ; but by carrying this idea too far, many of his prints have a slight, unfinished ap- pearance, though neatly executed. The following are his most esteemed works : SUBJECTS after RUBENS. The Fall of the Angels. The first impressions are before the address of the younger Bouttat. The Defeat of the Army of Sennacherib. Christ giving the Keys to St. Peter; from a design by Bicbens, c0ier Raffaelle, spad] A DICTIONARY OP [SPAG The Last Supper; from a drawing by Rubens, after Lionardo da Vinci, The miraculous Draught of Fishes. The Dead Christ at Sie Tomb, -with the Holy "Women. The first impressions are before the shadows were strengthened by Witdoeck. The Crucifixion, The Consecration of a Bishop. The Rape of Prosei'pine. ' The Triumph of Venus. SilenuB supported by a Satyr and a Negress. A Boar-hunt. 1642. The Hunting of the Lion and the Lioness. the Wolf. the Crocodile and Hippopotamus. He also engraved several portraits of the Counts of Flanders, and other eminent personages of the Low Countries, in which he was assisted by his scholars, Suyderhoef, Louys, and P. van Sompel. [Nagler, who gives a good list of his works, places his birth in, or about, 1580. He operated in 1650.] SPADA, LiONELLO. This painter was born at Bologna in 1 576. His parents were extremely poor, and he was placed, when a boy, in the service of the Caracci, in the capacity of a colour grinder. This employment, however humble, gave him an oppor- tunity of occasionally hearing their conferences, and of contemplating their works. Stimulated by a native disposition, he attempted some essays in de- sign, which attracted the notice and received the commendation of his masters, who encouraged him to persevere in his pursuit, and admitted him into their academy. His progi'ess under their instruc- tion was surprisiiig, and he became an eminent dis- ciple of that distinguished school. One of his first works, which excited public admiration, was a pic- ture of S. Francesco and S. Domenico kneeling before the Virgin, in the Chies^ de Poveri, at Bolog- na ; and Malvasia reports, that on Guido's first see- ing that performance, he sarcastically observed, that the powers of Lionello seemed to be confined' to decoration, which so exasperated him, that he deter- mined to rival the graceful and delicate style of that painter, by adopting a system more masculine and vigorous. Vindictively bent on his purpose, he had recourse to the energetic style of Michael Angelo Caravaggio, whose novelty and extraordinary effect had at Qiat time acquired him such popularity; and he went to Rome, to study under that master. In adojjting the daring contrast of light and shadow which mstinguishes the works of Caravaggio, he avoided the vulgarity of his character, for which he substituted somewhat of gi'andeur and elevation, which he had acquired in the school of the Caracci, though his forms are neither beautiful nor select. On his return to Bologna, he acquired great cele- brity by a picture he painted for the refectory of S. Procolo, of the Miraculous Draught of Fishes ; and still more by his celebrated altar-piece in the church of S. Domenico, representing that saint burning the forbidden books, which is considered his best per- formance. The latter part of his life was passed at Parma, in the service of the Duke Ranuccio, by whom he was patronized until the death of that prince. He did not long survive his protector, and died at Parma in 1622. [He sometimes marked his pictures with a sword, (in Italian Spada,) crossed with the letter L.] [SPADINO, , a Neapolitan painter, of whom there is no account. He painted fruit and flowers in a manner truly surprising. From what the editor has seen he can answer for the beauty of the works, but can only conjecture that the artist lived about the commencement of the 18th century. 754 Zani gives the names Spadino il vecehio, and Spadino il giovme, the first a Neapolitan, the other a Roman, botlj painters of flowers, but he gives no dates. A Veronica Spada is mentioned, who painted flowers, fruit, and birds ; she was probably of Verona.] [SPABNDONCK, Gerard van, a distinguished fruit and flower painter, was born at Tilburgh in Hol- land in 1746, and studied under the elder Herreyns at Antwerp. At the age of twenty-four he went to Paris, where for some time he practised as a minia- ture painter, but still pursuing his favourite branch of art, fruit and flower painting. His exquisite pro- ductions in this department attracted general atten- tion among amateurs, and they were purchased with avidity. As he never relaxed in his-endeavours at excellence, his works continued to be favourites -with the public, and even considered as valuable addi- tions to the best collections. His selections and ar- rangements are excellent, and his colouring true to nature. His work entitled " Fleurs dessinees d'apres Nature " informs us that he was a member of the National Institute, and Professor Administrator of the Museum of Natural History at Paris, where he died in 1822. His brother Cornelius, who was bom in 1756, was also a painter of flowers. He was chiefly employed at the Sevres porcelain manufactory, but occasionally painted portraits in oil. It is not said when he died, but it was before his brother Gerard.] SPAGNOLETTO, Josef Ribera, called Ii. This eminent painter was born at Xativa, in the kingdom of Valencia, in 1589. Having discovered an early inclination for the art, his parents, though in indigent circumstances, did every thing in their power to promote his desire of becoming a painter. He was placed as a student with Francisco Ribalta, under whom he studied a few years ; but before he was sixteen, he determined on visiting Italy, in search of improvement, though destitute of every means of supporting himself on the journey, except what he could deiive from the exercise of his juve- nile talents. He arrived at Naples in 1606, where Michael Angelo Caravaggio had at that time taken refuge, being under the necessity of flying from Rome, to avoid the consequences of a homicide he had committed in that capital. The powerful and effective style of that painter had particular attrac- tion for Ribera, who paid his court to Caravaggio with so much address, that he favoured him with his instruction during his residence at Naples. The progress of the young Spaniard was remarkable, and his early productions were so much admired, that he acquired the appellation of II Spagnoletto. From Naples he went to Parma, where the works of Coreggio were for some time the objects of his contemplation, and afterwards visited Rome. The grandeur of Raffaelle, and the graces of Coreggio, appear, however, to have made a less lasting impres- sion on the mind of Spagnoletto than the vigour and energy of Caravaggio, and though he for some time attempted to enliven and embelUsh his style, by an imitation of the higher characteristics by which the works of those illustrious artists are dis- tinguished, it was not attended with much success. The great number of reputable artists then resi- dent at Rome, determined Ribera to return to Na- ples, where he was taken under the protection of the viceroy, and was employed in several consider- able works, which were sent to the king of Spain. His principal pictures at Naples are, the Martyrdom of S. Januarius, in the royal chapel ; S. Jerome and S. Bruno, in the churph of La Trinita delle Monache ; spag] PAINTERS ANIJ ENGRAVERS. [SPEE and the taking down from the Cross, at the Carthu- sians. The genius of Spagnoletto led him to paint gloomy and austere subjects, which were peculiarly acceptable to the Neapolitans and Spaniards, such as hermits, and saints emaciated by abstinence and severity. He also selected for the subjects of his pictures images of savage greatness and tenific sublimity. In tragic compositions, the distortions ■ of agonized nature, in martyrdoms, executions, and torments, he was eminently successful. These dreadful subjects he treated with horrific fidelity, and with a correctness of design which inight serve as a study for the anatomist. He died at Naples in 1656. We have about twenty etchings by II Spagnoletto, executed in a bold, free style, pro- ducing a powerful and fine efiect. His drawing is correct, and the extremities of his figures are marked in a very masterly manner. He sometimes signed his prints with his name, and sometimes marked them with one of these monograms, ^J*. y^R, ■ ^§v. The following are his principal plates : The Dead Christ, extended on a linen cloth. The Martyrdom of St. Bartholomew. St. Jerome, with an Angel hlowing a trumpet. St. Jerome reading, with a Skull on the ground. The Penitence of St. Peter. Bacchus made dnink by Satyrs. The Portrait of Don John of Austria, on horseback. [Bermudez has set at rest the question of Ribera's birth, by producing an extract from ike baptismal register; he was bom on the I'ith of January, 1588. The foregoing article contains a tolerably correct outUne of his history and character as an artist. They who are desirous of knowing more of him, not only as a painter, but as a man, will do well to con- sult Mr. Ford's "Hand-book of Spain," and Mr. Stirling's recently pubUshed " Annals of the Artists of Spain." These works contain all that need be reqmred to be known, not of Ribera in particular, but of £very other Spanish painter of any note. Their criticisms, also, on Spanish pictures wiU be found discriminating and just; no maudlin com- mon-place repetitions, but bold, enlightened, inde- pendent remarks on subjects, characters, and artistic execution. Their censures will sometimes startle, but their truth wiU tend to dissipate much of the prevailing ignorance, which has too long existed, with regard to the Spanish masters. It should be noticed that Ribera was an excellent painter of poi-traits. His sketches, executed with the pen, or with red chalk, are much esteemed by collectors. With regard to his etchings, Bartsch has described eighteen, all that he believes really belong to him. He remarks, " the prints of Spagnoletto are reckoned among the most rtmarkable engravings in aqua- fortis. His Martyrdom of St. Bartholomew is a real chef d'muvre, it is impossible to carry to a higher degree of truth the expression in the head of the Saint, and in that of the executioner. In all his works [of this class] purity and exactitude of design are observable, particularly in the extremities, the delicacy of the point ; and the ingenious manner in which the hatchings follow the forms of the muscles and draperies. Besides, his etchings exhibit such facility and taste, such variety in the mode of execu- tion, adapted with so much intelligence to the dif- ferent objects, and apparently so little assisted by the burin that doubt is almost excited whether he ever employed it, yet the whole displays harmony and vigorous effect."] •? n o SPAGNUOLO, Giovanni, called lo Spagna. This artist was a native of Spain, but studied in Italy under Pietro Perugino, and, according to Va^ sai-i, was one of his ablest disciples. He resided chiefly at Spoleti and Assisi, where he has left proofs of his talents, which rank him among the most respectable painters of his time. In the church degli Angioli, at Assisi, is a picture by this master, which is spoken of by Baldinucoi in very favourable terms. He was living in 1524. [Giovanni Lo Spagno, or Spagnuolo, a Spaniard by birth, was a fellow pupil with Raphael under Pietro Perugino. He settled at Spoleto, where he left many of his best works. Vasari says the co- louring of Perugino survived in him more than in any of his fellow scholars ; and it is asserted, that no other pupil of the school painted portraits with more truth, except Raphael. A picture by him, dated 1516, is in the chapel of S. Stefano, in S. Francesco, at Assisi. It represents the Virgin en- throned, with three saints on each side, and is re- markable for grace, nobleness, and elevated feeling; and in the chapel of the Angioli, below Assisi, he painted in fresco a series of portraits of the brother- hood of St. Francis, which are spoken of as beauti- ful and dignified figures. Rosini, Storia della Pit- tura Italiana, plate 104, has given an outline of one of his compositions, representing the Virgin and Child attended by St. Mark, St. Francis, St. Catha- rine, and a canonized bishop : it is worthy of Ra- phael at the same period. This is the same painter that is noticed in a former article, taken from Ber- mudez, under the name Juan de Espana.'] SPALTHOF, N., a Dutch painter, who flour- ished about the year 1636. It is not ascertained by whom he was instructed in the art, but he is said by Descamps to have visited Italy, where he studied several years. He excelled in painting fairs, Italian markets, carnivals, and merry-makings, which are ingeniously composed and designed in the Italian taste, resembling the style of Theodore Helmbrecker. The figures with which they are decorated are cor- rectly drawn, and are touched with neatness and spirit. SPECCHI, Alessandro, an Italian engraver, who flourished about the year 1699. He engraved a set of plates of views of the palaces and public buildings at Rome, which are executed in a bold, spirited style. They are decorated with figures, neatly and tastefiiUy designed. These engravings were published by Dom. de Rossi, in 1699. [He flourished from 1665 to 1706, and, it is supposed, died in 1710. His views in and about Rome were published at difierent periods.] SPECTLE, or SPECKIN, Vitus Rodolphus, an old engraver on wood, who flourished at Stras- burg about the year 1540. He executed a set of cuts for Fuchsius's Herbal, published in that year, with a whole-length portrait of the author, the por- traits of Henry FuUmaurer and Albert Maher, who designed the figures, and the engraver's own por- trait. The cuts do great credit to the ability of the artist. [The name of this artist is variously writ- ten; Nagler calls him Specklin, or Speckle. He operated in 1549.] [SPEER, Martin, or Michael, a painter and engraver, was born at Regensburg in_ 1700. It is said that he became a disciple of Solimena; at all events he imitated his manner, and engraved some of his allegories and martyrdoms. He painted seve- ral altar-pieces and historical pictm-es, and there are engravings by him after his own designs. They 755 spel] A DICTIONARY OP [SPIE are signed M. Speers inv. et fecit, 1742. The time of his death is not accurately known ; Zani savs in 1762.] ^ [SPELT, Adrian Vandeb, a flower painter, was born at Gouda, according to some authorities, or at Leyden, according to others, about 1630. He was a ■scholar of W, Crabeth, He resided in Germany for a considerable time, where his flower-pieces were held in great estimation, and was patronized by the Elector of Brandenburg. He returned to his native country, and died at Leyden in 1673.] SPENCER, Jarvis, a painter in miniature and in enamel, who flourished about the middle of the last century. Of this self-taught artist, Edwards gives the following account. "He was originally a gentleman's servant, but, having a natural turn to the pursuits of art, amused himself with drawing. It happened that one of the family with which he lived Bat for their portrait to a miniature painter, and when the work was completed, it was shown to him; upon which he observed, that he thought he could copy it. This hint was received with much surprise, but he was indulged with permission to make the attempt, and his success was such, that he not only gave perfect satisfaction, but also acquired the encouragement and patronage of those he served, and, by their interest, became a fashionable painter of the day." He died in 1763. SPERANZA, Giovanni Battista. This painter was born at Rome about the year 1610. He was a disciple of Francesco Albano, under whom he be- came a correct designer, and improved his style by studying with great assiduity the distinguished works of art which adorn his native city. He ac- quired considerable celebrity as a painter of history, particularly in fresco. In a chapel in the church of S. Caterina da Siena, there are some frescoes by him, representing subjects from the life of the Vir- gin ; and in the church of the Orfanelli is a ceiling by this master, representing, in five compartments, the Passion of our Saviour. Several other works of this painter, in the public edifices at Rome, are mentioned by Baglione. To the great regret of all the admirers of the art, this esteemed painter died, in the prime of life, in 1640. SPERLIl^G, Jerome, a German engraver, born at Augsbourg about the year 1693. He was a pupil of Preissler, at Nuremberg, and engraved part of the plates for a collection of the churches in the city of Vienna, published by J. A. Pefiel, in 1724. He also executed part of the plates engraved from the marble statues in the gallery of the King of Poland, at Dresden, published in 1733. We have also by him a" set of thirteen plates of the Twelve Months of the Year, represented in allegorical subjects, with a frontispiece, representing the portraits of the Pope and the Elector of Cologne. [He engraved many portraits, chiefly after German painters. He signed his prints H. [Sieronymus) Sperling. He died in 1777.] [SPERLING, John Christian, a painter of portraits and small ppetical or historical subjects, was born at Halle, in Saxony, in 1691. He was the son of Johan Heinrich Sperling, a painter of portraits and fancy heads, who resided at Ham- burg, but removed to Halle. John Christian re- ceived the elements from his father, but afterwards studied the art under Adrian Vander Werff at Rot- terdam, and adopted his manner of painting. Some of his pictures are in the galleries at Dresden and Salzdahlum; and many portraits by him of per- sons of high rank exist in Germany. They are but 756 little known elsewhere. He died at Ansbach in 1746.] [SPEY, Martin, a painter of portraits, flowers, and dead game, was born at Antwerp in l777. He left his native country for Paris in 1809, and re- mained there till the entry of the aUied army, when he disappeared, and has not been heard of since.] SPEZZINI, Francesco. According to Soprani, this artist was a native of Genoa, and flourished about the year 1578. He was first a scholar of Luca Cambiasi, but he afterwards studied under Giovanni Batista Castelli. Desirous of improving himself by contemplating the works of the great masters at Rome, he visited that city, where he passed some time in studying the admirable productions of Raf- faelle, Giulio Romano, and M. Angelo Buonarotti. On his return to Genoa, he painted several pictures for the public places in that city, particularly an altar-piece for the church of S. Colombano, which is considered his best work. He died young, of the plague. SPICER, Henry, an eminent English painter in miniature and enamel. He was very extensively employed, and attained to considerable excellence as an enamel painter, though he never arrived at the beauty and delicacy ■ of execution which dis- tinguish the inimitable productions of Mr. Bone, whose enamel pictures infinitely surpass every thing that has appeared in that branch of the art. Mr. Spicer died in 1804, aged about 60.' SPICER, — , an English mezzotinto en- gi-aver, who flourished about the year 1760. He engraved some portraits after Sir Joshua Reynolds, among which is that of Barbara, Countess of Co- ventry. [SPIEGL, Joseph, a mezzotinto engraver, of whom there are no particulars, except that he was bom in 1772, and received his artistic education in the acadany at Vienna. There are five mezzotinto prints by him : A Holy Family ; after Sassqferrato. Mater dolorosa ; after Guido. Venus and Cupid ; after N. Poiissin: Bacchus and Ariadne ; after Gavin Hamilton, A Female bathing ; after Rubens.] S PIERRE, Francis. This eminent artist was born at Nancy in 1643, and went to Paris when he was young, where he became a pupil of Francis de Poilly, whose style of engraving he for some time foUowed with the gi-eatest success. He did not, however, confine himself to the manner of his in- structor, but went to Italy, where he formed a pleasing and novel mode of handling the graver, which was much admired. He did not long survive his return to his native country, but died in 1681. The following are his most^steemed prints : portraits. Pope Innocent XI. ; engraved with single strokes, in the style of Mellan ; Franciscvs Spier, del. et sculp. The Grand Duke of Tuscany; dated 1659. Lorenzo, Count de Marsciano ; after his own design. SUBJECTS AFTER VARIOUS MASTERS. The Virgin suckling the infant Christ ; after Coregpo. This fine print is very scarce. The firSt impressions are hefore the drapery was inserted to cover the nudity of the child, fin Mariette's sale, an impression of this print sold for SOO francs, and in that of Sylvestre for 756 francs.] St. Michael combating the Evil Spirit; after P. da Cortona. The Conception of the Virgin ; after the same. The Virgin and infant Jesus, with St. Catherine ; after the same. StIE] PAINTERS AND ENGRAVERS. [spit The Circumcision ; after Giro Fe/rvi. St. John preaching in the Wilderness ; afler Bemini, The miracle of the Loares and Fishes ; after the same. Christ on the Cross, suspended over a sea of blood, which flows from his wounds : after the same ; executed with single strokes. The mst impressions are before the he^ of the cherubs were added at the top. SPIERINGKS, N. This painter was born at Antwerp in 1633. It is not known nnder whom he studied, but he went to Italy when he was young, where he resided some years, and distinguished himself as a landscape painter. On his return to the Netherlands he passed some time at Paris, where his pictures were much admired, and he was for some time employed by Louis XIV. He appears to have formed his manner by studying the works of Salvator Rosa, to whose bold and eccentric style the best works of Spierings bear a great resemblance. The forms of his rocks and trees are grand and pic- turesque, and his touch is firm and spirited. As he was not successful in the design of the figure, his pictures are usually decorated with historical sub- jects by other artists. In the church of the Car- melites at Antwerp, is a fine landscape by Spier- ings, with figures by the elder Eyckens. [The baptismal name of Spierings is not known ; Balkema boldly calls him Nicolas. He died in 1691.] SPIERS, Albert van, was born at Amsterdam in 1666, and was a scholar of William van Inghen, an historical painter of some eminence. He had already given proof of considerable talent in his native country, when he determined to visit Rome, where his instructor, Van Inghen, had studied with so much advantage. Arrived in the metropolis of art, he contemplated with admiration and delight the wonderful productions with which he was sur- rounded J but, above all others, the works of Raf- faeUe, Giulio Romano, and Domenichino, particu- larly occupied his attention. After passing seven years at Rome, in assiduous application to his studies, he went to Venice, to perfect himself in colouring, by studying the works of the best masters of that distinguished school. After a residence in Italy of ten years, he returned to Holland in 1697, and estabhshed himself at Amsterdam, where he was extensively employed in ornamenting the prin- cipal mansions with poetical and historical subjects, which were greatly admired, and he was regarded as one of the ablest artists of his time. His composi- tions are ingenious and abundant, the character of his design partakes more of the Roman than the Dutch school, and he had acquired by his studies at Venice a chaste and harmonious system of colour- ing. Van Spiers had estabhshed a brilliant reputa- tion, by an indefatigable exercise of his estimable talents, when he fell a victim to a too assiduous ap- plication to his profession, in 1718. SPILBERG, John. This artist was bom atDus- seldorf in 1619. He was the son of a glass-painter, who was in the Service of the Duke of Wolfgang, by whom he was instructed in the rudiments of de- sign. It was his father's intention to have sent him to Antwerp, to be educated in the school of Rubens, and, as an introduction to that great painter, the Duke had favoured him with a letter to Rubens, recommending the young artist to his particular at- tention. He was on the eve of his departure for Antwerp, when he received the news of the death of the head of the Flemish school. He afterwards went to Amsterdam, where he became a scholar of Govaert Fhnck. He prosecuted his studies under that able artist for seven years with the greatest as- siduity, and on leaving his school, became in a short time a celebrated painter of histbry and portraits. The reputation he had acquired at Amsterdam reached the court of Dusseldorf, and he was invited to establish himself there, in the capacity of painter to the Elector Palatine. He painted the portrait of his protector, and those of the principal personages of his family, and decorated the churches at Dussel- dorf with several of his historical works. For the castle at Dusseldorf he painted a series of pictures, representing the Labours of Hercules, in which he discovered a fertila and original invention, and a commanding facihty of execution. For these con- siderable works he was liberally rewarded by his patron, and presented with a gold medal and chain, as a token of his approbation. He was commis- sioned by the Elector to paint a set of pictures of the Life of Christ, which he did not Uve to accom- plish, but died in 1690. SPILBERG, Adriana. This lady was the daugh- ter of the preceding artist, bom at Amsterdam in 1646, and was instructed in design and painting by her father. She excelled in painting portraits in crayons, though she occasionally practised in oil. Her portraits are said to have had the merit of an exact resemblance ; they were executed with neat- ness and care, and delicately coloured. She was much patronized at the court of Dusseldorf, where she chiefly resided. SPILIMBERGO, Irene di. According to Ri- dolfi, this ingenious lady was of an illustrious family of Venice, and flourished about the year 1550. Al- though she only practised painting for her amuse- ment, she appUed herself to the study of it with all the zeal of a professor, and is said to have had the advantage of receiving lessons from Titian. Lanzi mentions three pictm-es, representing subjects of sacred history, by this lady, preserved in the Casa Maniago, which, though not very correctly designed, are coloured with a richness and harmony worthy of the ablest artists of that school. Titian is said to have painted an admirable portrait of his noblepupil, with whose family he lived in habits of intimacy. SPILMAN, Henry. This artist is miscalled John, by Mr. Strutt. He was born at the Hague about the year 1738, and painted portraits and land- scapes with some reputation. He engraved a few plates, among which are the following : PORTRAITS. Henry Tilly ; after C. van Noord. His own Portrait ; after the samepainteir. LANDSCAPES AND VIEWS. Six small Landscapes, representing Views in Holland, on one sheet; inscribed Plaizante Landschapies, H, Spilman, inv. et sculp A View, called the Eochin ; after J. de Boyer. He also engraved three landscapes, in the style of drawings in bister, after Everdingen, Van Sorsum, and Berghem. These are said, by Hubert, to be now very scarce, the plates having been destroyed. [Henry Spilman was born at Amsterdam in 1721 ; some of his prints were published in 1745; indeed one after Van Goyen has the date 1632. See Nagler for a list of his works.] SPILSBURY, Inigo, an English engraver and printseller, who resided in London about the year 1760. He engraved several plates in mezzotinto, and in the dotted style, and, particularly in the latter manner, a collection of gems, which were published in numbers. We have by him a great number of portraits and other subjects, among which are the following : 757 spin] A DICTIONARY OF [SPOO PORTRAITS AND HEADS. A set of fourteen Heads and Busts ; in the manner of Sembrandt. 1767 and 1768. George III. when Prince of Wales. 1759. Queen Charlotte. 1764. Christian VII. , King of Denmark ; after Fesche. 1769. Inigo Jones ; after Vandyck. Lady Mary Leslie, decorating a Lamb with Flowers; after Reyiwlds. A young Lady holding a Bouquet of Flowers ; after the same. Frederick Howard, Earl of Carlisle ; after the same. SUBJECTS AFTER VARIOUS MASTERS. A Boy eating Grapes ; after Stibens. Two Monks reading ; after the same. Abraham sending away Hagar ; after Rembrandt. The Flight into Egypt ; after Murillo. The Crucifixion ; after the same. ■ SPINELLO, Aretino. This old painter was bom at Arezzo in 1308, and was a disciple of Jaco- po di Casentino. Before he had reached his twen- tieth year, he surpassed his instructor, and proved superior to his contemporaries in the invention and arrangement of his subjects. In the sacristy of S. Miniato, at Florence, are still remaining some pic- tures by him of the life of S. Benedetto, which are the best preserved of his works. He was employed, in conjunction with the best artists of his time, in the decorations of the Campo Santo at Pisa, where he painted in fresco the history of SS. Petito ed Epiro, which Vasari ranks among his best produc- tions. He gained great reputation by his portraits of Pope Innocent IV. and Gregory IX. In the church of S. Maria Maggiore, at Florence, he paint- ed a, series of frescoes of the Life of the Virgin, which, though stiff and Gothic in the design, were among the most esteemed productions of the early period at which he lived. He died in 1400. [It is ascertained that Aretino Spinello painted, in conjunction with his son Parri, in 1407, the frescoes in the Sala della Balia in the Palazzo Pubblico at Siena. These paintings represent the struggle be- tween the papacy and the empire, under the Popes Adrian IV. and Alexander III., and Frederick III., surnamed Barbarossa. After the completion of this work, he returned to Arezzo, and vigorously com- menced another extensive work in the church of the Archangel Michael, representing the defeat of the rebel angels and their expulsion from heaven. The story relates that in the progress of this work his brain became overheated, and he imagined that Sa- tan appeared to him, fiercely demanding why he had done him such foul wrong in painting him so hideous ? The old painter was terror-struck, and the ghastly phantom had mastered his fancy, his eyes were fixed from thenceforth in a round dilated spec- tral stare, and he died of the fright shortly after- wards. For an excellent account of Aretino Spi- nello and his works, the inquirer is recommended to peruse the second volume of Lord Lindsay's elegant and spirited " Sketches of the History of Christian Art."] SPINELLO, Gasparri, or Parri, was the son of Aretino Spinello, bom at Arezzo in 1356, and was first instructed in the art by his father. His co- louring waS' excellent, but his design was strained and extravagant. Some of his works are still pre- served in the church of S. Domenico, at Florence. He was living in 1425. SPIRINX, J., an indifferent engravei*, who flour- ished about the year 1635. He engraved some frontispieces and other book-plates, which are exe- cuted in a slight, poor style. 758 SPIRINX, L., was probably a relation of the preoeding artist. He engraved some frontispieces and other ornaments for books, which are dated from 1641 to 1674, which, though neater than those of J. Spirinx, have little to recommend them. We have a few portraits by this artist, among which is that of Peter de la Mothe, dated 1663. SPISANO, ViNCENzo, called Lo Spisanelli. According to Malvasia, this painter was born at Or- ta, in the Milanese, in 1495. He studied at Bolog- na, in the school of Denys Calvart, whose style he adopted, and followed without deviation. His com- positions are, however, less judicious, and his design less correct. Of his numerous works in the public edifices at Bologna, the most remarkable are, the Death of S. Joseph, in S. Maria Maggiore; the Visitation of the Virgin to St. Elisabeth, in S. Giacomo Maggiore ; the Baptism of Christ, in S. Francesco; and the Conversion of Paul, in S. Domenico. His easel pictures, of which there are several in the private collections at Bologna, are more esteemed than his altar-pieces. He died in 1662. SPOFFORTH,- Robert, an English engraver and printseller, who flourished about the year 1707. From his style of engi'aving, Mr. Strutt thinks it probable that he was a pupil of S. Gribelin. We have a few portraits by him, among which are the following : Queen Anne. George I. John Cole, M. D. SPOLVERINI, Ilario. This painter was bom at Parma in 1657, and was a disciple of Francesco Monti. Although he occasionally painted histori- cal subjects, he was more celebrated for his pictures representing battles, attacks of banditti, and assas- sinations, which he designed with spirit, and touched with a vehemence of pencil, well adapted to the subjects. He was much employed by Francesco, Duke of Parma. ~- There are some altar-pieces by him in the cathedral and at the Certosa at Parma. He.diedin 1734. SPOONER, Charles. This artist is supposed to have been a native of England, though he resided some time in Dublin. We have several portraits and other subjects by him, engraved in mezzotinto, and dated from 17^ to 1762, among which are the following : portraits. Thomas Prior ; after John Van Nost. 1752. Ma,ior-General Sir William Johnson ; after T. Adams. 1756. jiss Gimning ; after Cotes. _. JSB Smith ; after the sarne. George Keppel, Earl of Albemarle ; after Reynolds. Lady Selina Hastings ; after the same. Mr. Garrick in the character of Lear ; after Houston. SUBJECTS AFTER VARIOUS MASTERS. A Female Figure, with a Caiidle in her hand ; after Schalcken. Peasants regaling ; after Tenters. A set of four plates of Youthful Amusements; after [The Four Elements ; after R. Pyle, dated 1768.] [SPOOR, W. J. L., bora at Budel, in the pro- vince of North Brabant, was a scholar of Henry Antonissen, at Antwerp. In his early pictures he imitated the manner of that master ; but subse- quently he employed himself much in copying the pictures of Paul Potter, and other great landscape and animal painters of the Dutch school. He did not altogether neglect original subjects, in, some of which he has faithfully represented nature. Prince Miii Mil spra] •PAINTERS AND ENGRAVERS. [SQUA William had several of his pictures, copies and ori- ginals, in his collection at the Hague.] SPRANGHER, Bartholomew. This painter was born at Antwerp in 1546. He was the son of Joachim Sprangher, a merchant of eminence, who destined him for commercial pm-suits ; but finding in his son a decided inclination for painting, he was placed under the tuition of John Madyn, a painter of some reputation, at Haerlem, with whom he studied eighteen months, and on the death of his instructor he became a scholar of Francis Mostaert. He afterwards travelled through Prance to Italy, and resided three years at Parma, where he studied under Bernardino Gatti, called II Sojaro, who had been a disciple of Coreggio. From Parma he went to Rome, where he was favoured with the patronage of Cardinal Farnese, who engaged him in the de- coration of his Villa of Caprarola, which he embel- lished with some landscapes, painted in fresco. He was introduced by that prelate to Pope Pius V., who appointed him his painter, and accommodated him With apartments in the Palazzo Belvidere. The first work he enffiiged in for his Holiness was a pic- ture of the Last Judgment, an immense composition, of upwards of five hundred figures, painted on a copper-plate, six feet high, which he finished with great care, and it is said to have occupied him near- ly three years. This picture was so highly esteemed, that after the death of that pontifiF it was placed over his tomb. He was commissioned by the Pope to paint twelve pictures of the Passion of our Sa^ viour, which he did not entirely accomplish before the death of his protector. In 1575 Sprangher was invited to the court of Vienna, by the Emperor Maximilian II., who ap- pointed him his principal painter. On the death of Maximilian, in 1576, he continued in the service of his successor, Rodolphus II., who engaged him in several considerable works for the' palaces and churches, both at Vienna and at Prague. Sprang- her was greatly respected by the Emperor Rodol- phus, both for his abilities as a painter, and for his hterajy acquirements, which were extensive, as well as for his talents in conversation. In 1588, the Em- peror ennobled him and his descendants, and hon- oured him, by placing round his neck, with his own hands, a gold medal and chain. He died at Prague in 1623. With the advantage of residing several years at Rome, Sprangher seems to have been httle im- pressed with the admirable productions of art vidth which he was surrounded, at least they appear to have made httle or no diiference in his style, which remained entirely that of his country. It is doubt- ful whether he ever made a single design from the antique, or from RaffaeUe. He contented himself with a superficial observance of those excellent mo- dels, and depended on his memory for a retention of their beauties. If he paid more attention to the works of Michael Angelo Buonaroti, instead of em- bellishing his style, it appears to have rendered it more extravagant and preposterous. His design is mannered and constrained, and his attitudes are af- fected and unnatural. These disgusting deformi- ties are in some degree compensated by a ready and inventive imagination, rich and abundant compo- sitions, and an alluring faciUty of execution. We have a few etchings by this painter, executed in a slight but masterly style ; among which is, A Figure bound to a Tree, on which the initials of his name are reversed. , [Writers are not agreed as to the exact time of B. Sprangher's death ; the greater number place it in 1628. The better authorities leave it open. With regard to his having been a scholar of John Madyn, or Mandyn, see that article. Nagler, who has given a hst of numerous prints engraved from his works, attributes six etchings to him.] SPRIETT, J. V ANDER. The name of this artist is affixed to an indifiTerent mezzotinto portrait of Timothy Cruso, Presbyter, engraved from his own design. The print has little to recommend it but its rarity. [His name was John ; he was a scholar of Verkohe, and died at London about the begin- ning of the last century.] [SPRINGINKLEE, Hans. The only informa- tion there is respecting this artist is derived from Doppelmayr. It appears that he resided in the house of Albert Durer, from whom he learnt the principles of the art of design, and that he died about 1540. He was formerly ranked among the engravers on wood from his mark ]ot\ appearing on several of the wood-cuts in the work entitled, " Hortulus animse cum horis beatiE Virginis," &c., printed at Nuremberg first in 1518, and afterwards in 1519 and 1520. Bartsch, who has described six- ty-one of these cuts, doubts whether he did more than make the designs for the engraver ; Zani is de- cidedly of opinion that he never did engrave on wood. Jackson, speaking of the artists of the time, Springinklee among them, whose marks, or mono- grams, appear on wood-cuts, says, " I am extremely doubtful if those cuts were actually engraved by themselves. If they were, I can only say, though they might be good painters and designers, they were very indifferent wood engravers ; and that their time in executing the subjects ascribed to them, must have been very badly employed." All, there- fore, that regards this artist is wrapped in obscurity, and it can only be affirmed that he wzis the designer of certain subjects that appear in impressions from wood-cuts bearing his monogram, and that he was contemporary vrith Albert Durer ; but whether he painted (which has been supposed) or engraved on wood, is uncertain.] [SPRONG, Gerard, bom at Haerlem in 1600, according to Balkema, was accounted a good paint- er of portraits. The same writer says he died in 1651, but others say he operated ten years later. There is a half-length portrait of a lady by him in the gallery of the Louvre'; she holds gloves in her right hand.] SPRUYT, Peter, a Flemish painter and en- graver, born at Antwerp about the year 1740. His principal residence was at Ghent, where he was di- rector of the Academy. We have a few etchings by this artist, after Ruhens, among which are the fol- lowing : Susanna and the Elders. Boreas and Orythia. The Continence of Scipio. A group of Children playing with a Lamb. [Several of his etchings are signed E. P. Spruyt. He died about 1790, according to Nagler, who has described sixteen of his prints after Rubens, Teniers, and Van Ooyen.'] SQUARCIONE, Francesco. This painter was born at Padua in 1394. He was more celebrated as the founder of the most distinguished academy of thp early period at which he lived, and his ex- cellent system of instructing his disciples, than for the works he executed as a painter. Not content with overrunning all Italy in search of iJie most stab] A DICTIONARY OP [STAM cvirious objects of art, he travelled to Greece, where he designed the most interesting vestiges, of anti- quity, and returned to Padua with a rich assemblage of designs, statues, and busts, where he formed a ' museum, and established a school, which was at one time frequented by upwards of one hundred and thirty students ; and acquired the venerable title of the father of the young painters. Of his produc- tions as a painter little remains. Lanzi notices a picture by him formerly in the church of the Car- melitani, at Padua, afterwards in the possession of Sig. Conte de Lazara, representing S. Girolamo surrounded by several other saints, which was well coloured, with a finer expression than was usual at the time, and, above all, correct in the perspective. It bears an inscription purporting that it was paint- ed for the noble family of Lazara in the year 1452 ; and is signed Francesco Squarcione, a satisfactory detection of the inaccuracy of Vasari, who calls him Jacopo. He died in 1474. [Rosini, in " Storia della Pittura Italiana," tom. iii., has given an outhne of this picture of St. Jerome, and also of a Madonna and Infant in the same collection ; by these the in- quirer may form an opinion of the great excellence of Squarcione's performances, which are now unhap- pily lost. It is an honour to his name that he is recorded as the master of Andrea Mantegna and other eminent painters. Zani strongly inclines to the belief that he engraved also.] STABEN, Henry. This painter was born at Antwerp in 1578. It is not mentioned by whom he was instructed in his native country, but he is said to have visited Venice when he was very young, where he entered the school of Jacopo Robusti, called II Tintoretto. He had not, however, the ad- vantage of the instruction of that able artist for any length of time, 4s he died before Staben had reach- ed his seventeenth year. It does not appear that he remained long in Italy, but established himself at Paris, where he acquired considerable reputation by painting small pictures of the interiors of apart- ments, with figures, neatly drawn, which were well composed and agreeably coloured. One of his best performances was a picture representing the interior of a gallery, decorated with pictures and statues, in which he displayed an intelligent acquaintance with perspective, and every object was carefully finished. He died in 1658. [The picture referred to is now in England ; it was imported from Paris by the Count de Morny, and sold by auction, in a collection stated to be his, in 1848. It was purchased by Messrs. Smith, brothers, the eminent picture-dealers. It was sold under the name of Palamedes, to whose works it bears no resemblance. It is but justice to the artist, Staben, to draw attention to it, as few are acquainted with his works. It is a picture that would be an ornament to the richest collection of the Dutch or Flemish masters. See note to Stal- bent.] STAEVAERTS, or STEVERS, Anthony Pa- lamedes. This painter was born at Delft in 1604. He painted portraits, but was more frequently em- ployed in pamting conversations, and assemblies of persons playing at cards, or in musical parties. His design is not very correct, and his compositions are not distinguished by either judgment or taste. He died in 1680. [The family name was Stevers ; how Anthony and his brother were both called Palame- des is not accounted for, but that is the name by which they are best known. It is apprehended that many think them one artist. The censure on Anthony is rather too harsh.] 760. STAEVAERTS, or STEVERS, Palamedes, was the youMcr brother of the foregoing artist, and was born in London in 1607, though he is generally con- sidered of the Dutch school, as his father, who had been a short time employed by James I. as a carver, returned to Delft whilst our artist was yet a child. The only assistance he appears to have had in his studies was an opportunity of copying some of the works of Esaias Vandervelde, whose clear and trans- parent style of colouring he followed with success, and excelled in painting similar subjects, represent- ing battles and skirmishes, attacks of robbers, the plundering of villages, &c. His pictures are inge- niously composed, his figures and horses are spirit- edly designed, and touched with a firm and free pencil. He had acquired a distinguished reputation among the most promising artists of his country, when ne died, in the prime of life, in 1638. [This artist should be called Paul Palamedes Stevers, to distinguish him from his brother Anthony.] STALBENT, Adrian [van], a Flemish painter and engraver, born at Antwerp in 1580. He paint- ed landscapes, with small figures, neatly drawn and touched, in a style resernbling that of Breughel. This artist visited England in the reign of Charles I., and is noticed in the Anecdotes, under the name of Stalband. Among other pictures, he painted a View of Greenwich, and is said to have returned to Antwerp liberally rewarded. Vandyck painted the portrait of this painter among the eminent artists of his country, which is engraved by Pontius. We have an etching by Stalbent representing the Ruins of an English Abbey, with cattle and sheep. It is signed with his name. [ He painted interiors with historical subjects in small, the earlier ones resembling the manner of old Pranck, of whom it is probable that he was a pupil. In these much attention is devoted to the ornament- al accessories and to the draperies of the figures. On his pictures we find the name A. V. STAL- BEMT in Roman capitals, the letters A and V being joined together; on an etching it is Adrianus .van Stalhant, but most writers call him Stalbent. As there was a contemporary artist of the name John Stal- bent, who painted landscapes with figures in the manner of old Breughel, it has caused some con- fusion in the accounts of both. The artist called Staben is probably identical with Adrian Stalbent, or Stalbemt ; it would be the French pronunciation of the name. Pelibien, from whom it is derived, says "mm nomme Staben;" he does not call him Henri, nor does the authority appear for his being so named. Adrian van Stalbemt painted from 1612 to 1650, (according to dates on his pictures,) and it is generally supposed that he died about 1660.] STAMPART, Francis. This painter was born at Antwerp in 1675. He was a disciple of the younger Tyssens, whose style of painting he adopt- ed, and improved by studying the works of Van- dyck. He had acquired considerable reputation as a portrait painter in his native city, when he was in- vited to Vienna by the Emperor Leopold, who ap- pointed him his principal painter, in which capacity ■ he was continued by Charles VI. If we may judge of the merit of his pictures from the singular mode he is said to have practised in executing them, we may venture to assert, that they had little of that air of life and nature which distinguishes the por- traits of the great painter he attempted to imitate. As he was much employed iii painting persons of condition, who had neither, leisure nor patience to undergo the tedium of the usual process, he was ac- STAN] PAINTERS AND ENGRAVERS. [star customed to draw the features of his model on his canvass with white, black, and red crayons, on which preparation he painted up his picture, and only called on his sitters for a finishing visit. He died at Vienna in 1750. STANZIONE, Cavaliere Massimo. Accord- ing to Dominici, this painter was born at Naples in 1585, and was a disciple of Giovanni Batista Carac- ciolo, whose style is discernible in all his works ; but he received his best instruction in fresco paint- ing from Belisario Corenzio, one of the most emi- nent artists of his time. When Lanfranco visited Naples, Stanzione had the advantage of profiting by his lessons, and was assisted in portrait painting by Pabrizio Santafede. He afterwards visited Rome, where he applied himself particularly to study the works of Annibale Caracci, and having formed an intimacy with Guido, he is said to have imitated the graceful design and amenity of colouring of that master with such success, that he was styled II Guido JReni di Napoli. On his return to Naples he displayed an ability that enabled him to compete with the ablest of his contemporaries. There ap- pears to have existed between this painter and Spagnoletto a jealousy and animosity, which led the latter to the commission of as black a treachery as the annals of art have produced. Lanzi reports, that Stanzione had painted an altar-piece at the Certosa representing the dead Christ, with the Marys, in competition with Ribera, who, on the occasion, had painted his celebrated Deposition from the Cross. The picture of Stanzi- one having turned somewhat lower in tone, Spagno- letto recommended the monks to permit him to clean it, when he made use of a noxious preparation, by which the beauty of the work was nearly anni- hilated. The fathers applied to Stanzione to repair it, which he decidedly refused to comply with, de- claring it should remain as it was, that so foul a perfidy might be exposed to public indignation. Among his other considerable works at Naples are the vaults of the churches of S. Paolo and del Gesu Nuovo, which may be considered as his best fresco works, and a large picture at the Certosa, represent- ing S. Bruno presenting the regulations of his order to nis monks. He painted many easel pictures for the private collections at Naples, which are highly esteemed. He died in 1656. STAREN, or STERN, Dirk van, a Dutch en- graver, who flourished about the year 1540. He is ranked among what are denominated the little mas- ters, on account of the smallness of his plates, which are very neatly executed. His drawing of the figure is generally correct, and the extremities are well marked. His prints are very numerous, and are dated from 1520 to 1550. He usually marked his plates with the initials D. and V. divided by a star, to which he generally added the date. f/5UU I The -following are his principal plates, which are from his own designs : The miraculous Draught of Fishes. 1523. S{. Peter sinking in the Water, calling to Christ. Christ walking on the Water. Christ tempted by the Devil. . The good Samaritan. 1.525. St. Iiuke painting the Portrait of the Virgin. 1526. The Deluge. 1523. [There are two mistakes, if not more, in the fore- going account of Van Staren. His prints are not numerous ; Bartsch has described nineteen only, and Brulliot was unable to discover any others. The miraculous Draught of Pishes is probably The calling of Peter and Andrew, (No. 3,) and there is no mention made of The good Samaritan, or Christ walking on the Water. With respect to date, the latest, 1544, is on The Deluge, which is the largest of his prints. In the catalogue of Ottley's prints, sold in 1837, there are two described that are not included in the hsfby Bartsch; a St. Christopher, and a wood-cut representing an interior, with a gal- lery, and numerojis figures of women and men ; the mark is near the middle, and the date 1526 on the left. The following are the titles and dates, as given by Bartsch, Peintre Graveur, tom. viii. : 1. Eve and the little Cain, 1622, A. G. (Aiwiisti) 19. 2. The Deluge (L. Up. 6 ?. ; H. Wp. 5 I.) 1544. 3. Christ calling Peter and Andrew, 1523, Mey 30. 4. St. Peter walking on the Water, 1525, Des 30. 5. Christ tempted by the Demon, 1525, D* V. April II. 6. Christ and the Woman of Samaria, 1523. 7. The Virgin and St. Anne,- 1522, D. C. (Decembris) 8. St. Bernard, 1524, Oct. 3. 9. St. Luke painting the Portrait of the Virgin, 1526, In Juli. 28. 10. St. Elisabeth, 1524, Nove. 15. 11. Venus, 1524, Oct. 20. 12. The Faun, 1522, S^t. 14. 13. The Man with a chimerical Fish, 1522, A. G. (Au- gusti) 16. 14. The Goldsmith, no date, 15. The Man asleep, 1532, Oct. 10. 16. The drunken Drummer, 1525, MeH. 8. 17. The Drummer and a Child, 1523, Oct. 14. 18. The Man holding a Shield, with armorial bearings, 1522. 19. The Woman holding an Escutcheon, of lozenge form, 1525. From Ottley's Catalogue. 20. St. Christopher, the date not mentioned. 21. A wood-cut of an Interior, with a Gallery, and nu- merous Figures. The mark near the middle, 1526 on the left. Whether the mark D. V. with a starling between them, and the letters D. V. separated by an asterisk in the upper part, and interpreted Dirck Verster, belong to this engraver, is not yet settled.] STARNINA, Gherardo. This old Florentine painter was born in 1354, and was a disciple of An- tonio Veneziano. He painted history in the dry, stiff' style which prevailed at the early period at which he Uved, though somewhat less Gothic and hard than the immediate followers of Giotto. Va- sari reports, that he was invited to the court of Spain, where he painted some pictures for the king, for which he was richly rewarded. Among the few of his works at Plorence which have escaped the ravages of time, is a picture in the church of S. Croce, representing St. Jerome delivering his doc- trines to his disciples, when he was at the point of death ; a production in which the design and ex- Eression are perhaps superior to any performance of is contemporaries. He died at Plorence in 1403. [It is certain that he survived the year 1406 ; Zani says he died in 1415. Rosini has given an etching by Gatti, of a Descent from the Cross, by Stamina, which shows him to have been an artist of gi-eat ability.] STARRENBERG, John. According to Des- camps, this painter was born at Groninguen, and flourished from the year 1650 to 1670. He painted historical subjects, and was much celebrated as a fresco painter of ceilings, and other considerable machinal undertakings, which he composed with 761 STAV] A DICTIONAEY OF [STEE ingenuity, and executed with promptness and fa- cility. [STAVEREN, Jan Adrian van, if not a pupil, was a close imitator, of Gerard Dou. The subject in which he most excelled was a hermit contem- plating a skull, reading a book, or at his devotions before a crucifix. As the scene is generally the en- trance of a grotto in a wild locality, he introduces the trunk of an old tree covered with ivy or moss. His execution is as elaborate as that of Gerard Dou, but his penciling is not so clear, soft, and fluent. It is also said that he painted familiar scenes, con- versations, and small groups of family portraits; there are such attributed to Van Staveren, but whether they are by the painter of hermits is not certain. The Dutch writers mention three other artists of the name, Paul, Jacob, and E. ; Paul and E. are said also to have been pupils of Gerard Dou ; Jacob was a painter of fruit and flowers ; they all lived about the same period, that is to say, from about 1660 to 1700. The editor gives the names as he finds them, but has doubts of the right applica- tion of all, excepting that of Jacob to flower and fruit pieces ; the hermit pictures that have come under his notice have no baptismal names. A Geo- grapher in his Study, in the Louvre, is without it. Laborde mentions a mezzotinto print of a Man ' counting Money, a half-length, signed P. Stravere- nus, and says. Que signifie ce nom f The print, it may be observed, was executed in the seventeenth cen- tury, or in the early part of the eighteenth, when the artist called Paul van Staveren was living.] STEE, P. This artist is mentioned by Mr. Strutt as the engraver of a portrait of Miss Salethea Daw- kins ; after Toer. STEEN, John [properly Jan]. This ingenious artist was born at Leyden in 1636. He was the son of a respectable brewer, who, perceiving his inclina- tion for drawing, placed him as a pupil with Nicho- las Knufter, a painter of history, of some note, at Utrecht, under whom he studied some time. Des- camps, who has been followed by Mr. Pilkington, asserts that he was afterwards a scholar of Adrian Brower ; but this inaccuracy is rendered palpable by their own statements, by which it will be found that Brower died in 1640, when Jan Steen was only four years old. They have probably been led into the error by the similarity of the subjects they re- presented, and the congenial profligacy of their ha- bits. It is more consistent with chronology, that he was a disciple of John van Goyen, whose daugh- ter he married, though it is not likely that she be- came his wife until after the death of her father, in 1656, when Steen was in his twentieth year. His father, apprehending that he could not depend on the produce of his early exertions as a painter for a comfortable subsistence, established him in a brewery at Delft ; but this indulgence, which might have placed him in easy circumstances, instead of answering his paternal intentions, served only to supply him with the means of indulging his unfor- tunate propensity to debauchery and excess. In a short time, from negUgence and expensive pur- suits, the estabhshment was ruined ; and after re- peated attempts to reclaim him, he was abandoned by his father. He afterwards became a tavern- keeper, but this undertaking was more promptly calamitous than the former, as he now found at home the means of gratifying his excesses, and he is said to have dranK more wine than any of his guests. During these occupations, he continued to exercise his talents as a painter, and it is not easy 762 to conceive how a man, in an almost continual state of inebriety, could have produced so many and such admirable proofs of extraordinary ability. The pictures of Jan Steen usually represent mer- ry-makings, and the frolics and festivities of the ale- house, which he treated with a characteristic ex- pression of humorous drollery, which requites us for the vulgarity of the subjects. He sometimes paint- ed conversations and domestic assembUes, which he generally accompanied with some facetious trait of wit or humour, which is admirably managed. Some of his pictures of that description are Httle inferior in deUcacy of execution to the charming productions of Gabriel Metzu. His compositions are ingenious and interesting, his design is correct and spirited, his colouring chaste and clear, and his pencil free and decided. Perhaps no painter of his country has equalled him in the air of truth and nature which he gave to the expression and character of his figures. The works of Jan Steen were for some time little known or valued, except in Holland. But they are now generally held in high estimation, and are deservedly placed in the choicest collections. He died in 1689. [When the inquirer reads the de- scriptions of upwards of three hundred pictures by Jan Steen, contained' in Smith's Catalogue raisonne, . vol. iv. and Supplement, many of which are com- posed of numerous figures, and almdst all painted with the gi-eatest care ; and when he examines the specimens that adorn the royal and other splendid collections in this country, to say nothing of the equally rich productions of his pencil elsewhere, and observes the knowledge he displays, not only of his art but of human nature, and the great discrimi- nation of character he exhibits in all j if he does not doubt the authenticity of the many scandalous anecdotes of the master, he will at least suspect that they have been too highly coloured in the relating. How can it be believed that a man living in a con- tinued state of inebriety and dissipation could find time to produce so many excellent works ? Is it possible that the hand of an habitual drunkard could so steadily execute the mechanical part ? and could a mind besotted by drink, and debased by low intercourse, moralize so admirably as he has done on the evil consequences of intemperance and the indulgence of lascivious propensities ? A judi- cious critic. Dr. Kiigler, sums up his character as an artist in a few words. " His works imply a free and cheerful view of common life, and he treats it with a careless humour, such as seems to deal with all its daily occurrences, high and low, as a laughable masquerade, and a mere scene of perverse absurdity. His treatment of the subjects differed essentially' from that adopted by other artists. Frequently, indeed, they are the same jolly drinking parties, or the meetings of boors ; but in other masters the ob- ject is, for the most part, to depict a certain situa- tion, either quiet or animated, whilst in Jan Steen is generally to be found action, more or less de- veloped, together with all the reciprocal relations and interests between the characters, which spring from it. This is accompanied by great force and variety of individual expression, such as evinces the sharpest observation. He is almost the only artist of the Netherlands who has thus, with true genius, brought into full play all these elements of comedy. His technical execution suits his design; it is care- fully finished, and notwithstanding ttie closest at- tention to minute details, is as firm and correct as it is free and light." A scarce etching representing a woman seated, apparently in a drunken sleep, hold- stee] PAINTERS AND ENGRAVERS. [STEF ing a small glass in her left band and a bottle in the right, and other figures, in a chamber, is attri- buted to him. It is signed pinxit J. Steen, the J and S interlaced, on the left, and on the right H. Steen. It is a poor affair, and doubted by those best qualified to give an opinion.] STEEN, Francis vander, a Flemish painter and engraver, bom at Antwerp about the year 1604. Little is known of his works as a painter, but he distinguished himself by the plates he engraved for the collection of prints known by the name of Te- niers's Gallery. He was much employed by the Archduke Leopold, who assigned him a pension. Among others, we have the following prints by him : PORTRAITS. Cornelius Cort, Engraver, of Antwerp. Theodore Coomhaert, Engraver, of Amsterdam, Andrew delVaulx, Professor of the University of Louvain. SUBJECTS AFTER VARIOUS MASTERS. The Holy Family ; after Titian. The Holy Family, called La Madonna del Sacco ; after A. del Sarto, Michael Angelo's Dream ; after M. Angela, Soldiers playing at Cards ; after Mamfredi. The Martyrdom of the Eleven Thousand Virgins ; from a drawing hy Van Hey, after the pibture by Albert Durer, in the imperial collection. Silenus drunk, supported by Satyrs and Bacchante ; after Vandyck. (Subensf) Cupid shapiiig his Bow : after Coreggio. Jupiter and lo ; after the same, Ganymede; after the same. The three last prints, which are scarce, are from designs by Van Hoy, after the pictures in the gal- lery at Vienna. He also engraved from Teniers, and other masters. [For a catalogue of his engrav- ings see Nagler.] STEENWYCK, [or STEINWYCK,] Henry, the Elder. This painter was born at Steenwyck in 1550. He was a scholar of John de Vries, an artist of some reputation, who excelled in perspec- tive and architectural views. Steenwyck painted similar subjects, in which he not only surpassed his instructor, but in neatness and accuracy he has ' scarcely been equalled by any artist who has suc- ceeded him. His pictures represent the interiors of churches and Gothic temples, designed with surpris- ing accuracy and precision. He frequently repre- sented these superb edifices by torch-hght, and by a judicious management of the chiaro-scuro, gave a mysterious grandeur to the effect, which is extreme- ly picturesque and interesting. The pictures of the elder Steenwyck are usually decorated with figures by Eranck. He died in 1603. [He was living in 1604.] STEENWYCK, [or STEINWYCK,] Henry, the Younger, was the son of the foregoing artist, born at Antwerp in 1589, and was instructed by his father. His pictures, like those of the elder Steen- wyck, represent the insides of temples, churches, and other Gothic edifices, which he usually designed on a larger scale than those of his father. He lived in habits of intimacy with Vandyck, who painted a fine portrait of him, among the distinguished artists of his country, of which we have a print by Pontius. His talents were recommended by Vandyck to the notice of Charles I., who invited him to England, where he resided several years, and died in London, but the time of his death is not mentioned. In the catalogue of King James are found ten of the prin- cipal works of Steenwyck. • The pictures he painted previous to his coming to England, are embellished with figures by John Breughel, Theodore van Thul- den, and others. [He was living in 1642, as appears by that date on a picture in the museum at Berlin.] STEENWYCK, [or STEINWYCK,] Nicho- las. According to Descamps, this painter was born at Breda in 1640. He excelled in painting vases, musical instruments, books, and other inani- mate objects, which he grouped in a pleasing man- ner, and 'represented with great truth and precision. [He painted fish admirably, not laboured, but in a very bold manner.] STEFANESCHI, Giovanni Batista. Accord- ing toBaldinucci, this artist was born at Ronta, in the Florentine state, in 1582. He was a monk, and is generally called I'Ereniita di Monte Senario. He was instructed in design by Andrea Comodi, and chiefly excelled in copying, in miniature, the works of the most eminent Italian painters, in which he was much employed by Ferdinand II., Grand Duke of Tuscany. He died in 1651. STEFANI, ToMMASO de. Dominici, in his Lives of the Neapolitan Painters, attempts to prove that the art was practised at Naples by this master before the time of Cirtiabue, and that it had, at that early period, reached a more improved state at Na- ples than it had at Florence. Whatever may be allowed for the partiality with which the Italian writers speak of their particular countrymen, Do- minici appfears to have established the authenticity of his statement, by the indisputable authorities he produces in his Proemio. According to that author this venerable artist was born at Naples, about the year 1230. He formed himself by the remnants of Grecian art, which had been preserved in the tem- ples and public edifices at Naples, and had painted several pictures for the churches of S. 'Francesco and S. Maria delle Grazie, previous to the year 1260, at which time he was employed by the Arch- bishop of Naples to ornament the chapel of his pa- lace. Several other works by him are particularly described by Dominici. He died in 1310. He had a brother, Pietro de Stefani, who also was a painter, but was more celebrated as a sculptor. STEFANI, Benedetto. The name of this art- ist is aflSxed to a print representing the Battle of the Lapithee, copied from Marc Antonio. The style of engraving resembles that of .Slneas Vico. [He was of Verona, and operated about 1575 ; he was a publisher as well as an engraver.] STEFANINI, Giovanni. This artist was a na- tive of Florence, and fiourished about the year 1760. We have by him an etching representing the Puri- fication of the Virgin, after Bartholomew Sprangher, STEFANO, called II Fiorentino. This old Florentine painter was the grandson and the dis- ciple of Giotto. He was born at Florence in 1301, and, according to Vasari, greatly excelled his in- ■ structor in every department of the art. The rules of perspective were little known at the early period at which he lived, and he has the credit of establish- ing them on more regular principles. If he was less successful in his endeavours to vanquish the difiiculty of foreshortening, he has at least the credit of being the first artist who attempted it, and succeeded, better than any of his contemporaries, in giving expression to the airs of his heads, and a less Gothic turn to the attitudes of his figures. His works in the churches at Rome and Florence have perished, and Lanzi mentions, as the only vestige remaining of his productions, a picture of the Virgin and infant Christ, in the Campo Santo, at Pisa. He died in 1350. STEFANO, Tommaso. According to Baldinucci, he was the son and disciple of the foregoing artist, born at Florence in 1324. He attached himself 763 step] A DICTIONARY OP [STEL more tq the style of Giotto than that of his father, and followed the manner of that master with such exactness, that he acquired the appellation of II Giottino. Such are his frescoes at Assisi, and his picture of the dead Christ, with the Virgin and St. John, in the church of S. Remigio at Florence. He died at Florence, in the prime of Ufe, in 1356. STEFANONE, Maestro. According to Domi- nici, this painter was born at Naples about the year 1325, and was a disciple 'of Gennaro di Cola. In conjunction with that master, he painted some fresco works in the church of S. Restitiita, at Na- ples. In the church of S. Maria della Pieta there were several of his works, both in fresco and in oil; the former have almost entirely perished, but the latter have resisted the ravages of time, particularly the picture at the great altar, representing the Vir- gin Mary and Magdalene weeping over the dead Christ, which is still well preserved. This is an- other proof that the practice of painting in oil was known long before the pretended discovery by Van Byck, in the year 1410. He died about 1390. STEPANONI, GiACOMO Antonio. This artist was a native of Bologna, and flourished about the year 1630. He is said to have been a painter as well as an engraver. We have, among others, the following etchings by him : The Virgin, with the infant Christ, St. John, and two Angels ; after Lod. Caracci. The Holy Family, with St. John ; after An. Caracci. 1632. Another Holy Family, with St. John presenting cherries ; after the same. The Virgin and infant Christ, with St. John ; after Agos. Caracci. The Murder of the Innocents ; after Guido. The Martyrdom of St. Ursula ; after L. Passinelli. STEPANONI, PiETRO, an Italian engraver, by whom we have a set of forty etchings, from the de- signs of the Caracci, intended as a drawing-book. He iisually marked his plates with the initials P. S. P. [He was a pubUsher and engraver ; he lived about 1620.] STEIDNER, D. This artist is noticed by Mr. Strutt as the engraver of a variety of devout sub- jects. [Whatever those devout subjects may be, Nagler, like Mr. Strutt, does not think them worth notice. He was of Augsbourg, and died in 1760.] STELLA, James, an eminent French painter, born at Lyons in 1596. He was the son of Prancis Stella, an artist, originally of Flanders, who had settled at Lyons on his return from Italy. His fa- ther taught him the rudiments of design, but he was deprived of his instruction when he was only nine years old. He had, however, at that early age, made such progress in design, that he found himself sufficiently advanced to be able to continue his studies without the direction of another master. When he had reached his twentieth year he travel- led to Italy, and passing through Florence, on his way to Rome, he was employed by Cosmo de Me- dici to assist in the decorations preparing for the so- lemnization of the marriage of his son Ferdinand II. He also painted several pictures for the Grand Duke, who assigned him apartments in his palace, with a pension equal to that of Callot, who was at that time in his service. After a residence of seven years at Florence, where he left many proofs of his abihty in painting and engraving, he proceeded to Rome in 1623. His studies in that capital were pursued with unremitting assiduity, particularly from the antique and the works of Raffaelle, which he contemplated in the society of Niccolo Poussin, 764 with whom he contracted an intimate acquaintance, and the conversation and advice of that learned art- ist contributed, in no small degree, to the formation of that correct style for which he is distinguished. - The works of Stella were held in considerable estimation at Rome, where he resided eleven years. In 1634 he returned to Prance, where his talents re- commended him to the favour of Cardinal Riche- lieu, under whose patronage he was appointed paint- er to the king, with a pension, and was presented ;ivith the order of St. Michael. His principal works at Paris are the Baptism of Christ by St. John, in the church of St. Germain le Vieux ; the Annuncia- tion, in the chapel of the Nuns of the Assumption ; and Christ with the Woman of Samaria, at the Car- melites. Stella was more successful in his easel pictures than his large works. His compositions are graceful and decorous, though cold and inani- mate, and his design rigidly correct ; but we look in vain for the sentiment and expression which cha- racterize the admirable productions of Poussin. He died at Paris in 1647. We have some etchings by Stella, among which are the following : The taking down from the Cross ; marked with a star. The Ceremony of doing Homage to the Grand Duke of Tuscany on St. John's Day. 1621. [Jacques Stella died in 1657, at the age of sixty-one. His etchings consist of five pieces ; a Madonna, St. George, and some children dancing, in addition to the two mentioned. There are some wood-cuts after his designs, marked with a star (Stella) ; they were engraved by Paul Maupain, of Abbeville.] STELLA, Francis, was the younger brother of James Stella, born at Lyons in 1601, and was in- structed in the art by his brother, whom he accom- panied to Italy. He painted history, but never ar- rived at much eminence, and was very inferior to his instructor in every respect. There are some pictures by him in the churches at Paris, among which is an altar-piece, representing the dead Christ, with the Virgin Mary and St. John, at the Augus- tines. He died at Paris in 1661. [According to Pelibien, he died on the 26th of July, 1647, in his fourty-fourth year.] STELLA, Anthony Bousonnet. This artist was the nephew of James Stella, born at Lyons in 1630. He was instructed by his uncle in the rudi- ments of design, and is said to have been a reput- able painter, and a member of the Royal Academy at Paris, where he died in 1682. We have a few etchings by him, among which is the following : Moses defending the Daughters of Jethro ; after Poussin, [There is a difference among writers respecting his age, some making him fifty, others only forty-eight ; but as there was another Anthony, and they agree that this died in 1682, it is of no importance.] STELLA, Claudine Bousonnet. This inge- nious lady was the niece of James Stella, born at Lyons in 1636. She learned the principles of de- sign from her uncle, but appUed herself to engrav- ing, in which she greatly distinguished herself. Her plates are chiefly after the pictures of James Stella and Nicholas Poussin ; and perhaps no artist has been so successful in their engravings after the lat- ter painter, in which she has greatly surpassed John Pesne. Her design is correct, and the characters of the heads are admirably expressed. The following are her most esteemed prints : A set of seventeen plates of pastoral subjects, including the title ; after James Stella. Fifty plates of the Sports of Children, and rural sub- jects; after the same. stel] PAINTERS AND ENGRAVERS. [STIM The Marriage of St. Catherine ; after the same. Moses found in the Bulrushes ; in two plates ; after N. Poussin. Moses striking the Bock ; after the same ; very fine. The Crucifixion, called the Great Calvary ; after the same ; very fine. St. Peter and St. John curing the Lame Man ; after the same. The Holy Family, -with St. Elisabeth and St. John; after the same. Another Holy Family, with children bringing flowers; after the same. [She died at Paris in 1697.] STELLA, Antoinette Bousonnet. This lady was the sister of Claudine Bousonnet Stella, born at Lyons about the year 1637, and had also the ad- vantage of her uncle's instruction in design! Al- though she was not equal to her sister in the use of the graver, her prints possess considerable merit. Her drawing is generally correct and full of taste. We have, among others, the following prints by her: Romulus and B,emus suclded by a Wolf; after Ant. Bousonnet Stella. The Entry of the Emperor Sigismond; after Giulio Ro- mano. STELZER, Jacob, a German engraver, who flourished about the year 1720. He engraved part of the plates for the collection of prints from the antique marbles preserved in the gallery of Dresden, published in 1733. [Nagler calls him Johann Ja- kob, and says he operated as late as 1780.1 STEMPSIUS. See Sempelius. [STENREE, or STEENREE, by some called William, by others George, probably because he ' used only the initial letter of his baptismal name, G., was a nephew of Cornelius Poelemburg, by whom he was instructed in the art, and whose man- ner he followed. His birth is placed at Utrecht in 1600, and his death in 1648, but on uncertain au- thority.] STENT, Peter, resided in London, and earned on a considerable business as a printseller. It is supposed that he occasionally engraved. A portrait of Andrew Willet, with six Latin verses, and mark- ed with the initials P. S., is generally attributed to him. [He carried on business in London from 1640 to 1663. Exe. generally follows his name.] STERN, Ignazio. This painter was a native of Bavaria, born about the year 1698. He went, early in his life, to Bologna, where he entered the School of Carlo Cignani. He painted several pictures for the different churches in Lombardy, which possess considerable merit. At Piacenza, in the church of the Nunziata, is an altar-piece representing the An- nunciation, which Lanzi describes as a graeeful and elegant composition. He resided several years at Rome, where he was much employed for the public edifices and the private collections. In the Basilica of St. John of Lateran, there is a picture by Stern of the Assumption : and he painted some frescoes in the sacristy of S. PaoUno. His talents were not confined to historical subjects. He also painted concerts, conversations, and what are called by the Italians Bambocciate, which were much admired. He died in 1746. [Zani says he operated in 1750.] STETTLER, William. This artist was a na- tive of Berne, and, according to Fuessli, in his Lives of the Swiss Artists, was first a scholar of Fehx Meyer, at Zurich, and was afterwards instructed in miniature painting, at Paris, by Joseph Werner. His talents were not confined to miniature, but he was much employed in designing historical and other subjects for the publishers. He accompanied Charles Patin in his travels through Holland and Italy, and made the ^eater part of the designs for the plates in his publications on medals and anti- quities. He died in 1708. STEVENS, John, or Stephanus, a German en- graver, who flourished at Strasburg about the year 1585. His plates are chiefly slight etchings, exe- cuted almost entirely with dots ; and are frequently little more than outlines. They are from his own designs, and prove him to have been a man of ge- nius. He generally marked his plates with the in- itials I. and S. with the date. STEVENS, John. This artist is mentioned by Lord Orford as a landscape painter, who chiefly imitated Vandiest. He sometimes painted small pictures, but was principally employed in painting pieces to be placed over doors and chimneys. He' died in 1722. STEVENS, Peter. This artist was a native of Mechlin, and is mentioned as an engraver of por- traits, among which is that of Frederick, king of Prussia ; after de Plasse. [STEVENS, STEEVBNS,orSTEPHANS, Pe- ter, an historical painter and landscape designer, was born at Malines in 1540. He was patronized by Rudolph II., and died at Prague, in what year is not accurately ascertained. Several of his pic- tures and designs were engraved by the Sadelers and H. Hondius ; these are chiefly his landscapes. There was another artist of the same name, who was a painter and engraver ; he was also a native of Ma- lines, and flourished about the middle of the seven- teenth century. Probably he is the engraver men- tioned in the foregoing article, as there are several portraits engraved by him, among which is that of Count Emeric Tekely, after JD. Vander Plaas, John III., king of Poland, Lodovic, Marquis of Branden- burg, Philip, Duke of Orleans, and other illustrious persons. The time of his death is not known.] STEVERS. See Staevarts. STEUDENER, M. G. We have by this artist some slight etchings, representing the Loves of the Gods, and otTier mythological subjects, from his own designs. They are not very creditable to his ta- lents. [Mark Christopher Steudtner was born at Augsbourg in 1698, and died in 1736. He engraved many subjects besides the Loves of the Gods, on copper, and wood, and scraped in mezzotinto ; at least so say Nagler and Laborde. C uriously enough, both attribute to him a mezzotinto print of St. Ca- tharine carried to Heaven by Angels, with the date 1696 ! It certainly has his signature, M. C. Steudt- ner ; but how is it to be reconciled with the date of his birth ? Zani rives an advantage of three years only, by placing his birth in 1693.] STIMMER, Tobias. This artist was born at Schaffhausen in 1544. It is not mentioned under whom he studied, but he had acquired some cele- brity by decorating the fagades of the principal man- sions of his native town, at Frankfort and Stras- bourg, with 'historical subjects painted in fi-esco, when he was invited to the court of the Marquis of Baden, to paint a series of the portraits of his an- cestors, which he is said by Huber to have executed in a great style. His -frescoes have unfortunately perished ; but we may judge of his ability in com- position and design, by the wooden cuts, which re- main, executed from his works. Tobias Stimmer also engraved on wood, and in conjunction with his brother, John Christopher Stimmer, executed part of the cuts for the Bible published at Basle in 1586, by Thomas Guarin, entitled Ifovts Tohice Stinimeri 765 stxm] A DICTIONARY OF [STOL sacrorum Bihliorwn Jigurce versibus Latinis et Ger- manicis exposUce. The compositions of these prints, which are small, are by Tobias Stimmer ; and it is no mean proof of their merit, that Rubens declared he had studied them with attention, and had de- rived much instruction from them. He usually marked his prints with a monogi'am, composed of a T. and an S., thus ^ . [He was born in 1534, and died at an advanced age. He made the designs, but never engraved on wood. See Bartsch, P. G. tom. ix., for a list of cuts from his designs.] STIMMER, John Christopher, was the young- er brother of Tobias Stimmer, born at Schaffhausen in 1552, and is said to have been instructed in de- , sign by his brother. He distinguished himself as an eminent engraver on wood, and executed in a neat style several cuts from the designs of Tobias, which possess considerable merit. He marked his prints with a, monogram composed of the letters C. S. T. M., thus, @j; . Besides the cuts in the Bible, mentioned in the preceding article, we have the following prints by him : A set of cuts for the New Testament, printed at Stras- burg in 1588. A set of prints of learned persons and theologians of Ger- many ; published by Bernard Jobio, at Strasburg, in 1587. A sfet of Emblems, entitled Icanes Affahra, published by B. Jobio, at Strasburg, in 1591. [The accounts of this artist are involved in much intricacy, confusion, and uncertainty. They who are interested in the matter will find all the light that can be brought to bear on it, and all the assist- ance that two able men have afforded for unravelling the perplexities, in Nagler's Kunstler Lexicon, and in Bartsch, P. G. tom. ix.] STOCCADE, Nicholas db Helt. This paint- er was born at Nimeguen in 1614, and was a scho- lar of Martin Ryckaert, whose daughter he married. His first pursuit was landscape painting, which he practised for some time, in the style of his instructor ; but his genius leading him more to the design of the figure, he applied himself with great assiduity to historical painting, in which he had acquired some celebrity, when he determined to visit Italy in search of improvement, and passed several years at Rome. His studies in that capital were pursued with unremitting application, and his talents soon recommended him to pubUc attention. He was em- ployed in painting some pictures for the palaces and private collections, particularly for Christina, Queen of Sweden. After a residence of eight years at Rome, he went to Venice, and improved his style of colouring by studying the works of the best mas- ters of the Venetian school. He visited Paris in his return to Holland, where he met with such dis- tinguished encouragement, that he was induced to establish himself for some time in that city, where he was much employed, and was appointed one of the painters to the king. He did not long survive his return to his native country, but the tiine of his death is not ascertained. His compositions evince a ready and fertile invention, and his design bears the character of the Roman school, from which he had principally formed his style. He was also dis- tinguished as a portrait painter. [The historical pictures by Stoccade are generally of large dimen- sions ; some of them have had the honour of poeti- cal commendation from his countrymen, particu- larly that of Andromeda chained to a Rock to be 766 devoured by a Sea-monster, Clelia passing the Tiber, and Joseph distributing Corn to his Brethren. There are three etchings by him ; Cephalus and Aurora, Susanna Bathing, and the portrait of A. van Opstat, after Van Bych. Immerzeel places his death in 1669.] STOCK, Ignatius Vander, a Dutch painter and engraver, who flourished about the year 1620. As far as can be judged from his etchings, after his own designs, he was a landscape painter of consider- able ability. We have several plates by him, exe- cuted in a slight but spirited style, some of which are from the designs of Fouquieres, and others af- ter compositions of his own. [He operated forty years later than is stated above.] STOCK, Andrew. This artist was a native of Holland, but resided chiefly at Antwerp, where he flourished about the J-ear 1625. He is supposed to have been a pupil of James de Gheyn the elder, from the similarity which appears in their, style. He engraved several of the plates for the Academie de VEspee, published at Antwerp, by Thibeauj which he inscribed Andreas Stokius Hagce Comitis sculp. We have also by him the following prints : portraits. Albert Durer, Effigies Alberti Dureri. And. Stock, so. 1629. Hans Holbein ; Effigies Holieini, Pietoris celeberrimi. se ipse pinx. And. Stocfc, fecit. Lucas of Leyden ; from a picture by himself. Peter Sneyers, Painter ; cifter A. Vandnjck, ' SUBJECTS. The Sacrifice of Abraham ; after Rubens, Twelve plates of the Months m the Year ; after Wildens. A set of eight Landscapes ; after Pcml Brill. [He was bom in 1590 ; there is no account of his death.] STOCK, H. The name of this artist is affixed to a portrait of Robert Cecil, Earl of Salisbury, [He lived about 1635.] STOER, Lawrence. This artist was a native of Augsbourg, and flourished about the year 1567. He is mentioned by Professor Christ as a painter, and an engraver on wood, and is said to have exe- cuted several wooden cuts, which he marked with the cipher $^ . [STOFFE, J. V. D., a painter of battle-pieces, chiefly skirmishes of cavalry, flourished about the year 1649. His pictures are common, though his history is not known ; they are generally of small dimensions, on panel, and rarely exceed thirty inches by about twenty-four. They are spirited in action, well designed, not strongly coloured, but smoothly finished. They do not rank high in commerce, but they are sometimes attributed to Stoop, or Esaias Vandevelde. He was undoubtedly a Dutch painter, though he is not noticed by Dutch writers on art. His pictures in their genuine state have his name, and sometimes the date.] STOLKER, J., a Dutch engraver in mezzotinto, by whom we have some portraits, among which is that of Jacques de Mosscher, painter, after J. Rave- stein. [He was not a master of much note, as a mez- zotinto engraver, but of great modesty, for he put the name of iV. Verkolie to many of his plates; there is one, however, to which he put his own, an Interior after Jan Steen. He lived in the early part of the last century, according to Laborde, but this is probably a mistake. See the next article.] [STOLKER, Jan, a portrait painter, designer, and engraver in aquafortis and mezzotinto, was born stom] PAINTERS AND ENGRAVERS. [STOO at Amsterdam in 1724. He studied portrait paint- ing there under J. M. Quinkhard, with whom he remained till he was twenty-three ; he then removed to the Hague, where he remained nine years paint- ing portraits and family groups ; and afterwards resided at Rotterdam, occupied in the same man- ner, and had the honour of painting several persons of distinction. It appears that ne also painted cabinet pictures of familiar subjects ; one known by the appellation Rhynlande is spoken of as a chef d^oeuvre. It represents the interior of an apartment in which there are an elderly woman, a girl, and a boy, habited in the old Dutch costume, and a num- ber of accessories in an open window, admirable, it is said, for composition, expression, chiaro-scuro, and elaborate finishing. When about fifty he aban- doned painting, and devoted himself to making de- signs in water-colours and Indian ink, in which he showed superior talent. The copies which he made in this manner of pictures by the older masters, especially those in colours, are highly esteemed. He engraved in aquafortis, according to Balkema and Immerzeel, after Rembrandt, P. Hals, Jan Steen, Schalcken, Adrian Ostade, Brecklencamp, and others. Nagler describes eight mezzotintos by him after Terhurg, Jan Steen, and Mavestein, among which are the two mentioned in the preceding ar- ticle, showing that the same artist is meant. He died at Rotterdam in 1786.] [STOM, or STOOM, Matthew, who was pro- bably of Flemish origin, practised principally in Italy. He painted landscapes and battle-pieces. He died at Verona in 1702. Another of the same name, who lived about the middle of the 17th century, painted sacred subjects, of which there is one in the church of St. Cecilia at Messina.] [STOMME, , a painter of subjects called stiU-life, of whom there is no account, but he ap- pears to have been an imitator, if not a scholar, of John David De Heem. A picture by him is thought worthy of being preserved in the Museum at Brus- sels ; it represents a table covered, on which there are a cruche, a plate with a broiled fish, a knife, and other objects. STONE, Henrt. This artist was the son of Nicholas Stone, a statuary and architect, who was master mason to James I. He is usually called Old Stone, probably to distinguish him from his younger brother, John. Henry Stone is principally known as a painter by his excellent copies from the portraits of Vandyck and the Italian masters. By his epitaph, which is preserved in the Anecdotes, it appears that he passed several years in Holland, France, and Italy, and died in London in 1653. [A copy by him of the Cornaro family at Northum- berland House, said to be by Titian, is at Hampton Court. There are also a great many Van Dyck por- traits in various collections painted by Old Stone.'] STONE, John, was the brother of Henry Stone, and followed the profession of his father as a statuary. He also occasionally copied some of the most esteemed pictures of the old masters, in which he was not unsuccessful. Thomas Cross is said to have instructed him in the art of engraving, though he did not much attend to it. He designed and engi-aved one of the plates for Dugdale's His- tory of Warwickshire. John Stone died soon after the Restoration. STOOP, Dirk, or Theodore. This eminent artist has escaped the notice of the biographers of the painters, and is only briefly mentioned as the engraver of a few plates. He was a native of Hol- land, and was born about the year 1610. A con- temporary of Peter de Laer, called Bamboccio, he adopted a similar style, and his best works are in no way inferior to those of that celebrated painter. His pictures represent hunters and sportsmen on horseback, the halts of travellers, farriers' shops, and similar subjects, which are composed and de- signed with a spirit and taste, which has scarcely been surpassed by Phihp Wowermans, for whose works the pictures of Stoop have not unfrequently been mistaken. We have by this able artist a set of twelve admii'able etchings, which for picturesque effect and masterly execution are equal to the most admired productions of the point. [See note to next article.] STOOP, Peter, sometimes called 'Roderigo. He is generally supposed to have been the younger brother of the preceding artist, born -in Holland about the year 1612. He painted battles, huntings, and sea-ports, with considerable success, and went, when he was young, to Portugal, and settled at Lis- bon, where he adopted the name of Roderigo, and placed the letter R. on his plates. He came to England in the retinue of Queen Catherine, and re- sided in this country till his death, which happened about the year 1686. We have several etchings by this artist from his own compositions, and other masters, which are executed in a spirited and mas- terly style. Among others, are the following : Eight Views of Lisbon ; dedicated to Queen Catherine. A set of eight plates, representing the procession of Queen Catherine from Portsmouth to Hampton Coui-t. 1662. He also executed the plates for Ogilby's ^sbp; after the designs of Barlow. [Theodore, Thierry, Dierick, Dirck, and Roderigo Stoop, is an individual artist; the names being the same according to the language in which' they are used. Roderigo, in Portuguese, answering to Theodo- ricus, or Theodorus, in Latin, from which the others are derived, and Dirck being the diminutive used by the Dutch. Stoop, the designer and engraver, is the artist to whom all these names appertain ; for he vaiied them according to the custom of the country in which he happened to be located at the time of publishing his prints. It will be found that the first twelve of Horses, published in Hol- land in 1651, are signed D. or JDirch Stoop; those of Views in Portugal, i2". Stoop, or Roderigo ; those in England, sometimes It°. and sometimes T. Stoop. What, therefore, is said in the article Peter Stoop, belongs to Theodore, Dii'ck, or Rode- rigo, who was the engraver that resided at Lisbon for some time, and was patronized by Catharine of Braganza, whom he accompanied to England on her marriage with Charles II. What induced him to go to Portugal, or when he went there, is not said, but it is certain that he was employed as painter to the court till 1662. Whether he painted the Views of Lisbon, of which he made etchings, or what other subjects, is not related. The Count A. Raczynski, who has been very particular in naming the artists of all countries who have left works in Portugal, does not mention Stoop in his work " Les Arts en Portugal," which he would have done had there been any of his paintings found there. It may, therefore, be concluded that Theodore, or Roderigo, was more of a designer and engraver than a painter. On his arrival in England he en- graved and published the seven (not eight) prints descriptive of the queen's journey from Lisbon to London ; and afterwards, jointly with Hollar, en- graved the plates for the first part of Ogilby's trans- 767 STOO] A DICTIONARY OF [STOO lation of ^sop's Fables, after designs by Barlow ; but several of those by Stoop are from his own de- signs?' He remained in England till 1678, when it is said he returned to his own country, where pro- bably he died. Bartsch, Peintre Graveur, torn, iv., has given an accurate description of " The Twelve different Horses," published in 1651, and of the seven prints of " The Journey of Catherine, Infanta de Portugal," &c. Of the first, Weigel, in his Sup- plement to Bartsch, has pointed out the variations ; of the second, that intelligent connoisseur says they are so rare that it is difficult to find a complete set. There is a set in the Sutherland collection. The Jirst impressions are before the title at top, and be- fore the words " Bridge d' Alcantara" near the centre of the point. Robert Dumesnil, " Le Peintre Gra- veur FrauQais," tom. v., in a. note to his account of the prints of Louis Meunier, has described the eight Views of Lisbon, which were executed by R. Stoop in 1660 and 1661. Of these Weigel says there is a superb set in the collection of the Arch- duke Charles at Vienna, and another in that of the Consul Clauss of that city. Of individual pieces, "Weigel, in his Supplement to Bartsch, describes the following : A bird's-eye view of a naval battle, be- ing the Battle of Solebay, fought between the Eng- lish and Dutch fleets on the 3rd and 4th of June, 1665. Signed Bo. Stoop,/. London. The size of the print, French measure, is H. 11^. 61., L. ISp. 31., the margin at bottom 3p. 41. ; it is in the cabinet of prints at Copenhagen, and is considered to be unique. Another, not less rare, is also described in the cata- logue of that collection ; it represents a Panorama of the theatre of war, with a chart ; the chart is in the form of a curtain which genii, surrounded by trophies, are unfolding ; above are branches of laurel, of which the leaves are very large. In the lower part of the print are mules with Spanish bag- gage, chariots, and fugitives pursued by the van- quishers; it is a picturesque bird's-eye view, after the ancient manner. In the upper part of the lower margin is inscribed Emtrado do Exercito del Mey de Castella, governado por D. Joam de Austria, no Reino de Portugal, S[C. ; in the other part, Bol dos cabos Portugueses, ^c. A piece in Baron Lockhorst's col- lection is probably the same ; it is described N». 387, one sheet, A Battle between the Spaniards and Portuguese, by Stoop. Extra rare. Another print of great rarity, said to be by him, represents Oliver Cromwell dancing on the tight rope. Weigel gives a full description of it, but as it is also mentioned by Granger, it is probably well known to collectors. There is an impression in the British Museum. To these may how be added others not known to the indefatigable connoisseurs, Bartsch, Weigel, and Robert Dumesnil, but pointed out to the editor by the no less intelligent critics in art, Messrs. Smith, dealers in ancient prints, of Lisle Street, London. The Rape of Helen ; in the British Museum. A Skirmish of Cavahy on a road, at top Don Cantelmo, S^c. ; in ditto. This print, mentioned among the five battle- pieces, is undoubtedly by Stoop. Portrait of Charles II. {Pepyi collection.) Portrait of Queen Catharine. {Bitto.) In the valuable collection of J. H. Hawkins, Esq., of Bignor Park, Sussex, is a Portrait of Catharine of Braganza, wife of Charles II., inscribed Catharina D. G. Magna Britan- nise, Franciae et Hiberni8e Regina Filia Jo- 768 hannes IIII. Portug. ete.—Consecrat T. Stoop. On the left, below the inscription, Lisbona 1662. N. Munierf. The size is H. 16J in., W. 13 in. N. Munierf. is evidently an interpolation, the en- graving and form of the letters being very difierent from the other part of the writing. It is, however, a curious circumstance, as Dumesnil has pointed out the resemblance of some of Louis Meunier's etchings to those of Stoop, and even one that he copied after him. Zani is the only one who notices N. Munier, whom he describes as a Portuguese designer and engraver of portraits ; perhaps he had seen this prin,t, as he says that artist operated in 1662. Whether it be a fraudulent attempt on the part of N. Munier to pass it as his own, must be left to the more learned to decide ; at all events he was a bungler to let Consecrat T. Stoop remain. It is believed that there are portraits of Charles and Catharine, two ovals in one plate, by T. Stoop; this is mentioned as a reminiscence. There are five other pieces described by Weigel, representing Dutch battles, supposed to be by Stoop, which that true connoisseur hesitates to affirm, as they appear to him to be copied from more ancient prints. Impressions of these are in the British Museum. With respect to these battle-pieces, Weigel, in his Supplement to Bartsch, says, " We shall conclude this article (Stoop) by mentioning some pieces which we still hesitate to attribute to the master. These are the five following Dutch battle-pieces, which belong to a book : a. Battle near a Church. Above a cartouche bears the following inscription : Graef Jan van Nas- sou geslaghen en ghevangen Anno 1630. At the bottom, on the left. Fig. II. fol. 102. L. 13p. 3Z.,H. lOp. 3/. This is partly executed after a print by W. Baur in the Roman edition of Strada de bello Belg., 2 vols. Romee, 1632—1647. b. Combat of Cavalry. On the right a house, above Don Cantelmo tot Burgerhout By Ant- werpen geslaghen Anno 1643; on the right, Tweede Deel fol. 146. L. 13p. 3/., H. 10p.2i. c. Plan of a Battle. On the right a combat of cavalry; on the left, near a cartouche, two soldiers, and the following inscription : Het sas van Gent Beleegort den 28 July Anno 1644 en door Aewort verovert den 6 September. Above, on the left, Tweede deel Fol. 168. L. 13p. 6^., H. lOp. SI. d. Plan of a City -and its Environs. On the right is a troop of cavalry; at the bottom, on the left, Veroveringe van Thiemen Anno 1635; above, on the left. Fig. 21, fol. 215. L. 13p. 21., H. lOp. 3Z. The execution of this piece closely approaches the point of Stoop. e. Plan of a City aud its Environs. Above, on the right, is seen the city of Wesel taken by as- sault, and the following inscription : Inde, naere dustrye Nacht quam dit Wesel onverwacht. On the left, De Wyt vermaerde Stadt Wesel — verovert 1629. L. 13p. 'M., H. lOp. 51. Weigel observes, what gave rise to some hesita- tion to attribute these pieces to an artist so prolific in original compositions as Dirk Stoop is, that the first is an imitation of a print by W. Baur, and that the rest are only imitations of other prints ; besides, they are copies, in counterpart, after prints, proba- bly more ancient, of a book cited below. Never- theless the difference of the copies above described is worthy, of being remarked^ The title of the book STOO] PAINTERS AND ENGRAVERS. [STOK from which these imitations are taken is, Frederik Hendrik Nassau zyn leven en bedryf, door J. Com- melyn. 2 Deele. Amst. 1651. Fol. The French translation has probably the same engravings; it bears the- title, Hist, de la vie et des actes me- morables de Frederic Henri de Nassau, par J. Commelyn, 2 tomes. Amst. 1665. Fol. The Jirst state of the Twelve Horses is before the introduc- tion of any sky ; the second state before numbers. It will be seen that the Combat of Cavalry, letter a, is mentioned among unknown prints by Stoop, and it again appears among those doubted by Weigel ; as it is indubitably by Stoop, and the other four un- questionably by the engraver of that, the inference is obvious. Whether the two portraits in ovals on one plate of Charles II. and Queen Catharine, con- jectured to exist, are the same as those in the Pepys collection, can only be decided by their dis- covery. It may be useful to collectors to have the titles of the eight rare prints. Views of Lisbon, as given with descriptions for the first time, by Robert Du- mesnil. 1. The Title. In a cartouche, is inscribed Al It- lust"". Lr". D. Catharina Rajnha da gran Bre- tanha D. V. C. R. Stoop 1660 Liaf. ; a general view of Lisbon, vyith sea and numerous vessels in front. 2. Vista de Santo Amaro E Prospectiua do Lu- Mr de Bellem. 3. Visto do Covento da Madre de Deus. 4. O Palacio Reyal De Lixboa. 5. Touros Reyas nas Festas do Casamento da Raynha da Gran Bretanha Em Lixboa 1661. 6. O Palacio do Infante Dom Pedro Em o Corpus Sancto Em Lixboa. 7. A Torre E entrada da Baira de Bellem. 8. A view of the Convent of St. Jerome. On the left margin is inscribed Veve du palais de LlSBONNE SEIOCR ORDINAIRE DES EOIS DE PORTUGAL; and on the right, Vista del pal- LATIO DEL HEI DE PORTUGALE EN LiSBOA. The^rst state of these prints is before the num- bers or address ; the second with the numbers. It will be seen by the foregoing account that Bryan, following Walpole and other writers, has converted Theodore into Peter, and Peter into Bo- derigo, and in separating has confounded both. The consequence of this confusion has been, that many have doubted whether there were not four artists, Theodore, Dirck, Roderick, and Peter, of the name of Stoop ; and others have denied the ex- istence of Peter. It would be as hazardous to say that Theodore did not paint subjects such as are described in the text, as it was presumptuous to ascribe his etchings to Peter. That there was a Jan Pieter Stoop is certain, and that he painted sub- jects such as are attributed to Birk Stoop, in that article, is equally so; every one conversant with pictures must have seen many examples, signed P. Stoop. Whether they were brothers, or otherwise related, is not ascertained; they flourished about the same period. Mention is made by some writers of J. Stoop, who, it is said, imitated the manner of Van Bloemen and Michael Carre ; he is praised for his good colouring, spirited penciling, and know- ledge of chiaro-scuro : leaving the imitation out of the question, this character will suit Peter Stoop also.] STOOPENDAAL, B. Mr. Strutt calls this art- ist Daniel, and appears to have been led into the 3 D error by Basan. The prints which bear his name are inscribed, S. Stoopendaal,fec. He was a native of Holland, and flourished about the year 1710. In his best plates he appears to have imitated the style of Cornelius Visscher, though not always very suc- cessfully. We have, among others, the following prints by him : A set of twelve Plates of figures and animals ; dated 1651. The first impressions ai-e before they were numbered. Sixty Views in Holland, entitled Les Delices du Diemer Meer; engtayeifrom his own designs. A set of twenty- four Views near the Hague. Four plates representing the Departure of King William from Holland for England, his Arrival, his Meeting the Parliament, and his Coronation ; inscribed S. Stoopendaal, fee. The Eobbers ; after Bamboccio ; B. Stoopendaal, sc. The Attack of a Military Convoy ; after the same ; the same mark. A Lime-kiln ; after the same. The last three plates are very finely copied from the prints by Visscher. He also engraved the plates for Clarke's edition of Csesar's Commentaries, pubhshed in 1712. [Notwithstanding Bryan's remark, there was a D. Stoopendael, as well as a B. Stoopendael; they were contemporaries. The set of twelve plates of figures and animals, mentioned above, are by Stoop, not Stoopendael. Both of the Stoopendaels ab- breviated their name occasionally, and signed Stoop. Their works have been jumbled together, and are so alike in subjects and manner that it is difiicult to separate them. They both operated as late as 1719. It may be concluded, therefore, that Immerzeel is in error when he says that B. Stoopendael was born in 1620.] STORER, Christopher. This artist was born at Constance in 1611. He travelled to Italy when he was young, and studied at Milan under Ercole Procaccini. Lanzi mentions him as a respectable painter of history. We have some etchings by him of historical subjects from his own compositions. He died at Milan in 1671. [Johan Christopher Storer. Lanzi says that he produced works of solid taste, and he instances a pic- ture of St. Martino, in the possession of the Abbe Bianconi, which was much valued by its intelligent owner. Subsequently he became a mannerist, and not unfrequently adopted gross or common ideas. In other points he displays much spirit, and is one of the few belonging to that age who may lay claim to the title of a good colourist. Several of his pic- tures have been engraved by M. Kiisel, B. Kilian, Ph. Kilian, del Sole, and Bonacina. He was one of the artists employed in the decorations of Milan, on the occasion of the solemn entry of Phihp IV. and Maria of Austria to that city. He etched several prints of subjects sacred and profane ; these are sometimes signed Joan Christ. Storer, some- times Giov. Christ. Storer, but never Stoer, as some have asserted. It is said that he returned to his own country, and died in his native city in 1671. There are many of his pictures in the churches and collections in Germany.] STORK, or STORCk, Abraham. This painter was born at Amsterdam in 1650. It is not known by whom he was instructed, but he proved one of the eminent painters of marines and sea^-pieces of the Dutch scliool. His pictures usually represent views of the Y, or the Amstel, near Amsterdam, with a variety of shipping and boats, and a number of small figures, correctly drawn, and touched with great neatness and spirit. He also painted tempests STOtt] A DICTIONARY OF [STOT and storms at sea, which he represented with a truth and fidelity httle inferior to the admired productions of Backhuysen or Vandervelde. The pictures of Storlc are ingeniously grouped, and the vessels, and their rigging, are drawn with precision and accu- racy. His colouring is clear and transparent, and his skies and water are light and floating. In the col- lection of Mr. Bisschop, at Rotterdam, was one of his most capital performances, representing the ar- rival of the Duke of Marlborough at Amsterdam, with a public procession of ships, barges, and yachts, decorated with flags, full of figures, habited in their difierent costumes; the composition was arranged with great ingenuity, and without the appearance of confusion, though the objects were so numerous. He died at Amsterdam in 1708. [It is not certain that Abraham Starch died in I7O8; some writers place his death in 1712, others later. Bartsch describes six very rare etchings by Abraham Storch, but from the subjects it may be doubted whether they are by the marine painter ; one of them, however, is signed A. Storch. See Bartsch, P. 6. tom. iv. p. 389. Storch, for so the painter signed his name, was an excellent hand at figures, and frequently embellished the landscapes of other artists with them. Perhaps there is a little exaggeration in saying that " he painted tempests and storms at sea in a manner little inferior to V an- develde and Backhuysen;" he was a painter of a calmer mood, and practised more in sight of port. His pictures have not yet attained their just value ; some are truly excellent.] [STORK, or STORCK, Jan, or Jakob, painted marine subjects in the manner of Abraham Stork, but not equal in excellence. They are generally of small dimensions, and are of frequent occurrence. Jt is supposed that he was the elder brother of Abraham ; they both lived at the same period. He signed his pictures J. Storh, or Storch; Jan or Jacob is merely conjectural.] STOSS, Fkancis. This very ancient engraver was a native of Germany, and is supposed to have flourished as early as the year 1460. Mr. Strutt believes him to have practised engraving prior to either Martin Schoen or Israel van Mecheln, and gives it as his opinion, that he was the tutor of Martin Schoen, from the resemblance which ap^ pears in their style, though it was greatly improved by Martin. He is said to have engraved a set of small plates, representing the Life and Passion of Christ, which were copied by Schoen. His prints are marked with an F. and an S. with a cross, thus, [Bartsch, P. G. tom. vi. p. 66, describes three prints by the engraver who used the mark in the text ; the Resurrection of Lazarus, the dead Body of Christ, and the Holy Virgin. He says that he is very ancient, and absolutely unknown; for as to the names Francis Stoss, Stoltzhirs, and Stokitis, which different writers have given him, they have as little foundation as the opinion that he was the master of Martin Schongajier. Nagler, however, seems to think him of gi'eat importance, for he has given an elaborate article of eight closely printed pages of and concerning him and his supposed works, which those who feel interested in the sub- ject will do well to consult.] [STOTHARD, Charles Alfred, a very dis- tinguished designer of antiquities, painter, and illu- minator, was the son of the celebrated Thomas Stothard, R. A. He waS born in 1787, and after 770 receiving a liberal education, was placed as a stu- dent in flie Royal Academy, where he evinced great talent in designing from the antique. His father being engaged to paint the staircase at Burleigh House, he accompanied him thither from time to time, during the four years he was employed on that work, and while there made drawings of the monu- ments in the churches of that locality. This awak- ened in him a predilection for a pursuit in which he afterwards became so eminent, but which event- ually cost him his life. In 1811 he exhibited a fine picture of the Murder of Richard II. at Pontefract Castle, in which he gave proof of his great know- ledge of the costume of the time, and the portrait of that unfortunate monarch he painted fi-om his efligy in Westminster Abbey. He now commenced his great work, " The Monumental Efligies df Great Britain ;" a work of great research, selected from the cathedrals and churches, for the purpose of bring- ing together and preserving correct representations of the best historical illustrations extant, from the Norman Conquest to the time of Henry VIII., and etched throughout by himself with a delicacy and fidelity which, till the appearance of this great work, was quite unknown to the present age. It is now considered indispensable to antiquaries and artists, and indeed to every gentleman who is de- sirous of being acquainted with the costumal his- tory of the period, and the heraldic bearings of all those illustrious persons whose names are recorded for valorous achievements, or other deeds beneficial to their country. The heraldic emblazonry is of the highest order for correctness and beauty. In 1816 he was deputed by the Society of Antiquaries, of which he had become a member, to make drawings from the Tapestries at Bayeux. While engaged on this work he visited the Abbey of Pontevraud, where he discovered the efligies of the Plantagenets, the existence of which had been doubted, owing to the destructions which had taken place during the revo- lution. These were added to his work, and in the edition published by Mr. Bohn are superbly illu- minated in imitation of the originals. Subsequent- ly he made drawings for the Society of the pictures discovered on the walls of the painted chamber. In prosecuting this work he recovered the long-lost art of embossing gold on the surface of the material, as practised by the old Itahan and German illumi- nators, and which contributes so much to the splen- dour of ancient Missals, and other Manuscripts. His last undertaking was for illustrating the account of Devonshire in Lysons's Magna Britannia. For that purpose he left London in May, 1821, and ar- rived at Bere Ferrers on the 27th. The following day he began making tracings of the stained glass window in the church, when his feet slipping from the ladder on which he stood, he fell and died on the spot, his -head having struck on a monument in the chancel. His wife, a very talented lady, (now Mrs. Bray,) who accompanied him in his journey to France, published an account of then- tour through Normandy, Brittany, and other parts, which was illustrated with 21 plates from designs by her husband ; those representing costume were coloured, to give them their full effect.] [STOTHARD, Thomas, a painter and designer of historical, poetical, and fanciful subjects in ge- neral, was born at London in 1755. He was the son of a pubUcan. His father dying when he was only five years old, he was left to the care of some rela- tions, and being a sickly child, he was sent by them to be nursed in the country ; and at eight years old stot] PAINTERS AND ENGRAVERS. [STRA he was placed in a school at Stretton, near Tadcas- ter, the Dirth-place of his father, where he remained till he was of a suitable age to be put out as an ap- prentice. Having shown an inclination for draw- ing, by copying some of Houbraken's heads, his friends placed him with a desimier of patterns for brocading silks. The trade declining, and his mas- ter dying before the expiration of his term, he was left to his own resources. Having, however, mi- nutely studied nature in the drawing of flowers and other ornaments, and taken every opportunity of ■improving his knowledge, he at once struck out a more profitable profession for himself by making illustrative designs for the Town and Country Magazine, published by Harrison of Paternoster Row ; this made him known, and he was soon em- ployed on other publications, particularly Bell's edition of the British Poets,, and Harrison's Novel- ist's Magazine. These illustrations attracted the notice of Flaxman, and a fnendship commenced between the two artists, probably of advantage to both. To improve himself he became a student of the Royal Academy, where he studied with great diligence. The first picture he exhibited was Ajax defending the dead Body of Patroclus, which so nearly resembles the designs of Mortimer, an artist at that time in vogue, that it might be mistaken for his work. This shows how rea(£ly young artists of talent imitate bad examples when they happen to be popular. Stothard, however, did not long con- tinue this mode of imitation, but adopted a style of, his own. He was made an Associate of the Royal Academy in 1785, an Academician in 1794, dejjuty Librarian in 1810, and on the death of Mr. Birch in 1812 was appointed Libraidan in his stead. It is supposed that Stothard made upwards of five thou- sand designs, three thousand of which have been engraved. As most of these were illustrations of popular literature, his reputation was widely diffused not only through England but on the continent. His latest productions for this purpose were embel- lishments for the poems of his friend and patron Samuel Rogers, all of which are exquisitely beauti- ful. The poems and the designs are worthy of each other. Among his larger works may be enumerated those he did for Boydell's Shakspeare, The Can- terbury Pilgrims, the Ceremony of the Fhtch of Bacon at Dunmow, and the Wellington Shield. He painted the staircase at Burleigh House, the seat of the Marquis of Exeter, in fresco ; the figures are seven feet in height. He also designed the ceiling for the Advocates' Library at Edinburgh. He furnished designs for chasers in silver and other metals, particularly for the eminent goldsmiths Run- dell and Bridge, and the outUnes of many distin- guished works of Enghsh sculpture may be traced to him. Stothard's excellence as an artist lay in design and composition. His style was certainly mannered, but in character and expression truth and nature pre- vailed ; his humour never degenerated into caricature, nor his grace into affectation. His productions ap- pealed to the mind; he never missed the true senti- ment of his subject, and he was particularly -earefiil of adopting the proper costume. In representing the sports and humours of children, especially in the infantine form, he is without a rival among modern artists, and his female figures are dis- tinguishable for. simplicity of outline and graceful action. He is better in domestic than heroic sub- jects, for he was a close obseryier of men and man- ners J not that he failed in embodying the concep- tions of the poet correctly, when- csJled upon to !t n 9. embeUish his work, but it was the placid, the playful, or the sentimental that best suited his genius. His designs are_ eagerly sought, and increase daily in value, notwithstanding the immense number he ex- ecuted. This is owing to their truth, simplicity, and beautiful expression, not, as in many other in- stances, to its being a fashion to collect them; and as long as truth and simplicity have charms they will continue to delight. As a colourist in oil painting, it must be acknowledged that he is weak, particularly in subjects of dimensions above the cabi- net size. His pictures want force though not deficient in harmony, and have too much the appearance of being painted in tempera, or water colours. He died on the 27th of April, 1834, and was buried in Bunhill Fields. There are portraits of him by Har- lowe, Jackson, and Wood, and a bust in marble by Baily, the eminent sculptor, the pupil and worthy successor of Flaxman. Two of these portraits have been engraved, one by Worthington, the other by Bond. It is said that he gave the preference, before all his other works, to fifteen small pictures which he painted to illustrate John Bunyan's Pilgrim's Progress ; these were engraved by Strutt, and pub- lished by J. Thane. He was once asked why he did not go to the Academy dinner, always given previously to the opening of the Exhibition, and to which sundry opulent persons are generally invited ; he said he wanted shaving, and did not think it worth the trouble ; for, continued he, I have no pe- culiar enjoyment in partaking what others are de- prived of, but on the contrary feel myself less happy by being separated from the many to devour self- ishly what, to be enjoyed, requires to be shared in common.] STRADA, Vespasiano. According to Baglione, this artist was of Spanish parentage, but was a na- tive of Rome. It is not mentioned under whom he studied, but he probably learned the rudiments of the art from his father, who was an obscure painter. He worked chiefly in fi'esco, and had embelUshed the churches and public edifices at Rome with several of his historital paintings, when his promis- ing career was interrupted in the prime of life. The following are amongst his most considerable works. In the cloister of the monastery of S. Onofrio, are different subjects from the life of that Saint; in the church of S. Maria Maddalena al Corso, the Visita- tion of the Virgin Mary to St. Elisabeth, and the Adoration of the Shepherds. He died at Rome, at the age of thirty-six years, in the pontificate of Paul V. We have several etchings by this artist fr'om his own compositions, which prove him to have been a man of considerable genius. They are executed in a shght, hasty style, but they discover the hand of the master. He usually marked his plates with the initials V. S. F. or V. S. I. P., and sometimes VES. ST, I. FE. We have, among others, the following prints by him : Christshown ,to the Jews, [or little Ecce Homo, Vesp. Stra. I. F.] Christ crowned with Thoms, [or great Ecce Homo, Vespasiano Stkada, I. F.] The Holy Family, with St. John. [No mark.] The Virgin, supported by two Angels. [Vespasiano St. I.F.] The Marriage of St. Catherine. [Vespasiano Strada,- I. F.] The Yirgin and infant Christ. [ Vespasiano Strada, i. /.] [Baglione says that Vespasien Strada died during the pontificate of Paul V., at about the age of thir- ty-six ; this at latest would be 1620. Malpe says he was bom in 1591, and died in 1624. But one of 771 stua] A DICTIONARY OF [STRA his prints is dated 1595, on which Bartsfih remarks, that supposing this print, which exhibits his greatest power, was done by him at the age of twenty, he must have been born about 1575. If Baghone is correct, he was born a few years later, and was a precocious artist. Bartsch, P. 6. torn, xvii., has given descriptions of twenty-one pieces by him, which he believes to be a complete hst. Fifteen of these have his name at full, or abbreviated : one only has V. S. I. F.] STRADA, or STRADANUS, John. This paint- er was bom at Bruges in 1536, and was first in- structed by his father, who was an artist of little celebrity. He afterwards studied under Peter Aert- sen, until he found himself sufficiently advanced to imdertake a journey to Italy. He studied at Rome the antique, and the works of Rafiaelle and Michael Angelo, and attached himself to Francesco Rossi, called Salviati, whose style he in some measure adopted. In conjunction with that painter, and Daniello da Volterra, he was employed in the decor- ations of the pontifical palace of Belvidere, where he acquired considerable reputation. He was in- . vited to Naples by Don John of Austria, to repre- sent his military achievements, in which he acquit- ted himself in a manner worthy of the ablest artists of his time. Vasari engaged him to visit Florence, \ihere he was employed, conjointly with that paint- er, in several considerable works for the ducal ?alace, and the churches and other public edifices, n the church of the Nunziata, at Florence, is one of his most celebrated works, representing the Cru- cifixion, with the Virgin Mary, Mary Magdalene, and St. John, with a great number of figures. In S. Croce is a fine picture of the Ascension ; and in S. Maria Nuova, the Baptism of Christ by St. John. In the chapel of the Palazzo Pitti are two small al- tar-pieces by him, representing the Nativity and the Adoration of the Magi, which are much admired. The talents of this artist were not confined to his- torical subjects ; he was not less successful in paint- ing huntings, processions, and battles. Stradanus possessed a fertile invention, and a constant prac- tice had given him uncommon facility of execution, both in oil and in fresco. His design was usually correct, though occasionally heavy and mannered, and his colouring was vigorous and effective. He was a member of the Academy at Florence, where he died in 1605. [He was an indefatigable artist. He made many designs for tapestries. His works have been engraved by Galle, C. de Pass, Wierix, Collaert, Goltzius, Sadeler, and others. The en- gravings after his pictures amount to above four^ hundred pieces. In 1 578 was published at Antwerp, ' a work under the title " Stradani Venationes Fera- rum, Avium, Piscium," &c., illustrated with 94 plates of all kinds of hunting, and fights of animals, en- graved by several of those artists. Though he lived and practised so long in Italy, he did not divest him- self of his Flemish manner. Some of his cabinet pic- tures are well composed, and very brilliant in colour.] [STRAATEN, Jan Joseph Ignatius van, a painter of dead game and fiowers, was born at Utrecht in 1766, and was a scholar of C. van Geelen. His pictures are in the style of J. Weenix, well composed and highly finished. In the landscape part he was assisted by his countryman, Swagers. He died in 1808.] STRAETEN, Henry Vandeb. This artist was a native of Holland, bom about the year 1665. It does not appear that he had any other means of im- provement than his studies after nature, and without 772 the help of a master he reached an eminent rank in the art as a landscape painter. He visited England about the year 1690, where he met with great en- couragement, and his gain was considerable, which he squandered away as fast as he acquired it. The noble author of the Anecdotes records the following instance of his eccentricity and dissipation. " One day sitting down to paint, he could do nothing to please himself. He made a new attempt with no better success. Throwing down his pencils, he stretched himself out to sleep, when thrusting his hand inadvertently into his pocket he found a shil- ling ; swearing an oath, he said, ' It is always thus when I have any money — get thee gone,' continued he, throwing the shilling out of the window, and returning to his work, produced one of his best pic- tures. This story he related to the gentleman who purchased the picture." The pictures of Vander Straeten resemble those of Ruysdael and Hobbima j and some of his productions, soon after his arrival in this country, are not very inferior to the works of those admired masters. Towards the latter part of his life, his expensive and profligate habits re- duced him to the necessity of despatch, and his last pictures are the mere shadows of iiis former ability. [ This is, no doubt, the same artist as Nicolas Van- der Straeten, who, Balkema says, was born at Utrecht in 1680, and went to London, where he died in 1 722. Other writers say he was born in the same year, and came to England in 1690, " and met with great encouragement." He would have deserved it, if he painted like "Ruisdael and Hobbema" at ten years of age. The same authority says he painted ten pictures in one day ! Really, on reading these circumstances, one is apt to exclaim with the good bishop, who had attentively perused Gulliver's Tra- vels, " I don't believe that one-half can be true."] STRANGE, Sir Robert. This distinguished engraver *as born in one of the Orkney Isles, in 1721. He was descended from a younger son of the family of the Stranges of Balcasky, in the county of Fife, who settled in Orkney at the time of the Reformation. He was originally intended for the law, but some drawings and unfinished sketches, which he had produced without the help of an in- structor, having been shown to Mr. Cooper, a draw- ing-master at Edinburgh, they were so highly ap- proved by him, that he proposed that the young man should be placed under his tuition. The pro- posal being entirely agreeable to his own inclina- tions, was immediately adopted. He had made con- siderable progress under that master's instruction, when a fatal interruption to the arts took place in Scotland, by the unfortunate civil war which broke out on the arrival of the young ChevaUer. As soon as tranquillity was restored, Mr. Strange came to London, and soon afterwards formed the project of visiting Paris for improvement in the art of en- graving, which he had begun to practise with suc- cess. On his way to the capital of Prance, he made some stay at Rouen, where he frequented the Aca- demy, and obtained an honorary prize for design, though his competitors were numerous. On his arrival at Paris he became a pupil of Le Bas, from whom he learned the use of what is called the dry point, which he afterwards improved, and used with such success in his engi-avings. In 1751 he returned to London, at a period when historical engraving had made little progress in England, and he devoted himself to that arduous and difficult branch of the art, of which he may be justly considered as the father in this country. In stra] PAINTERS AND ENGRAVERS. [stra 1761 Mr. Strange gratified a wish he had long en- tertained of visiting Italy, for the purpose of msQiing designs from the most celebrated pictures of the distinguished masters of the different schools, from which he purposed engraving plates, some of which he executed abroad, and others after his return to London. In his tour he was every where favoured with the most flattering marks of attention and re- spect. He was made a member of the academies of Rome, Florence, Bologna, Parma, and Paris. In 1787 Mr. Strange received the honour of knighthood, but did not long sm-vive that mark of distinction, and died in 1792. The works of Sir Robert Strange consist of about fifty plates, en- graved from the most eminent painters of the dif- ferent schools of Italy, distinguished by a bold and intelligent execution, exhibiting an admirable union of the point with the graver, and producing a vigor- ous and harmonious effect. The following are among his most admired prints : PORTRAITS. Charles I. ; wliole-lengtli ; after Vandyek. 1770. Charles I. with a page, and ms equerry holding his horse ; after the same. 1782. Henrietta Maiia, Queen of Charles I., with the Prince of Wales and Duke of York ; after the same. 1784. The Children of Charles I. ; c^er the same. 1758. A Bust of Raflfaelle ; after a picture by himself; inscribed lUe hie est Raphael, Igc. 1787. A Portrait of himself ; from a design by J. B. Grettze. SUBJECTS AFTER VARIOUS MASTERS. St. Cecilia ; after the picture by Baffaelle ; formerly in the church of S. GioTanni, at Bologna, noir in the French Museum. [Not there now.] 1771. The Virgin and infant Christ, with Mary Magdalene, St. Jerome, and two Angels ; after the famous picture by Coreggio, formerly at the academy at Parma ; now in the gallery of the Louvre. [Not now.] 1768.— [1771.] Venus reclining; after the picture by Titian;- in the Florentine Gallery. [1768.] Danae; after the same; from the picture belonging to the King of Naples. 1768. Venus and Adonis ; <^ier the same ; from a picture in the same collection. 1762. Mary Magdalene, penitent; after Guido. 1762, [and 1773.] The Death of Cleopatra ; after the same. VlTl. Fortune flying over a Globe ; after the same. 1778. Venus attired by the Graces ; after the same. 1759. The Chastity of Joseph ; after the same. 1769. The Virgin, with a choir of Angels ; Te Deum lauda- mus ; after C. Maratti. [1760 ?] The Virgm, with St. Catherine and Angela, contemplat- ing the infant Jesus sleeping ; Parce somnum rumpere ; after the same. [1760 >} Christ appearing to the Virgin after his Resurrection ; after Guercino. 1773. Abraham sending away Hagar ; after the same. 1763, [and 1767.] Esther before Ahasuerus ; after the same. 1767. The Death of Dido ; after the same. 1776. Belisarius ; after Sal. Rosa. 1767- Bomulus and Remus ; after P. da Cortona. [1757.1 Caesar repudiating Pompeia ; after the same. \\1S1 ?] Sappho consecrating her Lyre to Apollo ; after C. Dolci. 1787. The Martyrdom of St. Agnes ; after Domenichino. 1759. The Choice of Hercules; after N. Poussin. [1759.] The Return from Market; after Ph. Wowermjzns. One of the first plates he published, engraved at Paris in 1750. [As every engraving by Robert Strange is worth recording, the following are added from the Cata- logue raisonne of M. Charles Le Blanc, to com- plete, as far as is known, the list of his works. The numbers prefixed are according to M. Le Blanc's arrangement. 4. The Holy Virgin ; after Guido. 1766 ? 5. The Angel of the Annunciation; afterthesame. 1756? 6. The Annunciation ; after the same. 17^7 ? 8. The Offspring of Love ; after the same. 1766 ? The picture is in the Marquis of "Westminster's collection. 10. The infant Jesus platting a Crown of Thorns; after. Murillo. 1787? 11. The infant Jesus asleep ; after Vandyek'. \1%1 ? 13. St. Agnes ; after Domenichino. 1769 ? The picture was, perhaps is, at Kensington Palace. 16. The Magdalene ; after Guido. 1753. 18. The Magdalene ; cfter Correggio. 1780. 19. Laomedon, King of Troy, detected by Neptune and Apollo ; after Salvator Rosa. 1775. 21. The finding of Romulus and Remus; after P. da Cortona. 1757 ? 22. The Death of Cleopatra; after Guido. 1753.. 26. Apollo rewarding Merit ; c^er A. Sacchi. 1755. 28. Venus blinding Cupid ; after Titian. 1769. 31. Cupid sleeping ; after Guido. 1766? 32. Cupid ; after Schidone. 1774. 33. Cupid ; after Vanloo. 1750. 36. Lips, an allegorical representation of the south-west Wind., 37. Zephyr, an allegorical representation of the west Wind. 1760. This and the preceding were engraved from bassi rilievi, which ornament the tower of An- dronious Cyrrhestes at Athens, and are inserted in the first volume of " The Antiquities of Athens," by Stuart, chap. iii. plates 17 and 18. 38. Justice ; after Raphael. 1765. 39. Meekness ; after the same. 1765. 40. Liberality and Modesty ; after Guido. 1755. 42. The first of Duties; after Schidone. 1781. 44. The Death of the Stag. 1749. A vignette to " Beck- ford's Thoughts on Hunting," at least so it appears in the fourth edition, published in 1796. 47. Half-length of Charles I. ; after Van Dyck. This, and N"". 62, 56, 67, and 58, were engraved for the first edition of Smollett's History of England, in quarto, published in 1757. 60. The Apotheosis of Octavius and Alfred, Children of George III., who died in their infancy ; after Benja- min West. 1787. 51. Charles James Edward Stuart, called the Young Pre- tender. 52. Mary Stuart, Qiieen of Scofland. This is engraved after the print of Mary Queen of Scots, by Vertue; without the name of the artist. 55. Parmigiani Amica, or the Mistress of Parmigiano ; after Parmigiano. 1774. 66. James Graham, Marquis of Montrose; after Van byck. 67. Thomas Wentworth, Earl of Strafford ; after the sam£. 58. Thomas Cromwell, Earl of Essex; after Holbein. 69. WiUiam Hamilton, of Bangor, a Poet. 1760. This portrait is found at the head of a collection entitied • " Poems on several Occasions," London, 1760, octavo. 60. Robert Leighton, Archbishop of Glasgow. 1758. This portrait is found at the head of " Selections from the Works of Archbishop Leighton, with a sketch of his Life, by the Rev. W. Wilson, D. D." London, 1758. 61. Archibald Pitcaim, Physician and Poet; after J. B. Medina; bust in a medallion, supported by a plinth, on which is inscribed, Scire potestates herbarum et tangere plectrum, Pitcaimo Phoebus munera magna dedit. It is said that Strange retouched Dorigny's plates of the Transfiguration, and the cartoons by Raphael, at Hampton Com-t. It is also stated, that about the year 1790 he had eigUy copies of selected proofs of his works bound, to which he prefixed a dedication to the king, and an introduction on the progress of the art of engraving, and remarks on the pictures that he had engraved. There are three states of almost all the prints by Strange ; pure aquafortis before the letter, and with the letter. The first state, which was only a trial, is very rare ; the second is also rarely met with, because he had the honesty not to suffer more proofs to be taken than were sub- scribed for. , r, •, He published " A descriptive Catalogue of a Col- lection of Pictures, and of thirty-two Drawings, col- 773 stra] A DICTIONARY OP [STRO lected by him in Italy." Also, "An Inquiry into the Rise and Establishment of the Royal Academy of Arts i to which is prefixed a letter to the Earl of Bute." Strange was a member of the Academies of Pa- ris, Rome, Florence, Bologna, and Parma, but not of the Royal Academy of London. The king, however, thought him worthy of knighthood, and accordingly he was dubbed in I!r87: he enjoyed this honour for about five years, when he died, and was buried in the churchyard of St. Paul, Covent Garden. An excellent catalogue of his prints by M. Charles Le Blanc, has been published by Rudolph Weigel, of Leipsic, enriched with some valuable notes by the editor: it forms part of the work entitled " Le Graveur en tailJe douce."] [STRASTER, Fray Geronimo, a Franciscan, who resided at the convent of his order in Vallado- lid, in 1613, when he engraved, with considerable ability, the plates to a work entitled " Historia del Monte Celia de nuestra Seiiora de la Salceda," writ- ten by D. Fr. Pedro Gonzalez de Mendoza, arch- bishop of Granada. Zani says he operated in 1601 ; at present no more of his works, or history, is known.] [STRATEN, George Vander, a Flemish por- trait painter, who resided in Portugal about the middle of the 16th century, as appears by an order from the queen to pay him 7600 reis for the portrait of Dom Antonio, and his receipt for the money, signed Jbons Vandr Z Estraten, July 4th, 1556. He received a further sum of 80 cruzades, for painting the portrait of Prince Dom Sebastien, the youngest son of the queen, on the 14th December of the same year. By these documents it would seem that he was painter to the court.] [STRAUCH, LoRENZ, born at Nuremberg in 1554, was a skilful portrait and architectural painter, and also painted on glass. Bartsch, P. G. torn, ix., describes an etching by him, a View of the Market- place at Nuremberg, with the date 1599, which was the only one known to him. Nagler, however, gives a list of twenty-two, some of which are signed With his name in full, and dated as late as 1614; others with the mark ^ , Whether they are all by Lorenz Strauch can only be decided by inspec- tion, and that by an experienced eye. Some writers interpret the mark Lorenz Schnitzner ; Lorenz Stoer, and others of the period, used the same. Doppel- mair, Zani, and Bartsch say that he died in 1630, but Nagler places his death in 1636.] STREATER, Robert, an English painter, born in London in 1624, and was a scholar of du Moulin. He did not confine himself to any particular branch of art, but painted history, portraits, landscape, ar- chitecture, and still-life. At the Restoration, he was appointed, serj can t-painter to Charles II. His principal works werri, the theatre at Oxford ; some ceilings at Whitehall, which have perished; the Battle of the Giants, at Sir Robert Clayton's ; and the pictures of Moses and Aaron, in the church of St. Michael, Comhill. He died in 1680. He oc- casionally amused himself with the point, but his etchings are very indifferent. The following are by him : The Battle of Nasety ; a large print on two sheets. Some Architectural plates ; after J. Dinante, &c. STREEK, Jurian van. This'artist was born at Amsterdam in 1632. He occasionally painted por- traits, but is more known as a painter of dead game, 774 musical instruments, books, vases, and other inani- mate objects, which he designed correctly, and finished with uncommon neatness. He composed those subjects in a pleasing manner, and introduced an effect of light and shadow, which is extremely picturesque. He died in 1678. [A skull, a ball of soap, and a sepulchral lamp are frequent objects in his compositions. When he marked his pictures he used J V S in a monogram.] STREEK, Henry van, was the son of the pre- ceding artist, born at Amsterdam in 1659, and re- ceived his first instruction from his father, but was afterwards a scholar of Emanuel de Wit. He was a reputable painter of architectural views, which his perfect acquaintance with perspective enabled him to design with unusual accuracy and precision. His pictures generally represent the interiors of magni- ficent buildings, churches, temples, and palaces, which were frequently embellished with figures by some other artist. He died in 1 713. STRETEN. See Straeten. STRINGA, Francesco. This painter was born at Modena in 1635, and was a scholar of Lodovico Lana. He improved his style by studying the works of GuercinO, and the best pictures which composed the celebrated Galleria Estense, of which he had the direction. He painted several historical subjects for the churches, and the ducal palace at Modena ; and there are some of his works in the public edifices at Venice. He died in 1709. [Stringa was endowed with a rich imagination, and was spirited and rapid in execution ; he pro- duced much which was greatly commended, both in the cathedral and other places. His distinguishing characteristics are, the depth of his shades, the somewhat disproportioned length of his figures, and an inclination to the capricious in his actions and compositions. He painted history, landscape, and architecture, and also engraved in aquafortis. Bartsch, tom. xix., has described three etchings by him ; the Disciples placing Christ in the Sepulchre, a Female Painting, signed F. Stringa Ln. F., and a portrait of Francis IL, duke of Modena ; to these Nagler has added another, St. John with the Cross, signed and dated 1682. , All these are tolerably large prints, being about 12 inches by 8 inches, ex- cept the last, which is about 9 by 6.' Zani says he was also a writer, but does not mention on what subject ; he marks him BB.] STRINGA, Ferdinando. This artist engraved part of the plates for the Antiquities of Hercula- neum, published at Naples in 1 750. STROZZI, Bernardo, called II Cappuccino, and, sometimes II Prete Genoese. This painter must not be confounded with Ippolito Galantini, also called II Prete Genoese. He was born at Ge- noa in 1581, and was a disciple of Pietro Sorri. At an early period of his life he became a monk of the order of St. Francis. This retirement did not, how- ever, oblige him to abandon his pursuits as an artist, and he distinguished himself as a reputable painter of history. Of his fresco works at Genoa, the most considerable is his representation of Paradise, in the church of S. Doinenico, a copious and ingenious composition, and coloured with a vigour approach- ing to oil. At Novi and Voltri are several altar- pieces by him. He was however more occupied for private collections and galleries than ioi the churches. In the Palazzo Brignole is a picture by this painter representing the Incredulity of St. Thomas ; it is in an apartment amidst the works of the most dis- tinguished colourists, which appear languid and STRU] PAINTERS AND ENGRAVERS. [STHY subdued by its superior vigour and brilliancy. His design is not sufficiently correct, and his forms are neither select nor beautiful ; but the heads of his old men exhibit a grand and impressive character, and are painted with spirit and e^iergy. He died in 1644. [Strozzi left the cloister, when a priest, to con- tribute to the support of an aged mother and a sister ; but the one dying and the other marrying, he refused to return to his order ; and being forcibly recalled and sentenced to three years' imprisonment, he contrived to make his escape, fled to Venice, and there passed the remainder of his days as a secular priest. He was accustomed to paint portraits, in which department he was superior to all tiis con- temporaries, and in all his larger compositions he painted the figures from life. Hence there is a want of ideality, and often a meanness in his heads, particularly in those of the females and children. He sometimes painted half-figures in the manner of Caravaggio. In the Florence Gallery there is a picture by him known by the title della Moneta, the figures half-size and exhibiting great vivacity. In the Louvre there are two, a St. Anthony of Padua caressing the infant Jesus, and the Virgin with the Infant in the clouds ; but his best works are to be seen in Genoa and Venice. He is esteemed the most spirited artist of his own school ; and in strong impasto, richness, and vigour of colour has few rivals in any other, or rather in this style of colour- ing he is original and without example. He was buried at S. Fosco in Venice, with this inscrip- tion : JBernardus Strozzius Pictorumyilendor, Liguriee deeus.'] STRUDEL, Peter. This artist was a native of the Tyrolese, born in 1680. He studied at Venice under Carlo Loti, under whose direction he became a reputable painter of history. He had acquired considerable celebrity on leaving the school of that master, when his talents recommended him to the Eatronage of the Emperor Leopold, who invited im to his court, appointed him one of his painters, and was so satisfied with his abilities, that he con- ferred on him the dignity of a baron. He had em- bellished several of the churches and public edifices of Germany with his historical- pictures, when he died, at Vienna, in 1717- [There is great diflerence among writers respecting Baron Peter von Strudel's birth ; some place it in 1648, others in 1660, which, according to circumstances, and the value of the authorities, seems to be the true year. The date of his death is correct. His works are confined to Germany.] STRUTT, Joseph, an English engraVer, and writer on art, bom about the year 1745. He en- graved a variety of plates in the crayon and dotted manner, which are executed with great neatness and dehcacy. We are indebted to Mr. Strutt for a la/- borious and interesting work, his Biographical Dic- tionary of Engravers, which he embellished with several plates, engraved by himself. He also pub- lished the Antiquities of England, with plates of his own execution. Among others, we have the follow- ing prints by him : The Birth of Venus. 1779. Pandora presenting the fatal Box to Epimetheus. 1779. Candaules presenting his Queen to his favourite (Jyges ; after Le Sueur. 1787. [Joseph Strutt published other valuable works be- sides his Dictionary of Engravers ; all of which are illustrated with prints of great interest, cleverly exe- cuted. The principal are, Horda Angel-cynnan, or the Manners and Customs of England from the time of the Saxons ; Chronicles of England; Regal and Ecclesiastical Antiquities of England; Dresses and Habits of the People of England ; Sports and Pastimes ; and he left an unfinished romance in manuscript, entitled Queen-Hoo-Hall, which Sir Walter Scott, in 1808, endeavoured to complete. He died probably a few years previous to this, as Sir Walter calls it a posthumous production of the late Mr. Joseph Strutt. In addition to the plates to his own literary productions, Strutt engi-aved twelve illustrations for the Pilgrim's Progress, after T. Sto- thard; Candaules exposing his Wife to Gyges, a/i!er Le Sueur; Venus in thejsland of Cyprus; Pando- ra ; an Allegory of America, after R. ^. Pine ; and others for publications of the day.] [STRY, Abraham Van, a painter of portraits, landscapes and cattle, and familiar subjects, was born at Dort the 31st of December, 1753. He com- menced with his father, who was an ornamental painter, and showed a great disposition to paint fruit and flowers, but was obliged, by the nature of his father's profession, to assist him in historical subjects, landscapes, and bas-reliefs. When arrived at the age of manhood, he quitted the decorative line, and commenced painting portraits, landscapes, and cattle, in the manner of Cuyp, and interiors vidth representations of the various occupations of the middle classes, particularly of shopkeepers and ge- neral dealers. In such subjects ne arrived at a gi-eat degree of excellence, especially in the manage- ment of me chiaro-scuro. His colouring incUnes to the gay, and his pencihng is rather full ; but it may be expected that time will meliorate both. He ranks among the modern Dutch mastei-s, whose works will hereafter be in request out of Holland. Two of his pictures are in the Museum at Amster- dam, and specimens are to be found in some of the best collections in the Netherlands. He died on the 7th of March, in 1826, according to Immerzeel; in 1824, according to Balkema; and in 1830, accord- ing to Nagler.] [STRY, Jacob, or James, Van, landscape and cattle painter, was born at Dort in 1756. He re- ceived his earliest instruction in painting from his father, who, it is said, was thoroughly acquainted with the theory and practice of it. He afterwards studied at Antwerp under Andrew Lens, and also at the academy of that city. His progress was so rapid, that he was considered to be the most pro- mising landscape painter of the time. But though he studied nature, he had a great predilection for copying and imitating the works of other masters. Cuyp and Hobbema were the models he most af- fected, particularly the former. Such, indeed, was his success, that many of his imitations of Albert Cuyp have passed as originals of that master ; it is only when they have Van Stry's name that they are excluded from choice collections at present. Whether it be from affection to Cuyp, or from a de- sire to place Van Stry's pictures in their proper po- sition, the dealers very carefully obliterate his name fi'om those that are particularly good, and substitute that of his type ; so that his works are frequently praised and esteemed, not for what they are, but for what they are supposed to be. Some of his copies of Hobbema are very masterly; they are not so common as his imitations of Cuyp. As far as re- putation is concerned, it was rather unfortunate that he was content to be so much the follower of others ; for he was really a painter of great talent, both in landscape and animals, and might have taken a 775 stua] A DICTIONARY OF [SUAR high position if he had imitated nature only. Some o'f the Dutch writers exult that pictures by him have been sold from four to seven hundred_/fonns in Hol- land ; it would be no difficult matter to point to some in England that have obtained, by judicious management, as many pounds sterling. He died in 1815. In the Museum at Amsterdam there are three capital pictures by him, of landscapes with figures and cattle. He was a corresponding mem- ber of the Royal Institute of the Netherlands, and is highly eulogized by several contemporaiy writers for his general knowledge as well as artistic abi- lities.] [STUART, Gilbert, an eminent American por- trait painter, was born in the State of Rhode Island in the year 1754. Soon after coming of age he went to England, and was introduced to Benjamin West, with whom he practised for some time. He showed considerable ability, and some portraitsthat he exhibited brought him into public notice. He rose into eminence, and his claims were acknow- ledged even during the life of Sir Joshua Reynolds. His high reputation as a portrait painter, as well in Ireland as in England, introduced him to a large ac- quaintance among the higher classes of society, and he was in the road of realizing a large fortune had he continued in England. He returned to America in 1793, and resided chiefly in Philadelphia and Washington, in the practice of his profession, till about the year 1805, when he removed to Boston, where he remained to the time of his death. Dur- ing the last ten years of his life he had to struggle with many infirmities ; yet such was the vigour of his mind, that it seemed to triumph over the decays of natm'e, and to give to some of his last produc- tions all the truth and splendour of his prime. He died in 1823. While in England he painted the portraits of Sir Joshua Reynolds, Benjamin West, W. Woollett, Alderman Boydell, John Kemble, Dr. Fothergill, and other persons of less note. Of his American portraits, that of Washington is the chef d'oeuvre ; it is really a capital performance, and may vie with- the best of Sir Joshua Reynolds. He painted the President several times ; once for the late Marquis of Lansdown ; this was engraved by James Heath, and the American writers exclaim with bitterness against the want of fidelity in the translation, and the want of honesty in doing it without the painter's sanction. They who wish to know more of this painfer, will find a lone rambling aiiecdotal account of him in Dunlap's " History of the Rise and Progress of the Arts of Design in the United States." Whether the artist will rise in their esteem by the perusal is more than can be promised ; had the relator wished that he should, he would have omitted the greater portion. But Dunlap pro- fesses to be a great lover of truth, and seems to think that no circumstance, however scandalous and detrimental to the character of his hero, should be omitted.] STUBBS, George. This eminent painter of animals was born at Liverpool in 1724. He par- ticularly excelled in the anatomy of the horse, and was much employed in painting the portraits of the most celebrated racers of his time, which he not only designed with correctness, but vrith a charac- teristic spirit for which he was particularly distin- guished. Though Mr. Stubbs was chiefly engaged in that branch of the art, his talents were capable of higher exertions, as he has proved by his picture of Phaeton with the Horses of the Sun, and his ad- mirable delineation of the tiger. He died in 1806, 77(3 Mr. Stubbs was an associate of the Royal Academy. In 1766 he published a work entitled " The Ana- tomy of the Horse," with plates etched by himself, after his own designs. [At the age of thirty Stubbs went to Rome for improvement, it is said, but in what, as regarded the line of art he adopted, does not appear. He painted pictures on large plates of iron in enamel, which are not now of mucn value. He etched and scraped in mezzotinto several plates of animals from pictures painted by himself, which will always be esteemed. Other pictures by him were engraved by Woollett, Earlom, Green, Hodges, and other eminent engravers. His son, George Townky Stubbs, who was born in 1756, and died m 1815, engraved several of his father's pictures of animals, and a few pictures after others.] [STUERBOUT. See Dirck van Haerlem.] [STURMIO, Hernando, is mentioned by Ber- mudez among the Spanish painters, but supposed by other writers to be a German ; Raczinski thinks he was a native of Zurich. He resided at Seville about the middle of the sixteenth century, and painted the altar of the chapel of the Evangelists in the cathedral there, in several compartments. In one of these St. Gregory is represented sayiiig mass, in another the Resurrection of Christ, in others the four Evangelists and several Saints, among which are the patronesses of Seville, Santa Justa and Santa Rufina. One of these compart- ments is inscribed, Hernandus Sturmius Ziriczcensis faciebat, 1555. The figures are said to be designed with freedom, and the colouring is good. Raczinski thinks him quite an original painter, though in parts he discovers the influence of Michael Angelo, par- ticularly in the figures of the Evangelists Luke and John.] STURT, John. According to Lord Orford, this artist was born in London the 6th of April, 1658, and was a pupil of Robert White. His chief ex- cellence consisted in the engraving of letters. His principal work is his book of the Common Prayer, published in 1717, which was very neatly engraved on silver plates. The top of every page is orna- mented with a small historical vignette. He died in 1730. STUVEN, Ernest. This artist was born at Hamburg in 1657, and was instructed in the rudi- ments ofdesign by an obscure painter, named Hins. In 1675, when he was eighteen years of age, he went to Amsterdam, where he studied some time under John Voorhout, a reputable painter of history and portraits. Finding that the pictures of flowers and fruit by Abraham Mignon were at that time in the highest estimation, and having himself an in- clination for that branch of the art, he became his disciple, and though his works are not so exquisite- ly finished nor so delicately coloured as those of his instructor, they entitle him to a respectable rank among the flower painters of his country. He died in 1712. SUARDI, Bartolommeo, called Bramantino, was a native of Milan, and flourished about the year 1520. He acquired the name of Bramantino from his haying been a favourite disciple of Bramante Lazzari. Like his celebrated instructor, he distin- guished himself both as an architect and a painter. He accompanied Bramante to Rome, where he im- proved his style of design, and acquired a chaster tone of colouring, and a broader cast of his drapery. Lanzi notices as some of his principal works a dead Christ, with the Marys, in the church of S. Sepol- cro, at Milan ; and a picture of the Virgin and In- suar] PAINTERS AND ENGRAVERS. [SUEU fant, with St. Ambrose and St. Michael, in the Gal- leria Melzi. In the church of S. Francesco are also some pictures by this master, composed and design- ed in a style superior to his contemporaries of the Milanese school. , [SUAREZ, or JUAREZ, Lorenzo, lived about 1600, and painted, in conjunction with Cristobal de Acebedo, several works in the city of Murcia, his native place, as is related by Jacinto Polo in " Las Academias del Jardin." Such are the Martyrdom of St. Angelo, in the convent of the shod Carmel- ites; a St. Ramon Nonnato, and a St. Pedro No- lasco receiving the Sacrament, attended by several Angels, for the sacristy of the Mercenaries calzados. These three pictures are sufficient to show how well he understood composition, the casting of the dra- peries, and how to exhibit natural expression.] SUAVIUS. See Suterman. SUBLEYRAS, Peter, a French painter, born at Usez, in Languedoc, in 1699. He was the son of Matthew Subleyras, an artist of little celebrity, from whom he learned the elements of design. When he was fifteen years of age, he was placed under the tuition of Anthony Rivalz, of Toulouse. On leaving that master he went to Paris, and fre- quented the Academy, where he obtained the first prize, by a picture representing the Brazen Serpent. He was in consequence sent to Rome, under the pension of the king, where he finished his studies. The mode of living at Rome, and the opportunity of contemplating the interesting objects with which that capital is embellished, had for him such attrac- tion, that he estabhshed himself there for the re- mainder of his life. By the exercise of his esti- mable talents he acquired such celebrity in that metropolis, where the abilities of foreigners are not distinguished on shght pretensions, that he was en- faged to paint an Star-piece for the Basilica of St. 'eter, which he lived to see executed in mosaic. It represents St. Basil celebrating Mass before the Em- peror Valens, and is engraved by Domenico Cunego. He painted many historical works for the churches at Rome, and other places in Italy, and was also much employed as a portrait painter. He died at Rome in 1749. We have a few etchings by this art- ist, executed in a spirited and tasteful style, among which are the following, after his own designs : The Brazen Serpent. The Martyrdom of St. Peter. Mary Magdalene washing the Feet of Christ. A set of four Plates from Fontaine's Fables. ( ? ) f The Holy Family ; in an oval. St. Bruno restoring a Child to life. Martyrdom of St. Peter. ( ? ) There are two of his pictures and three of his sketches in the gallery of the Louvre ; two in the Brera, at Milan ; and at Alton Tower, the seat of the Earl of Shrewsbury, in England, one represent- ing the fall of Simon Magus.] SUBTERMANS, or SUSTERMANS, Justus. This painter was born at Antwerp in 1597, and was a scholar of William de Vos. On leaving the school of that master he discovered an unusually promising talent, when he determined to visit Italy in search of improvement. He travelled through Germany to Venice, where he passed some time, and after- wards went to Florence, where his abiUties recom- mended him to the notice of Cosimo II., Grand Duke of Tuscany, who appointed him his painter, in whose service he remained until the death of that prince, and was also favoured with the protection of Cosimo III. Subterraans painted history amd por- traits, and in the latter is considered little inferior to Vandyck. When that distinguished painter visited Florence, he expressed the greatest admiration of his works, and painted his portrait, of which we have an etching by Vandyck among the eminent artists of the Flemish school. His historical pic- tures are grandly composed, and his design, refined by his studies in Italy, is elegant and correct. His colouring possesses the clearness and brilliancy of his country, and he was well acquainted with the principles of the chiaro-scuro. One of his most considerable works is in the gallery at Florence, re- presenting the Florentine nobility swearing fealty to Ferdinand II. In this immense composition he has introduced the porti-aits of the most distinguish- ed personages of the time. He died in 1681. [There seems to be no good authority for calling him Sub- termansJ] SUEUR, EusTACHius le. This distinguished painter of the French school was born at Paris in I6I7. He was the son of an obscure sculptor, who, discovering his disposition for painting, placed him under the tuition of Simon Vouet. He was more indebted for the extraordinary reputation he after- wards acquired to his studies from the antique marbles which had been brought into France, and the pictm-es of the Roman school, to which he had access in the principal collections, than to the pre- cepts of his instructor. His style exhibits little of the character of his country, and the simplicity of his compositions and the purity of his design pro- ■cured him the honourable title of the French Raf- faelle. In- 1640 he was received into the Academy at Paris, and painted for his picture of reception St. Paul casting out a Devil. He was soon afterwards engaged in his celebrated series of twenty-two pic- tures, representing the Life of St. Bruno, formerly in the cloister of the Carthusians, afterwards ppr- chased by the king of France, and now arranged in one of the apartments of the Luxembourg. Of the original beauty of these interesting productions we can only form a very imperfect idea, as they have been so materially damaged, and so injudiciously repaired, that, in the generality of them, little re- mains but the evanescent traces of their primitive character. A more precise opinion of his powers may be conceived from his fine picture of St. Paul preaching at Ephesus, painted for the church of Notre Dame, now in the gallery of the Louvre, and the Descent from the Cross, formerly in the church of St. Gervais. His compositions are noble and elevated, and there is a naivete in the airs of his heads, and in his attitudes, which is extremely in- teresting ; his draperies are simply and grandly cast, and though his colouring is without vigour or force, it is tender and delicate, and well adapted to the particular character of his works. The French biographers do not hesitate to com- pare the talents of Le Sueur with those of Raffaelle ; and M. Watelet, certainly the least prejudiced of their critics, elevates his talents to nearly a level with those of the illustrious head of the Roman schpol. Whatever allowance we may be disposed to make for the pardonable bias of national parti- ality, it will be readily allowed, that no painter of that school, N. Poussin only excepted, who ought rather to be regarded as a Roman than a Parisian, divested himself so much of the aifected and the- atrical style, which is the distinguishing character- istic of the artists of his country. This eminent painter died in 1655. We have a soUtary etching by Le Sueur, representing the Holy Family, half m SUEU] A DICTIONARY OF [SURB figures. [The twenty-two pictures representing circumstances in the Life of St. Bruno are now in the gallery of the Louvre, and twenty others of dif- ferent subjects. Mr. Phillips, the professor of painting to the English Royal Academy, in his Lectures, observes, that Le Sueur pursued the track of N. Poussin in painting history ; that he felt like a man of fine and elevated mind, and deserved the title bestowed on him of the French Raphael. But the unpretending style of Le Sueur, interesting as it was, was not destined to receive support from the tide of patronage then in full effect in his coun- try ; it flowed with more congenial and fertilizing influence over the exuberant abilities of Le Brun.] SUEUR, Peter le, called the elder, a French engjraver on wood, born at Rouen in 1636. He was a disciple of du Bellay, and, according to Papillon, greatly surpassed his instructor. Among other prints, he executed a wooden cut, representing Ju- dith, from Goltzius, dated 1670. He generally used a monogram composed of a P. an L. and an S. thus, ip^ • He died at Rouen in 1716. SUEUR, Peter le, called the younger, was the son of the preceding artist, born at Rouen in 1663, and was instructed in the art of design and engrav- ing on wood by his father. His drawing was toler- ably correct, and his cuts are executed with great delicacy. He engraved some devout subjects and biblical prints ; and Papillon mentions an emblem- atical subject by him, called Alpha and Omega, in which the Christian Religion is represented by a naked figure, and Idolatry concealed by a veil. He usually marked his prints with the initials P. L. S. SUEUR, Vincent le, was the younger brother of the foregoing engraver, born at Rouen in 1668. After being instructed in the principles of the art by his father, he was sent to Paris, where he became a pupil of John Papillon. He distinguished him- self as an engraver on wood, and his cuts were esteemed, though not very correct in the design. Papillon mentions as his best print, The Soldier's Farewell, engraved in 1702. He executed several cuts in chiaro-scuro, among which is Mercury and Prometheus, after P. Farinato. He marked his prints with the initials V. L. S. SUEUR, Nicholas le. This artist was the son of Peter le Sueur, the younger, born at Paris in 1690. He also excelled as an engraver on wood, and was the most eminent of his family. He exe- cuted several fine cuts for the Crozat collection, chiefly in chiai-o-scuro, which gained him great re- putation. He also engraved, in a very tasteful style, the ornaments which embellish the edition of Fontaine's Fables, from the designs of Bachelier. Among others, we have the following cuts by him, executed for the Crozat collection : Fishermen drawing their Nets ; after Giulio Romano. The Mass ; after Polidoro da Caravaggio. The Egyptians overwhelmed in the Red Sea ; after Gio. Fran. Penni, called II Fattore. ■ Christ with the Apostles; after Raffaelle del Colle. The Man and the Lion ; afler Bat. Peruzzi. The Death of St. Francis Xavier ; after Lod. Gimignani. The Descent of the Holy Ghost ; cmer G. B. Lenardi. The Annunciation ; after G. M. Morandi. The Virgin appearing to St. Philip Neri ; after L. Garzi. The Virgin on a Throne, surrounded hy Saints ; after P. Pietri. [He died at Paris in 1764] SUISSE, Le, an engraver on wood, mentioned by Papillon, who, among other prints, executed a large 778 cut, representing the Turkish army arranged in or- der of battle. At the bottom of the print is an eu- logium in praise of the artist. [This is probably the same as Christopher Stimmer.] SUIZER, John. By this artist, who flourished about the year 1650, we have some book-plates and portraits, among which is a head of Felix Wyssius, an ecclesiastic, dated 1655. [This is probably the same as John Schweizer, who engraved porti'aits of several of the clergy of the Reformed Church, and published some of animals by J. H. Roos, which, by an equivocal title, he endeavoured to pass as his own. He was but an indifferent engraver, and died in 1679.] SULIVAN, Luke. This artist was a native of Ireland, but came to London when he was young, and became a pupil of Thomas Major. He prac- tised miniature painting as well as engraving, and had considerable employment. As an engraver, he was chiefly engaged on plates from the pictures of Hogarth, and sometimes worked conjointly with that artist. Among others, we have the following prints by him : The infant Moses presented by his Mother to the Dimgh- ter of Pharaoh; after Hogarth; W. Hoga/rth, et L, Sulivan, sc. 1752. Paul before Felix ; after the same; L. Sulivan, se. 1752. The March to FincWey ; after the same. 1761. The Temptation of St. Anthony ; after Teniers, A set of six Views of Country-seats. SUNMAN, - -, [or SOUMANS, William,] a Dutch portrait painter, who came to England in the reign of Charles II., and after the death of Sir Peter Lely, got into considerable business ; but be- ing less successful than Riley in a portrait of the king, he retired to Oxford in disgust, and was .em- ployed to paint the large pictures of their founders, now in the picture gallery. In term time Sunman went constantly to Oxford ; the rest of the year he passed in London, where he died about the year 1707. SURCHI, Giovanni Francesco, called Diolai. According to Superbi, this pafnter was a native of Ferrara, and flourished about the year 1543. He was a disciple of the Dossi, whom he assisted in se- veral of their principal works in the palaces of Bel- riguardo, Giovecca, and Cepario. He painted his- tory with considerable reputation, and distinguished himself also as a painter of grotesque ornaments and landscapes. In the Pitture di Ferrara, by Barotti, are noticed several of the works of this master, par- ticularly the Marriage of St. Catherine, in S. Anna; and the Adoration of the Shepherds, in S. Gio- vannino. The style of Surchi resembles that of Dosso Dossi in the graceful air of his figures, and the lively ex- pression of his heads. His colouring is more vigor- ous, though less harmonious, than that of his in- structor. He died in 1590. [There is no reason assigned for his being called JDiolai, God help him !] SURRUGUE, Louis, a French engraver, born at Paris in 1695. He was instructed in design and en- graving by Bernard Picart, whose style he adopted with success, and, like his instructor, united the point with the graver in a very agreeable manner. The efiect of his prints is pleasing, ana he would have reached an eminent rank among the engravers of his country, if his drawing had been more cor- rect. He was a member of the Academy of Paris, where he died, in 1769. We have, among others, the following prints by him : sure] PAINTERS AND ENGRAVERS. [SUYD PORTRAITS. Louis de Boullongue, Painter to the King ; after Mat- thieu. Joseph Christopher Veu'ier, Sculptor. SUBJECTS AFTER VARIOUS MASTERS. St. Jiargaret ; after Raffaelle ; for the Crozat collection. St. Jerome in the Desert ; after Sal. da Siena ; engraved by N. Chateau, and finished by L. Surrugue ; same collection, Christ curing the ten Leprous Men ; after Girol. Genga ; for the same collection. Abraham sacrificing I^ac ; cfter A. del Sarto. The Birth of the Virgin ; after P. da Cortona. Abraham sending away Hagar ; after Le Sueiir. Venus nursing Love ; after Sirens. A Flemish Meny-making and the Fortune-teller ; two plates; after Teniers. [It was not for want of practice that he was in- correct in his drawing ; for his prints are numerous, and after some of the greatest masters of the Italian, Flemish, and French schools, as may be seen in the Crozat Cabinet, the Dresden Gallery, and simi- lar collections. Nagler has given a good list of them.] SURRUGUE, Peter Louis, was the son of Pe- ter Surrugue, born at Paris in 1717, and was taught the art of engraving by his father. His style re- sembles that of his father, though inferior to him. He engraved several plates of Historical subjects and portraits, among which are the following : PORTRAITS. Een^ Fremin, Director of the Academy ; after Latour. Simon GuiUain, Sculptor to the King ; i^er N. Compel. SUBJECTS AFTER VARIOUS MASTERS. The Nativity ; after the celebrated picture by Coreggio in the Dresden Gallery ; called La Noite. The Virgin and Infant, accompanied by St. Jerome and two other saints ; after Guido. The Judgment of Paris ; after Henry GoUzms. He also engraved after Charles Coypel, Pater, Chardin, Teniers, and other masters. [He died in 1771.] [SUSTERMANS. See Subtermans.] SUTERMAN, Lambert, or Suavius. It was for some time believed that Lambert Lombard and Lambert Suterman, or Suavius, were one and the same artist. Baron Heineken has, however, satisfactorily proved that Lambert Suterman was a painter and engraver, and a disciple of Lombard. He was a native of Liege, and flourished about the year 1550. We have several plates by him after Lambert Lombard, as well as from his own designs. They are executed with the graver, in a neat, finished style. He usually signed his prints with the initials L. S. Among others are the following : subjects after LAMBERT LOMBARD. The Eesun-ectiou of Lazarus ; Lambert Lombard, inv. L. S. 1644. Christ with the Disciples at Emmaus. The Entombing of Christ. St. Peter and St. John healing the Lame Man at the Gate of the Temple. The taJdng down from the Cross. SUBJECTS FROM HIS OWN DESIGNS. The Twelve Apostles ; dated 1345, 1547, and 1548. The Head of Christ ; circular. 1559. The Head of the Virgin ; the same. Some portraits, among which is that of M. Angelo Buo- naroti. [The names of Suterman, or Susferman, Sua- vius, Suster, and Sustris, have been so mingled together by different writers, that it is difficult to decide whether they refer to one or more art- ists ; especially as all have the prenom of Xom- bert, and all are of the same country, and are said to have flourished about the same period, namely, the second, half of the sixteenth centuiy. There is a picture in the Louvre attributed to Lambert Suster, who, it is said, was a scholar of Titian and Christo- pher Schwarts, and died at Munich in 1600.] [SUVEE, Joseph Bernard, an historical painter, was born at Bruges in 1743. He was tanght draw- ing by Mathias de Visch, under whom, it is said, he made astonishing progress. He afterwards entered the Academy of St. Luke, at Paris, and further im- proved his talent under the guidance of the director Baehelier. In 1766 he was appointed to the super- intendence of the gratuitous school of design at Pa- ris, to which he devoted himself for five years. In 1771 he contended for the prize of being sent to Rome as a student with a pension, and was unani- mously declared the victor. This was not only a triumph to the artist, but to his countrymen, who, on his visiting Bruges for a short time previous to his departure for Rome, received him with acclam- ation. He was met by the principal inhabitants, and in a grand procession carried to the Academy of Arts, where he was complimented in due form by the secretary of the establishment, and thence to the Hotel de Ville, where the magistrates were assem- bled. Here the congratulations w^ere renewed, and he was presented, in the name of the city, with a pair of silver candlesticks and snuffer-stand, accord- ing to the custom of rewarding the students who obtained the first prizes at the academy of Louvaine, and invited to a splendid banquet of one hundred and twenty covers. The whole of the city was spontaneously UluEainated by the inhabitants on the occasion. On his an-ival a* Rome he applied himself to the study of the antique, and composed a great number of pictures. At the expiration of his year he visited Naples, Sicily, and Malta ; and for six years more studied the works of the great mas- ters in those places, when he returned to Paris and exhibited the results of his studies, by which he gained increased reputation, and became a member of the Academy. He now laboured assiduously ; was a constant exhibitor at the Louvre, and always with general approbation. At the commencement of the French Revolution he was appointed to the vacant office of director of the Royal Academy at Rome, but the circumstances of the times prevented his departure till I80I, when, under the auspices of Napoleon, he went to fulfil his functions. He oc- cupied the situation for about six years, and died suddenly on the 9th of February, 1807. As he composed with great facility, his pictures are numer- ous ; " Les Annales du Salon de Gand," for 1823, contains a complete list of them. In the academy at Bruges is The Origin of Painting, and in one of the churches of that city. The Resurrection of Christ ; at Ypres, "The Reception of the Virgin in the Temple, and The Adoration of the Angels af- ter tt& Nativity ; but his principal works are in France.] SUYDERHOEF, Jonas. This eminent designer and engraver was bom at Leyden about the year 1600. He was instructed in design and engraving by Peter Soutman, whose style he followed, but ex- celled him in the delicacy and harmony of his exe- cution. Althpiigh his plates are finished with un- common neatness, they produce a vigorous as well as a pleasing effect, and his prints exhibit an un- usual intelligence of the chiaro-scuro. He advanced his plates considerably with the point, and finished them with the graver in a very picturesque style. 779 swag] A DICTIONARY OP [swan He engraved a variety of subjects after different masters, and a considerable number of portraits, which are admirably executed. His prints are de- servedly held in the highest estimation, of which the following are the most esteemed : PORTRAITS. The Emperor Maximaian ; after Lucas of Leyden. The Empress Maria, his consort : after the same. Maximilian, Archduke of Austria ; after Rubens, Philip III., King of Spain ; after the same. Albert, Archduke of Austria, Governor of the Nether- lands ; after the same. Isabella Clara Eugenia, Infanta of Spain, his consort ; after the same. Charles I., King of England; c^er Vandyck. Henrietta Maria, his Queen ; after the same, Francis de Moncade, Count d'Ossonne ; after the same, John the Bold, Duke of Burgundy ; after P. Soutman, Charles the Warlike, Duke of Burgundy ; after the same, Aldus Swalmius, the old Man with the Beard ; after Renibraiidt, Ben6 Descartes, Astronomer ; after F, Hals, Anna Maria Schurmans ; after J, Lievens, SUBJECTS AFTER VARIOUS MASTERS. The Fall of the Angels ; after Rtibens. The Virgin embracing the infant Jesus ; after the same, A Bacchanalian subject ; after the same. A Drunken Bacchus, supported by a Satyr and a Moor ; after Rubens. The Hunting of the Lion and Tiger ; after the same. The Peace of Munster, containing the Portraits of the Plenipotentiaries ; after G. Terbury ; one of his jmest plates. Dutch Peasants quarrelling ; after the same. The Burgomasters of Amsterdam ; after Theod. de Keyser. Three old Women regaling ; after Ostade. Three Boors, one playing on the Violin ; after the same. The Tric-trac Players ; a/iJer the same. Dutch Boors fighting with Knives ; after the same. Dutch Boors dancing, called the Ball ; after the same, [Several writers place his birth in 1613 ; the date of his death seems to be unknown. Zani says he operated from 1631 to 1668.] [SWAGERS, Francis, a landscape and marine Eainter, was born at Utrecht in 1756. He received is artistic instruction in Holland, where he acquir- ed some reputation, but afterwards he went to Paris, and continued to reside there till his death in 1836. His pictures are rather numerous, and consist chiefly of views in Holland, in the neighbourhoods of Haer- lem, Utrecht, Dort, and Rotterdam; and marine subjects off the coast. From his long residence in Paris he imbibed much of the French taste, and his pictures exhibit a mixture of the Dutch and French schools. They are, however, pleasing compositions, and are in esteem.] [SWAINE, Francis, an English marine painter,, who lived in London from about 1770 to 1780. He painted small sea-pieces in the style of the elder "W. Vandevelde, and moonlight scenes. He was chiefly employed by the dealers, perhaps for the express purpose of copying Vandevelde's pictures, as there are many called "JK«9KsA Vandeveldes that are cer- tainly by Swaine: He earned his bread but got no reputation, though a clever painter. His very name is held. in abhorrence when pronounced before one of his own pictures ; for it deprives old Vandevelde of the honour, and endangers the dealer's profit. It is by no means to be inferred that he equals W. Vandevelde in his execution ; that is not the point. He resembles him sufliciently to satisfy those who judge by their ears, especially when they are told that Vandevelde's English pictures are somewhat 780 different to those he painted in Holland, and what they most delight in is his name.] SWANENBURG, William van, a Dutch en- graver, born at Leyden about the year 1581. Ac- cording to Huber, he was a disciple of John Saen- redam. His style of engraving is bold and free, and his prints bear some resemblance to the manner of engraving of Henry Goltzius. He had a great com- mand of the graver, but it is to be regretted that his drawing is not more correct. The following are his most esteemed plates : PORTRAITS. Maurice, Prince of Orange Nassau. Ernest Casimir, Count of Nassau. John William, Duke of Cleves. Daniel Heinsitis, Historian. 1608. Abraham Bloemaert, Painter. SUBJECTS AFTER VARIOUS MASTERS. Esau selling his Birth-right to Jacob ; after P, Morehen, The Resurrection ; after the same. The Adoration of the Shepherds ; after Ab, Bhemaert, The six Penitents ; after the same, ' St. Jerome in the Desert ; after the same. St. Peter penitent ; after the sam^. Lot and his Daiighters ; after Rubens. Christ with the Disciples at Emmaus ; after the same. The Judgment of Paris ; after M. Mireveldt. Perseus and Andromeda ; o/ifer J. Saenredam. A Village Festival ; after D, Vinckenbooms, A set of fourteen Plates, entitled The Throne of Justice; after Joachim Uytenwael. 1605, 1606. [The date of his death is not ascertained.] SWANEVELT, Herman. According to Huber, this eminent landscape painter and engraver was born at Woerden in 1620. He is said to have been first a scholar of Gerard Douw, to whose style of painting he for some time applied himself; but his disposition directing him particularly to landscape painting, he left that master, and travelled to Italy, whilst he was very young. On his arrival at Rome he was indefatigable in his studies. He was fre- quently seen in the most sequestered places, design- ing the most interesting views and the most re- markable vestiges of antiquity in the vicinity of that capital. These studious and solitary prome- nades procured him the appellation of the Hermit of Italy. In 1640 he became the disciple of Claude Lorraine, whose admirable productions he had long contemplated with wonder and delight. By the assistance of so able an instructor, and his attentive observance of nature, Swanevelt became one of the most celebrated painters of landscape of his time ; and though his scenery is less ex- tensive and select, and nis colouring less brilliant and glowing, than that of his inimitable preceptor, few artists have surpassed him in the suavity and tenderness of his tints, or the delicate degradation of his aerial perspective. The forms of his trees and rocks are grand and picturesque, and, his plants and foliage are touched with characteristic propriety and spirit. His pictures are usually embellished with the choicest reliques of ancient architecture, and decorated with groups of figures and cattle, tastefully composed, and designed with elegance and correctness. The works of this painter are held in the highest estimation in Italy, where he re- sided nearly the whole of his life, and died at Rome in 1690. We are indebted to Herman Swanevelt for several of the most beautiful etchings which are to be found in the portfolios of the collector. They are executed in a free, masterly, and spirited style, though the point is handled with uncommon neatness and dex- sweb] PAINTERS AND ENGRAVERS. [SYDE terity. They are sufficiently interesting to call for a particular detail of them : A set of eighteen small oval plates, representing Views in Italy, and rural subjects ; entitied Varia campestri fantasia if Hermcmo SwaneveU, invent, et in (ucem editee. A set of thirteen Italian Landscapes, including the title ; dedicated to Gideon Tallement. A set of twelve Views in and near Rome ; entitled Di- verses Vues dedans et dehors de Rome, SjC. 1653. A set of seven Plates of Animals, with landscape back- grounds, and figures. A set of four Arcadian Landscapes, with Nymphs and Satyrs. A set of four Landscapes with Biblical subjects. A set of four Mountainous Landscapes, with different re- presentations of the Flight into Egypt. A set of Four Views of the Apennines, with pastoral sub- jects. A set of six grand Landscapes, with the history of Venus and Adorns. A set of four Landscapes, with different Saints and Mary Magdalene. [According to Zani, the family name of this art- ist was Fischer, and he was born in 1618. De- scriptions of his beautiful etchings, to the number of 116, will be found in Bartsch, P. G. tom. ii. It is perhaps too late to loot for authorities to confirm that he was ever the pupil of Gerhard Dou, or of Claude j both assertions rest on very slender found- ations.] [SWEBACH, James, called also Fontaines, a prolific painter of battles, marches, encampments, and landscapes, is claimed as a native both by France and Belgium. He flourished from 1800 to 1824, and many of his pictures were exposed at the Paris exhibitions, where he chiefly resided. He was in England for a short time, and the few pictures he produced there were favourably received. All his compositions of military subjects and hunting- pieces are remarkably spirited, and show him to be well acquainted with the manoeuvres of the field, either as a soldier or a sportsman. He died about the year 1824. He left a son, Edward Swebach, who painted and designed subjects similar to those of his father : he was living in 1838. J. Swebach etched a great number of his own compositions, which were published collectively at Paris, in five volumes, quarto, under the title " Encyclopedie Pit- toresque ; ou. Suite de compositions, caprices, et etudes utiles aux Artistes." Other pieces by him were engraved by Couche, Beauvinet, and Bertaux ; and since his death many have been executed in hthography, mezzotinto, and colours, probably un- der the direction of his son Edward.] SWELINCK, John, a Dutch engraver, who re- sided at Amsterdam about the year 1620. He en- graved a set of emblematical subjects, after A. V. Venne. They are executed with the graver in a neat style, resembling that of the Wierixes. [He flourished from 1624 to 1635. He engraved some subjects of the Life of the Virgin, the Resuscitation of Lazarus, and St. John the Evangelist ; they are in ovals with arabesque borders, signed J. S.] SWERTS, or SWEERTS, Michael, a Dutch painter and engraver, who flourished about the year 1655. He etched several plates, chiefly from his own compositions, among which are the following : PORTRAITS. John van Bronchhorst, Painter. Herman Saftleven, Painter. His own Portrait. SUBJECTS. The dead Christ, supported by the Marys and St. John. A Man seated in a chair, smoking, and a Boy standing by him. [He was a portrait painter, though he is only known by his engravings. His engravings amount to six- teen, several of which are signed Michael Sweerts Egues pin; et fecit. Bartsch doubts whether he en- OTaved the portraits of Bronkhorst and Saftleven ; they are not in his list.] SWIDDE, William. This artist was a native of Holland, but chiefly resided in Sweden, where he flourished about the year 1690. He engraved se- veral of the plates for a work entitled Suecia An- tiqua et Hodiema, containing views of the principal buildings, &c. in Sweden, we have also by him a set of six landscapes, with figures and cattle, after Dirk Dalens. He usually marked his plates with the initials W. S. [He also engraved the plates for Pufiendorfi's Life of Charles Gustavus; and there are some large marine pieces by him with the date of 16800 SWITZER, Christopher, a German engraver on wood, who resided in England about the year 1614. He was employed by Speed to cut the coins and seals for his History of Great Britain, from the originals in the Cottonian collection. Speed calls him the most exquisite and curious hand of that age. In the Harleian Library was a set of wooden cuts, representing the broad seals of England, from the Conquest to James I. inclusive, neatly executed, which Vertue believed to have been cut by Christo- pher Switzer, and were the originals from which Hollar copied those published by Sandford. He had a son also named Christopher, who also en- graved on wood, and whose works are sometimes confounded with those of his father. [This pro- bably is the same as Christopher Slimmer.'] SYBRECHT, John. This painter was born, at Antwerp in 1625, and was the son of an obscure painter, who taught him the rudiments of design. He afterwards imitated the style of Nicholas Berg- hem and Karel du Jardin, with unusual success. The Duke of Buckingham returning through Flan- ders from his embassy to Paris, found Sybrecht at Antwerp, was pleased with his works, invited him to England, and employed him at Cliefden. He painted landscapes and views of the Rhine, and his pictures were held in considerable estimation. His pictures in water-colours are more frequently met with than his oil paintings. He died in 1703, and was buried in St. James's church. [The successful imitations of Berchem and Karel du Jardin by Syhrechts, or Sibrechts, must, long ago, have been appropriated by those masters. None of the pic- tures bearing his name, which have come under the notice of the editor, resemble the works of Berchem and du Jardin, except that they are landscapes with cattle.] SYDER, Daniel, called II Cavaliere Danielle, was born at Vienna in 164?. After being instruct- ed in the principles of design by an artist, who is not mentioned, he went to Venice, where he became a scholar of Cario Loti, whose style he followed with such success, that before he left his school it was difficult to distinguish the works of the disciple from those of his master. He had painted some pictures for the churches and private collections at Venice, when he determined to visit Rome, to im- prove his style of design, by studying the antique, and the works of the great painters of the Roman school. The works of Carlo Maratti were at that time in the highest reputation, and he became a stu- dent under that eminent painter, of whom he was one of the most favoured and most distinguished disciples. 781 STLV] A DICTIONARY OF [tanj Desirous of bringing the abilities of his pupil into public notice, Carlo Maratti procured him the com- /i; mission to paint two pictures for the church of S. ' Filippo Neri, called La Chiesa Nuova, representing the Last Supper, and the Miracle of the Manna. These works established his reputation, and his talents recommended him to the patronage of the duke of Savoy, who invited him to his court, ap- pointed him his principal painter, and conferred on him the order of knighthood. Syder painted por- traits with not less success than historical subjects. He possessed a fertile invention, and his composi- tions are copious and ingenious. His figures are designed in the graceful style of Maratti, and his colouring, formed on the principles of the Venetian school, is tender and natural. He died at Eome in 1721. [The family name of this artist was Seutter, not Syder ; he has also been called Salter, Seiter, Sauter, Soiter, and Schuter. His sobriquet among painters was Avonstern, or Hesperus. According to Zani, he was 'born in 1642, and died in 1705: Piissli agrees with the latter date. There is an anecdote equally honourable to the duke of Savoy as to Seutter. One day the duke sat for his por- trait, and the painter appeared in some confusion, having forgotten his mahlstiek ; the prince offered him his walking-cane enriched with diamonds, ask- ing if that would answer his purpose. The painter made use of it while the duke sat, and presented it to him as soon as he rose ; but the attendants, who . were previously instructed, prevented him from re- turning it, observing that their master never re- sumed a gift which he had voluntarily bestowed.] SYLVESTRE. See Silvestre. SYMPSON. See Simpson. SYSAN6, [John Christopher.] By this en- graver, who flourished about the year 1746, we have several portraits, executed in a neat, clear style, for a work entitled Portraits Historiques des Hommes illustres de Danemarh, piiblished in the above year. SYTICUS. See Serious. TACCONE, Innocenzio. Innocenzio Taccone, a native of Bologna, was a disciple, and, according to Baglione, a relative of Annibale Caracci. He ac- companied that great artist to Rome, where he as- sisted him in many of his works. In the vault of the church of S. Maria del Popolo, he painted three large frescoes, from the designs of Annibale, repre- senting the Crowning of the Virgin, Christ appear- ing to St. Peter, and St. Paul taken up into the third heaven. Of his own compositions, the most considerable are some pictures in S. Angelo in Pes- cheria, in the chapel dedicated to S. Andreaj repre- senting the principal events of the life of that Apos- tle. He died at Rome, in the prime of life, in the pontificate of Urban VIII. TAPFI, Andrea. To this ancient master, who was born at Florence as early as the year 1213, the Florentines were indebted for the revival of the art of working in mosaic^ Vasari reports, that some Greek painters in Mosaic being enrployed in orna- menting the church of S. Marco at Venice, he visit- ed that city, with the hope of becoming acquainted with their mystery, and succeeded so well, that one of them, named ApoUonius, not only instructed him in- the art, but was prevailed on by him to accom- pany him to Florence, where they executed, in con- junction, some devout subjects in the church of S. Giovanni. He died in 1294. [He' was the first 782 that introduced in pictures angels playing on the violin ; and perhaps the first also that painted the exteriors of cabinets for the reception of ornamental presents to newly-married couples, a custom bor- rowed from the Greeks.] TAGLIASACCHI, Giovanni Batista. This painter was a native of Borgo S. Donnino, near Piacenza, and flourished about the year 1730. He was a scholar of Giuseppe del Sole, and for some time painted history in the style of his master ; but acquired a more graceful and elegant design, by studying the works of Coreggio, Parmigiano, and Guido. He had not an opportunity of gratifying his desire of contemplating the works of Raffaelle, as his parents would not permit him to visit Rome. His principal works are at Piacenza; and Lanzi speaks in very favourable terms of a picture by him in the cathedral of that city, representing the Holy Family. He died in 1737. [He also excelled in portrait painting.] TALAMI, Orazio, was born at Reggio in 1625, and was a scholar of Pietro Desani. He afterwards visited Rome, where he passed some time, and ap- plied himself particularly to the study of (iie works of Annibale Caracci. On his return to his native city, he distinguished himself as a reputable painter of history and architecture, both in oil and fresco. He died in 1699. [Zani, who calls him the master of the Die, and of the Fish-hook, says he died in 1705.] TALPINO. See Salmeggia. TAMBURINI, Giovanni Maria. This painter was a native of Bologna, and was first a scholar of Pietro Facini, but afterwards studied under Guido Reni. He painted history with considerable reput- ation, and was employed for several of the churches at Bologna. His most esteemed works are, his pic- tures of S. Antonio di Padova, in the church ofLa Morte ; and the Annunciation, in S. Maria della Vita. He flourished about the year 1640. [He was also an engraver.] TANCREDI, Filippo, was born at Messina in 1655. He studied some time at Naples, and after- wards visited Rome, where he entered the school of Carlo Maratti. In the Memorie de' Pittori Messi- nesi, he is said to have possessed a ready and fertile invention, a tolerably correct design, and an agree- able style of colouring. He resided a great part of his life at Palermo, where he painted the ceiling of the church of the Teatini, and that of II Gesu Nuovo. He died at Palermo in 1725. • [ Zani says in 1722.] , TANJE, Peter, a Dutch engraver, born at Am- sterdam about the year 1700. He was a very in- dustrious artist, and engraved a great number of plates of portraits, and various subjects, as well as vignettes, and other book-plates. The most con- siderable of his works are five large plates, engi-aved from the famous paintings on glass in the windows of the church of St. John, at Gouda. He also en- gi-aved some plates for the Dresden Gallery. Among others we have the following prints by him : portraits. George II., King of England, &c. ; after Faber. 1732. Charles VII., Emperor of Germany ; P. Tanje, so. Christina, Queen of Sweden ; after S. Bourdon. His own Portrait ; after J. M. Quimkhard. SUBJECTS AFTER VARIOUS MASTERS FOR THE DRESDEN GALLERY. A dead Christ ; after Francesco Salviati. The Chastity of Joseph; after Carlo Cignani. Children dancing ; after Albano. TANZ] PAINTERS AND ENGRAVERS. [tard The Card-players ; after M. Angela Caravaggio. Tarquin and Lucretia ; after Luca Giordano. [According to Zani, and others of authority, he was born in ^06, and died in 1760.] TANZI, Antonio. This painter was born at Alagna, near Novara, in 1574. It is not mentioned under whom he studied, but he was a competitor ■with the Carloni in several public works at Milan, and distin^ished himself particularly by a jjicture he painted of the Battle of Sennacherib, in the chiirch of S. Gaudenzio, at Novara, a composition exhibiting as much vivacity as intelligence. He died in 1644. [There is considerable uncertainty about the time of Antonio Tanzi's death, as he had ttco brothers, Giovanni and Melchiore, who flour- ished at the same time, and Giovanni's death is placed in 1644.] [TAPIA, Don Isidoro de, a painter of histori- cal pictures, was bom at Valencia in 1720. He was a scholar of Evaristo Munoz. Among the paintings by him in his native city, the grand altar- piece for the church of St. Bartholomew, and an Oratory for the Carmelite convent, representing Santa Teresa and the Four Doctors of the Church, are praised for the beauty of the colouring. He went to Madrid in 1743, and was considered a pro- fessor of ability; he afterwards passed into Portu- gal, but nothing is said of his performances there. He died at Madrid in 1755. He was a member of the Academy of S. Fernando, where is preserved a picture of Abraham's Sacrifice, painted by him.] [TARABOTTI, or TARABOTTA, Caterina, was a native of Vicenza, and instructed in painting by Alessandro Varatori and his sister Chiara. She practised chiefly at Verona, where she painted se- veral historical pictures that are mentioned with high commendations, as being equal, if not supe- rior, to any of those by her contemporaries. She operated as late as 1659 ; the time of her birth and death are not accurately ascertained.] TARAVAL, G., a French engraver, who flour- ished about the year 1760. Among other prints, he engraved some architectural subjects, from the de- signs of Dumont. [Louis Gustavus Taraval was born at Stockholm in 1737; he was an architectural designer and engraver. He was sent to Paris by his father, Thomas Rapliael Taraval, who was a portrait painter, and who died in 1750. The elder brother of Louis, Jean Hugues, born at Paris in 1728, was employed at the Gobelin manufactory, but also painted portraits and familiar subjects : he died about 1785. Louis was living_in 1790.] [TARDIEU, Antoine FRAN9ois, a geographi- cal engi-aver, was born in 1757, and died in 1822. His principal works are, Les Cartes marine de I'Atlas de Commerce. Les Plans des Capitales de I'Europe. Cartes in the Atlas de Mentelle. Several plans in " le Voyage pittoresque en Grece," by Chois&uZ GouMer, Les Palatinats de Cracovie, Plaok, Lublin, et Sandomir. The folio Atlas for the quarto edition of the " Voyage du jeune Anacharsis." Atlas du Voyage aux Terres Australes. Atlas for I'Histoire des Giierres des Franf ^s en Italie ; after Lapie. A grand map of Russia in Europe, in six sheets.] [TARDIEU, Jean Baptiste Pierre, a geogra- phical engraver, was born at Paris in 1746, and died, 1816. His works are numerous ; the princi- pal are. Cartes des Fays baa, 53 plates, engraved for the Empress Maria Teresa. Cartes de Chasses du Roi, by direction of Louis XVL Cartes du Voyage de Sonira en Grece et en Turguie. Cartes de I'edltion de Volney. Cartes Topographiques de la Saxe-Gotha, 25 plates.J [TARDIEU, Jean Charles, a distinguished French historical painter, was the son of James Nicholas Tardieu, and born at Paris in 1765. He painted a great number of pictures by order of the government, which were placed in the galleries of the Luxembourg, Versailles, St. Cloud, and Fon- tainebleau ; also in the Museum at Rouen, and in the cathedral. In addition to these he exercised his pencil on classical and poetical subjects for private individuals ; and seems to have been fully employed during the reigns of Napoleon, Louis XVIII., and Charles X. He also made copies of several pictures by P. Champagne. He was living in 1831, and con- tinued to exercise his pencil both in landscape and historical painting.] TARDIEU, Nicholas Henry, an eminent French engraver, born at Paris in 1674. He was first a pupil of P. le Pautre, and was afterwards in- structed by John Audran. This artist may be ranked among the distinguished engravers of his country. His design, though occasionally mannered, is gener- ally correct, and by a judicious union of the point and the graver, he finished his plates in a tasteful and eflective style. He was engaged in some of the most important pubhcations of his time, and en- graved several plates for the Crozat Collection, the gallery of Versailles, and others. He was received into the Academy at Paris in 1720, and died in that city in 1749. The following are among his most esteemed prints : PORTRAITS. Louis Anthony, Duke d'Antiu ; after Rigwud; engraved for his reception plate at the Academy, in 1720. John Soanon, Bishop of Senez ; Nic. Tardieu ad vivum fecit. 1716. SUBJECTS after DIFFERENT MASTERS. Four subjects of Eoman History, in the form of friezes ; after Giulio Eomano. Jupiter and Alcmene ; after a cartoon by the same. The Annunciation ; after Carlo Maratti. The Holy Family, "with Angels presenting Flowers and Fruit ; after Andrea Luigi d Assisi. Adam and Eve ; after Domenichino.. The Scourging of Christ ; after Le Brun. The Crucifixion ; after the same. An emblematical Subject, representing the principal qualifications of a perfect Minister, Secrecy, Fortitude, and Prudence ; after Le Simur. This print is scarce. ' Christ and the Woman of Samaria ; after N. Bertin. Christ appearing to Mary Magdalene ; after the same. The Martyrdom of St. Peter ; after Seb. Bourdon. The Crucifixion ; after Joseph Parrocel. The Conception; after Anthony Coypel. Apollo and Daphne ; after the same. The Wrath of Achilles ; after the same. The parting of Hector and Andromache ; after the same. Vulcan presenting to Venus Armour for .Sneas; after the same. Venus soliciting Jupiter in favour of iEneas ; after the same. Juno directing .fflolus to raise a Tempest against the Fleet of JBneas ; after the same. The three last form part of a set of prints of the History of .tineas, painted in the Palais Royal by Ant. Coypel. TARDIEU, Elizabeth Clara. This lady was the wife of the preceding artist. Her maiden name was Tournay, and, among other prints, she engraved the following : The Concert ; after J. F. de Tray. The Mustard Merchant ; after Charles Hutin. Two plates of the charitable Lady and the Catechist; after P.Dtlfnesnil, 783 taed] The Old Coquet ; after the same. The Repose ; after Jeaurat. TARDIEU, James Nicholas, the son of Nicho- las Henry Tardieu, was born at Paris in 1718, and instructed in the art of engraving by his father. In his mode of executing his plates he used the point less, and the graver more than his father; hence his prints have a neater appearance, though very inferior in spirit and picturesque effect. His plates, however, possess considerable merit. He was a member of the Academy at Paris. He engraved a considerable number of portraits, and other sub- jects, among which are the following: PORTRAITS. Louis XV. ; after Vanloo. His Queen ; after Nattier. Maria Henrietta of France ; after the same. The Archbishop of Bourdeaux ; after Restout. Robert Lorraine, Sculptor to the King; his reception plate at the Academy. 1749. Bon Boullogne, Painter to the King ; the companion. SUBJECTS AFTER VARIOUS MASTERS. Christ appearing to the Virgin ; after Guido. Mary Magdalene penitent ; after Paolo Pagani. The Pool of Bethesda ; after Restout. Diana and Acteon j after F. Boucher. The Miseries of "War ; after Teniers. A pair of Landscapes ; after Cochin the younger. He also engraved some plates for the gallery of Versailles, after Le Brun. Louisa Tardieu, his wife, who was the daughter of the celebrated medal- list Du Vivier, also engraved some plates. TARDIEU, Peter Francis. This artist was cousin-german to the foregoing engraver, by whom he was instructed in the art. He was born at Paris in 1720, where he engraved several plates, which, though inferior to those of his relatives, are not without merit. Among others, we have the follow- ing by him : The Judgment of Paris ; after Rubens. . Perseus and Andromeda ; after the same. These two pictures were engraved from the pic- tures in the collection of Count Bruhl. He also en- graved several architectural views, after Panini ; a set of plates for Fontaine's Fables, after Oudry ; and several plates for Buffon's Natural History. Mary An\ Tardieu, his wife, whose maiden name was Roussellet, was also an engraver. We have by her a print of St. John in the Wilderness, after Carl. Vanloo. She also assisted in the plates for Buffon's pubhcation. [P. F. Tardieu died in 1772.] TARDIEU, Peter Alexander, a modem French engraver, who was probably of the same family with the preceding artists. He was born at Paris in 1756, and was a pupil of J. G. Wille. We have by him, among other prints, the portrait of Henry IV. of France, after Porbus, engraved for the collection of the Palais Royal. [Pierre Alex- andre Tardieu was nephew of Jacques Nicholas Tardieu ; he engraved a great number of plates, many of which are portraits of eminent persons ; among them are, Three of Henry IV. of France ; after Janet and Powbus. Two of Voltaire ; after Largilliere and Houdon. The Earl of Arundel ; c^er Van Dyck. Mareschal Ney ; after Gera/rd. Napoleon (for the Coronation) ; after Isabey. Marie Antoinette; after Dumont. Montesquieu, Paul Barras, and others. His principal historical engravings are, St. Michael overcoming Lucifer ; after Raphael. The CommunioHwf St. Jerome ; after Domenichino. 784 A DICTIONARY OF [tasn Judith and Holofemes ; after Allori. Psyche abandoned ; after Gerard. He was the successor of Bervic in the Institute ; made chevalier of the Legion of Honour in 1825 ; and was living at Paris in 1831. Among his scho- lars were Desnoyers, Bertonnier, and Aubert.] [TARDIEU, Pierre, a geographical engraver, son of Antoine Frangois Tardieu, was born at Paris in 1784, and was living in 1837. He engraved se- veral maps and plans after Humbolt, de Buch, and Brousted; also the Atlas for "I'Histoire Ancienne" of M. Segur ; some plates of a map of the county of Mayo in Ireland ; La Carte des Routes de Poste de I'Empire in 1811, by order of the Emperor Napo- leon ; and many other works of importance. I/he foregoing are noticed to distinguish them from those by his father.] TARICCO, [or TARRICO,] Sebastiano. This painter was born at Cherasco, in the Piedmontese, in 1645. Delia Valle asserts, that he studied with Guido and Domenichino in the school of the Ca- racci ; an ,inaccuracy altogether surprising in an Italian writer on art, as the great founders of that school died many years before he was born. It is probable that he formed his style by an attentive study of their works, as is apparent in the pictures he painted for the public edifices and private col- lections at Turin. He died in 1710. TARUFFI, Emilio, was born at Bologna in 1632, and was a fellow-student with Carlo Cignani, under Francesco Albano. In conjunction with Cig- nani he painted some pictures in the Palazzo Pub- lico, at Bologna, and accompanying him to Rome, was his coadjutor in his frescoes in S. Andrea della Valle. ' Of his works in the public edifices at Bo- logna, the most esteemed are, his picture of the Vir- gin presenting the Rosary to S. Domenico, in the church of S. Maria Nuova ; and the Virgin, with a glory of Angels, appearing to S. Celestino, in the church dedicated to that saint. He painted land- scape in the charming style of his instructor, which he decorated with figures elegantly grouped and cor- rectly designed. He died in 1694. [He was born in 1633, and was assassinated in 1696. He was ex- cellent in portraiture, and was a skilful imitator of the manner of the older masters. There is an etch- ing by him, with the date 8th May, 1651, when he was only eighteen. It is dedicated to Cardinal Sa- vello, and represents a whole-length portrait of him, attended by a dwarf and several other persons, on a large sheet.] TASCA, Cristoforo. According to Tassi, this painter was born at Bergamo in 1667, and after learning the rudiments of design in his native city, studied at Venice the works of Antonio Bellucci and Carlo Loti. He established himself in that city, where he was employed in painting several pictures for the public edifices, of which the most deserving of notice are, the Birth of the Virgin, in the church dell' Assunzione; the Death of St. Jo- seph, in SS. Fihppo e Giacomo ; and in S. Marta, the Nativity, and the Baptism of Christ by St. John. He died at Venice in 1737. TASNIERE, G. According toBasan, this artist resided at Turin about the year 1670, where he en- graved part of a set of prints from the hunting sub- jects, and portraits of the nobility, painted by John Miel, in the palace of the Duke of Savoy, which were published at Turin in 1674, entitled La Venaria reale Palazzo di piacere, &c. He also engraved several plates from the pictures of Domenico Piola, a Genoese painter. They are executed entirely with the irraver. in a coarse, tasteless Rtvlp.' fQ. Tasniere TASS] PAINTERS AND ENGRAVERS. [taj'l sculps. Taurini, 1703. — G. Tasniere Bourgundus sou. Mediolano.'] TASSART, Peter Joseph, a Flemish painter and engraver, bom at Brussels about the year 1736. His pictures are little known, but he etched several plates, particularly after Rubens, among which are the following : Jonas thrown into the Sea. The Woman taken in Adultery. The "Virgin and Child, with St. Elisaheth and St. John. The Martyrdom of St. Lawrence. The Parting of Venus and Adonis. TASSI, Agostino. The femily name of this painter was Buonamici. He was bom at Perugia in 1566, and studied at Rome under Paul Brill, al- though iie was desirous of being considered a dis- ciple of the Caracci. He painted landscapes in the style of his instructor, and was considered one of the ablest artists of his time, when, Lanzi informs us, for some crime, which is not mentioned, he was sent to the galleys at Leghorn. During the term of his confinement, he occupied himself in designing the maritime objects with which he was surrounded, and after his liberation they became the favourite subjects of his pictures. He painted with great suc- cess sea-ports and calms, with shipping and fishing- boats. His tempests and storms at sea were not less happily represented, and were touched with unusual spirit and energy. He also excelled in architectural and perspective views, in which he distinguished himself by some admirable produc- tions in the pontifical palace of Monte Cavallo, and in the Palazzo Lancellotti. Agostino Tassi has the credit of having been the instructor of Claude Lor- raine. He died in 1642. We have a few slight but spirited etchings by this artist, representing storms at sea, and shipwrecks. [He was born in 1565, and died in 1644.] TATORAC, V. According to Papillon, this art- ist executed a set of one hundred and fifty wooden cuts for an edition of Ovid's Metamorphoses, pub- lished in 1537; and a print of the Annunciation, for a Prayer-book, dated 1530. [^TAUNAY, Nicolas-Antoine, a landscape, his- torical, and general painter, was born at Paris, and died there in 1830. He seems to have possessed a universal talent, so far as subject is concerned, in painting. He painted several of the battles and victories of the General and Emperor Napoleon, among which were, the passage of the Alps ; the battle of the bridge of Lodi ,• the battle of Ebers- berg; the entry of the imperial guard under the triumphal arch erected at the barrier of Pantin; and many others. He also painted sea^ports, -pas- toral scenes, subjects from history and poetry, land- scapes with cattle, sentimental and humorous pieces, fairs, and village festivals. He was a scholar of Casanova, but painted more in the manner of the French school. His smaller pieces are most esteem- ed out of France.] TAURINI, R. This artist is mentioned by Pa- pillon as a skilful engraver on wood, and a disciple of Albert Durer. [He was bom at Rouen, and oper- ated as lajte as 15/2. He was a skilful carver in wood and stone, and an architectural designer. He was called Monsieur Richard, and Ricardus Gallus. It is not known that he ever engraved in wood.] TAVARONE, Lazarro. According to Sopra- ni, this painter was born at Genoa in 1556, and was a favourite disciple of Luca Cambiaso. He accom- panied that master to Spain, whither he was in- vited by Philip II. in 1583, and not only assisted him in his great work in the Escurial, but after the death of Cambiaso was employed to finish the paintings left imperfect by that master. He re- mained for some years in the service of the king of Spain, and returned to Genoa rich in the designs of his instructor, and munificently rewarded. He par- ticularly excelled in fresco painting, to which he gave a vigour approaching to oil. His principal works at Genoa are his frescoes in the tribune of the cathedral, representing subjects from the Life of S. Lorenzo, and the fagade of La Dogana, or Custom-house, representing St. George and the Dragon. He died in 1641, aged 58. [He died in 1631; at the age of 75.] TAVELLA, Carlo Antonio, called 1l Solpa- rola. This painter was born at Milan in 1668, and was a scholar of Peter Molyn, called II Tem- pesta, whose vigorous manner he for some time followed with a fire and spirit which acquired him the name of II Solfarola. He afterwards adopted a style distinguished by more amenity and tender- ness, from studying the works of Benedetto Cas- tiglione and Gaspar Poussin, and is considered the ablest landscape painter of the Genoese school, af- ter Antonio Travi, called II Sestri. There are many of his works in the private collections at Genoa, of which the principal are in the Palazzo Franchi. His landscapes are sometimes decorated with figures by Domenico and Antonio Piola, and more fre- (juently by Stefano Magnasio. He died at Genoa in 1738. [He had two daughters, Angela and Te- resa, who painted landscapes, and lived about the middle of the eighteenth century.] TAVERNER, William, an English amateur painter, who followed the profession of a proctor in Doctors' Commons. He, however, studied and practised the art of painting landscapes, with a zeal and success which would not have been un- worthy of an eminent professor. The noble author of the Anecdotes mentions some pictures by Taver- ner in the possession of the Earl of Harcourt, and Mr. Fauquier, which might have been mistaken for the works of Gaspar Poussjin, and were not unwor- thy of that celebrated painter. [He died in 1772.] [TAVERNIER, Francois, a French historical painter, was born at Paris m 1659, and died there in 1 725. There are no particulars of his life recorded, but it is said that he painted history with consider- able ability.] TAVERNIER, Melchior, a French engraver, who resided at Paris about the year 1630. He was a printseller as well as an engraver, and on an in- scription on one of his plates, styles himself en- gi-aver and copper-plate printer to the king. His prints are chiefly portraits ; but he also engravei some ornaments, and other trifling subjects, from his own designs. They are very, indifierently exe- cuted with the graver. We have by him, among others, the following : A Bust of the Duke of Alenf on, crowned with lavu'el. An Equestrian Statue of Henry IV. of France ; inscribed, Melchior Taoemier a Paris, graveur et imprimeur du Boi, esc. 1627. [TAYLOR, John, more distinguished for his cheerfulness and longevity than for any of his pro- ductions as an artist, was a scholar of Francis Hay- man. His early practice was that of taking like- nesses in pencil, which he found- to be more amusing than profitable, and therefore by the advice of his friends, Paul Sandby and J. A. Gresse, adopted the business of teaching. By this he accumulated a sufficient sum to retire with comfort. He used to 785 tayl] A DICTIONARY OF [temp be called the father of the English school, as he was an original member of the " Society of Incorporated Artists," and survived all the rest. He died on the 21st of November, 1839, in his ninety-ninth year. He had made a nice calculation by investing a great part of his savings in the long annuities, which ex- pired also in 1840. He was a man of remarkably sober, cheerful habits, and showed great activity and good humour to the last.] [TAYLOR, Simon, an eminent painter of bota- nical subjects, was patronized by Lord Bute about the year 1760 ; and afterwards was employed by the celebratefi Dr. Pothergill. The collection of plants painted for the latter was sold by the Doctor to the Empress of Russia for £2000 ; those he painted for Lord Bute were sold by auction in 1794, and are to be found in various collections of natural history. His usual charge for drawing a single plant was three guineas. Little else-of nis history is known. It is supposed that he died in 1794.] TAYLOR, T., an English engraver, who flour- ished about the year 1735. He engraved several plates for the collections published by Mr. Boydell, among which are the following : Democritus and Protagoras ; wfter Salv. Rosa. A Flemish Collation ; after Van Harp. Two emblematical Vignettes for BoydeU's collection ; from the designs of J! Gwyn. [TEISSIER, Jan George, bom at the Hague in 1750, painted portraits and landscapes in a very respectable manner, but was better known as a co- pier of the works of the older masters, and a repairer of their damaged pictures. He had sufficient merit to recommend him to a place in the direction of the Academy of Design at the Hague, and as subdi- rector of the museum. He formed several excellent scholars ; among them were Besanger, Valois, .Har- ry, and Carbenthus. Teissier died at the Hague in 1821.] [TEISSIER, Jean, aFrench engraver, who oper- ated at Paris about 1770. He was a scholar of Philip le Bas ; among his engravings are Les Mangeurs des Huitres ; after B^nard. Le Marchand de Poissons de Dieppe ; after the same.'\ [TELLIER, Jean le, nephew and residuary legatee of Nicholas Poussin, was a good painter of portraits and historical subjects. He painted sever- al pictures for the churches at Rouen, and one, the Death of St. Alexis, for the church at Gravelines. A Holy Family, and the Miracles performed at the Tomb of St. Augustine, both in the church dedicated to that saint, are works of great merit. Former- ly there were many of his smaller pictures in pri- vate collections at Rouen, where he principally re- sided, and probably died. The notices of him are only incidental.] TEMINI, Giovanni. The name of this artist is affixed to a portrait of Carlo Gonzales, Duke of Mantua ; it is slightly etched, and finished with the graver. [He operated in 1622.] TEMPEL, Abraham Vanden. This artist was born at Leyden about the year 1618, and was a scho- lar of George van Schooten. He painted small pic- tures of historical subjects, conversations, and, por- traits. His works are very highly finished, and he had the credit of being the instructor of Francis Mieris, the elder. Although his pictures are not so highly wrought up as those of Mieris, he holds a respectable rank among the artists of his country, who distinguished themselves by the neatness of their pencil, and the delicacy of their colouring. He 786 died at Amsterdam in 1672. [Vanden Tempel was an eminent portrait painter; in this department very few of nis contemporaries were superior to him.] TEMPESTA, Antonio. This artist was bora at Florence in 1555, and was first a disciple of Santi di Titi, but he afterwards studied under John Stra- danus. Endowed with an ardent and inventive ge- nius, he in a short time sm-passed both his instruct- ors in the fecundity of his ideas, and the facility of his execution. His favourite subjects were battles, cavalcades, huntings, and processions, which he composed in a grand style, and painted with un- usual spirit and energy. He also painted historical subjects and grotesque ornaments; and during a long residence at Rome was much employed by Gregory XIII. in the gallery and loggie of the Vat- ican ; and by the Marchese Giustiniani, in the de- corations of his palace. In the church of S. Stefa- no Rotondo, is a fine picture by Antonio Tempesta, of the Murder of the Innocents. The extent of his genius, and the variety of his powers, are evident in the numerous etchings he has left, which amount to upwards of eighteen hundred. With the excep- tion of an occasional extravagance in the design, they are very able and masterly performances. He usually marked his plates vrith one of these mono- grams, 2S.'.^i' HHj- [c/\' Among his nu- merous prints are the following : A set of plates of subjects from the Old Testament, ge- nerally called Tempesta' s Bible. Twenty-fom- plates of the Life of St. Anthony. A set of one hundred and fifty prints from Ovid's Mcta- Thirteen plates of the Labours of Hercules. The Four Ages of Man ; in four plates. A variety of Huntings of different animals Several plates of Battles and Cavalcades. The Entry of Alexander into Babylon, Diana and Acteon. The Cruciiixion ; inscribed ^n*. Tempestes. 1612; scarce. [ Bartsch, Peintre Graveur, torn xvii. has given a descriptive catalogue of 1460 pieces by Antonio Tempesta, which he believes to be a complete list of his works ; Gori makes them amount to 1519, according to what is reported by other writers, but Brulliot inclines to the side of Bartsch. Both artists and amateurs may profit by an attentive considerar tion of his works. He died in 1630. The earliest of his known etchings is dated 1589, the latest 1627.] TEMPESTA, or TEMPESTING, Domenico. According to Lanzi, this artist was born at Florence in 1652, and was a scholar of Baldassare Frances- chini, called II Volterrano. He painted portraits and landscapes with some reputation, but distin- guished himself more as an engraver than a painter, and is said to have received instructions in engrav- ing from R. Nanteuil and Gerard Edelinck. Among other prints, he engraved a set of portraits of the Electors Palatine. [His proper name was Marchi. He was called Tempestino from having been a pupil of Peter Molyn, who was also named Tempesta. He was a great traveller, but there is much uncer- tainty in his history. If he ever distinguished him- self as an engraver, his works have evaded the re- searches of those most curious in such matters. He was living at the beginning of the 18th century, and the date of his death is variously given ; some placing it in 1718, others in 1737. It may, how- ever, be apprehended that there were two artists called Domenico Tempesta, and the accounts of them have been blended.] temp] PAINTERS AND ENGRAVERS. [ten: TEMPESTA, Peter. See Molyt<. TENTERS, IDavid, the elder. This painter was born at Antwerp in 1582, and was educated in the school of Rubens. He for some time applied him- self to historical painting, and visited Itafy, for the purpose of studying the best works of the celebrated painters of that school, but his genius leading him to landscape painting, he placef himself under the tuition of Adam Elsheimel-, at Rome, and studied under' that master for six years. On his return to Flanders he adopted a different style, and painted, with the most flattering success, rural sports, merry- makings, temptations of St. Anthony, fortune-tellers, &c. He treated those subjects with considerable humour and ingenuity, and his pictures were uni- versally admired, and were purchased with avidity. They would still have been considered among the, happiest efforts of the art in that particular branch, if they had not been so greatly surpassed by the in- imitable productions of his son. We have a few etchings by this painter, but they are not easily dis- tinguished from those of David Teniers the younger, as they are very similar in the style, and bear the same mark. The following are usually attributed to him : A Pilgrim, with his staff and chaplet. A Peasant putting a plaster on his hand. The Bust of a Feasant with a fur cap. [David Teniers, the elder, died in 1649.] TENIERS, David, the younger. This cele- brated painter was the son of the preceding artist, born at Antwerp in 1610, and received his first in- struction from his father. He afterwards studied for some time under Adrian Brouwer, and is said to have had the advantage of receiving the lessons of Rubens in the principles of colouring. He painted similar subjects to those of the elder Teniers, but his compositions are infinitely more varied and in- genious, his colouring is more chaste and transpar- ent, and his pictures exhibit the most spirited and captivating faciUty of execution. The talents dis- played by this extraordinary artist soon excited universal admiration, and he was employed and patronized by the most illustrious personages of his time. The Archduke Leopold William, then go- vernor of the Low Countries, appointed him his principal painter, and gave him the superintendence of his gallery, which contained the works of the most distinguished masters of the Itahan as well as of the Flemish school. He painted small copies of the principal pictures of that collection, in which he imitated the particular style of each master so successfully, that he was called the Proteus of paint- ing. These imitations he caused to be engraved, and published in a folio volume, dedicated to his patron ; it is now generally called the Teniers' Oal- lery. The first edition was published at Brussels in 1 660, and contains about 200 engravings. He did not limit his mimic powers to merely copying, he paint- ed several pictures, called pasticcios, of his own compositions, but executed so perfectly in the style of Titian, Tintoretto, Bassano, Rubens, and other eminent masters, that they have frequently been mistaken for the original work of those painters. The author was present at the sale of one of the principal collections at Brussels, in which was a picture of Mary Magdalene kneeling in a grot, the figure as large as life, which had been regarded, for many years, by the most experienced judges, as an admirable production of Rubens ; some difference of opinion arising, the picture was taken out of the fraii;e, when the name of David Teniers, jun., with 3 E 2 the date, was discovered at the bottom of the picture, which had been concealed by the border of the frame. It was not, however, to his imitative faculties that Teniers was indebted for his greatest celebrity. He was a constant and faithful observer of nature, and in his favourite subjects, representing village festi- vals and merry-makings, Flemish fairs, and ker- messes, gypsies, and incantations, he has displayed a characteristic originaUty, and a naivete of expres- sion, in which he is unrivalled. That he might have an opportunity of studying from life the rustic character of the peasantry, their rural sports and rejoicings, their quarrels and their combats, he estab- lished himself in a retired situation in the village of Perk, between Antwerp and Mechlin, where he could mingle with their pastimes, and observe, with a painter's eye, their character under the impulse of the various passions; and it is surprising that he has been able to give such an admirable va- riety to representations, which, in their nature, appear confined and uniform. His landscapes, though perfect representations of nature, have an appearance of sameness and monotony, from his scenery being generally confined to the vicinity of the village in which he resided, where the flatness of the country admits of little change ; but he amply compensates for this want of variety, by the truth and simplicity with which he has represented these homely views. His pencil is light and dexterous, and by his continual practice he had acquired a promptness of execution which is almost unexam- pled. His trees, without choice or grandeur in their forms, are touched with a spirit and a taste for which he is remarkable. His skies are light and floating, and there is a silvery charm in the colour- ing of his best pictures, which is peculiar to himself. He is not less admirable in his interiors of caba- rets, with peasants smoking and regaling, corps de gardes, and chymist's laboratories, in which he sur- passed Ostade in his knowledge of perspective ; and is not less master of the principles of the chiaro- scuro. The works of Teniers, though extremely numerous, are justly held in the highest estimation. It was not unusual for him to finish a picture, of a medium size, in a day, and he used jocosely to ob- serve, that to contain all the pictures he had paint- ed, it would be necessary to have a gallery two leagues long. Teniers was of infinite service to the landscape painterf of his time, in decorating their works with his aoSiirable figm-es j and the value of the pictures of Artbis, Van Uden, and others of his contemporaries, is considerably enhanced by such embellishment. This popular painter died at Brus- sels in 1694, aged 84. We have several etchings by this artist, executed in a slight but spirited style ; they are usually marked with the cipher |l)> as are those of the elder Teniers, which renders it difficult to identify their prints. The foUovidng are said to be by him : Flemish Feasants dancing. A Village Festival. The Temptation of St. Anthony. Feasants shooting at a mark. The Inside of a Cottage, with a dead Calf hanging, and figures. A Landscape, by moon-light, with a Cottage, and figures sitting near the fire. [The dates on some of his best pictures are from , 1643 to 1653, though there are many fine^ ones painted during the same period, and others ten years later that are not dated. Indeed there are no dates between 1653 and 1665, when he was in his 787 TENi] A DICTIONARY OF [TERE full vigour. The last that have been discovered are 1678-9; these are one or two small pictures not more than 9 inches by 8. It is not likely that he studied under Brauwer, who was his senior by only two years, though he imitated that master's style in some of his pictm-es ; nor is there any proof that he practised in the school of Rubens, though no doubt he profited by observing his principles of colouring and general arrangement. His outset was not so very flattering; for it is said that he had the mortification of seeing the works of Tilborgh, who was his pupil, and others preferred to his ; it was not until he was patronized by the Archduke Leo- pold William that he became distinguished. With regard to his imitations of Italian masters, or what is termed Pasticci, there is now very httle danger of passing them but for what they are ; some are very clever, and the best resemble Paul Veronese, or the Bassans, in little. His attempts at Rubens are failures ; the monkey is always discoverable. The number of authentic pictures by him, of which there are records, may be fairly reckoned at one thousand, and of spurious at least five hundred more. Smith's " Catalogue raisonne of the Works of the Dutch and Flemish Masters," (volume the third, and Supplement,) contains descriptions of 900, all of which may be considered as genuine. Add to these about one hundred in the galleries at Schleissheim and Munich, sixty-five mentioned by Cumberland as being in the royal collection at Ma- drid, and nineteen' spoken of by Descamps, and we have a total of 1089, irom which a few errors and repetitions vjnay be excepted. Perhaps there are many more in existence of which there is yet no writ- ten account ; if so, the enormous value his pictures now bear will be sure to bring them to light. Some of his pictures are of large dimensions ; one at Schleissheim is 13 feet 6 inches by 10 feet, and con- tains 1138 figures, those in the foreground being about 12 inches high; others also abound with figures, such as the Pair at Ghent, N°. 103 of Sup- plement, 340; a Village Fete, N°. 104, 93; N°. 137 of vol. iii., another Village Festival, contains 150; and numerous others might be quoted. Many of his pictures have been sold in public sales at sums varying from 300 to 1500 guineas, and some in royal and public collections have been estimated at 2000 and upwards. It is certain that he etched, but so did his father ; the difliculty is in distin- guishing their several works in this way, and, as far as regards the merits of the etchings, it is of no importance. A French engraver, G. de Vivier, etched some imitations, after pictures by T«niers, and marked them with the monogram used by that artist, though he has, in other instances, attributed the subjects to Anton, van Heuvel, a scholar of Gaspar De Grayer; others are the acknowledged work of Coryn Boel. They who are curious in the matter may see a- collection in. the British Museum. The best authorities concur in placing his death in 1690, at the age of 80.] TENIERS, Abraham, was the younger brother of the foregoing artist, born at Antwerp about the year 1618, and was instructed in the art both by his father and brother. He painted Flemish festivals in the style of David Teniers the younger, and though his pictures are very inferior both in the colouring and execution, from the similarity of the subjects, they are sometimes mistaken by the inex- perienced for the productions of his brother. TEOSCOPOLI. See Greohe. TERASSON, H. This artist is mentioned by 788 Mr. Strutt as, the engraver of some plates of insects, executed in a neat, but stiff style.. [He resided in London, and is supposed to have been a native of England, but there are no particulars of him.] [TERBRUGGEN. See Verbhuggen.] TERBURG, Gerard. This painter was born at ZwoU, in the province of Over-Yssell, in 1608. He was the son of an artist, of whom little more is known than that he had studied at Rome, by whom he was taught the rudiments of design. Without the help of any other instruction, he had acquired some reputation, by painting small portraits, when he formed the project of travelling through Germany to Italy. From the subjects which he painted, and the mode of finishing he had adopted, it was not very probable that the beauties of Rome would have much influence on his style ; nor does it appear tljat they had sufiicieht attraction to detain him long in Italy, as we find him soon afterwards at Paris, where the polished neatness of his finishing, and the pleasing subjects he painted, were so much ad- mired, that he was induced to reside in that city for some time. On his return to Holland, the encou- ragement he met with was not less flattering, and he was considered the most popular and the most em- ployed artist of his time. He attended the congress assembled at Munster, in 1648, for the negotiation for the treaty of peace, and on that occasion painted his celebrated pictuTe, representing the portraits of the plenipotentiaries, and principal personages as- sembled on that occasion, which is regarded as his masterpiece. Of this interesting production we have an admirable print by Suydernoef. He was invited by Count Pigorando, the Spanish ambassa- dor at the congress, to visit Madrid, where he was very favourably received, and was much employed by the court and the principal nobility. The king con- ferred on him the order of knighthood, and rewarded him munificently for the pictures he had painted. He returned to Holland, and settled at Deventer, where he died, in 1681. The pictures of Terburg generally represent con- versations, musical parties, ladies at their toilet, and similar domestic subjects. He also excelled in smallportr^iits. Though his works are well colour- ed, and finished with care, his design is neither ele- gant nor correct, and his pencil has nothing of the taste and dexterity so much admired in the pictures of Metzu. His chief excellence lies in the finishing of his draperies and other accessories, particularly white satin, which he painted inimitably, a;nd which he generally introduced into all his pictures. [The known pictures by Terbiwg, omitting por- traits, amount to^ about one hundred; and these for their deUcate finishing, particularly in the white satin dresses of the. ladies, are highly valued. The Music Lesson, now in the collection of Sir Robert Peel, sold in 1767 for £1 12, and in 1826 was bought by Sir Robert at' 920 guineas. Another, called The Letter, or Female Curiosity, was sold in 1762 for £144, and in 1837 for £640. The Congress of Munster in 1648, a picture only 17 inches by 22, obtained £640 in 1804, but in 1837 it was sold for £1890. All that are found in public or royal col- lections are estimated enormously. For the fullest account of the master and his works, the inquirer should consult Smith's " Catalogue raisonne," vol. iv. and Supplement.] TERENZI, Terenzio da Urbino, called II RoNDOLiNO. This painter was a native of Urbino, and flourished about the year 1600. He was a scholar of Frederigo Baroccio, and, according to terl] PAINTERS AND ENGRAVERS. [terw Baglione, visited Rome, where he was favoured with the protection of Cardinal Montalto. He is said to have possessed an extraordinary talent of imitating the works of the old masters, to which he gave an appearance of antiquity, which deceived some of the most experienced judges. Having practised one of these deceptions on his benefactor, imposing on him a picture, painted by himself, for a work of Raffaelle, tie was discarded by his patron with dis- grace and contumely. There is a picture of his own composition in the church of S. Silvestro, at Rome, representing the Virgin and Infant Christ, with several Saints. He died in 1620. [According to Zani, Terenzi, or Terenzio, called U Exmdolino, and Terenzio ers presented their designs, Tintoretto produced his finished picture, to the surprise of all present. His astonished competitors rendered justice to so extra- ordinary an exertion, and denominated him, II fur rioso Tintoretto, unfulmine di Pennelh. The impetuosity of his genius, and the extraor- dinary promptness of his hand, together with an ardent desire of embracing every opportunity of dis- tinguishing himself, induced him to paint several large works for the convents "and monasteries at Venice, for httle more than the expense of the can- vass and colours. It is not to be wondered at, that the effect of this unusual readiness and despatch was the frequent production of works unworthy of his more attentive exertions ; and it was this ine- quahty in his performances which occasioned An- nibale Caracci, in one of his letters to Lodovico, to tint] PAINTERS AND ENGRAVERS. [tint remark, that II Tintoretto was sometimes equal to Tiziano, and was often inferior to himself. Of the merit of his principal works, he appears to have been himself fully sensible, as he particularly dis- tinguished three of them, by signing them with his name. These are, his admired picture of the Cruci- fixion, painted for the Scuola di S. Rocco, at Venice, of which we have a fine engraving by Agostino Caracci, the Marriage at Cana in Galilee, painted for the Refectory of the Crociferi, and now in the Sa- cristy of S. Maria della Salute, of which there is a Erint by his disciple Odoardo Fialetti ; and his cele- rated picture called II Servo, representing the Miracle of the Venetian Slave, who having been condemned to martyrdom by the Turks, invoked the protection of St. Mark, who appearing to suc- cour him, the instruments of the executioners are broken, and the crowd of his persecutors is dispersed j it was formerly in the Scuola di S. Marco, and is now in the gallery of the Louvre. This extraordi- nary picture is regarded as his master-piece. The composition is grand and' judicious, the design is strictly correct, and the forms select and dignified. The efiect of the chiaro-scuro is striking and im- pressive, and the coloming is not inferior to the finest works of Titian, either in purity or power. Next in merit to these may be ranked his pictures of the Assumption, in the church of the Crociferi; and the Resurrection, in the, Scuola di S. Rocco. Many other estimable works of Robusti, in the pub- lic edifices at Venice, are particularly mentioned by Zanetti in his Pittura Veneziana. On his inferior performances, the produce of an unbridled imagina- tion and an ungovernable impetuosity, which, it must be confessed, form the majority of his works, it will be less necessaiy and less agreeable to dwell. " Of all the extraordinary persons," says Vasari, " that have practised the art of painting, for wild, ca- pricious, extravagant, and fantastical inventions, for furious impetuosity and boldness in the execution of his works, there is none like Tintoretto ; his strange whimsies are even beyond extravagance, and his works seem to be produced rather by chance than in consequence of any previous design ; as if he wanted to convince the world that the art was a trifle, and of the most easy attainment." The en- thusiasm of his genius, and the energy of his pencil, are indeed beyond all conception : and though, in the torrent of his executive powers, h'e frequently breaks through all the bounds of reason and pro- priety, and outrages every rule of character and cos- tume ; such is the seductive charm of his colour, and the fascinating magic of his chiaro-scuro, that we can- not refuse him the tribute of our admiration. A just idea of the strength and extent of his faculties can only be formed by contemplating them in the im- mense works he has left in the public edifices at Venice. What is to be seen of him elsewhere, af- fords only an exhibition of his infirmities. This eminent painter, like the greater part of the artists of his country, excelled in portraits; but in these will be found the same inequality that is seen in his historical works. He died at Venice in 1594. We have only one etching by this painter, representing The Portrait of the Doge Pacale Ciconia. [It is not correct to say Tintoretto was a disciple of Titian, and had the advantge of studying under him for some time. According to Ridolfi, he was with him only ten. days, when Titian, seeing some very spirited drawings in his studio, inquired who made them, .and on being informed that they were by Tintoretto, ordered one of his scholars to conduct 3 P the boy home. The story is a strange one, and it may be supposed that there was something more belonging to it than is related. Clever students are too apt to commence by criticising their instructors. The Miracle Of St. Mark, which was taken by the French, has been restored to Venice, and is now in the Academy there. This picture, on its first ap- pearance, was received with unbounded applause ; it even extorted the approbation of Aretine, the friend of Titian, and vilifier of almost every one else, who wrote to Tintoretto in'its commendation, and judiciously added, " happy would you be,' if, instead of being so expeditious, you could prevail on yourself to be a little more patient." The late Mr. Phillips, in his excellent Lectures on Painting, draws the following character of Tintoretto and his works : " All his pictures manifest an imagination of the brightest quaUty, accompanied with vast knowledge of the human figure, and of drapery, at the command of an energetic hand, capable of im- pressing it on the canvass at a stroke ; sometimes most happily exerted, at others with the extreme of folly and absurdity ; most frequently the latter. The churches and halls of the different communities of Venice are overloaded with the productions of his fertile pencil. In that of St. Roch alone there are sixty pictures by him of sacred subjects, which exhibit a combination of extraordinary power, and weakness in the control of it ; or rather an abandon- ment of the attempt, such as sets all criticism at de- fiance. The freedom of his execution, and the beauty of his tones of colour, are worthy of being added to the grandeur of design of M. Angelo. In- deed, his own style of design is more masterly than Titian's ; free and large, with fine form acquired by study from the best antique figures." Some of his pictures are of enormous size. The Crucifixion is forty feet in length ; and there are two. The Wor- ship of the Golden Calf, and The Last Judgment, each about sixty feet high. These are filled with figures drawn in grand style, and painted with powerful colour and execution. No one knew bet- ter how to employ composition to the purpose of filling a portion of space, and that with beautiful forms ; in this respect he is paramount in the Ve- netian school. It should always be borne in mind, that Tintoretto is equally great in landscape and portraiture. There are many of his productions in both departments in England; but the absurd pro- pensity of attributing every thing that is excellent to the most celebrated name of a school, has de- prived him of the reputation to which he is entitled, and kept the public in ignorance of his merits ; the name of Titian, in most collectipns, does homage to the talents of Tintoretto. Mr. Samuel Rogers pos- sesses the study for the celebrated picture of The Miracleof St. Mark.] TINTORETTO, Marietta Robusti, called. This lady, the daughter of Giacomo Robusti, was born at Venice in 1560. She was instructed in the art by her father, and devoted herself to portrait painting, as the most suited to her sex, in which she acquired considerable reputation. She painted many of the principal personages at Venice, but her ce- lebrity was not confined to her native country. She was invited to the court of the Emperor Maximilian, and that of King Philip II. of Spain; but her fa- ther's affectionate attachment to her could not be prevailed on to consent to a separation from her. She died in the prime of life, in 1590. TINTORETTO, Domenico Robusti, called. This artist, the son and disciple of Giacomo tlobus- 801 tisc] A DICTIONARY OF [titi ti, was born at Venice in 1562. He followed the traces of his father, but, as Ascanius followed those of ^neas, non passibus esquis. There is a great simi- larity in the airs of the heads, in the colouring, and in the harmony of the effect ; but his works are greatly inferior to those of his father in invention, in the spirit of his pencil, and in the vigour of his coloming. His principal woiks are in the Sala di Consiglio, and in the Scuola di S. Marco, at Ve- nice ; in some of which he is said to have been much assisted by his father. He was more success- ful in portraits than in historical painting, and painted many of the principal personages of his time. He died in 1637. TISCHfeEIN, John Henry, the elder. This artist was born at Hayna, near Hesse-Cassell, in 1722. He received his first instmction in the art from an obscure painter of his own country, named Fries ; but he afterwards studied at Paris, under Carl Vanloo. After passing some time under that master he went to Venice, where he frequented the school of Gio. Batista Piazzetta. He painted his- tory with some reputation, and was appointed paint- er to the Landgi'ave of Hesse-Cassell. He etch- ed several plates from his own designs, among which are the following : Venus and Cupid. Cupid stung by a Bee complaining to Venus. Nymphs Bathing. Hercules and Omphale. Menelaus and Paris. Thetis and Auhilles. The Resurrection ; after the picture he painted for the church of St. Michael, at Hamburg. [He died in 1789.] TISCHBEIN, John Henry, the younger, was the son of the preceding artist, born at Hayna in 1751, and was taught the rudiments of design by his father. His genius led him to landscape paint- ing, though he occasionally practised portraiture. The picturesque views of Switzerland were the fa- vourite subjects of his pictures. He engraved se- veral plates both with the point and in aquatinta, among which are the following : Acis and Galatea ; after Moore. Bacchus and Ariadne ; after the same, A Stag-hunt; after Ruthard. A Landscape, with Cattle ; after P. Potter. A Mountainous Landscape; after Rembrandt. A Landscape, with Animals ; after J. H. Roos. [TISCHBEIN, Henry William, was the second son of John Henry, the elder. He distinguished himself as a painter of mythological, historical, and pastoral subjects, and also in animal paintjng. A number of his pictures are said to be in the ducal residence at Holdenburg ; his countrymen speak of them with enthusiasm. But the work by which he is best known to foreigners, consists of the admirable designs, which he also engraved in outline, of the collection of ancient Greek vases belonging to Sir WilUam Hamilton, in which not only the forms but the poetic siibjects are executed with the greatest exactitude, and in the pure taste of the originals. This work was published at Naples in 1791, in three volumes folio, under the title of " The Hamilton Vases." Tischbeinwas at the time director of the Academy of Painting in that city. Notwithstanding his devotion to the classical subjects of antiquity, he was careful to represent those of more modern date in their true characters, and to depict them in vigorous colouring. It is supposed that he died about 1829.] 802 TISCHLER, Anthony, a German engraver, who flourished about the year 1750. He engraved part of the plates for the collection of prints from the pictures of the cabinet of Count Bruhl. [He was living in 1774.] TISI. See Garofalo. TITI, Santo di. This painter was born at Cit- ta S. Sepolcro, in the Florentine state, in 1538, and was first a disciple of Agnolo Bronzino, but, accord- ing to Baldinucci, he afterwards became a scholar of Baccio BandineUi. But his principal improve- ment was derived from his studies at Rome, during a long residence in that city, where he designed with great assiduity from the antique, and after the works of the best masters. He returned to Florence a correct and graceful designer, and distinguished himself as the ablest painter of his time among his countrymen, except in his colouring, which is occa- sionally languid, with somewhat of a want of relief. He excelled in architecture and perspective, with which he successfully embelhshed his pictures, and gave to his compositions both dignity and variety. Among his most esteemed works are, his picture of Christ with the Disciples at Emmaus, in the church of S. Croce, at Florence; and the Resurrection of Lazarus, in the cathedral of Volterra. There are also several of his works in the private collections in Florence, of which one of the most celebrated is the Baptism of Christ by St. John, in the Corsini palace. It is an elegant and graceful composition, correctly designed, with a more vigorous colouring than is usuaRy found in his works. He died at Florence in 1603. TITI, TiBERio, was the son of the artist men- tioned in the preceding article, born at Florence in 1578, and was instructed in design by his father. He did not, however, follow the same style, but de- voted himself to portrait painting, which he prac- tised with success. He also excelled in drawing small portraits with lead, in which he was much employed by Cardinal Leopold de Medici ; and a considerable collection of heads, designed by him for that prince, are carefully preserved in the Flo- rentine Gallery. He died in 1637. [Zani calls him Valerio, and says he was born in 1573, and died in 1627.] TITIAN, TiziANO Vecelli, da Cadore, called. This distinguished painter, the great founder of the true principles of colouring, was of a noble family of Friuli, born at the castle of Cadore, according to Ridolfi, in 1477. Having shown an early inchna- tion for the art, he was sent, when he was ten years of age, to Venice, and placed under the protection of his uncle. He is said, by Lanzi, to have received his first instruction in the art from Sebaatiano Zuc- cati, and was afterwards successively the disciple of Gentile and Giovanni BelHni. Under these masters he followed a servile and laboured imitation of na- ture ; and it was not until he had seen the works of Giorgione that he quitted the tame and spiritless style which characterized the works of his first in- structors, and adopted a bolder outline, greater free- dom of hand, and a broader effect of lipit and sha- dow. When he was eighteen years of age he painted a portrait of the head of the noble family of Barba- rigo, which excited universal admiration, and soon afterwards was employed, in conjunction with Gior- gione, to paint the two fronts of the Fondaco de Tedeschi ; and his portion of the undertaking hav- ing been preferred to that of his competitor," served to establish more firmly his growing reputation. On the death of Giorgione, in 1511, he succeeded him TlTl] . PAINTERS AND ENGRAVERS. [titi in several iinportant commissions, in which he was employed. He was soon afterwards invited to the court of Alfonso, Duke of Ferrara, for whom he painted his celebrated picture of Bacchus and Ari- adne, and two other fabulous subjects, in which he still retained somewhat of the style of Giorgione. It was at the court of Alfonso that he became ac- quainted with Ariosto, whose portrait he painted, and was celebrated by the poet in his Orlando Fu- rio§o. In 1523, the senate employed him to ornament the Sala del Gran Consiglio, where he painted, among other considerable works, the famous Battle of Cadore, between the Venetians and Imperialists. This grand performance was destroyed by fire, but its composition has been preserved to us by the print engraved from it by Fontana. He soon after- wards painted his celebrated picture of S. Pietro Martire, for the church of S. S. Giovanni e Paolo, at Venice, which is generally regarded as his chef d'ceuvre in historic painting. Notwithstanding the importance of these works, the remuneration he re- ceived for them was not sufficient to place him in easy circumstances, and he was even in a situation bordering on indigence, when the praises bestowed on his works, in the writings of his friend Pietro Aretino, recommended him to the notice of Charles V. ; and when that monarch visited Bologna in 1530, to be crowned by Pope Clement VII., he was invited thither to paint the portrait of the Emperor, and those of his principal attendants, for which he was liberally rewarded, and commissioned to paint several pictures for his new patron. On the depart- ure of Charles V. from Bologna, Titian returned to Venice, where he found II Pordenone in possession of a considerable portion of the public favour. The superiority of his talents, however, triumphed over those of his respectable competitor, and he was ex- tensively employed for the churches and public edi- fices. It was about this time that he was invited to the court of Federigo Gonzaga, Duke of Mantua, whose portrait he painted, and a series of the twelve Coesars, for a saloon in the palace, beneath wMch Giulio Romano afterwards painted a subject from each of their histories. In 1543 Pope Paul III. visited Ferrara, where Titian painted his portrait, and was invited by that pontifTto Rome ; but having formed an engagement with Francesco della Rovere, Duke of Urbino, he was under the necessity of declining the invitation. Having accompUshed his undertaking at Urbino, he was again invited to visit Rome by the Cardinal Farnese, and arrived in that city in 1548, where he was received in the most distinguished manner. He was lodged in the palace of the Belvidere, and paint- ed, for the second time, the portrait of the Pope, whom he represented sitting between the Cardinal Farnese and Prince Ottavio. It was about this time that Michael Angelo Buonaroti is said to have paid him a visit, whilst he was painting his famous picture of Danae, and, after expressing his admira- tion of the beauty of the colouring, lamented that the Venetian painters paid so little attention to de- sign. The Pope, to retain him at Rome, is said to have ofiered him the lucrative office of Fratel del Piombo, vacant by the death of Fra Sebastiano del Piombo, but he declined accepting the appointment, from conscientious motives. Titian had no sooner returned to Venice from Rome, than he received so pressing an invitation from his* first protector, Charles .V., to visit the court of Spain, that he could no longer refuse it, and he 3 F 2 arrived at Madrid in the commencement of the year 1550. During a residence of three years in Spain,, he painted many admirable pictures, for which he was richly rewarded. He was appointed a gentle- man of the chamber to the Emperor, who conferred on him the order of Sajint lago, and constituted him a Count Palatine of the empire. Charles did not only grace this eminent artist with the splendid titles and ornaments above mentioned, he bestowed on him more solid marks of his favour, appointing him rents in Naples and Milan, of two hundred ducats annually each, besides a munificent compens- ation for every picture he painted. Titian had quitted Spain before Philip took pos- session of the throne ; the arts, however, had rapid- ly advanced. As soon as Philip had finished build- ing the Escurial, he conceived the idea of enriching it with every thing suitable to the magnificence of its scale, and he cast his eye towards his father's favourite painter, Tiziano, then returned to his na- tive country. Whether he solicited him to return to Spain does not appear, but it is certain that he employed him in many commissions. , The pictures which Titian painted in Spain, and those he sent thither, form, of themselves, a large and magnificent collection. The catalogue of the Escurial, and of the palaces at Madrid, give but a very imperfect idea of the works of Titian in Spain. Many, and some of those the finest, of his productions, have been with- drawn from public view by the scruples of bigotry, among which is the inimitable picture of the sleep- ing Venus, which was made a present by Philip IV. to King Charles I. when Prince of Wales, on his visiting Spain, and which, after the death of that unhappy monarch, was purchased by the Spanish ambassador then resident in England. This ad- mirable picture was one of the few works of art which escaped the conflagration of the palace of the Pardo, and it is reported by Palomino, that when the dreadful accident was reported to the king, he earnestly demanded if the Titian Venus had escaped the flames ; on being assured that it was safe, he calmly replied, " then every other loss may be sup- ported." In 1553 Titian returned to Venice, and was soon afterwards invited to Inspruck, where he painted the portraits of Ferdinand, king of the Romans, his queen, and family, in one picture, which is said to have been one of his finest productions. The talents of this eminent painter were permitted a career of unusual longevity, and he continued the exercise of his art until the year 1576, having lived within one year of a century, when he died of the plague. To? wards the close of so long a life, it may be reason- ably imagined that his works exhibited the infirmi- ties of senility, and that his last works were little more than the prattle of old age, but, as it has been justly observed, it was the prattle of Nestor. From the foundation of the Venetian school, a mode of proceeding was adopted, which, though well calculated to give the painter a greater prompt- ness of execution, a more commanding dexterity of hand, and a more chaste and lively colouring than is to be found in the artists of the Roman or Flo- rentine schools ; was also the means of introducing a want of correctness in their design, and a neglect of purity in their forms. Their method was, to paint every thing without the preparation of a draw- ing, whereas the Roman and Florentine painters never introduced a figure of which they had not studied and prepared a model or cartoon. Follow- ing the system of his countrymen, Titian painted TlTl] A DICTIONARY OP [TITl immediately from nature, and possessed of a correct . eye, tuned to the harmony of effect, he acquired a style of coloming perfectly conformable to truth. Satisfied with this identity of imitation, he was little sensible of the select beauty of form, or the adaptation of that characteristic expression, so es- sential to the higher order of historic painting. In his works of that description, if we look for the fidelity of the historian, he will be found, like the other artists of his country, little scrupulous in point of accuracy. He neither presents us with the pre- cise locality of the scene, the strict propriety of the costume, nor the accessories best suited to the de- velopment of the subject ; attributes so estimable in the works of those painters who consulted the best models of antiquity. " Raffaelle and Titian," says Sir Joshua Rey- nolds, " seem to have looked at nature for different purposes ; they both had the power of extending their view to the whole ; but one looked for the general effect produced by form, the other as pro- duced by colour. We cannot refuse to Titian the merit of attending to the general form of his object, as well as colour, but his deficiency lay, a deficiency at least when he is compared with Raffaelle, in not possessing the power, like him, of coiTecting the form of his model, by any general idea of beauty in his own mind." As Titian contented himself with a faithful re- presentation of nature, his forms were fine when he found them such in his model. If, like Raffaelle, he had been inspired with the genuine love of the beautiful, it might have led him to have courted it in selected nature, and in her more attractive charms to be found in the polished graces of the antique ; the purity of his design, thus united with the enchanting magic of his colouring, would have stamped him the most accomplished painter that the art has produced. But, although Titian cannot with propriety be placed among those artists who have distinguished themselves by the excellence of their choice, and the purity of their sentiment, he is not altogether wanting either in grandeur or dig- nity. Like Michael Angelo, he occasionally ex- aggerated or aggrandized his design, but it was rather to render nature more tender and fleshy, than, like Buonaroti, to render it more vigorous and muscular. A genial feeling for colour, rather than a correct principle of composition, induced him to make prominent the most beautiful parts of his figures, as affording the best masses and the boldest relief. His female figures and children are prefer- able to those of his men, and he has given thenj an air of naivete and ease, which, though not absoliltely grace, is nearly allied to it, and it is generally sup- posed that both N. Poussin and the sculptor [Fran- cis Quesnoy, called Il'\ Fiammingo, who excelled in the design of infantile beauty, formed their idea of it by contemplating the works of Titian. As a colourist, Titian holds an unrivalled domi- nion over every competitor. No painter has viewed nature with so chaste an eye, and to none were the tender blandishments of her tinting more confiden- tially communicated. In his pictures, the tones are so subtilely melted, as to leave no intimation of the colours which were on his palette; and it is perhaps in that respect that his system of colouring differs so materially from that of Rubens, who was accustomed to place his colours one near the other, with a slight blending of the tints. He had observed that in nature every object offered a particular sur- face or character, transparent, opaque, rude, or pol- ished, and that all these objects differed in the strength of their tints and the depth of their sha- dows. It was in this diversity that he found the feneraUty and perfection of his art. Hence, as lengs remarks, in imitating nature he took the prevalent for the whole, and represented his fleshy tones, chiefly composed of demitints, totally by de- mitints, and divested of demitints those passages in which few were discernible in nature. By these means he arrived at an undescribable perfection of colouring, which approaches to illusion. In invention and composition, he confined him- self to a representation of what appeared to him to be naturally necessary to the subject ; and this strict adherence to individuality prompted him to introduce into -his historical pictures, instead of ideal characters analogous to the subject, heads de- signed from life, with a precision which gave to the most interesting subjects of history the formahty of portraiture. That he was capable of occasionally venturing beyond this boundary, he has given proof in his fine picture of S. Pietro Martire, in which his admirer Algarotti asserts, that the most fastidious critic " cannot find the shadow of a de- fect." The composition of this celebrated picture is admirable, and, though composed of very few figures, they are spiritedly designed, full of action, and marked with a grandeur seldom found in the works of this artist. As a painter of portraits, Titian is indisputably entitled to the highest rank. To the nobleness and simplicity of character which he always gave them, he added what Sir Joshua Reynolds calls " a sort of senatorial dignity," a natural and unaffected air, which distinguishes his personages from those of every other artist, and to his transcendent excel- lence in this branch he is indebted for a great por- tion of his fame. To the celebrity of Titian as a painter of history and portraits, is to be added his excellence in land- scape painting. Whether it is predominant, or in- troduced as an accessory, it is always treated by him in the grandest and most picturesque style. Such is the admirable back-ground of his famous picture of S. Pietro Martire, than which it would be difficult to find, in the whole range of art, a more sublime and impressive accompaniment, so artfully con- ducive to the terrific effect of the subject. This great artist is said to have engraved both on copper and on wood. The copper-plates attributed to him are several large landscapes, from his own designs, which are etched in a slight, but masterly style, among which is one with a shepherd leading his flock to a brook and playing on his pipe. Of his wooden cuts the following are considered the most authentic : The Marriage of St. Catherine ; inscribed, Titiamis Ve- cellius Inventor lineavit. Samson and Delilah ; no mark. The Triumph of Faith, represented by a procession of Patriarchs, Evangelists, Saints, Martyrs, &c., a long frieze of eight or ten prints ; dated 1506. [Titian painted four pictures, called The Tri- umphs, which were in England about eighteen years ago, and in the care of the editor. As a pur- chaser could not be found for them at the time col- lectively, they were sold by auction, and went into different hands. Since then they have been sought for on account, it is said, of the king of Holland, with very liberal offers for their recovery, and are probably again assembled together. Of these, writ- ers have noticed only The Triumph of Faith, and TITl] PAINTERS AND ENGRAVERS. [titi that from the wood-cuts with the date 1505, quoted in the text. The four pictures bear so strong a re- semblance to each other in invention, composition, and execution, that they must have emanated from the same mind, and have been the work of the same hand, whether they preceded or followed the wood- cuts. Though superior in invention, they have not the masterly handling, and rich glow of colouring, that distinguish Titian's works of a later period. They may all have been painted before he was thirty ; he was twenty-eight when the wood-prints of The Triumph of Faith were pubhshed. It is like- ly that he took the idea from the Triumphs of Pe- trarch. These four pictures were engi'aved about eighty years ago by Silvestro Pomarede, and were supposed to be the work of Bonifazio ; but Bonifa^ zio was born in 1491, and it is not probable that such subjects could be treated as these are by a youth of fourteen or sixteen years of age. The fol- lowing are descriptions of the subjects, written by the editor, with the pictures before him : The Triumph of Time. — A winged figure, as an emblem of Time, is seated on a car drawn by deer, emblems of fleetness, and is measuring with compasses a sphere, on which is inscribed the signs of the zodiac, indicating that time ex- ists only by the motion of the heavenly bodies. The accompanying figures denote the differenl stages of human life : Infancy, Adolescence, Maturity, and decrepit Old Age, with their se- veral occupations, are conspicuous. An East- ern monarch is in advance of the car ; probably this figure is meant for Solomon, and to show that iCnowledge and Wisdom anticipate Time's career, and look forward to something beyond his reach. Another figure in European cos- tume, and bearing a sceptre, is looking back, as angry at the slow approach of Time. This may mean Ambition, that ever thinks Time too slow for his projects. Two grave senatorial characters are conversing by the side of the car, and keeping pace with its movements, to show that experienced statesmen walk with the times. An old man, in the last stage of life, is support- ing himself with crutches, while two infant boys are employed, the one in endeavouring to remove his props, and the other in pushing him forward, to make way for himself. The other figures are of equal significancy, and may be easily interpreted. The Triumph of Fame. — An allegorical figure of Fame, seated on a car, is blowing a trumpet, proclaiming the deeds of a dying warrior, who is recumbent below her, resting on an emblem of death. One foot of the goddess is placed on the warrior's head, and near to it the book of history lies open, to show that his memory will survive his death. The car is drawn by lions, intimating that strength and generous courage are conductors to fame. Bellona, looking for- ward, is advancing with a standard, followed by Minerva, who is regarding Fame, to show that, in order to acquire valuable renown, Wis- dom should accompany War. The Muses are in attendance, as the proper handmaids of Fame, with an additional female figure, as Painting, or Sculpture, with a Torso at her feet, to show that through their means the brave and worthy obtain inmiortaUty. A warrior, pro- bably Pericles, a legislator, and several philo- sophers, follow the car ; the two first in advance of the rest ; as warriors, lawgivers, and patrons of the fine arts, are the first to have their fame promulgated. In the back-ground are seen two Roman consuls on horseback, followed by their army, and a king prostrate before them, im- ploring their clemency ; and more distant, two armies engaged. These are placed in the dis- tance, to show that war for ambitious purposes has but a secondary claim to the honours of Fame ; and the true objects are those who have benefited mankind by good laws, precepts of wisdom, or dying in defence of liberty and their country, as is shown in the characters of Peri- cles, Solon, the several philosophers, and the dying figure, which perhaps personates Leoni- das, or Epaminondas. The Triumph of Death. — Before Death, on a car, are seated the Fates, Atropos, Lachesis, and Cb- tho, to show that the work of the first depends on destiny. The car is di-awn by strong oxen, of the Buflalo kind, implying that though slow in his advances. Death is not to be retarded by obsta- cles, as these animals will not stop at any oppo- sition that is within their strength to master. The weight of the car is crushing the bodies of persons of all ages. A pope with his tiara, se- veral warriors, and other figures, are strewed around in promiscuous heaps, to show that Death makes no exceptions, and levels all dis- tinctions. Pyramus is dying, and Thisbe im- molating herself on his body, out of the regular course of the car, indicating that suicides anti- cipate their natural end ; the same is represent- ed by the bodies of Antony and Cleopatra on the right. The flag of Antony, with its staflF broken, placed against the stump of a decayed tree, shows that illicit love brings loss of hon- our as well as loss of life. In the back-ground are two figures flying from the approach of the car, and two others following and imploring Death to take them ; a storm is raging at sea, and a vessel foundering. The Triumph of Faith, or of the Christian Religion. — The Saviour is seated on a globe, placed on a triumphal car, which is drawn by the sym- bols of the four Evangelists, assisted by the ef- forts of the doctors of the church, as interpret- ers of the Gospel. Their persons and rank are denoted by the tiara, scarlet hat, and mitre ; and they are intended to personate Pope Gre- gory, St. Jerome, and St. Augustine. The at- tendant group represents the contributors to the Triumph, in the persons of the patriarchs, prophets, apostles, martyrs, and confessors. As the foundation of Christianity is laid in faith, Abraham, " the father of the faithful," takes precedence ; Noah, the accepted of God, stands next; David, from whom Christ pro- ceeded in the flesh, and the first to prophesy concerning him, follows ; and near to him, bearing a cross, is the penitent thief, as the proto-confessor. Behind these are other figures, probably designating the prophets; the one with uplifted eyes represents Job as saying, " I know that my Redeemer liveth," and Jie is placed in the back-ground, as being somewhat apocryphal. Next to the thief stands one of the sibyls, in whose writings a prophecy of Christ's coming is said to have been found, and other females, as the earliest believers in his doctrines and Divinity. John the Baptist, bearing his emblem as the herald of Christ. 805 TITl] A DICTIONARY OF [toba is next ; Peter and Andrew, the first called disciples, supporting the Virgin Mary, follow ; the proto-martyrs, Stephen and Lawrence, 'Close the group. A figure in shadow, probably intended for St. Paul, as being first a perse- cutor, afterwards called, stands behind them. In front of the picture, before St. Jerome, are two children ; the one blowing a trumpet, as pro- claiming the joyful news of the Gospel ; the other holding a sword and a branch, to denote that martyrdom was necessary to its final tri- umph. Between Jerome and Augustine are four children ; one bearing a basket of fruit on his head, another sounding a trumpet, and two embracing ; these represent the fruits of Chris- tianity, glory to God,a,nd brotherly love and af- fection towards milnkind. A dog is introduced as the symbol of watchfulness and obedience. As auxiliary to the allegory, the artist has repre- sented in the back-ground, to the left, the mira- cle of St. Christopher, as admitted by his creed, and a procession of martyrs and confessors passing through difiicult mountains to swell the triumph ; and on the right our first parents, emblems of natural religion ; Moses and Aaron, as promulgators of the written law ; and two other figures, one armed and bearing a flag, and the other a palm branch, denoting Chris- tian warfare and victory, and the final triumph of the Christian dispensation; these last are seen ascending in a cloud to the presence of the Ancient of Days. It is not shown satisfactorily that Titian ever visited Spain, though asserted by Palomino, and even by so accurate a writer as Cean Bermudez. Palomino is evidently wrong, according to his dates and the circumstances he mentions. He says that Titian resided there from 1548 to 1553, and grounds this assertion on the date of his patent, as Count Palatine, which he says was signed by the Emperor at Barcelona in the latter year; in that year the Emperor was confined by the gout at Brussels. Ber- mudez gives the proper date of the patent, 1535, when the Emperor was at Barcelona, preparing for his expedition against Tunis, and says that , Titian passed the two previous years in Spain. He endea- vours to support this by the evidence of the portrait of the Empress Isabella, arguing that it must have been painted in Spain, as she never left that coun- try after her marriage, and before 1538, when she died. But it is well known that many of his por- traits, of great personages were not painted from life ; for instance, that of Solyman the Magnificent, whom Vasari mentions among the subjects of his pencil, but it is not said that he ever visited that monarch ; and that of the Empress he finished at Venice in 1544. The strongest negative evidence is the series of letters written by Aretine to Titian and other friends from 1530 to 1555, which may be said to contain a chronicle of the painter's move- ments, but wherein no mention is made of any journey to Spain, or of his residence there. The works of Titian, to be rightly understood, should be seen at Venice, or in the royal palaces at Madrid, and in the Escurial; many of those attributed to him elsewhere, particularly in England, would in- duce the belief that his merits have been greatly overrated, (which would be rank heresy,) or that the gi'eater part are injured pictures, copies, or produc- tions of inferior painters. Not but some private collections contain good specimens on a small scale ; 806 among the best, perhaps, are those in the Earl of El- lesmere's possession, though not in all their pristine beauty. In the National Gallery are two that are not questioned ; Bacchus and Ariadne, and the Rape of Ganymede. The gallery of the Louvre boasts of about twenty, compositions and portraits. Bartsch has described eight prints attributed to Ti- tian, but is of opinion that he never engraved on wood or copper.] TITIANO, GiROLAMO Dante, called II. Ac- cording to Ridolfi, the family name of this artist was Dante. He was brought up in the school of Titian, and was employed by that master to assist him in several of his works. By frequently paint- ing in conjunction with him, and sometimes copying his works, some of his pictures, retouched by Ti- tian, have been taken for the original productions of that painter. He sometimes painted from his own designs, and his picture in the church of S. Giovanni, at Venice, representing SS. Cosmo e Damiano, is worthy of the school in which he was educated. [TITO, PoMPiLio. According to Professor Christ, this engraver resided at Rome about the year 1685. He has not, however, specified any of his prints, but says that he marked them with the initials P. T. with the date.] TIVOLI, Rosa di. See Roos, [TOBAR, Don Alonso Miguel be, an histori- cal painter, and copier of Murillo, was born at Hi- fuera, near Aracena, in 1678. He went young to eville, and placed himself under a painter of very little ability, of the name Juan Antonio Faxardo ; but he profited more by his own application than by the instruction of his master. He applied him- self to copying the easel pictures of Murillo, and became so great an adept, that many passed, even in his time, as originals. Sometimes he varied the compositions, at others introduced new accessories, which still more aided the deception. In the church of St. Isidora, at Seville, are two pictures, one re- presenting The Good Shepherd, and the other. The young St. John, which are copies, with variations, of the two so well known in England, formerly in the collection of Sir Simon Clarke, but now in those of Baroness Rothschild and the National Gallery. His talent for copying brought hini into great re- pute, and probably obtained for him a rich wife, the widow of Don Pedro Ramoz, and also the oflSce of a familiar of the Inquisition. It is a curious cir- cumstance that so many Spanish painters should have been appointed to that office ; perhaps their profession qualified them for being good spies, who, while painting the personal likeness of their sitters, could look also into their consciences. In 1729 he succeeded Teodoro Ardemans as painter to Philip v., and removed to Madrid. He continued to work at his art with great assiduity, and, in addition to his copying, painted a great number of portraits of distinguished persons, among which that of the Cardinal de Molina is specially mentioned. Of his original compositions, the most deserving of notice are, the picture in the cathedral of Seville, called Our Lady of Consolation, in which the Virgin is represented enthroned, holding the Infant in her lap, and attended by SS. Francisco and Antonio ; The Divine Shepherdess, in the Queen of Spain's gallery, in which the Virgin, in a pastoral dress, is feeding lambs with roses. All writers on Spanish art speak highly of both. Of his copies after Mu- rillo, the most celebrated, as such, is one painted for the church of Santa Maria la Blanca de Sevilla ; TOBi] PAINTERS AND ENGRAVERS. [tomk it represents the Virgin, St. Joseph, Jesus, and St. .Tohn, and always passed for the work of Murillo till the original was discovei'ed in the palace at Ma- drid. It is impossihle to say how many more there are that pass for the works of the great master, and which are called replicas ; seeing that Tobar in his copies gives the same faces and expressions, the same style of colouring and handling in his drape- ries, and pays attention to every peculiarity accord- ed to Murillo. While Tobar loses the praise of faithful duplicity, Murillo gains the doubtful hon- our of being a repeater of his own works. Tobar died at Madrid in 1758.] TOBIN, J. This artist was a native of England, and flourished about the year 1770. He etched several plates of landscapes, from H. Grim. He also executed some tinted plates after Both, Ostade, and other ipasters. TOCQUE, John Louis, a French painter, born at Paris in 1696. He was first a scholar of Nicholas Bertin, and afterwards studied under Hyacinth Rigaud. Tocque devoted himself chiefly to por- trait painting, in which he acquired considerable reputation, and was made a member of the Academy at Paris. He was invited to the court of Peters- burg by the Empress Ehzabeth, where he painted the portrait of that princess, and met with the most flattering encouragement. He died in 1772. TOEPUT, Louis. This painter was born at MechUn in 1550, but, according to Descamps, went into Italy at an early period of his life, where he passed the remainder of his days. He was much esteemed as a landscape painter, and also repre- sented fairs and marketsi, which were well painted and finely coloured. He chiefly resided at Trevigi, in the Venetian state, where he was.Uving in 1604. [He was an eminent and versatile painter. He was called Lodovico di Trevigi, and sometimes signed hispictures Lodovico Pozzo.] TOL, Van. This artist was a copyist and imi- tator of the style of Gerard Dou. Although his works are very inferior to those of the admired painter he followed as his model, some of his pic- tures are very highly wi'ought up, and are well coloured. He painted conversations and family subjects similar to those of Dou. [Dominick van Tol was the nephew and scholar of Gerard Dou, and one of his most successful imi- tators ; that is to say, in copying his uncle's pic- tures. Some of his copies approach so near to the originals that, under his own name, they have ob- tained in public sales prices from £150 to £350 sterUng. His interiors with conversations, in which he is more original, partake of the manner of Brekelenkamp. His pictures are better known than his history. Mention is made of David and Peter van Tol, but there is reason to beUeve they are iden- tical with Dominick. He was living in 1680.] TOLEDO, Juan de, a Spanish painter, born at Lorca, in the kingdom of Murcia, in 1611. He was the son of Miguel de Toledo, an obscure artist, by whom he was instructed in the rudiments of design. According to Palomino, he went to Italy when he was young, and first studied at Naples, under An- niello Falcone. He afterwards went to Rome, where he became the disciple and friend of Michael Angelo Cerquozzi, called delle BattagUe. On his return to Spain he estabUshed himself at Granada, and acquired a distinguished reputation as a painter of battles and sea-pieces. His abilities were not, however, confined to those subjects. He gave proof of considerable talent as a painter of history j and there are several of his works in the churches at Granada, Murcia, Madrid, and Alcal4 de Henares, of which the most creditable to his reputation are, the Assumption of the Virgin, at the Colegio de San Estevan, at Murcia; and the Conception, in the church of las Monjas, at Madrid. He died in 1665. [He served in the army in his youth, and distin- guished himself by his gallantry ; he was made captain of horse, and when he retired from the ser- vice still retained the title " el capitan." His battle- pieces of a small size are numerous and well exe- cuted, both of land and sea fights. He made the design for the battle of Lepanto, painted by Mateo Gilarte. In his religious compositions he was less successful, and laid himself open to some severe sarcasms. There was another painter called also Juan de ?b Wo, who flourished from 1641 to 1645. He painted a number of pictures in the cathedral ; a small one of the Virgin, Christ, and St. John is preserved in the sacristy.] TOLOSANO. See Baron. TOMBE, Nicolas La. This painter was born at Amsterdam in 1616. After learning the rudi- ments of the art in his native city, he travelled to Italy, and resided some years at Rome, where he was chiefly employed in painting small landscapes and architectural subjects, which he decorated with figures in the Italian costume. He sometimes paint- ed views of the vestiges of ancient buildings and monuments, in the vicinity of Rome, with land- scapes in the back-grounds, in which he appears to have imitated the style of Cornelius Poelembnrg. He also occasionally painted small portraits, in which he was much employed after his return from Italy. He died at Amsterdam in 1676. [His land- scapes are enlivened with a great number of small figures, spiritedly painted. He was nicknamed Stopper^e, on account of his inveterate habit of smoking.] [TOMKINS, Peltho William, an English en- f raver in the chalk and dotted manner, was a very istinguished scholar of Bartolozzi. He was born at London in 1760, and died in 1840. Many of his early works were after Angelica Kauffman, and painters of the time, all well executed, and generally improvements on the original designs ; but his most valuable engravings are those executed after the old masters, both Italian and Dutch, for the pub- lications entitled " The British Gallery of Pictures," being selections of some of the finest in possession of the Enghsh nobility and gentry ; and that of the " Stafibrd Gallery." Of these some impressions were taken in colours, and for beauty and dehcacy of tint are equal to highly finished di-awings. He also en- gi-aved the illustrations for a splendid edition of " Thomson's Seasons," after pictures by W. Hamil- ton, and for a poem by Bland Burgess, called " The Birth of Love," or, " The Triumph of Cupid," from designs by the Princess Elizabeth of England. One very rare private plate by him is the portrait of Margaret AncUey, Duchess of Norfolk ; after Lucas de Heere. It is a square three-quarter length ; she is standing, her right hand on a table on which is her name, and the date 1562. The original impressions of this plate are dated 1791. Many small ornamental prints for publications of the day have his name, but are probably by his scholar?, under his direction; they, however, bear the impress of his tasteful superintendence.] TOMKINS, William, an EngUsh landscape painter, born in London about the year 1730. In 1763 he obtained the second premium of twenty- 807 TOMO] A DICTIONARY OF [tore five guineas for a landscape, which was much ad- mired, and was among those who were first elected associates of the Royal Academy. He was em- ployed by the Earl of Fife to paint some views of his Lordship's seat in Scotland, and continued the exercise of his talents with great respectability until his death, in 1792. [He painted numerous land- scapes and views of gentlemen's seats in England ; there are also some copies of Hobbema and other Dutch landscape painters by him. There was a Charles Tomkins, who flourished at the same time, and painted similar" subjects of English views and country seats, among others that of Gorhambury House, in Hertfordshire.] TOMOLIUS, LucA, the name of this engraver is affixed to a small portrait of F. Laelius Contesino, executed with the graver in a coarse style. [This is probably the same as Lucas Toniolus, whose name appeal's to a portrait of Antonius Paulutius.] [TOMS, Peter, a scholar of Hudson, a drapery painter to Sir Joshua Reynolds, was one of the first forty royal academicians, and also held a situation in the Herald's Otfice. In the catalogues of the three first exhibitions at the Royal Academy his name is found, with R. A. annexed, to an Allegory, a Portrait, and The"Burdock and other wild Plants, a specimen of a work intended to be published. He went to Ireland to practise as a portrait painter, but not meeting with encouragement he destroyed himself, in 1776. As his father was an engraver, perhaps he was the son of the artist mentioned in the succeeding article.] TOMS, W. H., an English engraver, who flour- ished about the year 1740. He engraved several views and architectural subjects, some book-plates, and a few portraits. The following are among his prints most worthy of notice : The Portrait of Sir Philip Percival ; after Vandyck. Two Views of Greenwich Hospital ; after Lawranson. Four Views of Gibraltar ; after Maei. A set of eight Views in the Island of Jersey. TOORNVLIET, James, [or Jacob.] This paint- er was bom at Leyden in I64I, and was instructed in the rudiments of design by an obscure artist, who is not mentioned. He for some time applied him- self to portrait painting, and had acquired some reputation in that branch, when, in 1670, he was induced to accompany his friend, Nicholas Rosen- dael, in a journey to Italy. On his arrival at Rome, the works of Raffaelle were the particular objects of his admiration, and he was inspired with the ambi- tion of distinguishing himself as a painter of history. He pursued his object with great assiduity, and be- came a careful and correct designer. To improve himself in the principles of colouring, he visited Venice,, where he resided some time, and studied with attention the works of Titian, Tintoretto, and Paolo Veronese. After an absence of six years he returned to Holland, where he commenced his new career with the most sanguine expectations. These flattering prospects were, however, never accom- plished. His style of design, founded on the taste of the Roman school, was either not intelligible, or not agreeable to his countrymen; and, notwith- standing the respectability of his talents, they were neither admired nor employed. His compositions are ingenious, his design more correct than is usual in the painters of his country, and his colouring clear and natural. He died at Leyden in 1719. [TOPINO-LEBRUN, Jean. Baptiste, born at Marseilles in 1796, and guillotined at Paris in 1801, for conspiring against 4;he life of the first consul, is 808 remembered for his picture of the Death of Caius Gracchus, which was purchased by the government and placed in the Museum at Marseilles. He had been a pupil of David, and imitated him both in politics and painting, but was not equally success- ful in either.] TORBIDO, Francesco, called II Moro. This painter was born at Verona about the year 1500, and was for a short time a scholar of Giorgione, but he afterwards became a disciple of Liberale da Ve- rona. With somewhat of the rich colouring of Giorgione, his works exhibit the correct design and the careful finishing which distinguish the produc- tions of Liberale. His process was extremely slow, which may account for the paucity of his pictures. There are few of his works in the churches ; among those most deserving of notice are some frescoes representing the Life of the Virgin, in the cathedral at Verona, of which that of the Assumption is de- servedly esteemed. There is also an admired pic- ture by him in the church of S. Maria Maggiore at Venice, representing the Transfiguration. His easel pictures are frequently found in the private collec- tions at Verona and Venice. He was much em- ployed in painting portraits, which he finished with extraordinary neatness and precision, and they are said to have possessed the merit of a faithful resem- blance. He died in 1581, aged about 81. [If Fran- cesco Torbido was bom about 1500, or, as Zani states, 1504, it is not likely that he was a scholar of Gior- gione, who died in 1511. All the Italian writers who notice him, however, say that he was so for some time. It is also said that he studied under Stefano da Sevio; now that master flourished from the middle to the latter part of the 15th century. There must be some error, therefore respecting Torbido's birth. Fiissli says he died in 1522, in nis eighty- second year. It is also said that the frescoes in the cathedral of Verona were painted by Torbido from designs by Giulio Romano ; according to the last date Giulio was only 32 when Torbido died,] TORELLI, Cesare. According to Baglione, this painter was a native of Rome, and a disciple of Giovanni de Vecchi. He flourished in the pon- tificate of Sixtus v., and was employed hoth as a painter and a mosaicist in the libi-ary of the Vatican, and in the Scala Santa, in St. John of Lateran. In the church of La Madonna del Orto, he painted, in fresco, two sibyls larger than life, which are con- sidered as his finest works. [He died in 1615.] [TORELLI, Felice, a painter of Verona, was born, according to Zanotti, in 1667, Zani says in 1670, and died in 1748. He was of the school of Giangioseffb dal Sole, but had previously studied the art under Santo Prunato. He was a painter of strong character, fine chiaro-scuro, and or no com- mon merit in oil pictures for altar-pieces. These are to be found at Rome, Turin, Milan, and other cities of Italy. That in the church of the Domini- cans, at Faenza, is one of his best works. It repre- sents St. Vincenzio in the act of exorcising a female, presumed to be possessed, and in which he has finely varied the heads, the draperies, and the atti- tudes. His manner sometimes resembles that of Baroccio. His wife, Liicia, also painted some pic- tures for churches, in which she imitated the style of her husband ; but her chief excellence lay in por- traiture, which obtained admission 'for her own in the Royal Gallery at Florence: she was born in 1678, and died in 1762.] [TORELLI, II Cavaliere Giacomo, a celebrated painter of architecture and theatrical scenery, was tore] PAINTERS AND ENGRAVERS. [tohr born in 1608, and died in 1678. He was the first, it is said, that invented shifting scenes and ma- chinery for dramatic representations, and, for the surprise they occasioned, was named il gran Strcgone, the great magician.] , [TORENBURG, Gerard, born at Amsterdam in 1737, was a scholar of J. Ten Compe, and of C. Pronk. He painted landscapes and views of cities, which equalled in beauty the works of his skilful instructors. His drawings are held in great estima- tion ; a copy by him of a picture by Wouwerman was thought worthy of a place in the celebrated Braamcamp collection. He also decorated the in- teriors of houses with paintings, (a practice once common in Holland, even by Teniers, Pynacker, Weeninx, and Hondekoeter,) among which was that of the Baron "Van Esse, called the Old House of SchefFelaar, for which he received 400 florins. To- renburg died at Nykerk in 1785. In the Museum at the Hague there is a picture by him, representing a view of the Amstel, at Amsterdam.] TORNIOLI, Niccoio. According to Malvasia, this artist was born at Siena, and flourished about the year 1640. He resided some time at Bologna, where he painted two pictures for the church of S. Paolo, representing Cain slaying Abel, and Jacob wrestling with the Angel. [Some of his pictures are painted on variegated marble.] TORRE, Flaminio. This artist was bom at Bologna in 1621, and was first a scholar of Jacopo Cavedone, but afterwards stiidied under Guido Reni. His greatest excellence was the exactness with which he copied the pictures of the most emi- nent masters, which he did with such precision, that it Weis difficult for the most experienced eye to distinguish his copy from the original. He painted, however, some pictures of his own composition for , the churches at Bologna, of which the most esteemed is a Deposition from the Cross, in S. Giorgio. We have a few etchings by F. Torre, among which are the following : The Virgin and Infant, -mih. St. Francis and St. Jerome ; after L. Caracci. The Patron Saints of the citf of Bologna ; after Guido. Pan conquered by Love ; after Affos. Caracci. [Bartsch describes seven prints by him, which he says are in great request by amateurs. They are engraved with a firm point, in the taste of a de- signer who was consummate in his art, and ap- proach to the manner of Pesarese, called Cantarini, under whom he studied. The titles are as follow : 1. Samson ; after Guido. 2. The Virgin accompanied by the infant Jesus and St. John ; his awn design ; dated 1639. 3. The Vii-gin with St. Jerome and St. Francis ; after Lodovico Caracci. 4. The Virgin and patron Saints of Bologna; after Guido. 5. St. John the ETangelist ; from his ovm design. Signed F. T. F. 6. Three Children bearing a Plateau, on which are two vases and a glass ; signed G. R. T. 7. Pan conquered by Cupid; after Ag. Caracci. Flaminio ToiTe died at Modena in 1661.] TORRENTIUS, John. According to Descamps, this artist was born at Amsterdam [others say at Haerlem] in 1589, and was not less remarkable for the talents he possessed as a painter, than for the depravity of his morals. In the early part of his life he painted conversations, domestic subjects, and still-life ; and his pictures were greatly admired for the beauty of the finishing, and the truth and deli- cacy of the colour. But he afterwards fell into a dis- solute and abandoned course of life, and he selected for the subjects of his pictures the most disgusting indecencies, surpassing even the most licentious outrages, of Petronius or Aretin, which his extra- ordinary ability only rendered more objectionable. To profligacy he added impiety, and attempted to justify his atrocities by propagating tenets subver- sive of every moral principle and all the bonds of ' society. The magistrates at length found it neces- sary to interfere. He was arrested as the head of this detestable sect, underwent the question, and was sentenced to twenty years imprisonment. By the intercession of some persons of consideration, among whom his biographer places the English ambassador, he obtained his liberty. Torrentius came over to England, but, giving more scandal than satisfaction, he giet with no encouragement, and returned to Amsterdam, where he remained concealed till his death, in 1640. [Balkema, fol- lowing Sandrart, says that he died under the inflic- tion of torture irf 1640, and that his woiks were burnt in public by the common executioner; but Houbraken's account is according to the text. He was of the sect called " Adamites."] [TORRES, Clemente de, born at Seville in 1665, was a disciple of D. Juan de Valdes Leal. By his talent and application he became one of the best painters of his time, both in oil and fresco. In this latter manner he painted the figure of St. Fernando which is over the principal door of the convent of S. Paul of Seville, and the three first Apostles, larger than life, with groups of angels above each, in other parts of the same convent. For the friars of the order of Mercy, he painted in oil the two Saints John, and the Virgin of Belen, or Bethlehem. He went to Madrid about 1724, where he formed a friendship with Antonio Palomino, in whose praise he wrote a sonnet : Palomino returned the compliment by describing him as a distinguished painter, and a laurelled scholar of the Muses. He afterwards went to Cadiz, where he died in 1730. At Seville, in a private collection, there are pictures by him, in oil, of the Four Evangelists, richly coloured and elaborately finished. In the church of S. Felipe Neri, at Cadiz, he painted, in fresco, on the arch of the principal chapel, the figure of the Eternal Father. The amateurs of Andalusia pos- sessed many of his easel pictures. Torres was also a skilful draughtsman; his drawings strongly re- semble those of Mnrillo, and pass for such.] [TORRES, Matias de, born at Espinosa de los Monteros in 1631, studied under his uncle, an in- different painter, at Madrid, and in the Academy there. He also received lessons in colouring from the younger Hen-era. Wishing to produce striking effects' in his larger historical works, he imitated the style of Caravaggio, but missed his principles, and produced little more than blackness and ob- scurity. He, however, painted smaller pictures, landscapes, and battle-pieces, in a graceful and free manner, and these were esteemed by the amateurs of his time. His sons, who were skilful illuminators, assisted in some of his works of this kind ; but dying before him, the old man was overtaken by sickness and poverty,. and died, as he was being carried to the public hospital, in 1711. Some of his pictures are in the Hermitage at St. Petersburg. It was this Matias de Torres who challenged the arrogant Boccanegra to a trial of skill in soine public place, on any subject that might then and there be pro- posed by the spectators ; but that boaster, after ac- cepting the challenge, was fearful of the encounter, 809 TORT ] A DICTIONARY OF [toub and slunk away from Madrid. The larger works of Matias Torres were painted in the church of S. Geronimo, in the convents of La Victoria, the Trini- tarios Descalzos, the Capuchinos de la Paciencia, and several other public buildings.] TORTEBAT, Francis, a French painter and engraver, born at Paris about the year 1610. He was a disciple of Simon Vouet, whose daughter he married, and was a reputable painter of portraits. We have several very spirited etchings by Tortebat, executed in a style resembling that of Michael Dorigny. He engraved the plates for I'Anatcmiie des Peintres, by De Piles, from designs by John Calcar. The following are also by him : Peace descending upon earth ; after S. Voitet. St. Louis carried up to Heaven by Angels ; after the same. Samson breaking the Pillars of the Temple of the Philis- tines ; after the same. [Some writers say he was born in 1600, others in 1626, to which date Robert Dumesnil inclines. But if he married Simon Vouet's daughter during her father's life-time, this is not probable; for vouet died in 1641, when Tortebat would have l^een only fifteen years old. He died at Paris in 1690. For an account of his etchings see Robert Dumesnil, Peintre-Graveur FrauQais, tom. iii. They amount to twenty-five, and among them are twelve illustra- tive of the abridgment of "Vesalius's Anatomy," which are probably those mentioned in the text as plates for " L'Anatomie des Peintres," by De Piles. Some of these are inscribed F. Tortebat delin. Sculp, et excud., and one has the date 1668 : no mention is made of John Cahar.l [TORTOLERO, Pedbo, a Spanish painter and engraver, of whom the less that is said the better for his memory as an artist. He was born at Seville about the beginning of the 18th century, and died from an accident in 1766. All that is said of him, both as a painter and engraver, is negative.] TORTOBEL, J. [Jean.] This' artist was a na- tive of France, and flourished about the year 1570. He engraved both on wood and on copper, and, in conjunction with James Perrissin, executed a set of twenty-four large prints, representing the War of the Huguenots. They are coarsely engraved, but not without some spirit. [To understand rightly what concerns Jean Tor- torel and Jacques Perrissin, the inquirer should refer to Robert Dumesnil's excellent work, " Le Peintre- Graveur Frangais," tom. vi. There he will find ample details of the forty prints on which their re- putation rests. Some are impressions from copper- plates, others from wood-blocks ; some have the name or mark of Tortorel only ; some, those of Per- rissin; and some, the mark common to both. These prints are illustrations of a book in folio bearing the following title : " Histoires diverses qui sont memo- rabies touchant les Guerres, Massacres, et Troubles advenus en France en ces dernieres annees. Le tout recueilly selon le tesmoignage de ceaux qui y ont este en personne, et qui les ont veus, lesquels sont pour- traits ^ la verite." The dates of the circumstances re- presented are from 1559 to 1570. There is an edition of the work in Latin, but Dumesnil prefers giving the descriptions from that in French. Both are rare ; a complete copy, without mutilation or dis- figurement, exceedingly so. The work having passed through many editions, several of the copper-plates used in the earlier ones became weak and ineffective, and were replaced by wood-cuts by the same artists, or by others ; those so replaced are of course of the 810 greatest rarity. Dumesnil confesses that he has never met with a single copy of the work contain- ing all the prints that he describes ; and should such a perfect copy be found, it would be inappre- ciable. Malpe and Baverel attribute to Perrissin alone a series of Tritons and marine Monsters, small pieces lengthways, with his cipher reversed ; these Dumesnil says he has not seen. For the marks used by both artists, either separately or in conjunction, see the article Perrissin.] [TOSINI was the family name of the celebrated Fra Angelico da Fiesole. He was the second son of Pietro Tosini of Florence, and was named Quido. He was called di Fiesole because he was brought up in the convent of San Domenico di Fiesole, where he received the appellations of Giovanni deir ordine de' Predicatori, Fra, or Frate Guido, il Beato Angelico, Giovanni- Angelino, il Frate Fioren- tino, and Fra Giovanni Fiorentino. It is thought necessary to notice these different appellations as applied by various writers to one artist, lest when they occur they should be supposed to belong to several. This divine artist is shortly noticed in the article Fiesole, as Fra Angelico da Fiesole. It is there supposed that he was living in 1452; but Zani quotes a document bearing the date 1457, which he conjectures refers to some work done by him in that year. He was also called Guidolino di Vicchio di Mugello, and Frater Johannes de Mu- gello. Every thing relating to him or his works, however trifling it may appear, deserves mention; as in this age of inquiry respecting early art, it may lead to some discovery of importance to its history.] TOSS, J. The name of this artist is affixed to a spirited etching, representmg the adoration of the Shepherds ; after C. Hochfield. TOURNIER, Robert, a French engraver, born at Caen in 1676. He.engrayed several of the plates for the architectural work by Antoine IJesgodetz, entitled Les Fdifices Anfiques de Rome. He also executed a set of vases from the designs of Charles Frrard, and some plates of Madonnas, after Guido. [See the next article.] [TOURNIER, or TOURNIERE, Robert, was born at Caen, in Normandy, in 1676. He received his first instruction in painting from Lucas de la Haye, a Carmelite friar, but went young to Paris, and entered the school of Bon BouUongne. He be- came a good historical and portrait painter. In 1721 he was admitted a member of the Academy of Painting, and was made professor in 1735. He painted several large pictures for churches, and, the portraits of some persons of distinction ; but he pre- ferred exercising his talent on smaller subjects, in which he imitated the manner of Gerard Dou and Godfrey Schalcken. He was a favourite with the regent duke of Orleans, who took great dehght in seeing him paint. Several of his portraits, and other pictures, have been engraved by Drevet, DauUe, Sarabat, Chereau, and others. Zani, who places his birth in 1667, (probably a misprint for 1676,) marks him as an engraver ; but there was another artist of the name of Tournier, who was of Toulouse. He had studied in Italy under Moses Valentin, whose manner he sometime followed. He was living in 1670, and etched after Guido, Polidore Cara- vaggio, and Frrard, according to Fiissli. It is pro- bable that the two artists have been confounded. Zani calls the latter Gio-Giacomo, (Jean Jacques,) or M. G. When Robert Tournier grew old, having no relations at Paris, he returned to the place of his nativity, where he died, according to all accounts, town] PAINTERS AND ENGRAVERS. [TRAS in 1752. Some writers notice him under the name oi'Tourner, and others under that of Tow-nieres.] TOWNLEY, Charles, an EngUsh mezzotinto engraver, by whom we have several portraits, and other subjects, executed in a superior manner. Among others are the following : PORTRAITS. Llonardo da Vinci ; after a picture by himself. Annibale Caracci ; the same. Domenichino ; tJie same. Peter Paul Rubens ; the same. Kembrandt ; the same. Sir Joshua Reynolds j t?ie same. Percival Pott, SiirKeon, F. R. S. ; after Reynolds. Joseph Allen, M. D. ; after Romney. Sir Hyde Parker, Vice- Admiral ; after the same. SUBJECTS. Agrippina weeping over the Tomb of Germanious ; after Cosway. Bulls fighting ; after Stvbhs. TRABALLESI, Francesco. According to Bag- lione, this artist was a native of Florence, and flourished at Rome in the pontificate of Gregory XIII. In the Chiesa de Greci, which was founded by that pope, are two altar-pieces by this painter, one representing the Annunciation, and the other Christ disputing with the Doctors. ' TRABALLESI, Gidlio, [or Giuliano,] an Italian designer and engraver, born at Florence about the yeaf 1728. He made the greater part of the designs for the collection of portraits of the illustrious men of Florence, which were engraved by Allegrini and others. We have several etchings by him, from the most eminent Bolognese painters ; among which are the following : The Communion of St. Jerome ; lifter Agos. Caracci. The Conversion of St. Paul ; after L. Caracci. St. Alo and St. Ifetronius kneeling before the Virgin ; cfter Cavedone. The Circumcision ; after Guido. The Communion of St. Catherine ; after F, Brizzio. [He was living in 1808.] TRAIN I, TRIANI, or TRIANO, Francesco. This painter was a native of Florence, and flour- ished about the year 1400. He was the most dis- tinguished disciple of Andrea Orcagna. Vasari mentions a picture by him, in the church of S. Caterina at Pisa, representing S. Tommasso d'Aqui- no, which, in point of composition, colom-ing, and effect, surpassed the works of his master. [Of this picture Rosini has given a print in his " Storia della Pittura Italiana," (plate 20,) in which St. Thomas appears seated in the centre, having several open books on his knees. Above him, to the right and left, are figures of Moses, St. Paul, and the Four Evangelists, and in a more elevated position, in the centre, that of the Saviour, from whom rays of hght are descending on the head of the Saint; similar rays of inspiration descend on the heads of the other six, each of whom holds the volume of his writings open to St. Thomas, and from these additional rays proceed to enlighten his un- derstanding. These rays altogether form a triangle. St. Thomas is seated in the middle of seven concen- tric circles ; on his right is Aristotle, and on his left Plato, each holding an open book towards him, and rays descend from the Saint to illuminate their Eages. Below is the figure of Averroes recumbent, is book open but turned down ; it is, however, fa- voured with a ray. On each side of Averroes is a group of monks and pious females, each distinguish- ed in a similar manner ; among them is one with his head covered, evidently rot of the priestly order and is probably the portrait of the painter. This is supposed to be the only remaining specimen of the master's works, though there are two others re- corded ; a portrait of St. Dominic, with six small subjects from his life on the predella, painted for the same church as the picture of St. Thomas Aquinas, and the banner of the fraternity della Laude, painted for the church of S. Maria Maggiore at Pisa, in 1341. Zani notes him as a portrait painter also ; marks him B. B. and says he operated in 1390.] ^ TRAMAZZINO, Franco. This artist is noticed by Plorent le Comte as the engi-aver of a print, representing a solemn entry into the city of Rome,' which he speaks of as scarce. [He operated in 1561.] [TRAMULLES, Francisco, was born at Per- pignan at the commencement of the 18th century. He was the son of a Catalonian sculptor, who was employed at the time in the cathedral of Perpignan. He was first sent to Paris to study painting, and afterwards to Barcelona to the school of the elder Yiladomat. As he advanced in years he devoted his attention to the study of the works of the old masters at Madrid, where he remained about two years copying their pictures. On his return to Bar- celona he opened a school of design, and obtained a great number of scholars. His reputation having reached Perpignan, he was employed to paint three large pictures for the cathedral there, representing the espousals of St. Julian and Sta. Basilisa, patrons of that city, St. Augustine writing, and St. Peter's Repentance. These pictures elicited gi-eat applause. He painted others for the city of Gerona, and for the churches and convents of Barcelona. He died in the latter city, in the fifty-sixth year of his age, and was buried with great pomp in the convent of S. Francisco, at the expense of his scholars, by whom he was much beloved. In his style of paint- ing he made Luca Giordano his model, perhaps from seeing so many by that master at Madrid; but his pictures are well composed and have a good effect.] [TRAMULLES, Manuel, bom at Barcelona in I7I5, was the younger brother of Francisco. Like him, he studied under Antonio de Viladomat, whose manner he so closely imitated that their works may be confounded. This, however, is only with respect to those of his earUer time, as he afterwards at- tempted to introduce a new mode of colouring, which was less agreeable, and consequently inferior to that of his master. Like his brother, he opened a school, but for painting from the living model, which was frequented by many scholars. He was very studious, and very patient in his manner of teaching. The Marquis de la Mina patronized and employed him to decorate the Opera House at Bar- celona ; and the chapter of Barcelona commissioned him to paint six pictures for the sanctuary, in which is placed the body of S. Olegario ; and also a large picture, containing numerous figures, of Charles III. taking possession of the canon's stall in the cathe- dral, which pertains to the kings of Spain. He dis- tinguished himself by his perspectives in the church of Sta. Maria del Mar, and his monuments in that of Semana santa de S. Pedro de las Puellas in the same city. He died the 3rd of July, 1791. His chief works are in the churches and convents at Barcelona ; and there are a few of his pictures at Tarragona and Gerona.] TRASI, LoDovico. This painter was born at Ascola in 1634, and was a scholar of Andrea Sae- 811 TRAV] A DICTIONARY OF [tres chi, at the same time with Carlo Maratti ; he after- wards became the disciple of his fellow student. • In his easel pictures he resembles the style of Maratti ; but in his larger works and altar-pieces he imitated the less laboured and more spirited manner of Sac- chi. Such is his fine picture of S. Niccolo, in the church of S. Cristoforo, at Ascola, which is esteemed one of his best works. In the cathedral are' some frescoes by him, of which the most admired is the Martyrdom of.S. Emidio. [He died about 1694] [TRAVERSE, Charles Francois de la, born at Paris, was a scholar of Boucher. He was sent to Rome with a pension from the crown to pursue his studies for six years; he afterwards went to Naples to explore the excavations at Herculaneum ; from thence he passed with the Marquis D'Osson to Madrid, and resided in the Spanish capital for many years. He was not employed on any public work, but painted many small pictures for indi- viduals. These consisted of landscapes and flower- pieces, which he painted more in accordance with the style of the Flemish than the Spanish schools, especially in colour. He painted an allegory in honour of the birth of an Infant of Spain, which was engraved by Carmona, but it did not procure him any royal favour. He returned to Paris, where he died in 1778.] TRAVI, Antonio. This painter was born at Sestri, in the Genoese territory, in 1613. On ac- count of his deafness, he is generally known by the name of II Sordo di Sestri. He was originally a colour-grinder to Bernardo Strozzi, who instructed him in design, and he afterwards studied landscape painting under Godfrey de Wael, a Flemish painter of some celebrity. He apquired considerable reput- ation in that branch of the art, and painted a great number of pictures at Genoa, and in the state, which possess sufficient merit to find a place in the best collections. He died in 1668. [He had a son named Antonio, who was also a landscape painter ; he survived his father.] [TRAUT, W . A wood print, representing Niccolo, detto il cieco da Pistoia, seated by an old woman who is blowing a flute, which he holds in his hands ; signed W. Traut 8c. F. Villamena Invent. There are four Latin and four German verses at bottom. An impression was in the collection of the late Mr. Lloyd. Perhaps this is the same as Wil- Uain Trautner, a German designer and engraver.] TREMOLLIERE, Peter Charles, a French painter, born at ChoUet, in Poitou, in 1703. He was sent to Paris when he was young, where he be- came a scholar of John Baptist Vanloo, under whom his progress was remarkable. Having gained se- veral piizes at the Academy, he was sent to Rome, under the pension of the king, where he studied six years. On his return from Italy he resided some time at Lyons, where he painted three pictures for the church of the Carmelites, representing the Na- tivity, the Adoration of the Magi, and the Present- ation in the Temple, which gained him considera- ble reputation. In 1734 he returned to Paris, and in 1737 was made a member of the Academy there, on which occasion he painted, as his picture of re- ception, Ulysses shipvirrecked on the Island of Ca- lypso. He painted several historical and fabulous subjects for the Hotel de Soubise, and was engaged to prepare the cartoons for a set of tapestry for the king, representing the Four Ages of the World, but he died of a consumption in 1739. TremoUiere was considered as one of the most promising artists of his country at the time at which he lived. He 812 possessed an extensive genius j his compositions were noble and judicious, and his design gi-aceful and correct. He etched a set of studies, after Wat- teau, and had commenced the seven Works of Mercy, from his own designs, but he only lived to finish two of them. TRENTO, Antonio da. This artist was born at Trent, in the Venetian states, about the year 1508. He studied painting for some time under Parmigiano, but, by the recommendation of that master, he afterwards devoted himself to the art of engraving on wood, in the manner called chiaro- scuro. It is supposed that he was instructed in the process by Ugo da Carpi, to whom the invention of it is attributed. He executed several cuts from the designs of Parmigiano, which are justly esteemed. He generally used three blocks to each print ; the first for the outline, the second for the dark shadows, and the last for the demilint. We have, among others, the following prints by him : The Virgin embracing the infant Jesus ; after Beccafumi. The Holy Family ; after A. del Sarto. The Decollation of St. Peter and St. Paul; after Par- migiano. The Tiburtine Sibyl showing the Virgin and the infant Christ to the Emperor Augustus ; after the same. Circe receiving the Companions of Ulysses ; after the same. Psyche saluted by the People -with the Honours of Di- vinity; after the same. \Salviati.'\ [Bartsch is of opinion that Antonio da Trento and Antonio Fantuzzi are identical ; Zani thinks differ- ently, and in several parts of his " Enciclopedia delle belle Arti," particulai-ly in the notes to An- tonio Cavalli and Antonio Fantuzzi, combats that opinion. It would not be satisfactory to an inquirer to have an abridgment of the discussion between these two learned critical investigators, and of others who have mingled in the dispute ; it can only, therefore, be recommended to peruse both, and to decide according to the weight of evidence. It is agreed that Antonio Fantuzzi and Antonio da Trento flourished about the same period, that is to say, from 1530 to 1545; though it is contended that one was of Bologna, and the other of Trent. It is said that Fantuzzi, who worked under the direction of Parmigiano, absconded from his master, at the same time carrying with him many of his drawings, etchings, and wood-cuts, with which he went to France and connected himself with Primaticcio at Fontainebleau, who engaged him to engrave some of his works on copper. Among the tnirty-seven prints described by Bartsch, aiid attributed by him to Fantuzzi, there are several with signatures that corroborate this statement. ' Still there are circum- stances that strongly incline to the other side. For an account of the prints in chiaro-scuro, attributed to Antonio da Trento, see Bartsch, torn. xii. ; and for the etchings by Antonio Fantuzzi, see tom. xvi.] TRESHAM, Henrv, R. A. This estimable artist was a native of Ireland, and received his first instruc- tion in the rudiments of the art in the academy of Mr. West, in Dublin. He afterwards came to England, where he was for some time employed in drawing small portraits, when he was favoured with the pa- tronage of Lord Cawdor, and was invited to accom- pany that nobleman in his travels to Italy. During a residence of fourteen years on the continent, chiefly at Rome, he prosecuted his studies with great suc- cess, and returned a correct and elegant designer. He had distinguished himself by several designs for the principal pubhcations of the time, when Mr. Boydell formed his prodigious project of illustrating THEU] PAINTERS AND ENGRAVERS. [trev the works of Shakspeare with prints engraved from pictures painted by the most eminent artists of the ]3ritish school. Mr. Tresham was engaged to contribute the exer- tion of his talents to that great undertaking. The subjects allotted to him were three scenes from the play of Antony and Cleopatra; and it is only a just tribute to his abilities to allow that he acquitted himself in a manner which merited and received the public approbation. Soon after Mr. Tresham's return from Italy, his health became considerably impaired, and for se- veral years previous to his death he was reduced to a state of feebleness and infirmity which incapaci- tated him from attempting any arduous undertaking ; but his mind was not less alive to the interest of the art, which, to the last, was the chief object of his solicitude. Mr. Tresham was not less distinguished by the amiable qualities of his heart, than for the elegance of his taste as an artist ; and he was equally beloved by a large circle of friends, as he was respected by his brother academicians. He died in 1814. [Tresham was a better designer than painter. His subjects are well composed, and exhibit much of the Italian gusto. On his return from Rome he was connected with several other gentlemen picture- dealers, and he had a gallery for exhibition, in which the connoisseurs of the day might find Cor- reggios, Raphaels^ and Carraccis always ready for sale. Many of these have since changed their high- sounding names, as the knowledge of masters nas increased. He superintended a work of engravings from pictures by the old masters, and for which he wrote the descriptions. It is entitled the " British Gallery," and was completed in 1818. The coloured copies form, perhaps, the most exquisite volume which has ever illustrated pictorial art. These were published singly at six guineas the plate ; so . the whole number, twenty-five, amounted to one hundi-ed and fifty guineas. See H. G. Bohn's Ca- talogue. He also wi-ote some light poetry, of which it was difficult to pick out the meaning, except when it was too broad to be mistaken, as in that on "Antique Rings."] [TREU, Catherine, a painter of fruit and flower-pieces, was the daughter of a painter of the name of Marquard Treu, of whom but little is known, and was born in 1747. There are pictures by her in the Dusseldorf Gallery. She was proba- bly a native of Germany.] TREU, Martin, a German engraver, who flour- ished about the year 1540. He was contemporary with John Sebald Beham, and Henry Aldegrever, and, from the small size of his prints, is generally placed among what are called the little masters. His plates are engraved from his own designs, and they prove him to have been a man of genius, though inferior to the artists above mentioned in the clearness and precision of the execution, and in the coiTectness of his drawing. His compositions are judiciously arranged, in which he appears to have studied the style of Lucas van Leyden. He sometimes marked his plates with the initials M. T. with the date, and sometimes with a monogram composed of those letters, thus, _3l * ^^ ^^' graved a variety of moral and emblematical sub- jects; and, among others, we have the following prints by him : A set of six small prints, called the Progress of the Pro- digal ; dated from 1541 to 1543. Two Figures playing on Musical Instruments. [There is no account of an artist of this name ; it is merely a conjecture of Christ in his Dictionary of Monograms. Bartsch, Peintre Graveur, torn, ix., has described forty-two pieces by the artist who used the mark ]>JJ^ . but Brulliot considers the hst incomplete. It will be seen in the descriptions that some of his pieces cannot be classed among the moralities. The following is an abridgment : 1. The Judgment of Solomon ; dated 1540. 2. The five wise Vii'gins ; same date. 3—14. The History of the Prodigal Son; 1541—1543. 15 — 23. Peasants dancing. As these pieces are marked consecutively, it seems there should be twelve ; nine only are described ; the date on one is 1642. Some of the pieces axt pt-etty free. 24 — 35. Persons of Condition dancing. Four of the siiite are not described. The^si impressions have the date 1542; on the seoondit is altered to 1543. The freedoms are more en regie. 36. The Surprise ; a peasant finding his wife in the arms of a monk ; dated 1640. 37. La polissmierie. Tvro women (femmesperdues) TiolA- ing a youth on a bench while a third is emptying a pitcher of water sur le derriere ; 1540. 38. The ill-used Husband. A :yoman, wearing breeches, is beating her husband with a stick, and dragging him by the hair of his head. 39. An ornamental design. 40. Another with two heads of Satyrs. 41. Design for a sheath for a knife, on which is u, youth embracing a lady ; date 1540. 42. A Poniai'd in its sheath, on which is a gentleman with a hawk on his left hand, and a lady with a little dog in her arms ; 1540. The two last are of much larger dimensions than the rest, which are all small. Malpe, who assigns to this engraver the mark Jj\_ • attributes to him thirteen larger pieces of Christ and his Apostles ; but there is no certainty in the matter.] TREVIGI, or TREVISI, Girolamo da. This painter was born at Trevigi in 1508. He went to Rome when he was very young, and formed a cor- rect and graceful style of design, by studying the works of Raffaelle, and the best masters of the Ro- man school. He afterwards resided some time at Bologna, where he painted several pictures for the churches, of which the most esteemed were a series of pictures in S. Petronio, representing the Life of S. Antonio di Padoua ; and the Presentation of the Virgin, in the church of S. Salvatore. According to Ridolfi, he afterwards visited England, in the reign of Hemy VIII., and was employed by that monarch as a painter, an architect, and a military engineer. He attended the king in his expedition into Picardy, and assisted at the siege of Boulogne, where he was killed, in 1544. [According to Zani the name of this painter was Pennachi, or Pennachio. He was the son of Pier- Maria Pennachi of Trevigi, and born about 1496. He was an artist of considerable talent ; he painted portraits in the admirable manner of Raphael. The series of pictures representing the miracles of St. Francis, in the church of S. Petronio, are in chiaro- scuro. The late Mr. Edward Solly possessed a pic- ture by him of the Virgin seated on a throne with the Infant standing before her; angels with musical instruments above; saints on each side, and the patron, for whom it was painted, kneeling at the foot: signed Hieronimus. Trevisius. P. It was formerly in the church of St. Salvatore, (the cata- logue says St. Domenico,) at Bologna: it is now in the collection of Lord Northwick. Vasari men- tions it as " la migliore delle cose sue." One of his pic- tures (probably a portrait) is inscribed F. Sabba Cast. olo TREV] A DICTIONABY OF [trog Precepiore. Hier. Tarvis. Pict. Faciehat, 1533. He was also called Girolamo da Trivigi Juniore, to dis- tinguish him from Girolamo da Aviani, who was likewise of Trevigi : the latter died about 1496, the supposed time of the former's birth.] TREVILLIAN, William. The name of this engraver is affixed to a portrait of Oliver Crom- well's Porter, dated 1650. TREVISANI, Cavaliere Francesco. This painter was born at Trevigi in 1656. He was the son of Antonio Trevisani, an architect of some re- putation, by whom he was instructed in the first rudiments of design. He afterwards became the disciple of Antonio Zanchi, at Venice. He after- wards visited Rome, where he renounced his first principles, and adopted those of the most popular artists then resident in that city, where he was fa- voured with the patronage of Cardinal Chigi, who employed him in several considerable works, and recommended him to the protection of Pope Clement XL, who not only commissioned him to paint one of the Prophets in St. John of Lateran, but en- gaged him to ornament the cupola of the cathedral at Urbino, where he represented, in fresco, em- blematical subjects of the four Quarters of the World, in which he displayed great invention and ingenuity. The churches and public edifices at Rome abound with his works, of which the most esteemed are, \m picture of the Death of St. Joseph, in the church of the Roman College ; the Virgin contemplating the Instruments of the Passion, in S. Maria, in Vallicella; and his picture of Antony and Cleopatra, in the Palazzo Spada, painted as a companion to the Rape of Helen, by Guido. He possessed an extraordinary talent of imitating the style of the old masters, in which he was much em- ployed by the Duke of Modena, in copying the works of Coreggio, Parmigiano, and other distin- guished painters. He died in 1746. ' [There are different accounts of the birth-place of Cavaliere Trevisani; some say he was born at Rome, others at Castel Franco, or at Capo d'Istria. It appears, however, that he took refuge in Rome to avoid the anger of the relations of a Venetian lady whom he had clandestinely married. He pos- sessed great versatility of talent in his art ; he was equally skilful in the low,er as well as the higher de- partments. He painted history, portraits, archi- tecture, landscape, and even objects of still-life, with the same degree of excellence. His works were much coveted, and he was constantly employed. He received the honour of knighthood, it would seem, not for his original productions, but for the copies he made for the Duke of Modena of pictures by Correggio, Parmigiano, and Paul Veronese. His compositions are generally abundant in figures ; the forms graceful, the handling free, and the colouring clear and rich, partaking both of the Flemish and Ve- netian schools, but not vidth the brilliancy of either.] TREVISANI, Angelo, was a native of Venice, and flourished about the year 1750. Though he oc- casionally painted historical subjects, in which he has given proof of considerable ability in his altar- piece in the church of la Caritsl, and other pictures in the public edifices at Venice ; he was more esteemed and more employed as a portrait painter, by which he acquired both fame and fortune. TRIERE, P. This artist was a native of France, and flourished about the year 1780. He engraved several plates representing historical subjects and conversations, which are neatly executed with the graver. 814 TRINGHAM. This artist is noticed by Mr. Strutt as the engraver of a portrait of the Reverend Samuel Clark, and several book-plates. He flour- ished about the year 1750. TRISTAN, Luis, a Spanish painter, born at a village near Toledo in 1594. He was a scholar of Dominico Teotocopoli, called II Greco, under whose tuition he became an eminent artist, and is said by Palomino to have surpassed his master in the cor- rectness of his design and the purity of his taste. This superiority, so far from exciting any jealousy on the part of his master, he was one of the first to applaud his talents, and brought them into practice and display, with all the advantages in his power. The monks of La Sisla, in the neighbourhood of Toledo, had applied to Dominico Greco for apicture of the Last Supper ; he was under the necessity of declining the commission, on account of indisposi- tion, but recommended his pupil, Luis Tristan, to the undertaking, whose services were accepted. On the delivery of the picture, the monks were satisfied with the performance, but considered the price de- manded for it, of two hundred ducats, as exorbitant, and it was agreed to refer the matter to Dominico. Having deliberately surveyed the picture, he turned to his disciple with a menacing tone and air, and upbraided him with depreciating his talents, by de- manding for his work a recompence so unequal to its merit ; directing him to roll up his picture, and offering himself five hundred ducats for it. The fa- thers made the due atonement, and the money was paid. Some of his most esteemed works are in the cathedral, and the church of St. Clara, at Toledo. It is no mean proof of the respectability of his talents, that the celebrated Velasquez professedhim- self his admirer, and quitting the precepts of Pache- co, his instructor, formed his style from the works of Tristan. He died at Toledo in 1649. [Accord- ing to Bermudez, Luis Tristan was born in 1586,. and died in 1640. He painted a series of pictm'es, which are considered his masterpieces, for the church of Yepes, in 1616, when he was in his thir- tieth year; and in 1619, the portrait of Cardinal Sandoval, Archbishop of Toledo, in which he united the elaborate execution of Sanchez Coello with much of the spirit of Titian. The churches of To- ledo possess many of his pictures, and others are to be found at Madrid.] TRIVA, Antonio. According to Tiraboschi, this painter was born at Beggio in 1626, [or 1627,] and studied under Guercino, at Bologna. He was a reputable painter of history, and distinguished him- self by some pictures he painted for the churches at Reggio and Piacenza, which have been celebrated by the poet Boschini. He was invited to the court of the Elector of Bavaria, in whose service he died in 1699. [He was ambidexter, and painted as well with his left hand as with his right. He etched cleverly. Bartsch has described four etchings by him, which he says are carefully executed. The following are the titles: 1. Susanna and the Elders. 2. A Repose in Egypt. 3. The Virgin, half-length, seated, holding the infant Jesus in her arms. 4. An Allegory ; a young Man looking in a Mirror, and seeing Voluptuousness, the Furies, and Death ; and other emblems. All these are signed with his name. Fiissli mentions five more ; four views in Italy, and a frontispiece to a book. It represents a genius in the air, carrying a large packet, on which is inscrib- ed, Schediasmata accademica Passarini.'] TROGER, Paul, a German painter and engrav- er, born at Zell, in the bishopric of Brixen, in 1695. tron] PAINTERS AND ENGRAVERS. [trot After acquiring the rudiments of design in his na- tive town, he visited Piume, and became a scholar of Dom. Giuseppe Alberti. He afterwards estab- hshed himself at Vienna, where he acquired con- siderable reputation as a painter of history, and was made director of the Imperial Academy. We have several spirited etchings of historical subjects and landscapes by this artist, from his own designs. Among others are the following : The Holy Tamiiyj Paul Troger, fee. 1721. St. Joseph embracing the infant Jesus. The Dead Christ in the Lap of the Virgin. Six Landscapes, with ruins and figures. [He was born in 1698, and-died in 1777.] TRONCHON, [A. R.,] a modern French engrav- er, who flourished [from 1740 to] about the year 1760. He engraved several plates after Noel Nicho- las Coypel, and other masters. TROOST, Cornelius. This artist was born at Amsterdam in 1697, and was a scholar of Arnold Boonen. He occasionally painted conversations and gallant subjects, in a pleasing style, and ac- quired the appellation of the Dutch Watteau; but he also distinguished himself as a portrait painter, and was much employed in painting large pictures for the halls of the difierent companies at Amster- dam. Of these, the most considerable is a picture in the College of Physicians, containing the por- tiraits of the most eminent practitioners of the time ; and another in Surgeons' Hall, representing the principal members of that corporation. He painted in crayons as well as in oil, and his works are high- ly esteemed in Holland. He died in 1750. We have a few prints by this artist, chiefly executed in mezzotinto ; among which are the following : The Portrait of Pietro Locatelli, Painter. The Bust of an old Man with a Beard. 1734. A Girl di'awing by the Light of a Lamp. [A Woman on the Steps of a Door, holding a light, and taking leave of a Gentleman in black.] [Cornelius Troost was formerly called the Dutch Watteau, but of late it has been discovered that his Eictures in their treatment bear a greater resem- lance to those of Hogarth ; strictly speaking, he resembles neither, except that in somelnstances his subjects are analogous. He does not exhibit the gi'ace and elegance of the French artist, nor the keen, discriminating, satirical humour of the Eng- lish. His pictures are, however, true to nature, and faithfully portray the enjoyments of high and low life, according to the customs and manners of the people of Holland in his day. They are more prized by his countrymen than by others ; but his drawings in colours are in more general esteem. The late Baron Verstolk de Soelen, the Dutch minister of state, possessed a great number, most of them excellent artistic performances. They were disposed of by public sale at Amsterdam in 1847, vidth the rest of his large collection of fine drawings and prints. Sara, the daughter of Cornelius Troost, painted portraits in oil, and made drawings of se- veral of her father's pictures of subjects from pri- vate life. She died about 1793.] [TROOST, William, a portrait and landscape painter, was bom at Amsterdam in 1684, and was a scholar of John Glauber. He went to Dusseldorf, where he married the daughter of J. Van Nikkei- en, the painter to the court, and was employed in painting the portraits of many persons of distinction. He afterwards returned to his own country, where he occasionally painted portraits, but chiefly de- voted his time to landscapes, both in oil and Indian ink ; the latter are considered valuable. His style in landscape partakes of that of his first master, Glauber. His wife, Jacoba Maria Van Nikkelen, was also a painter ; she had been a scholar of Van- der Myn, and excelled in painting fruit and flower- pieces.] [TROOSTWYK, Wouter Jan, (Walter John,) a landscape and cattle painter, was born at Amster- dam in 1782. He studied drawing under Anthony Andriessen, and painting under Juriaan Andriessen. He commenced by copying the works of the best Dutch masters in the department which he had se- lected; but afterwEU'ds was indignant if he heard his works compared with those of Paul Potter, Ka- rel Du Jardin, or Adrian Vandevelde, asserting that, like them, he had made nature his model. His pictures, however, have a resemblance to the works of those masters, and sOme are worthy to rank with them. He died in 1810. He had a full estimate of his own merits. Having obtained the prize given by the society called Felix Mentis for the best landscape, he resolved not to enter the lists again, declaring that he would not in any way injure others, who ought to live by their art. Was this good-will or arrogance ? ] TROSCHEL, Hans, or John, a German engrav- er, who resided at Nuremberg about the year 1620. He was a disciple of Peter Isselbourg, but after- wards. studied in Italy under Francesco Villamena. His style of engraving is, however, very inferior to that of Villamena, both in drawing and execution, and his plates, though neatly engraved, are stifi' and laboured. He engraved several emblematical sub- jects from the designs of various Itahan masters, as well as frontispieces and other book-plates ; together with some portraits j among which is one inscribed, Fortunius Lieetus, Philosoph. He frequently mark- ed his plates with, a cipher composed of an H. and a T., thus, _[^ . [He was born about 1592, and died in 1633. He sometimes added the figure of a thricsh to his monogram, in allusion to his name.] TROSCHEL, P. This artist was probably a re- lation of the engraver mentioned in the preceding article. He resided at Nuremberg about the year 1650, and appears to have been chiefly employed by the booksellers. He engraved some frontispieces and other book ornaments, which are executed with the graver in an indifiprent style. He usually marked his plates with the initials P. T. [He was called Peter Paul ; he flourished as late as 1661.] TROSCHEL,. James. Professor Christ men- tions an engraver of this name, to whom he attri- butes, as his mark, the initials I. T. F. [He was also a painter. He was born in 1583, and died in 1624.] TROST, Andrew. According to Professor Christ, this engraver was a native of Carniola, and flourished about the year 1680. He usually marked his plates with the cipher ^ . [He was also a painter of familiar subjects. He was living in 1695.] TROST, C. See Troost. TROTTI, Cavaliere Giovanni Batista, called II Malosso. This painter was born at Cremona in 1555, and was brought up in the school of Ber- nardino Campi, of whom he was the most distin- fuished disciple. He was employed by the court of 'arma, in conjunction with Agostino Caracci ; and though the works of the latter were preferred, Agos- tino allowed that he had found in Trotti " a hard 815 TROU] A DICTIONARY OF [thoy bone to crack," on which account'he acquired the name of II Malosso. He did not attach himself to the style of Bernardino Campo, but studied the works of Coreggio, and imitated the gay and bril- liant manner of Bernardo Gatti, called II Sojaro, the most successful follower of the style of that great master. The airs of his heads are graceful and expressive, like those of II Sojaro f but he was apt to repeat himself, and there is frequently a sameness both in his characters and attitudes; a defect which ought perhaps to be attributed to neg- ligence and despatch, as he cannot he accused of sterility of invention ; of this he has given ample proof in the pictures he painted for the churches of S. Francesco and S. Agostino, at Piacenza, and in the other public places, representing the Conception of the Virgin, which subject he has treated with a varied originality of idea, which evinces the most extensive capacity of invention. His most esteemed works, and those for which he received the order of knighthood, are his frescoes in the cupola of S. Ab- bondio, and in the Palazzo del Giordani, at Parma. One of his last works was a picture of a Pieta, in the church of S. Giovanni Novo, at Cremona, which bears the date 1607. [Perhaps it was from a desire to perpetuate this acknowledgment of his ability by Agostino Carracci, that he inscribed one of his pictures Jo. Baptista Trottus dictus Malossus Crenwn. faeiebat an", a partu Virginis, 1594. His family also seem to have been proud of the appella- tion, as his nephew, II Cavaliere Euclide Trotti, who was a painter, adopted it. He painted contempora- neously with his uncle.] TROUVAIN, Anthony, a French engraver, born at Montdidier in 1666. His plates are exe- cuted entirely with the graver, which he handled with great neatness and dexterity, and his prints produce a very pleasing effect. If he was not a pupil of Bernard Picart, he appears to have been an imitator of his style. Among others, we have the following prints by him : PORTRAITS. Peter Daniel Huet, Bishop, of Avranehes. 1695. Francis le Bouthellier, Bishop of Troyes. John Pesne, Painter and Engraver. 1698. Ben^ Anthony Houasse, Painter ; after Tortebat. John Jouvenet, Painter ; after a picture by himself. SUBJECTS. The Annunciation ; after Carlo Maratti. Christ restoring Sight to the Blind ; after Ant. Coypel. The Marriage of Mary of Medicis with Henry IV., and the Minority of Louis XIII. ; after the pictiires by Rubens in the Luxembourg Gallery. Silenus drunk; after Ant. Coypel. [From the sixth Pastoral of Vir^.] [He operated in 1707.] TROY, Francis de. This artist was born at Toulouse in 1645. He was the son of Nicholas de Troy, a painter of little celebrity, from whom he re- ceived the first rudiments of design; but he was sent to Paris when he was young, where he became a disciple of Nicholas Loir, and for some time ap- plied himself to the study of historical painting, and had made sufficient progress to become a member of the Academy at Paris, in 1674, on which occa- sion he painted for his picture of reception Mercury and Argus. The brilliant success of Claude Le Fevre as a portrait painter, induced him to abandon historical subjects, and attach himself to the more lucrative and more certain branch of painting por- traits, in which he became one of the most cele- brated artists of the French school. One of his principal public works is a large picture, in the 816 church of St. Genevieve, representing the magis- trates of Paris invoking the protection of that saint. For the Hotel of the Duke de Maine, he painted an admired picture of Mma.s. relating his Adventures to Dido. He was sent by Louis XIV. to the court of Munich, to paint the portrait of Mairia Christi- ana, of Bavaria, afterwards Dauphiness of France, which was placed in the gallery of Apollo. The portrait of Francis de Troy, painted by himself, is in the gallery of artists at Florence. He died at Paris in 1730. [There is a very rare etching by him of the Catafalque for the funeral of Maria Teresa, the wife of Louis XIV., which took place in 1683. On the right, at bottom, is inscribed Troy, /.] TROY, John Francis de, was the son of the preceding artist, born at Paris in 1676. After re- ceiving the instruction of his father, until he had made considerable progress in the art, he travelled to Italy, where he studied some years, and soon af- ter his return to Paris was made a member of the Academy. He was employed by Louis XIV., for whom he painted a series of cartoons for tapestry, representing the history of Esther ; and several large allegorical subjects for the Hotel de Ville. The king appointed him director of the French Academy at Rome, where he resided great part of his life, and acquitted himself, in the administration of his office, in the most respectable manner. The king conferred on him the order of St. Michael, and honoured him with other marks of his particu- lar esteem. He was not less distinguished as a painter of portraits than historical subjects. He died in 1752. [Some place his birth in 1679.] TROYA, Felix, a Spanish painter, born at San Felipe, near Valencia, in 1660. He was a disciple of Gaspar de la Huerta, and painted history with considerable reputation. His pictures are found in almost every church or public edifice in the district of Spain in which he resided, and are more remark- able for vigour of colouring than correctness of de- sign. His most esteemed works are in the church of S. Agostino, at Valencia, where he died in 1731. TROYEN, John van. This artist was a native of the Netherlands, and flourished about the year 1650. He engraved some of the plates from the pictures in the collection of the Archduke Leopold, commonly called Teniers' Gallery. They are slight- ly executed, and the drawing is incorrect. Among others are the following : The Daughter of Herodias with the Head of St. John ; after L. da Vinci. Magdalene penitent ; after Coreggio. Christ healing the Sick ; after P. Veronese. The Adoration of the Magi ; after the same. The Entombing of Christ ; after Pordenone. TROYEN, RoMBOUT van. This painter was born at Antwerp about the year 1600. It is not known by whom he was first instructed in the art, but in the Chronological Tables, by Harms, it is said that he went to Italy, where he studied some time. He distinguished himself as a painter of the ruins of ancient architecture and other interesting objects, in the neighbourhood of Rome, which he embellished with figures representing subjects of history or the fable. His pictures bear some re- semblance to those of Cuylenburg, and, like the works of that artist, they have darkened consider- ably since they were painted. His cabinet pictures are preferable to those of a larger size. He died in 1650. [It is said, by Balkema, that he had never visited Italy, but painted the views from his own imagination, and that with the greatest truth He TRUC] PAINTERS AND ENGRAVERS. [turp painted portraits. ; for Suyderhoef engraved one af- ter him. He lived and died at Amsterdam.] TRUCHI. This artist was a native of France, but resided in London in 1730, and, in conjunction With William Philip Benoist, engraved a set of twelve plates of subjects taken from the novel of Pamela, from the designs of Bighmore. [There were two engravers of the name 'Iruchi; one signed 2)., or Dominic, the other X. Tnichi ; they lived at the same period, and their merits were equal.] [TRUCHOT , a French painter of land- scapes and architectural views, of whom there is little known but his works ; he died about 1823. Among his recorded pictures are, a view-of Canter- bury Cathedral ; view of St. Michael's Mount, in Normandy ; Abelard reading a Letter from Eloisa, and Eloisa in Prayer before an. Altar ; the Grand Staircase of the Palais Royale ; Henry, Count de Bouchange m a Cloister ; interiors of several churches and chapels, and views of ancient ruins in various parts of France. Some of his pictures have figures by Xavier Le Prince.] TSCHERNINGK,, D., [David,] a German en- graver, who flourished about the year 1639. He en- graved several frontispieces and other book-plates, which are executed with the graver in a very indif- ferent style. TSCHERNINGK, John. This artist was pro- bably of the same family with the preceding en- graver. He engraved some portraits and other book ornaments in a neat but formal style. [There were two of the name, father and son ; the elder operated in 1634, the younger was living in 1685. They- were publishers as well as engravers. A por- trait painter of the name Andrew, probably of the same family, lived in 1660.] TUCARRI, Giovanni. According to Hackert, this ai'tist was born at Messina in 1667, and was the son of an obscure painter, by whom he was in- structed in the rudiments of design. He excelled in painting battles and skirmishes, and possessed such extraordinary faciUty of execution, that the number of his pictures is almost incredible. There are many of his works in Germany, where they ai-e held in considerable estimation. He died in 1743. TULDEN. See Thulden, TURA, [or TURRA,] Cosimo, called Cosme da Ferrara. This painter was bom at Perrara in 1406, and was a disciple of Galasso Galassi. He painted sacred subjects in the dry Gothic style which prevailed at the time at which he Uved. Several of his works remain in the churches- and public edi- fices at Ferrara, of which a particular account is given by Cesare Barotti, in his Pitture e ScuUure di Ferrara. He was also much employed in illumin- ating missals ; and his oil pictures are finished with the laboured minuteness of miniature. Borso d'Este, Duke of Ferrara, employed him in the decoration of one of the apartments in his palace, where he paint- ed the Twelve Months of the Year, in fresco, which are mentioned by BaruSaldi as very masterly per- formances for that early period. Of his altar-pieces, the most worthy of notice are, his pictures of the Annunciation and the Nativity, in the cathedral ; and Christ praying in the Garden, at the Cappuc- cini. He died in 1469. [One of his pictures, a Ma- donna and Saints, under splendid, but overloaded, architecture, is in the Berlin Museum.-^jK%fer. In Bosini, Storia deUa Pittura Italiana, torn, iii., is an outline of a Madonna and Bambino, which is suffi- ciently chaste in all respects.] TURCHI, Alessandro, called L'Orbetto. So D'Argenville, and the other French biographers, who have been followed by Mr. Pilkington, date the bu-th of this artist in 1600, and at the same time assert that he was a disciple of Felice Riccio, called Brusasorci, who died in 1605. This infraction of the order of chronology is to be repaired by a re- ference to the more authentic evidence of the Italian writers on art, and we find, on the authority of Pas- seri and II Padre Andrea Pozzo, that he was born at Verona in 1582, and died at Rome in 1648. He acquired the name of L'Orbetto, from his having been occupied, when a boy, in the humble station of conductor to a bhnd beggar. In this lowly con- dition he was noticed by Brusasorci, who discovered in him so decided a disposition for the art, that he took him under his protection, and with the assist- ance of his instruction, in a few years he surpassed his master. On leaving the school of Riccio, he went to Venice, where he studied some time under Carlo Cagliari, and acquired a chaste and natural style of colouring. To improve himself in design, he afterwards visited Rome, and by studying the works of the best masters of that school, he formed a style peculiarly his own, in which he attempted to combine the Roman taste of design with Vene- tian colouring. In competition with Andrea Sacchi and Pietro da Cortona, he painted some pictures in the church of la Concezione, which were not dis- creditable to his talents as a rival. He painted several other altar-pieces for the churches at Rome, of which the most esteemed are, a picture of the FUght into Egypt, in the church of St. Romualdo ; the Holy Family, in St. Lorenzo in Lucina; and St. Carlo Borromeo, in S. Salvatore in Lauro. He was much employed on cabinet pictures, represent- ing historical subjects, which he frequently painted on black marble. His best performances, however, are at Verona, and of these the most worthy of no- tice are, his picture of the Forty Martyrs, in the church of St. Stefano ; and a Pieta, in the church of La Misericordia, in which he appears to have emulated the great style of the Caracci, in the grandeur of the composition, the admirable expres- sion of the heads, and the impressive solemnity of the colouring. TUBCO, Cesare. According to Dominici, this artist was born at Naples, about the year I5I0. He was first a disciple of Giovanni Antonio d'Amato, but he afterwards studied under Andrea Sabbatini, called da Salerno. He painted history with con- siderable reputation, and there are several of his works in the churches and public edifices at Naples, particularly an altar-piece, in the church of S. Ma- ria delle Grazie, representing the Baptism of Christ by St. John j and a picture of the Circumcision in the church del Gesu. He died in 1560. TURK, the . See Liotard. [TUBPIN, Pierre Jean Franqois, painter of natural history in water-colours, was born in 1775, and had no instructor but nature and his own ap- plication. He made upwards of six thousand draw- ings in water-colours on vellum, which have been engraved by Scellier, Plee, Bouquet, Coutant, Mas- sard, and others, for works on natural history. Among those which they illustrate may be named, the Travels of Humboldt and Bompland ; the great work on Egypt ; the plants of New Caledonia ; Les Icones de M. DecandoUe ; L'Iconographie Vegetale ; L'Atlas du Dictionnaire des Sciences Naturelles; and Duhamel's beautifully illustrated treatise on Fruit Trees. This clever and industrious artist was living in 1831.1 817 TUSO] A DICTIONARY OP [VAAR TUSCHER, M. [Marcus.] This artist was a native of Germany, and flourished about the year 1743. He painted conversations and dramatic sub- jects, and etched some plates from his own designs, among which is a theatrical scene, spiritedly exe- cuted, bearing the date 1 743. . [Marcus Tuscher was an excellent engraver and designer. He was born at Nuremberg in- 1706, the natural son of a lace- maker, and was brought up in the hospital for or- phans, in that city. He was afterwards placed under J. D. Preisler, with whom he remained about ten years, and evinced great talent for drawing and composition. From the school of Preisler he went to Rome, and was employed by Stosch for two years. It is also said that he worked in Prance and in Holland. It is very probable that he was in Eng- land also, as in the edition of Norden's Travels in Egypt and Nubia, published at London in 1757, there are some plates by him, one of which is in- scribed F. L. Ndrden del. M. T. fecit, 1748. Most of his plates are marked with his name in full, and consist of historical subjects, portraits, vignettes, and other book illustrations. It is believed that he left England for Denmark, and that he died about the year 1755. Walpole, who mentions him, says he was a painter and an architect. Piissli describes him as almost a universal artist ; as a painter, cop- per-plate engraver, sculptor, carver in wood, and gem engraver; he places his death in 1751, at the age of forty-five, and takes occasion to mention him in a subsequent article as the /amotfs Mark Duscher.] TUTIANI, Bartolommeo. This artist is said to have been an engraver on wood, though his works are not specified. He marked his prints with a Gothic monogram, thus, ^. [Bartsch mentions only one wood-cut with this mark ; it re- presents Christ insulted by the Jews, and occurs in a work printed at Augsburg in 1515. There is no foundation for saying it is by B. Tutiani, of whom nothing certain is known.] [TYN, Lambert de, bom at Antwerp in 1770, was a scholar of- P. Van Regemorter. He painted interiors with conversations by candle-light ; land- scapes by moonhght ; and other familiar subjects. He died in 1816.] TYROPP, Martin, a German engraver, who resided at Nuremberg, and engraved a considerable number of book-plates and portraits. Among the latter is that of Charles a Linne, architect to the King of Sweden. [He lived about 1750, and was a publisher as well as an engraver.] TYSON, Michael. This gentieman was a fel- low of Bennet College, Cambridge. He painted for his amusement, and etched some plates, particularly the portrait of Archbishop Parker, taken from the illumination of a manuscript by T. Berg, preserved in the library of Bennet College. It is probable, from the precise resemblance in the prints, that the portrait of that prelate, by Remigius Hogenbergh, was engraved from the same painting. He also en- graved a portrait of Sir William Paulet, from an old picture, the painter of which is unknown ; and that of Jane Shore, from a picture at King's College, Cambridge. [He hved about 1770.] TYSSENS, Peter. This painter was bom at Antwerp in 1625. It is not mentioned by whom he was instructed in the art, but, from the resemblance of his works to those of Vandyck, it is probable that he principally formed his style by studying the works of that master. He distinguished himself both as a painter of history and portraits ; and, in 818 both, he approaches so near to the correct design and chaste colouring which characterize the pro- ductions of the eminent artist above mentioned, that it is not always easy to discriminate between their performances. After the death of Rubens and Vandyck, he was considered one of the ablest painters of his time, and was made director of the Academy at Antwerp in 1661. His compositions are copious and ingenious ; his design'more correct than is usual in the painters of his country, and his colouring is clear, chaste, and harmonious. There are several altar-pieces by him in the churches in Planders, which sustain his reputation, in the vici- nity of the works of the most celebrated artists of the Plemish school. Among those most worthy of observation are, his picture of the Martyrdom of St. Benedict, in the church of the Capuchins at Brus- sels ; the Crucifixion, at the Barefooted Carmelites ; and the Assumption of the Virgin, in the church of St. James, at Antwerp ; the last-mentioned has fre- quently been mistaken for a work of Vandyck. He died in 1692. [Balkema says he died in 1682; but writers of more credit leave the matter open.] TYSSENS, Augustine, was the son of the pre- ceding artist, bom at Antwerp about the year 1655. He was instructed in the rudiments of the art by his father, but his genius leading him to landscape painting, he applied himself to studying the works of Nicholas Berghem, of whose style he became one of the most successful followers. His pictures, re- presenting landscapes, with ruins, embellished with figures and cattle, correctly drawn and neatly touch- ed, were highly esteemed, and placed in the choicest collections. He was director of the Academy at Antwerp in 1691. [Zani says he was bom in 1660, and died in 1 710. Balkema places his birth in 1662, and his death in 1722. It is probable there is some confusion in the dates respecting Augustine and Nicolas.] TYSSENS, N. [Nicolas.] This artist was the younger son of Peter Tyssens, bom at Antwerp in 1660. He learned the first principles of design from his father, and is said to nave visited Italy, and passed some time at Rome, Naples, and Venice. It can hardly be supposed that his journey was under- taken for the improvement of his style, as he never aspired to a higher branch of the art than a painter of still-life. His pictures represented dead game, flowers, fruit, armour, sabres, and other military weapons, which he rendered interesting, by a cor- rect and faithful delineation, a picturesque and in- genious arrangement, and an intelUgent conduct of the chiaro-scuro, [Balkema says he died at London in 1719.] VAART, John Vandeh. This artist was born at Haerlem in 1647, and was a scholar of Thomas Wyck. He visited England in 1674, and was first employed by William Wissing in painting his draperies, but he afterwards distinguished himself as a painter of landscapes, objects of still-life, and dead game, in the last of which he particularly ex- celled. He died in London in 1721. We have by this artist a few portraits, engraved in mezzotinto, which are but very indifferently exe- cuted. He had the credit of instmcting John Smith in the art of scraping in mezzotinto. Among others are the following portraits by him ; King Charles II. ; after Wisaing. Ann Scott, Duchess of Monmouth ; after Kneller. VAce] PAINTERS AND ENGRAVERS. [VAGA Edward WetenhaU, Bishop of Cork ; ad mvum del. Robert Fielding, called the Beau ; after LeTy. [There is some uncertainty about the date of Van- der Vaart's birth; Piiessli and others place it in 1667, at which period Thomas Wyck was in Eng- land. If Vander Vaart came to England in 1674, it is not likely that he was first employed by Wis- sing in painting draperies, Wissing being then only in his eighteenth year, and it is said he did not visit England tUl about 1680. Laborde, noticing Van- der vaart as a mezzotinto engi'aver, says he was born in 1674 ; this makes " confusion worse con- founded," for T. Wyck died in 1686, and Wissing in 1687, when Vander Vaart would have been at most but thirteen years old.] VACCARO, Andrea. This painter was born at Naples in 1598, and was a disciple of Massimo Stanzioni. He for some time attached himself to an imitation of the style of Michael Angelo Cara- vaggio, and some of his early productions were sometimes mistaken for the works of that painter. By the advice of Stanzione, he afterwards aban- doned that manner, and adopted principles founded on the grace and amenity of Guido. Such are his pictures at the Certosa, and in the church of the Teatini, at Naples. After the death of Massimo, he was considered the ablest artist of the Neapolitan school, and was without a rival until the arrival of Luca Giordano from Rome, to whom he was little inferior. He died in 1670. [He used a monogram similar to that of Andrea Vannucchi, (del Sarto,) which has caused some of his easel pictures to be attributed to that artist.] VACCARO, Fkancesco, an Italian painter and engraver, bom at Sologna in 1636. He was a scholar of Francesco Albano, and is chiefly known as a painter of perspective and architectural views. He published a treatise on perspective, embellished with plates engraved by himself, from his own de- signs. His prints consist of twelve perspective views of ruins, fountains, and other edifices in Italy, inscribed Fr. Vaccaro, fee. [It is probable that he was born earlier, as he operated in 1650. He died in 1687.] VACCELLINI, . See Vascellini. VADDER, Louis de. This painter was born at Brussels in 1560. It is not known by whom he was instructed, but he may be ranked amongst the ablest landscape painters of his country. From the grandeur of his style, and the picturesque beauty of his scenery, it is probable that he resided some time in Italy, where he appears to have made the works of Titian the particular objects of his study j as his best productions bear a stnking resemblance to the admirable landscapes of that distinguished master. His touch is uncommonly firm and free, and his colouring, though vigorous, is tender and chaste. The forms of his rocks and trees are noble and select, and his distances are distinguished by a vapoury degradation, which is only to be found in the works of the most faithful observers of nature. The pictures of Vadder are deservedly esteemed in his native country, where they are found in the choicest collections. His merit would have been more generally known in England, had not his works been frequently imposed upon the public under borrowed names. We have a few spirited etchings of landscapes by this artist, executed in the style of Lucas Van U-den. [Bartsch, torn. v. P. G., has described eleven etchings by De Vadder. In the catalogue of Mr. James Hazard's prints, which were sold at Paris in 1 787, there is a lot 3g2 (2937) consisting of « Une suite de sept petits pay- sages entravers, et trois doubles, avec des change- mens, dont un avant et avec la figure, et les deux autres, plus ou moins ti-availl6s ; un autre paysage, plus que le double plus grand, s'y trouve aussi deux fois, dont I'un est avant les figures et la lettre ; et enfin un paysage de moyenne grandeur, en travers, deux fois le m6me, dont I'un est avant, qu'sl la suite du monogi-amme furent gravfees les lettres Adder fe. ; formant un petit oeuvre de quatorze pieces, rare et curieux." Some of these variations are not noticed by Bartsch. It is supposed that he died about 1623.] [VAPPLARD, Pierre Antoine Augustin, a French historical and portrait painter, was bom at Paris on the 19th of December, 1777- He was a a pupil of Regnault. His works consist chiefly of poetical subjects,' which are well chosen, and exe- cuted with ability. He also painted interesting events in French history regarding noble actions of Henry IV., Napoleon, Prince Poniatowski, the Bar- ricades in July, 1830 ; Moli^re reading his " Tar- tufie" in the house of the cardinal legat, and the death of that inimitable vmter, which has been en- graved by Migneret. He was employed to restore 9ie decorative paintings of the galleries of Ver- sailles and the Tuileries. Many of his pictures were purchased by the government, and distributed in various public places. He was living in 1832.] VAGA, PiERiNO DEL. The name of this artist was Pieti'o Buonacorsi, but he was called del Vaga, from having been instructed in the art, and con- ducted to Rome, by a painter of that name. He was born at a village near Florence in 1500, of very indigent parents ; his father was killed in battle, and his mother dying of the plague before he was two months old, he is said to have been reared by the milk of a goat ; and, as a destitute orphan, was taken under the protection of an artisan named An- drea de Ceri, whose house was frequented by several young artists of Florence. At an early age Pierino discovered a decided in- clination for the art, and when he was eleven years old was placed under the tuition of Ridolfo Ghir- landaio, by whose instruction he became an expert and correct designer, and had made considerable progress, when his talents were noticed by a Flo- rentine painter of some reputation, who conducted him to Rome, in 1515, where he had an opportunity of studying after the antique, and the works of Mi- chael Angelo. His merit became known to Giulio Romano and Gio. Francesco Penni, called II Fat- tore, two of the principal disciples and the coadju- tors of Raflfaelle in his works in the Vatican, by whom he was recommended to that illustrious art- ist, who discovered in him suflicient ability to em- ploy him in the execution of his designs in the Loggie of the Vatican. Such was the utility and vai'iety of his powers, that he was equally successful in assisting Giovanni da Udine in the stucco and grotesque ornaments, Polidoro da Caravaggio in his antique subjects in chiaro-scuro, and in executing the biblical subjects from the designs of Raffaelle. Of these, the most renjarkable are, the Battle of Joshua, the Israelites passing the Jordan, the taking of Jericho, Abraham preparing to sacrifice Isaac, Jacob wrestling with the An^l, and Joseph and his Brethren. He is ranked by Vasari as the greatest designer of the Florentine school, after Michael Angelo Buonaroti ; and the partiality of that bio- grapher does not hesitate to pronounce him .the most distinguished of the disciples of Raffeelle, 819 vaja] A DICTIONARY OP [vail After the death of that master he was employed by Leo X. and Clement VII., in conjunction with Giulio Roniano and 6io. Francesco Penni, to finish the great works in the Vatican. Oiie of the earliest productions he exhibited at Rome, of his Own com- position, was a picture he painted for the church of S. Marcello, representing the Creation of Eve, in which he discovers with what success he had studied the works of Michael Angelo. Pierino del Vaga was in full possession of the public esteem, when the arts and artists experienced a disastrous visitation, on the sacking of Rome, in 1527. Compelled to fly from the capital, and plun- dered of all he possessed, he took refuge in Genoa, where he was gi-aciously received by Prince Doria, who at that time projected the embellishment of ■his superb palace, near the gate of St. Thomas. It was upon this occasion that Pierino displayed the extent of his powers, and the fecundity of his in- vention ; and it has been made a matter of dispute whether the decorations of the Palazzo del T, at Mantua, by Giuho Romano, or those of the Doria Palace at Genoa, by del Vaga, do more honour to the great school in which they were educated. In one of the apartments he has represented Jupiter fulminating the Giants ; and in others, several sub- jects from Roman History, and the Metamorphoses of Ovid. He also designed a series of cartoons of the History of ^neas. In these considerable works he was assisted by coadjutors, in the choice of whom he is reproached with not being sufficiently scrupu- lous, and the grandeur of the design is occasionally impoverished by the feebleness of the execution. He died at Rome in 1547- VAJANI, Anna Maria. This lady resided at Rome about the year 1650, where she engraved part . of the plates for»the Justinian Gallery. [She ex- celled as a pEunter of flowers. Bartsch has described five prints by her, but with no great commenda- tion.] VAJANO, [or VAJANI,] Orazio. This paint- er was a native of Florence, and flourished about the year 1600. He resided chiefly at Milan, and acquired considerable reputation by some pictures he painted for the churches of S. Carlo, and S. An- tonio Abate, which are judiciously composed, and designed with correctness, though feeble and lan- guid in the colouring. There are also several of his works in the churches and public edifices at Genoa. [He was also called Alessandro. He flourished about 1628. Bartsch has described a print by him of a dead Christ near the tomb, and also one of a Magdalene etigraved after him by Sebastian Vaja- ni, an artist of whom nothihg else is known.] VAILLANT, Wallerant. This artist was born at Lisle in 162.3. After learning the rudiments of design in his native city, he went to Antwerp, at that time the residence of many eminent painters, where he became the disciple of Erasmus Quellinus. On leaving the school of that master he adopted portrait painting, as the most lucrative branch of the art, as well as that most adapted to his genius, and met with very encouraging success. He was advised to visit Frankfort, at the time of the coron- ation of the Emperor Leopold, whose portrait he painted, and those of several of his attendants. The Marshal Grammont invited him to accompany him to Paris, where he was so fully employed, and so liberally remunerated, that in a few years he re- turned to Flanders with a competent fortune. He is said to have visited England in the suite of Prince Rupert, who communicated to him the then newly- 820 discovered process of scraping in mezzotinto. He engraved a great variety of plates in that manner, as well from his own designs as after other mas- ters, among which are the following : portraits. Prince Rupert. [Two ; one in armour, and one witli his arms crossed and leaning his head on his left hand.] His own Portrait. The Portrait of his Wife. Desiderius Erasmus. John Frobenius, the celebrated Printer of Basle. Sir Anthony Vandyck. Barent Graat, Painter. SUBJECTS after VARIOUS MASTERS. St. Barbara ; after Raffaelle. Judith ; after Guido. The Holy Family ; after Titian. The Temptation of SI. Anthony -, after Cam. Procaccini. The Bust of a 'Warrior ; after Tintoretto. Venus lamenting the Death of Adonis; after Eras. Quellinus. The Prodigal Son ; after Mark Gerard. Judith and Jael ; after Gerard Lairesse. He also engraved several subjects from Terhurg, Metzu, Francis Hals, Brower, Besa, and others. He died at Amsterdam in 1677. [For a fuller ac- count of W. Vaillant, see Laborde, " Histoire de la Gravure en maniere noire."] VAILLANT, Bernard, was the younger brother of the preceding artist, born at Lisle in 1625, [others say 1 627.] The success of Wallerant Vaillant as a portrait painter, induced him to adopt the same pursuit, and he received his principal instniction in the art from him. He chiefly excelled in painting portraits in crayons, and having accompanied his brother in his journeys to Frankfort and Paris, he was much employed in that branch. On his return to the Low Countries, he established himself at Rotterdam, where he resided the remainder of his life. He engraved Several portraits in mezzotinto, among which are the following : John Lingelbach, Painter ; after Schwarz. Paul Dufour ; after Wallerant Vaillant. Charles de Rochefort; B. Vaillant ad tivum faciebat. 1671. He also engraved two busts of St. Peter and St. Paul ; from his own designs. [See also Laborde.] VAILLANT, James. This artist was also the brother and scholar of Wallerant Vaillant, born at Lisle in 1628. Whilst young, he visited Italy, and passed two years at Rome. On his return to Flan- ders he was invited to the court of the Elector of Brandenburg, who employed him in painting some considerable historical subjects, which he executed to the satisfaction of his employer. He was sent by the Elector to Vienna, to paint the portrait of the Emperor, who presented him on the occasion with a gold medal and chain. On his return to Berlin, the Elector expressed great satisfaction, and on see- ing the portrait, highly applauded the performance. He died young, to the great regi-et of nis employer and the artists of his time. [It is said that he died at Berlin in 1670; Laborde and Zani say he died in 1691 ; Fiiessli, after Descamps, says he died young. As there was also a John Vaillant, perhaps they have been confounded.] VAILLANT, Andrew, was the youngest bro- ther of Wallerant Vaillant, by whom he was in- structed in design, and in the art of engraving. He etched a few plates of portraits, after the pictures of Bernard and James Vaillant, among which are the following : val] PAINTERS AND ENGRAVERS. [VAID Aloisiua Bevflaque ; after Bernard Vaillant. John Ernest Sohrader ; after James Vaillant. [Andrewwas born in 1629, and operated in 1689.] VAL, Du. This artist is mentioned by Papillon as an engraver on wood, who flourished about the year 1650, and was remarkable for the neatness and delicacy of his execution. He notices twenty cuts by him for the " Miraculous History of Notre Dame de Liesse," which he says were highly esteemed. His other prints are chiefly from the designs of James Stella and JV. Cochin. [This engraver is sometimes mentioned as Sebastiano, and sometimes as Stefano Du Val ; but there is a degree of mysti- fication about him which wants clearing. The book of the " Miraculous History" must be very rare ; Zani never met with a copy. He must not be confounded witlji SebasUano If VI, or J)' Val. Tit., who lived a century earlier. See that article.] VAL, Dtr, Mark, was probably of the same fa^ mily with the preceding artist. His name is afiixed to a plate representing the Adulteress before Christ, from his own design. It is executed with the graver in a neat but tasteless style. The letters of the name are reversed on the' plate. [Mark Du Val was an engraver in wood; he flourished from 1560 to 1580. He was called Le sowrd de Charles IX., King of Prance. It is probable that he has been confounded by Papillon with the other Du Val, who must have lived about a century later, if he engraved after Stella and Cochin^ [VAL, or VL, Sebastiano D', Ut, an engraver, who flourished about the middle of the 16th cen- tury. All that is known of him is that he engraved two plates, on one of which is the date 5558. Bartsch says that he was certainly ,a painter of merit, and probably a Venetian. The two prints by him are, A Kepose in Egypt, in -which the Virgin, mth the In- fant in her arms, rests at the hase of a rock on the right, and Joseph is seated on the left. On a tablet is insariJoedL Sehaatiano D' . VL; on another tablet, which an angel holds in the air, is written Piu alio nan so dir che Mater Dei. Etched in a very spirited manner. Prometheus, attached to Mount Caucasus, tormented by the Vulttffe. On a stone to the right is inscribed Se- bastiano D' Vol. Ut. 5558. (Bartsch says 15558.) Zani interprets this inscription thus : Sebastiano De Valentini l/iinense. With respect to the mistalie of the first figure in the date, 5 instead of 1, he con- jectures that the artist intended to mark the age of the world from the creation, 5558, which would cor- respond with the year in which he operated, that is to say, 1558 of the Christian era. " La ^ual data viene sempre a corrispondere all'anno, in cui operava, che h sicuramente quello del 1558." With submis- sion to so great an authority, it would be 1554, as, according to the chronological tables, the world was created 4004 years before the birth of Christ.] [VAL, RoBEET Du. ■ This painter is noticed by .Bryan, and others, under the names Nicholas Duval. He was born at the Hague in 1644, and after study- ing under Nicolas WiSing went to Italy, and be- came an imitator of Pietro da Cortona. On his return to Holland he was employed by William, Prince of Orange, afterwards kmg of England. It is said that he was sent to Hampton Court to put the Cartoons of Baphael in order ; whether to re- paint, or, in modern phrase, to restore them, is not said. He was appointed director of the Academy at the Hague, and died there in 1732.] [VALDELMIRA DE LEON, Juan, was born at Tafalla in Navarre. He was instructed in the rudiments of design by his father at Valladolid, and after his death entered tfie school of Francisco Rizi, at Madrid. He assisted that master in several of his works, particulariy in the frescoes of S. Antonio of the Portuguese, at Toledo, in the Retiro, and other places. But his chief excellence was in paints ing flower-pieces, which are said to equal the best of Arellano. He excited the jealousy of his fellow disciples when living, and the regi-et of numerous friends at his death, which occurred in his thirtieth year.] VALDES, Don Juan de. This Spanish artist was born at Seville in 1631, and distinguished him- self as a painter, a sculptor, and an architect. Pa- lomino informs us, that it is uncertain by whom he was instructed, but that he was more indebted to his own genius, and his assiduous application, than to the lessons of his preceptor. Of his works as a painter, the most worthy of notice are a series of pictures of the history of the Prophet Elias, in the church of the Carmelites ; the Martyrdom of St. Andrew, in the church of S. Francesco, at Cordova ; and the Triumph of the Cross, in la Caridad, at Seville. He Uved in habits of intimacy with Mu- riUo, who was a great admu'er of his works. He died at Seville in 1691. [Don Juan de Valdes Leal was born at Cordova in 1630, and descended from an ancient family of Asturja. He practised for some time in the school of Antonio del Castillo. He occupied a distinguished place among the painters of Seville, and was one of the founders of the Academy there; he was of course on intimate terms with Murillo. He painted numerous pictures in the churches of Seville, and some in those of Cordova. At the death of Murillo he was considered the head of his profession. There are two engravings by him, one with his monogram, the other with his names at full. He died of para- lysis, the 14th of October, 1691.] [VALDES, Don Lucas de, a painter and en- graver, was the son of Juan de Valdes Leal, and his wife Isabella Carrasquilla, who also exercised the art of jjainting. He was born at Seville in 1661, and from his infancy showed a great disposition for the arts ; but his father, being desirous that he should be well instructed in Latin and the mathematics, placed him with the Jesuits. Notwithstanding at the age of eleven he engraved, in aquafortis and the burin, four plates, which are to be found in "Fiestas de Seville a la canonizacion de S. Fer- nando," and represent emblematic allusions to the virtues of that Saint. From the goodness of the execution it may be suspected, however, that he was in some measure assisted by one of his parents. He afterwards attached himself to painting, par- ticularly in fresco, and acquitted himself with ex- traordinary facility. If he did not give grandeur to his figures, he was correct in his drawing, and showed great knowledge of perspective, and as much intelligence in architecture as any painter of the time. He became mathematical master of the Ma- rine College at Cadiz, but continued the exercise of the pencil and graver till his death in 1724. His sacred subjects are chiefly in the churches of Seville, and there is one in the Museum of that city. He also painted portraits, several of which he engraved; among them that of Father Francisco Tamariz, and that of the philanthropist Maiiara, the founder of an hospital of charity at Seville, for which his friend Murillo painted eleven pictures. Of these eleven pictures five were abstracted by Soult; and part of file stolen goods are now in England ; namely, the Healing of the Paralytic at the Pool of BethesM,, 821 vald] A DICTIONARY OF [vale Abraham receiving the Angels, and the Prodigal's Return. His son, Juan de Valdes, distinguished himself as an engraver, particularly in religious sub- jects for books of devotion. In 1732 he engraved an Immaculate Conception, with many angels; in 1734, a half-length portrait' of the venerable Fray Tomas de Santa Maria ; and in 1736, the venerable P. Contreras, and S. Francisco de Boija adoring the Holy Sacrament, with a glory of angels.] VALDOR, John, was a native of Liege, and flourished about the year 1620. At an early period of his life he went to Paris, where he chiefly resided. We have a considerable number of plates by him, representing saints and subjects of devotion, which are executed with extraordinary neatness and pre- cision.' He also engraved part of the plates for a book, entitled Les Triomphes de Louis le Juste, pub- lished at Paris in 1638, which are his best perform- ances. We have besides, by him, a Repose of the Holy Family, after Herm. Swanevelt ; and a Head of St. Ignatius, very highly finished. [He was living in 1649.] [VALENCIA, Fray Matias de, originally Lo- renzo Chafrion, a painter of religious, historical, and other subjects, was born at Valencia in 1696. After acquiring some knowledge of painting he went to Rome, and became a disciple of Corrado Giacuinto, whose manner he imitated. He returned to Va- lencia, and passed to Granada to obtain assistance from an uncle there, but being disappointed in his expectations, and reduced to necessity, he took re- fuge in a convent, and assumed the habit : he was drowned in 1749. In the refectory of the convent to which he belonged there was a picture of the Last Supper by him; and several of his smaller subjects were in the collections of private persons in Valencia.] [VALENCIENNES, Pierre Henri, a land- scape painter, was born at Toulouse in 1750, and died at Paris in 1819. His principal pictures are, Cicero discovering the tomb of Archimedes; two subjects from QCdipus ; Philoctetes in the island of Lemnos ; a View of the ancient city of Trezina, the Vale of Tempe, and the Dance of Theseus. Be- sides these he painted a great number of landscapes. Several of his pictures have been engraved. He published a treatise on perspective and landscape painting. He was a member of the ancient Acade- my of Painting, and of the Academy of Toulouse, and a chevalier of the Legion of Honour.] VALENTIN, Peter, [Moses.] This painter was born at Colomiers en Brie in 1600, and studied some time under Simon Vouet, but he left that mas- ter before he had made any considerable progress, and travelled to Rome, where he passed the re- mainder of his life. He may therefore be rather considered of the Roman than the French school. The powerful and vigorous style of Michael Angelo Caravaggio made so strong an impression on him, that he attached himself to an imitation of it, with a devotion that was never diminished. Like that artist, he indulged in an extravagant, but effective contrast of light and shadow ; like him, he was a faithful follower of nature, and was equally indiffer- ent and unfortunate in his choice of it ; like him, he was frequently incorrect, and alwws ignoble. He was, however, an intelligent master of the chiaro- scuro, and his masses are disposed so as to produce the most striking effect. Though he occasionally painted altar-pieces for the churches, his powers appear to have been better adapted to other subjects, which he also appears to have painted in prefer- 822 ence. His best pictures represent fortune-tellers, gamesters, concerts of music, and corps de gardes ; to which his taste was more competent than to the dignity of historic painting. The patronage of Car- dinal Barberini, nephew to Urban VIII., procured him the commission to paint a large picture for the Basilica of St. Peter, rejiresenting the Martyrdom of S. S. Processo e Martiniano, which is esteemed his best historical picture. He also painted for his patron the Decollation of St. John, in the Palazzo Barberini ; and there is an admired picture by him in the Corsini palace, of Peter denying Christ. This artist died in 1632, at the early age of 32, of a fever, brought on by going into a cold bath when he was heated. [His name was Moses, not Peter. The French claim him as belonging to their school, but without reason. There are several pictures by him in the Louvre. Dumesnil attributes an etching to him, which is not common. It represents a Soldier between two Women who are telling his fortune, and another man is picking one of their pockets. It is inscribed F. L. I), dartres excudif] VALERIANO, Padre Giuseppe. According to BagUone, this painter was a native of Aquila, and flourished at Rome in the pontificate of Clement VIII. It is not said under whom he studied, but he imitated the style of Sebastiano del Piombo, though more heavy in his style of design, and more gloomy in the tone of his colouring.. In this manner he painted for the church of S. Spirito in Sassia, two pictures, representing the Transfiguration, and the Descent of the Holy Ghost. He afterwards be- came a religious of the Society of the Jesuits, and painted several pictures of the Life of the Virgin for the Chiesa del Gesu, of which the Annunciation is considered his best performance. VALESIO, or VALEGIUS, Francesco. This artist is mentioned by Florent Le Comte as a painter as well as an engraver. He certainly engraved several plates from his own compositions, which are executed with the graver in a neat, but formal style. We have a variety of frontispieces and other book- ornaments by him ; but his most considerable work is a set of plates of Hermits, engraved for a book, entitled Ulustrium Anach&retorum Elogia, written by Jacobus Cavacius, a Benedictine monk, published at Venice in 1612. According to Le Comte, he also engraved some portraits, and other prints, after the designs of Pietro Facini, and other masters. VALESIO, or VALEGIUS, Giacomo, an Italian engraver, who was a native of Verona, and flour- ished about the year 1574. His plates are executed with the graver only, in a style resembling the works of Cornelius de Cort, but very inferior. Among other prints, we have one of St. Michael vanquishing the Evil Spirits, after P. Veronese, bearing the date 1574. \Jacom. Valegio fecit, 1587. Niccolo Valegio, another engraver, flourished about the same time ; he was also of Verona, and both were publishers.] VALESIO, Giovanni Luigi. This artist was a native of Bologna, and was brought up in the school of Lodovico Caracci. He painted some pictures for the churches of his native city, but is more known as an engraver, and painter of miniatures. Among his works at Bologna are, a picture of the Scourging of Christ, in the church of S. Pietro; the Annunci- ation, at the Mendicanti ; and St. Roch curing the persons afflicted with the Plague, in the church de- dicated to that Saint. According to Baglione, he died at Rome, in the pontificate of Urban VIII. He etched several plates from his own designs, and VAIE] PAINTERS AND ENGRAVERS. [VALK those of other masters, as well as a variety of em- blematical subjects, frontispieces, and other book- plates. Among others, we have the following prints by him, from his own designs : The Virgin, with the infant Christ seated on her lap. Venus threatening Cupid. Venus chastising Cnpid. f He was the son of a Spanish soldier, and born at Bologna in 1561. He died at Rome about 1640. He did not commence studying the art till he was thirty. He approached nearer to the style of Agos- tine Caracci in his engravings than any other of that school. Bartsch, torn, xviii. P. G., has de- scribed 1 1 1 prints by him, to which he has added 16 mentioned by Malvasia, but acknowledges that he had never seen them.] VALET, or VALLET, "William, a French en- graver, bom at Paris in 1636, [and died in 1704.] He is supposed to have been a pupil of Francis PoiUy, and afterwards studied some time at Rome. He engraved several plates from the Italian and French masters, which are executed chiefly with the graver, which, though inferior to the works of Poilly, possess considerable merit. Among others, we have the following prints by him : PORTRAITS. Charles Emanuel, Duke of Savoy. Louis, Duke of Mantua. Alessandro Algardi, Sculptor. Andrea Sacchi, Painter ; after C. Maraiti. The Bust of Peter Comeille, crowned by Melpomene and Thalia ; after Paillet. [Olympia Maldachini, Roma, 1657.] SUBJECTS AFTER VARIOUS MASTERS. The Nativity ; a,fter Raffaelle. The Holy Family ; after the same. [Melchisedeck bringing presents to Abraham ; after the same.} The Last Supper ; after Raffaelle. The Holy Family ; after Guido, Cornelius Bloemart has engraved the same. subject. The Holy Family ; after Albano. [From the picture in the Lonyre, called " LaLaveuse. ] A Kepose in Egypt ; after C. Maratti. The Virgin, with the infant Christ and St. John; after An. Caracci. The Annunciation ; after Courtois. The Resurrection ; mier N. Loir. St. John the Baptist before Herod; after LeBrun. The Adoration of the Magi ; aft^ Poussin. The Assumption of the Virgin ; after J. Miel. The Holy Family ; after James Stella. The Crucifixion ; after the same. VALK, or VALCK, Gerard, a Dutch engraver, bom at Amsterdam about the year 1626. He was first a servant to Abraham Blooteling, but having mai-ried his sister, was instructed by him in the art of engraving, and was afterwards in partnership with him. He visited England with his brother-in- law, and was employed for some time by David Loggan. He also assisted Peter Schenk in the publication of the large Dutch Atlas, in two folio volumes, in 1683. We have several portraits, and other subjects, engraved by him, both in mezzotinto and with the graver, some of which possess con- siderable merit. Among others are the following : PORTRAITS WITH THE GRAVER. Hortensia, Duchess of Mazarin; after Lely ; one of his best plates. Robert, Lord Brooke. John, Duke of Lauderdale. Eleanor Gwyn; after Lely. PORTRAITS AND SUBJECTS IN MEZZOTINTO. William, Prince of Orange ; after Lely, Mary, Princess of Orange ; after the same. Louisa, Duchess of Poi-tsmouth ; after the same. Mary Davis, Actress ; after the same. A Girl holding a Lamp ; wfter G. Domo. David and Bathsheba ; after B. Giaat. [A Trumpeter presenting a letter to a Lady ; after Ter.- burg. A Death's Head crowned with laurel. Cupid asleep ; after Guido. A Woman searching for Fleas.] VALK, Peter. This artist was born at Lewarde,, in Friesland, in 1584, and formed his manner of painting by studying the works of Abraham Bloe- maert. He afterwards visited Italy, and passed some years at Rome. On his return to Holland,'he distinguished himself as an historical painter, and excelled also in portraits and landscapes. He en- graved a few plates, in which he imitated the style of Philip Galle, and are chiefly copied from the prints of that master ; among which is one repre- senting Time and Truth. [VALKENBURG, or VALCKENBURG, Lu- cas VAN, born at Malines, between 1530 and 1540, (for writers are not agreed respecting the date,) was a landscape painter, and also painted portraits in small. He was patronized by the Duke of Lintz, for whom he painted a great number of pictures ; and on his return to his native city died on the road, in 1582, according to some, and in 1625, according to others.] [VALKENBURG, or VALCKENBURG, Mar- tin VAN, was a younger brother of Lucas, and the dates respecting his birth and death are equally un- certain. Some say he was born in 1533, and died at Frankfort in 1574; others, that he was born about 1542, and died in 1636. He accompanied his brother in search of the picturesque, and made numerous designs of the beautiful views in the en- virons of Aix-la-Chapelle and Liege. It is probable that both the artists have been confounded with others of the same name.] [VALKENBURG, Martin van, bom at Ma- lines about 1542, painted very pleasing landscapes, enriched with historical and allegorical figures ; some of which have been engraved by Crispin de Passe. He died at Frankfort in 1636. His pictures are marked ^^, VALKENBURG, Theodore. This painter was born at Amsterdam in 1675, and was first a scholar of Cuilenburg, but he afterwards studied under Michael van Muscher, and ultimately under John Weeninx. By the lessons of the last-mentioned master, he arrived at an unusual ability in painting animals, huntings, and especially dead game, in which he particularly excelled. He also painted portraits with considerable success. In 1696 he travelled to Germany, with the inten- tion of visiting Italy, but he was commissioned to paint some pictures at the court of the Duke of Baden, which were greatly admired, and he was persuaded to visit Vienna with a particular recom- mendation to the Prince of Lichtenstein, who re- ceived him in the most gracious manner. He was employed and caressed by the principal personages in that capital ; and such was the reputation he ac- quired, and the liberal remuneration he received for his works, that he renounced his project of visiting Rome, and, during a residence of a few years at Vienna, he amassed a competent fortune. The de- sire of revisiting his native country induced him to abandon these advantages, and to resist the flat- 823 valk] A DICTIONARY OF [VAND tering offers made him, to prevail on him to remain in Germany. He returned to Holland, where his works were not less esteemed, and he was employed •to paint some pictures for the palaces at Loo. He continued to exercise his talents with reputation until the year 1721, when he died of an attack of apoplexy. Though Valkenburg was an eminent portrait painter, his most esteemed works are his pictures of dead game, which are not much inferior to the admired productions of Weeninx. VALKER, War-ner van, a Dutch painter and engraver, who flourished about the year 1610. He painted historical subjects, and etched a few plates from his own designs, which are executed in a bold, spirited style, among which are the following : The Good Samaiitan. Venus sleeping, surpnsed by two Satyrs. An old Man and Woman seated at a table, -with tlie figure of Death giTing his hand to the old Man ; dated 1612. [The Dutch writers call him Warnard Vanden Val- kert He was born about 1572, according to some ; others say 1575 and 1580. He was a scholar of Henry Goltzius, and painted historical pictures in his manner ; he also painted portraits. There are pictures by him in some of the churches at Utrecht. One has the date 1620; he was living in 1623.] VALLEE, or VALEE, Simon. This artist was bom at Paris about the year 1700. He was a pupil of Peter Drevet, and has engraved several plates, which are etched and finished with the graver in a neat, tasteful style. The following are among his most esteemed prints : portraits. John de Troy, Painter to the King ; after Pros, de Troy. John Francis SaTavy, Curate of St. Menehoult ; after the SUBJECTS AFTER VARIOUS MASTERS. The Transfiguration ; after Raffaelle. St. John in the Desert ; after the same. The Flight into Egypt ; after Carlo Maratti. The Kesurrection of Lazarus ; after Girobmo Muzicmo. The finding of Moses ; after Francesco Bomanelli. Christ bearing his Cross ; after And/rea Sacehi. The Death of the Virgin ; after M. Angela da Cara- vamio. The Sacrifice of Abraham ; after Ant. Compel. Christ cilling to him the Little Children ; after P. J. Canes. The Descent of the Holy Ghost ; after the same. [Unless there be an error in the date of his birth, this cannot be the same ^S". Vallee who engi'aved the series of four landscapes, in folio, after N. Poussm, for there is a print by him with the date 1706. It is the portrait of a Lady in a Garden, attended by a young negro, and she appears about to gfither a pink ; at the bottom, Migauldpinx. 1701 — -Sf. Vallee sc. 1706. Zani notices a Stefano de la Valee, called also il Cav. Poussin, who was an amateur painter and engraver, and operated from 1724 to 1764 ; the same that M. Bernard asserts was bom in 1722, and died in 1803.] VALLENBURGH, . This painter was born at Nuremberg in 1555, and was instructed in the first elements of design by an obscure artist, who is not mentioned. He travelled to Venice when 'he was young, where he studied the works of Titian and P. Veronese, and returned to Germany with an agreeable and harmonious style of colour- ing, and great facility of execution. Though he occasionally painted historical subjects, he was more successful in representing perspective views of public places, with markets, fairs, and festivals, in which 824 he usually introduced a great number of figures, de- signed wife tolerable coiTcctness. His works are little known except in Germany, where they ard held in considerable estimation. He died in 1623i [This probably means Frederick Valltenhurgh, who died in 1623. There is no account of an artist of the name of Vallenhwrgh.'] [VALLET, Pierre, a designer and engraver, born at Orleans about the year 1575. He bore the title of " Brodeur ordinaire du Jtoi" to Henry IV. of France, and was Uving in 1642. He is noticed by Robert Dumesnil, " Le Peintre Graveur Fran- cais," tom. vi., as the engraver of 124 prints which decorate " Les Avantures amoureuses de Theagene et Chariclee," pubUshed in 1613, a bibliographical bijou of the greatest rarity; a Plan of the City of Paris, ajier Francois Quesnel ; the flowers in the work entitled "Le Jardin du Roy trfis Chrestien Henry IV. Roy de France et de Navare. Dedie k la Royne," published in 1608. In this edition is the Eortrait of the artist with his name and the date. It as also that of the keeper of the garden, Jean Robin, a eunuch, who reared the first acacia in France. This is also a very curious work, and would much interest the floriculturists of the pre- sent day. Nothing further is recorded of Pierre Vallet, except that he was connected in some other work with two artists, now very little known, P. Fatoure, and G. Oiovane, or Gabriel Le Jeune, who flourished at Paris in 1609; it is supposed that Fatoure was a designer, and Le Jeune an engraver, but they worked conjointly.] VALLORY, THE Chevalier de, a French ama- teur engraver, who flourished about the year 1760. He etched for his amusement several small land- scapes, and other subjects, after Boucher. [This is probably the Chevalier Theodore Vallory ; but there was a Cavaliere Antonio, who operated thirty years earlier : he was an Italian.] VALPUESTA, Pedro, a Spanish painter, bom " at Osma, in Old Castile, in 1614. He was a dis- ciple of Eugenio Caxes, and, according to Palomino, was the most successful follower of his style. His principal works are in the churches and convents at Madrid, of which the most remarkable are, a series of pictures of the Life of the Virgin, in the church of San Miguel ; the Holy Family, with St. Joachim and St. Anne, in the chapel of the Hospital del Buensuceso ; and six pictures representing the life of St. Clara, in the convent of the Franciscan Nuns. He died at Madrid in 1668. VAN, -. . Van, Vande, Vanden, and Vandee, being only articles preposed to the Dutch, Flemish, and German names, when the artist is not found under the letter V, the article wiU be met with by refening to its proper initial letter ; as Van Achen under Achen, Vande Velde under Velde, Vanden Berg under Berg, Vander Borcht under Borcht, &c. &c. VANBALEN. See Balen. [VANDAEL, John Francis, an excellent paint- er of frait and flowers, was born at Antwerp in 1764, but went early to Paris and settled there. He was self-instructed in art, but made such progress that he soon distinguished himself at the exhibi- tions. On one occasion he obtained the prize of 4000 francs, and on two others, the large gold medals. He did not confine himself strictly to fruit and flowers, but painted other subjects, in which such objects might be introduced with propriety. Three of his pictures are in the Luxembourg ; two, which he painted for the Empress Josephine, are at vand] PAINTERS AND ENGRAVERS. [VANI Munich ; they represent an Ofiering to Flora, and the Tomb of Julia. He was also patronized by the Empress Marie Louise, who took one of his pictittes with her to Parma. Many of his pictures were to be seen in the .chateaux of St. Cloud and de Trianon, and also in the collection of the Duchesse de Berri. They may all be ranked as fruit and flower-pieces ; the other parts being subordinate to these objects. The date of his decease is not ascertained. He was a member of the Academies at Amsterdam and Antwerp, and also of several other societies, and a chevalier of the Legion of Honour.] [VANDEN DYCK, Daniel, an engraver, was born, according to Brulliot, in France, but Boschini and others say Jie was a native of Flanders. He was an historical painter, and an engraver in aqua- fortis. He went to Venice, and became inspector of the gallery of the Duke of Mantua in 1658. Though it is said that he painted with great reputation his- torical compositions and portraits, in which he was assisted by his wife Lucretia, a daughter of Nicolas Renier Mabuse, whom he married at Venice, none of his pictures are otherwise noticed. Robert Du- mesnil, torn, iii., has described five etchings by him, all of which have his name. Three of them are among those that some writers have attributed to Anthony Van Dyck. They are marked with a star. * 1. Susanna and the Elders; Dani'. Yanden Dyck in et ' fedt. * 2. The Virgin and Infant ; DV. Dyck in et feif. 3. St. Katharine; DV. Dyck I., the two first letters joined as a monogram. i. The deification of Eneas ; dedicated hjr the artist to the Marquis Gicalteri, a noble Venetian. * 5. A Bacchanalian scene ; Silenus drunk at tahle, sup- ported by a Bacchante ; Dani'. Vanden Dyck fee'. In Rigal's catalogue mention is made of a Shep- herdess and Shepherd, half-length figures ; and others, it is said, are marked with his cipher only, one of which has the date 1626 : these Robert Du- mesnil has not seen. The Shepherdess and Shep- herd is attributed by others to John Thomas.'] VANDERBURGH, Adrian. This painter was born at Dort in 1693, and was first a scholar of Ar- nold Houbraken, but he afterwards acquired a more finished style, by imitating the works of Mieris and Metzu. He painted with considerable success small portraits, domestic subjects, and conversations, which were agreeably coloured, and painted in a neat, poUshed manner, though very inferior to the artists he adopted as his models. Hjs pictures are, however, found in the collections in Holland, where they are held in considerable estimation. He died in 1733. [V ANDERGUCHT, Benjamin, a portrait paint- er and picture-dealer, was the thirty-second child of Gerard Vandergucht the engraver, by his only wife, who survived him several years. Benjamin was a student at the school in St. Martin's Lane, and afterwards at the Royal Academy. He painted the portraits of actors, among them those of David Garrick, as Steward of the Stratford Jubilee, and of Woodward the Comedian, which is in the Lock Hospital. He relinquished painting for picture dealing, picture cleaning, and repairing, which he probably found a more profitable occupation. He was drowned in the Thames, near Chiswick, in 1794. His father, Gerard, was an engraver of book-prints for publications in the early part and middle of the 18th century. See the articles Gucht, Vandee.] VAN, DiEST. See Diest. VANDYCK, Sir Anthont. The memoirs o this admirable painter are so interestingly con nected with the history of English art, that we cai scai-cely avoid considering him as our own country man. He was bom at Antwerp in 1599, and, ac cording to Houbraken, was the son of a painter 01 glass, by whom he was instructed in the elementarj principles of design, and was afterwards placed un der the tuition of Henry Van Balen, a painter o considerable reputation, who had studied in Italy He had already made a rapid progress under tha master, when the brilUant reputation of Rubens and the sight of some of his finest works, inspiret him with the ambition of becoming his disciple and by the intercession of some mutual friends, h( was received into the academy of that illustrioui painter. It was not long before the intelligent eyi of Rubens discovered in his disciple talents of n< ordinary cast ; he soon found him of sufiicient abilitj to effectually assist in the numerous commissions ii which he was engaged, and he was intrusted to for ward several of the works of Rubens, from his de signs, to a point which required little more than th( ultimate touches ,of his master. Whilst he was t pupil of that distinguished painter, an accident oc curred which established his superiority over all hii fellow students. It was the custom of Rubens, as a relaxatioi from his laborious application, to take an airing 01 horseback in the evening, when his painting-roon was locked up, under the care of a confidential do mestic. The numerous students, desirous of an op portunity of examining' the mode of his process from the commencement to the finish of his works prevailed on the guardian, by frequent presents, tc admit them into ms atelier. At the time when h< was engaged on his celebrated picture of the Desceni from the Cross, their curiosity was more particu- larly excited, and, as they eagerly pressed forwarc to examine the work, Diepenbeck, pushed by onf of his feUow students, fell against the pictm-e, anc efiaced an essential part of it, the face of the Virgin and the arm of Mary Magdalene, which had beei just finished. Consternation seized every counte nance, the dread of their master's displeasure, anc the consequent dismissal from his school, was thf prevalent feeling, when John Van Hoeck assumec a presence of mind, and addressing his companions proposed, as they had yet three hours of daylight that the ablest of them should immediately under take to repair the damage the picture had sustained and named Vandyck as the most likely to succeed Every one applauded the nomination, and Van- dyck, apprehensive of the consequences, was pre- vailed on to undertake the office, though despairing of success. On the succeeding morning, Rubem entered his painting-room, attended by his disciples and, regarding the picture, he pointed to the pan repaired, observing, " there is a head and an arm thai are by no means tlie worst of what I did yesterday ;' and, though on approaching nearer to the picturt he discovered the alteration, he was so satisfied with what had been done, that he did not thinl proper to change it. It has been asserted by D'Argenville, and others, that this circumstance, and the growing ability ol Vandyck, alarmed the jealousy of his instructor and, in consequence of it, he advised him to re- nounce historical subjects, and devote himself tc portrait painting, in which branch he had already discovered extraordinary ability. But this calumny is easily refuted by the established generosity ana 825 vand] A DICTIONARY OF [vand liberality of Eubens' nature, and a reference to facts. If Rubens had really been jealous of the un- common powers of his disciple, it is not very pro- bable that he would have endeavoured to promote them, by recommending him to visit Italy, where he had himself studied with so much advantage. On this subject, Lord Orford justly observes, that " Addison did not advise Pope to translate Homer, "but assisted Tickell in a rival translation." It is, however, certain, that Rubens not only urged him to undertake the journey, but pointed out to him the objects, the study of which he conceived would most conduce to his improvement. It is no less incontrovertible, that Vandyck paint- ed a great variety of historical pictures, after he left the school of Rubens, of which Descamps gives a particular account of seventy-seven in the churches and public edifices, which form only a part of his works. Vandyck did not hesitate to follow the advice of his instructor, and, as a proof that they separated on the most amicable terms, he presented Rubens, previous to his departure, with two historical pic- tures, and the portrait of Rubens's second wife, Helen Forman, as a proof of his gratitude and esteem, and received in return one of Rubens's finest horses. In 1619, when he was twenty years of age, Van- dyck left Antwerp, on his travels to Italy, and first visited Venice, so attractive to the artists of his country, as the great theatre of colouring, where he studied with attention the works of Titian, and im- bibed so deeply the tints of that admirable painter, that he is generally allowed to approach nearer to the delicacy and purity of his cai-nations than even Rubens. He afterwards went to Genoa, where the fine style he had acquired recommended him to the notice of the principal nobility, many of whose por- traits he painted, as well as several pictures for the churches and private collections, which excited universal admiration. Desirous of visiting the great objects of art which embellish the capital of Italy, he left Genoa for Rome, and soon after his arrival was introduced to Cardinal Bentivoglio, who had been nuncio from the pope into Flanders, and to whom his talents were already known. He soon afterwards painted his celebrated portrait of that eminent prelate, which has always been consider- ed one of the most admirable productions of por- traiture. This fine picture was long an ornament of the Gallery at Florence, and is probably there still. He painted some historical subjects for the cardinal, and several portraits of the most dis- tinguished personages; but finding his works re- viled and criticised by the artists of his country, then resident at Rome, because he could not be pre- vailed on to partake of the carousals and nocturnal orgies of the Bentevogel society, he left that capital, and returned to Genoa, where he was received in the most flattering manner, and met with constant employment. Whilst at Genoa, he was invited to Palermo, where he painted the portrait of Philibert, Prince of Savoy, the Viceroy of Sicily, and was en- gaged in several commissions for the court, when the breaking out of the plague obliged him to leave Palermo, and he soon afterwards returned to Flan- ders. The promising genius Vandyck had displayed before he left Antwerp, and the brilliant reputation he had acquired in Italy, had excited an anxious curiosity in his countrymen, to witness the improve- ment of his talents by the advantages of travel, and 826 the difierent religious communities were desirous of employing his pencil. His first public work, after his return, was his celebrated picture, painted for the chm-ch of the Augustines, representing St. Augustine in ecstasy, supported by angels, with other saints, of which we have a print by P. de Jode. This performance procured him great re- putation; Rubens was one of the most zealous of its admirers, and one of the loudest extollers of his fame. Of this picture Sir Joshua Reynolds ob- serves, that " it is of great fame, but that in some measure it disappointed his expectations; that it has no effect, from the want of a large mass of light, the two angels making two small masses of equal magnitude ; and adds, that the figure of St. Augus- tine is dressed in black, though in the print it makes the principal light." In confirmation of the just- ness of this criticism, and in vindication of the judg- ment of the painter, it is worthy of remark, that in the picture, as originally painted by Vandyck, the drapery of St. Augustine was white, and, with the two angels who support him, formed one principal mass of light. It is upon record, that the ignorance of the monks obliged Vandyck to alter the dress of their patron saint from white to black, and the painter was reluctantly obliged to submit to so mor- tifying a dilemma, before he could obtain payment for the picture. He was now loaded with commissions, and the principal public edifices at Antwerp, Brussels, Mech- lin, and Ghent, were embellished with the produc- tions of his pencil. It was about this time that he painted the series of inimitable portraits of the eminent artists of his time, which have perhaps never been equalled, for the admirable variety of at- titudes, and the characteristic expression in the airs of the heads. They were engraved by the most eminent artists of the time, Vorstermans, Bolswert, Pontius, and others, and several of them were etched by Vandyck himself. One of the most admired of his performances, and which, more than any other of his works, evinced the advantage he had derived from his studies in Italy, was the picture he painted for the church of the Recollets, at MechHn, repre- senting Christ crucified between the two Thieves, with Mary Magdalene and St. John. This ad- mirable picture is worthy of the best time of the Caracci, in composition and expression, in the va- riety and extensiveness of the design, and the judi- cious disposition of the whole. In the efforts which the Thieves make to detach themselves from the Cross, he has successfully encountered the greatest difficulties of the art, and the look of grief and re- signation in the Virgin is above all praise. In the opinion of Sir Joshua Reynolds, "this, upon the whole, may be considered as one of the finest pic- tures in the world, and gives the highest idea of Vandyck's powers; it shows that he had truly a genius for history painting, if he had not been taken off by portraits." Another of his most ad- mired works, formerly in the church of the Recol- lets, at Antwerp, representing a Piet4, or the Dead Christ in the lap of the Virgin, with St. John and two Angels, which has been finely engraved by Bolswert, is now in the Gallery of the Louvre. In this admirable performance he appears to have had in mind the famous Dead Christ, with the Marys, by Annibale Caracci, to which the exquisite ex- pression in the head of the Virgin is hardly inferior. The general admiration excited by these able productions, and the applause bestowed on tljem by Rubens, did not fail to rouse the jealousy and vand] PAINTERS AND ENGRAVERS. [vand envy of his contemporaries, particularly those who had been his fellow-students, and whose works were not equally successful. They accused him of tame- ness and littleness of invention, and asserted, that he was incapable of handling a brush ; the delicacy and correctness of his design, and the_/Sreesge of his touch, they represented as meanness and timidity, and they were indefatigable in their intrigues, to re- vile and calumniate his works. These cabals were not the only unpleasant circumstances which con- spired to render -his situation in Flanders disagree- able. In addition to the indignity he had experienced from the Augustine monks already mentioned, he was destined to encounter one more humiliating from another quarter. The canons of the Collegiate church at Courtray commissioned him to paint a picture for their principal altar, and, on this occa- sion, he was desirous of surpassing himself. He chose for his subject the Elevation of the Cross, and bestowed on it all his art to render the perform- ance accomplished. The picture was sent to Goiu-- tray, and was no sooner placed, than the canons hurried with impatience to examine it. To the astonishment and mortification of Vandyck, the chapter viewed him and his production with the utmost contempt, they declared the picture to be detestable, and the author a miserable dauber. Af- ter pronouncing this notable decree, they with- drew from the church, and it was with difliculty that he could procure payment for the picture. In a short time, the altar-piece having been seen by several artists and persons of judgment, was de- clared not only to be one of his finest works, but a chef dlcEuvre of art. The worthy canons now be- came sensible of their error, and as some reparation for the outrage they had offered him, they resolved to commission him to paint two more pictures for their church. But Vandyck, with becoming indig- nation, refused to comply with their demand, ob- serving, that there was a sufficient number of daub- ers at Courtray to answer their purpose, and that he had determined never more to expose himself to the brutality of insolence and folly. Wearied and disgusted with these continued con- trarieties, he readily accepted an invitation from Frederick, Prince of Orange, to visit the Ha^e, whose portrait he painted, and those of his family, the principal personages of his court, and the foreign ambassadors. The encouragement given to the arts by Charles I. induced Vandyck to visit England in 1629. He was lodged with his friend and countryman, George Geldorp, the painter, and for some time entertained hopes of being introduced to the notice of the king ; and the neglect he experienced is not easily ac- counted for. Not meeting with the encouragement he expected, he returned to Antwerp, not a little chagrined and disappointed, and had made up his mind to estabUsh himself there for the remainder of his hfe, when a portrait of Sir Kenelm Digby, painted by him, being shown to the king, he ex- pressed a desire that Vandyck should be invited to return to England. In 1631 he arrived a second time in London, and was presented by Sir Kenelm to the king, by whom he was most graciously received. He was lodged at Black-Fryars, among the king's artists ; thither his Majesty frequently went by water,- and viewed his performances with delight, not less charmed with his conversation than the beauties of his pencil. Charles frequently sat to him himself, and bespoke several pictures of the queen, his children, and courtiers. On the 5th of July, 1632, the king con- ferred on him the honour of knighthood, at St. James's, and soon afterwards granted him an an- nuity of two hundred pounds a year for life. The patent is preserved in the Rolls, and is dated 1633, in which he is styled painter to his Majesty. Vandyck now became the most popular artist of his time ; he was overwhelmed with business, and though he was indefatigable, and possessed an al- most unexampled facility, it was with difficulty he could keep pace with the commissions with which he was loaded. The liberal remuneration he re- ceived for his pictures enabled him to support a splendid estabhshment j he kept a sumptuous table, which was frequented by persons of the highest dis- tinction, and is said to have often detained his sit^ ters to dinner, for an opportunity of studying their countenances, and of retouching their pictures again in the afternoon. His natural disposition led him to indulge in pleasure and expense. He was fond of music, and liberal to the professors of it, and was a generous encourager of all such as excelled in any art or science, many of whose portraits he painted gratuitously. He mamed the daughter of the un- fortunate Lord Gowrie, who brought him no other dower than a noble name and great personal beauty. Soon after his marriage he left England with his lady, and went to Antwerp, on a visit to his family and friends, and afterwards proceeded to Paris. Emulous of the glory Rubens had acquired by his splendid works in the Luxembourg, Vandyck is said to have visited that capital with the hope of being employed in the then projected decoration of the gallery of the Louvre j but on his arrival, he found the commission already disposed of to Nicholas Poussin, who had been brought from Rome for that pwpose. Vandyck returned to England, and stiU retaining the same ambition of executing some pub- he work in competition with his master, he pro- posed to the king, through the channel of Sir Kenelm Digby, to decorate the walls of the Ban- queting-house, of which the ceiling was already adorned by Rubens, with the history and procession of the order of the Garter, for which the sum de- manded was eight thousand pounds. The proposal was more agreeable to the king's wishes than suited to the state of his finances. The approaching troubles of the times would, at all events, have pre- vented its completion. Vandyck did not long sur- vive the rejection of his proposal. His luxurious and sedentary life brought on the gout, and injured his fortune. He endeavoured to repair it by the egregious, but then prevalent folly, of the pursuit of the philosopher's stone, in which he was perhaps encouraged by the example or advice of Sir Kenelm Digby. He died in Black-Fryars, December 9th, 1641, and was buried in St. Paul's cathedral with a funeral pomp suited to his extraordinary abilities, and the universal esteem he had acquired by the urbanity of his manners and the liberality of his heart. , It is, perhaps, without example in the history of the art, that a painter, cut off in the vigour of his life, should have left such a multiplicity of works, the number of which is perhaps not exceeded by those of Rubens, though he died so young. If we cannot, in a general view, place him on an equality with Rubens as an historical painter, it will Be al- lowed that he surpassed him in the correctness of his design, in the deUcate expression of his heads, in the truth and purity of his colouring, and in the 827 vand] A DICTIONARY OP [vand tender melting of his tones. If he had less bold- ness of conception, and less fecundity of invention, his compositions are regulated by judgment and propriety, and it may be reasonably presumed, that if, like his illustrious instructor, he had devoted him- self to that branch, and had not been chiefly en- gaged in portrait painting, he possessed a genius, ' as well as every other requisite, to have reached the highest rank among the painters of history. In portraiture Vandyck will not be denied the most honourable place after Titian, and it will then be admitted that Titian only retains this superiority in the heads of his portraits, and that in the hands and accessories he was inferior to our painter, both in correctness and elegance. His attitudes are easy and natural, and they captivate by an air of unaf- fected simplicity for which his portraits are singu- larly remarkable. His heads are full of life and expression, without any thing of the coldness and insipidity which are frequently found in the pro- ductions of the portrait painter. Independent of the many admirable pictures he painted of the king and the royal family, there are in England many fine portraits of distinguished personages, which are among the principal ornaments of the mansions of the nobility. This distinguished painter occasionally amused himself with the point, and has etched several plates, which are executed with a spirit and fire bordering on enthusiasm. They consist chiefly of portraits of the most eminent artists of his time, from his own designs. Little attentive to the neat- ness or minuteness of his execution, his point is animated with a vigour and energy which are per- haps without example. The following are his prin- cipal works : Christ crowned witli Thorns ; A. Vandyck, inv. [A Holy Family. A Bust of Seneca : and others.] PORTRAITS OF ARTISTS. Adam yan Oort, Painter; Ant. Vandyck, fecit aqua forti. Justus Suttennans, Painter, of Antwerp. Peter Breughel, Painter. Lucas Vorstermans, Engraver. Judocus de Momper, Painter. Paul du Pont, or Pontius, Engraver. John Breughel, Painter. Francis Frank, Painter.' Jon de Wael, Painter. John Snellinx, Painter. Titian, with his Mistress, who is leaning on a casket, with a skull; Titiano,pinx. A. Vandyck, fee. [Anthony Comelisseu, Amateur. Erasmus Kotterdamus. Anthony Van Dyck. Philip Le Roy, Eques. Frahois Snyders, Painter. Anthony Triest, Bishop of Ghent. William De Vos, Painter. Paul De Vos, Painter. John "Waverius, or Vanden "Wouwer. There are several others attributed to him, but be- ing doubtful they are not quoted.] [It is probable that Van Dyck's father was some- thing better than a painter on glass, as stated by Houbraken; other writers say he was a woollen- manufacturer. His mother was skilful in embroi- dery, which she wrought with considerable taste from designs both of landscape and figures. In a letter addressed to the Earl of Arundel, dated Ant- werp, 17th July, 1620, it is stated, " Van Dycklives with Rubens, and his works are beginning to be esteemed little less than those of his master. He is a young man of one-and-twenty, whose parents are persons of considerahle property in this city, and it will be difficult, therefore, to induce him to remove." He entered the school of Rubens in 1615 ; so that he had then been five years under the tuition of that able master. The anecdote that is related of his having repainted the face of the Virgin and the arm of the Magdalene in a picture of the Descent from the Cross, by Rubens, which some of his fel- low pupils had injured, was rendered doubtful by the story being applied to another picture, a St. Se- bastian. But neither story is true ; for the Descent from the Cross was painted by Rubens in 1611, and put up in the cathedral in 1612, as appears by the " Registres du Serment de I'Arqubuse," three years at least before Van Dyck entered the school of Ru- bens ; and the picture of St. Sebastian, in the church of the Augustines, was not finished till 1628. These facts have been ascertained by Mons'. Frangois Mols, a native of Antwerp, and appear in his ma- nuscript notes to " Descamps' Lives of the Flemish Painters," and are quoted from the copy in the pos- session of his Excellency Monsieur Sylvain Van de Weyer, by Mr. W. H. Carpenter, in the emenda- tions to his Memoir of Van Dyck. That respecting his treatment by the Augustine monks, at Courtrai, is also shaken by the discovery of Van Dyck's au- tograph letter, acknowledging, with thanks, the re- ceipt of the money, as well as of some gauffres, a cake for which Courtrai is celebrated, presented to him by the canons. The chapter could not view his picture and him with contempt, for he was not present when the picture was about to be placed in the chapel for which it was painted ; not for the principal altar. It appears by a letter, dated Ant- werp, the 8th of May, 1631, addressed by Marcus Van Woonsel to M. de Braye, a canon of the cathe- dral, that the picture was ordered by the latter for a particular chapel in the building, and that the sum of 600 florins was the price ; when finished it was sent through the agency of the said Marcus Van Woonsel. Whether any dispute arose among the parties, which served as a foundation for the anec- dote, does not appear ; it is said that the canons, even now, make great difiiculty of showing the ori- ginal letters of Van Dyck in their possession, which induces the belief that they do not tell to the advan- tage of their predecessors. The love afiair, which retarded his journey to Italy in 1619, seems to be more authentic. In passing through Saveltheim, a village near to Brussels, he became enamoured of a beautiful young woman of the name of Anna Van Ophem. The charms of her person more than coun- terbalanced the desire of visiting and contemplating the antiquities and pictures of Italy ; he staid long enough with her to paint, at her sohcitation it is said, two pictures for the parish church. The sub- ject of one was, St. Martin dividing his Cloak with a Beggar, in which he introduced his own portrait as the saint, mounted on the horse presented to him by Rubens on commencing his journey. This pious ofiering obliterated the scandal, especially as the priest, and some others of the parish authorities, according to Michel, found that it was worth 4000 florins, and accordingly sold it to a Monsieur Hoet for that sum. But the villagers, who were delighted with the picture, were not so readily disposed to part with their patron saint, though personated by an unrepenting sinner ; they armed themselves, their wives, and their children, with agricultural implements, determined to prevent the removal. A party was soon at the heels of Monsieur Hoet, who was obliged to escape through the priest's garden, vand] PAINTERS AND ENGRAVERS. [vand and make the best of his way back to Brussels. The picture remained in the church till 1806, when, af- ter considerable' resistance by the inhabitants, it was taken by the French and removed to the Lou- vre, where it remained till 1815, when it was re- stored to its original situation. The other picture was a Holy Family ; the characters being repre- sented by his inamorata and her parents. During the war in Flanders the French infidels, the foragers for the army, who neither respected the sacred subject, nor knew the value of it as a painting, ac- tually cut it up, it is said, and made sacks of it for their grain. Mr. Mols, who died in 1790, in his manuscript notes to Descamps, observes that this is a mistake, as the picture was still to be found in the church, over the altar of the Virgin. Van Dyck also painted the beautiful Anna's portrait, surround- ed by several dogs, belonging to the Infanta Isa- bella, of which sne had the care. This was pre- served at the ch&teau de Tervure, a hunting-seat of the Duke Charles of Lorraine. Possibly her father was keeper of the hounds. Rubens, hearing of his pupil's infatuation, went to the village of Savel- theim, roused him to a sense of his situation, and urged his instant departure for Italy. Another anecdote, which may or may not be true, is, that Van Dyck, passing through Haerlem, was desirous of seeing Frank Hals, whose portraits he much ad- mired, but Frank was only to be found at the tavern. Van Dyck sent word that a stranger waited to have his portrait painted, and Hals made his appearance. Being told that he could only have two hours to execute the picture, he seized his palette and brushes, and on the first canvas that came in his way finished it within the stated time. Van Dyck on seeing it expressed satisfaction, observing that he thought painting a very easy process, and would like to try what he could do, requesting Hals to take the seat he had occupied. 'The latter soon perceived that his visitor was no novice in the use of his im- plements ; but on seeing the performance he cried out with astonishment, " You are Van Dyck, for none other can do what you have done ! " It is said that he visited England in 1629, and lodged with his friend and countryman, Geldorp the painter; but this is not certain. In 1632 he came by invita- tion from the Earl of Arundel, at the command of Charles I. It was the sight of the portrait of Nicho- las Lanriere, the chapel-master; not that of Sir Ken- elm Digby, that induced Charles to send for Van Dyck. It was not the daughter of Lord Govirrie that he married ; it was his granddaughter. Maria Riithven was the daughter of Patrick Ruthven, a physician, fifth son of Lord Gowrie. It is said that his attention was at one time directed to Lady Stan- hope ; if so, he did not behave with his usual gal- lantry, for' he disputed with the lady about the price of her portrait. The lady, it seems, was in love with Carey Raleigh, and probably Van Dyck perceived it ; he sent her word that if she would not give the price demanded, he could sell it to another who would give more. When Charles withdrew secretly from Whitehall, he directed Colonel Whalley to re- turn several pictures to different parties, and among them " my Lady Stanhope's picture to Carey Ra- leigh." By his wife, Maria Ruthven, he had one daughter, who was married to a gentleman of the name of Stepney ; by this marriage there was issue one son, who became a merchant-grocer, and was the father of George Stepney, the jjoet, bom in 1663. The number of pictures, portraits, and large historical compositions, attributed to Van Dyck, makes it almost incredible that so many should be the productions of one who had devoted so much of his time to pleasure, and died so young. In " Smith's Catalogue raisonnfi of the works of the Dutch and Flemish Painters," vol. iii. and Supplement, will be found descriptions, and interesting particulars, of upwards of nine hundred and fifty ; and others are occasionally presenting themselves, which had not fallen under his observation. Many might be added for which the possessors claim his paternity, but they belong more properly to contemporary painters who were his assistants, or copyists, or adopted his style of portraiture, in which the resemblance would be much assisted by the costume of the time ; some are not far below him. The pictures which he painted in Italy have more of the Venetian colour- ing than those of a subsequent period ; but some of those painted at Genoa are deficient in this respect ; they are called his Genoese pictures. On his return to Antwerp he recurred to the Flemish mode, occa- sionally blending the two. The earlier portraits he painted in En^and are brilliantly coloured and carefully finished in all their parts j but as business increased they were executed with more despatch, and much of the subordinate portion was left to be completed by His pupils or assistants, the head and the hands only being painted by the master. There is a document preserved in the State Paper Office, which exhibits the prices charged by Van Dyck for portraits painted by him of Charles and Henrietta Maria, and other members of the royal family. It also shows that the king made very se- rious deductions from those charges, and also that the painter's pension was not regularly paid. The document is supposed to be in v an Dyck's hand- writing, and is headed Memoirepour Sa Mag'" Le Roy. Price Rednced charged. to. struck out. 12 Pour moUures du veu' conte . Une teste d'un veliant poete t Le Prince Henri Le Roi alia ciasse Le Roy vestu de noir au Prin"' Palatin avecq sa mollure Le Prince Carles avecq le ducq de Jarc Princesse Maria P'° Elizabet P' Anna Le Roy vestu du noir au Mons' Morre avecq sa mollure f Une Reyne en petite forme ■j- Une Reyne vestu' en blu' ■j- Une Reyne Mere i Une Reyne vestu en blanc La Reyne pour Mons"- Barnino ) La Reyne pour M' Barnino J La Reyne pour la Reyne de Bo- heme t La Reyne en petite forme La ReyneenvoyeaMons. Fielding t Le Prince Carlos en armes pour Somerset .... Le Roy alia Reyne de Boheme . Le Roy en Armes donne au Ba- -. ron Warto . . . f La Reyne au de Baron Le Roy la Reyiie le Prince Car- los au Tambas"^ Hopton . I Une Reyne vestu en blu donne au Conte d'Ollande \ Deux demis portraits della Reyne du veu Conte 271. 20/. 50/. 200/. 34?. 200/. 34/. 20/. 20/. 50/. 50/. 20/. 20/. 20/. 20/. 30/. 40/. 20/. 50/. 50/. 90/. 60/. 60/. 829 100 30 100 26 15 15 15 20 15 40 40 75 vand] A DICTIONARY OF [VANL 100?. 528 Price . , . „ charge.!. Une piece pour lamaison a Green Witz ..... Le desseinde Royettous le Che- valiers Attached to this is the following note : The totallof all such Pictures as . his Ma"° is to paye for in his accompt rated by the King I and what his Ma"' doth al- lowe of, amounts unto five " hundred twentie eight pownde The other pictures w^*" the King hathe marked w"* a cross before them the Queene is to pay for them and her Ma"' is to rate them. The Arrere of the Pention be- 'J ing five yeares, amownts unto ( one thousand pownds att two C hundred pownds p anum ) More for the pictures w"*" Sir Ar- thur Hopton had into Spaine Keduccd to. 1000 0075 The totall of all amowntes unto 1603?. The pictures for the Queene 200?. Five years Pension . . 1000?. Endorsed Sir Anthony Vandike. Whether this act of appraisement was sponta- neous on the part of the king, or prompted by others, does not appear. The reduction in the queen's account is not less rigid ; the claim on her Majesty for £380 is reduced to £200 ; which ap- pears to be an enormous excision. The royal ac- countant did not think his painter entitled to in- terest on the five years' arrear of his pension, and in casting up has made the sum total £75 less than it should be, supposing that no deduction was made from the price charged for " Une piece pour la mai- son a Green Witz." " The King and all his Che- valiers " are set down by the painter without a price, and the royal appraiser seems to have thought them worth nothing. " Le Roy alia ciasse," which is reduced in the bin from £200 to £100, is probably the same that is now in the Louvre; it represents Charles de- scended from his horse, with his equerry, the Mar- quis of Hamilton, and a page in attendance with his cloak. It was purchased by Madame du Barri, at the sale of the Marquis de Lassay's pictures in 1770, for 24,000 francs, (£960,) and in 1816 was valued by the Experts duMus^eat 100,000 francs (£4000). " Le prince Carles avecq le ducq de Tare, (York,) the princesses Maria, Elisabeth, and Anne," reduced from £200 to £100, are now in the royal collection, and the picture is considered worth at least 1200 guineas. The two portraits of the Queen, painted for " Mons' Barnino," were intended for the sculp- tor Bernino, to enable him to execute a bust of her Majesty, in the same manner as he had done that of her husband Charles. The inquirer will do well to consult Mr. W. H. Carpenter's " Pictorial Notices," consisting of a memoir of Sir Anthony Van Dyck, a descriptive catalogue of his etchings, and a variety of interesting particulars relating to other artists patronized by Charles I. The greater portion of the matter is extracted, with much discrimination and industry, from original documents in the State Pa- per Oflftce, the Ofiice of Public Records, and other authentic sources. There is much credit due to Mr. Carpenter for rescuing from oblivion documents so 830 valuable as relating to Rubens, Van Dyck, and other contemporary painters of the Flemish school, whose works occupy so large a space in all the best EngUsh collections, as well as in foreign countries. For the history of Rubens and Van Dyck it is in- dispensable.] VANDYCK, Philip. This painter was bom at Amsterdam in 1680, and was a scholar of Arnold Boonen, under whose tuition he remained until he surpassed his instructor. He painted small por- traits in the style of his master, but was more suc- cessfully employed in painting similar subjects to those of Mieris and Metzu, representing conversa- tions, ladies at their toilets, and gallant assembUes, which are ingeniously composed, and painted with neatness and delicacy, though unequal to the ad- mired productions of the masters he imitated. In 1710 he established himself at Middleburg, where he was much employed. He was afterwards invited to the -Hague, and was patronized by the families of Wassemaer, Fagel, and Schuylenberg, for whom he painted some of his best pictures. 'The reputation he had acquired recommended him to the notice of William, Prince of Hesse, who not only engaged him to paint several pictures, but commissioned him to purchase the choicest works of art he could meet witn in Holland and Flanders, for the rich collec- tion he was then forming at Cassel. In this under- taking he acquitted himself with judgment and taste, and entirely to the satisfaction of his protect- or. On his return to the Hague, he painted the portraits of the Stadtholder and those of his family, as well as several pictures for the cabinet of that prince, and continued to exercise his talents with great respectability until the year 1752, when he died at the Hague. Two of his happiest produc- tions have been thought worthy of being placed in the gallery of the Louvre. They represent a young lady at her toilet, and a lady playing on the guitar. [These two pictures are not now m the Louvre ; one is at the Hague, and the other in the Museum at Brussels. The Louvre has two others, relating to Abraham and Hagar.] VANGELISTI, Vincenzio, an Italian engraver, bom at Florence about the year 1744. He visited Paris when young, where he became a pupil of John George Wille. He has engraved several plates in a neat, finished style, among which are the following ; portraits. Amand de Bourbon, Prince of Conty. George Louis, Count de Buffon ; after A. Pujos. SUBJECTS. The Virgin and Infant ; after Raffaelle. Venus chastising Cupid ; after Agos. CaracCi. Pyramus and Tnishe ; after Guido. [Zani says he was born in 1738 ; and Ferrario, that he committed suicide in 1798, having previous- ly defaced all his plates. He had several pupils, who have since distinguished themselves as eminent engravers ; among them, Longhi and F. Anderloni. His capo iiypera is the plate of Pyramus and This- be, from a picture attributed to Guido, but in reality from one by De la Hire. He was the first director of the School of Engraving instituted at Milan in 1790 by Leopold II. Longhi succeeded him.] VANLOC), James. This painter was born at Sluys, in Holland, in 1614, and learned the rudi- ments of design from his father, an obscure artist, who sent him to Amsterdam, where he had an op- portiinity of profiting by the instmction of a master who is not named. He became a reputable painter vanl] PAINTERS AND ENGRAVERS. [VANM of history and portraits, and, in the prim& of life, established himself at Paris, where he was princi- pally employed in portraiture. He became a mem- ber of the Academy there, and painted for his pic- ture of reception the portrait of Michael Corneille, the elder, which is a creditable specimen of his abi- hties. Of his historical pictures, Houbraken men- tions as the most considerable the Bath of Diana, and the discovery of the Pregnancy of Calisto. He is said to have been a correct designer of the naked, and an agreeable colourist. He died at Paris in 1670. VANLOO, John Baptist, was the grandson of the preceding artist, born at Aix in Provence, in 1684. His father, a painter of little celebrity, taught him the elements of design, and, possessed of a decided genius for the art, his advancement was extraordinary, without the aid of superior instruc- tion. He had already acquired considerable reput- ation by some pictures he painted for the churches and public edifices at Toulon, when the siege of that place, in 1707, obliged him to return to Aix. He was soon afterwards taken under the protection of the Prince of .Carignan, who enabled him to in- dulge the desire he had long expressed, of visiting Rome, where he studied the works of the best mas- ters, and received some lessons from Benedetto Luti. His talents were not neglected at Rome ; he painted some pictures for the churches and palaces, of which one of the most esteemed is the Scourging of Christ, in S. Maria in Monticelli. He was invited to the court of Turin, where he was for some time em- ployed by the Duke of Savoy, whose portrait he painted, with those of the principal nobility. He afterwards passed some time at Paris, where he be- came a member of the Academy, and painted for his picture of reception Diana and Endymion. For the church of St. Martin des Champs, he painted the Entry of Christ into Jerusalem ; and in St. Ger- main des Pres, is a picture by him of St. Peter de- Uvered from Prison. In 1737 he came to England, where, according to the Anecdotes, his first works were the portraits of Colley Cibber and Owen Mac Swinney, whose long silver hairs were extremely picturesque, and con- tributed to give the new painter reputation. He was favoured with the patronage of Sir Robert Walpole, by whom he was introduced to the Prince and Princess of Wales, whose portraits he painted. Vanloo soon bore away the chief business of Lon- don from every other painter. His hkenesses were very striking, though not often flattering, and his heads were coloured with force. His draperies and other accessories were usually painted by Van Aken, and Vanloo's scholars, Eccardt and Root. In 1742 he found his health considerably impaired, and he was advised to try the eifect of the air of his native country, Provence, where he died in 1746. VANLOO, Chaelks Andrew, called Carlo. This artist was the younger brother of John Bap- tist Vanloo, born at Nice in 1705. He was instruct- ed in the rudiments of design by his brother, whom he accompanied to Rome, and studied for some time under Benedetto Luti. He returned to Paris in 1723, where he gained the first prize for historical painting, and was employed, with his brother, to repair the paintings by Primaticcio, in the Gallery of^Fontainbleau. In 1727 he again visited Italy^ and passed some time at Rome, studying the works of the best masters. He was invited to the court of Turin, and passed some years in the service of the King of Sardinia, where, among other considerable works, he painted a series of subjects taken from Tasso. In 1734 he returned to France, and was received into the Academy the following year ; his reception picture represented Apollo and Marsyas. He now became one of the most popular artists of his time, and in 1752 the king conferred on him the order of St. Michael, and afterwards appointed him his principal painter, in which capacity he died, in 1765. His principal works at Paris are his pictures in the churcn of the Augustines, called les Petits Peres, and one of his esteemed productions is in the gallery of the Louvre, representing the Marriage of the Virgin. By his studies in Italy, he acquired a correctness and simplicity of style, which had a use- ful influence in reforming the modern French school from the affected and theatrical manner introduced into it by Coypel and De Troy. His countrymen have not scrupled to attribute to him the design of RaffaeUe, the grace of Coreggio, and the colour of Titian. A juster homage to his talents would have been to compare him to the best of the modern Ita- lian painters. His merit, though eclipsed by a com- parison with the brilliant luminaries of the bright- est era of the art, appears to a respectable advantage when compared with his contemporaries. VANLOO, Louis Michael. This artist was the son of John Baptist Vanloo, born at Toulon in 1707. He received his instruction in the art from his fa- ther, and acquired considerable reputation as an historical painter, though he was more distinguish- ed for his excellence in portraiture. He was made a member of the Academy at Paris, and painted for his reception a picture of Apollo and Daphne. Philip V . of Spain invited him to the court of Ma- drid, and appointed him his principal painter. Af- ter the death of that monarch he returned to Paris, and continued the exercise of his talents with great success. He died in 1771. VANMANDER, Charles. This painter and writer on art was bom at Meulebeke, near Court- ray in 1548. He was of a noble family, and re- ceived an education suited to his rank. At an early age he discovered a lively genius for poetry and the belles-lettres, and a decided disposition for painting. To cultivate the latter, on finishing his literary pur- suits, he was placed under the tuition of Lucas de Heere, a painter and poet of Ghent, with whom he studied some time, and afterwards became a disciple of Peter Vlerick, an historical painter of some emi- nence at Courtray. He had acquired considerable reputation by some pictures he had painted for the churches in Flanders, when he determined to visit Italy, and passed three years at Rome, where he was assiduously employed in designing the remains of antiquity, and studying the works of the best mas- ters. He formed an intimate acquaintance with Bartholomew Sprangher, and, in conjunction with that artist, was employed for some of the public places and private collections at Rome. For the town of Terni, in the Roman state, he painted one of his most esteemed pictures, representing the Martyrdom of St. Bartholomew. After a residence of three years in Italy, he had thoughts of returning to Flanders, when he was prevailed on, by his friend Sprangher, to accompany him to Vienna, where he met with the most flattering encouragement, and re- ceived a pressing invitation to enter the service of the Emperor; but his attachment to his native country prevented him from accepting so honour- able a mark of distinction. He experienced from his friends and countrymen 831 vanm]. A DICTIONARY OP [vanm the most lively expressions of kindness and favour, and received commissions for a variety of consider- able works. One of his earliest productions after his return from Italy, vras a picture of Adam and Eve in Paradise, in vi'hich he evinced how much his style of design had been reformed by his studies at Rome. This performance was followed by a more arduous undertaking, representing the Deluge, in which he described the horror of the scene, and the varied expression of terror, grief, and despair, in the most striking and pathetic manner. He was in full possession of the public estimation, both as a paint- er and a poet, when this state of tranquil prosperity was interrupted by the calamities of war, with which the Low Countries became at that time afflicted. He took refuge in Holland, and settled at Haerlem, where he formed an intimacy with Henry Goltzius, and, in conjunction with that artist, established an academy there, in which he introduced the style of design he had acquired in Italy. Among his prin- cipal works in Holland were, St. John preaching in the Wilderness ; the Adoration of the Magi ; and Christ bearing his Cross. In 1604 he removed to Amsterdam, and died in that city in 1606. We are indebted to Vanmander for an account of the paint- ers of antiquity, and those of the Italian and Flem- ish schools from the year 1366 to 1604. [Alfred Michiels, in the preface to " Histoire de la Peinture Flamande et Hollandaise," has given an ac- count of Karel Van Mander, as a specimen how the life of a painter should be written. It is lively, roman- tic, and interesting. It details in poetical language his birth, parentage, education ; his various occupations and adventures ; his love " pour une belle personne de dix-huit ans, plus gracieuse que les plus charm- antes, pauvre et obscure, mais si bonne et si douce que I'amour profond de Van Mander pour elle lui donna le courage de I'epouser, sans craindre la tem- pete qui devastait la Flandre!" Having married this charming person, he established himself at Courtray to escape the horrors of war, which ra- vaged his native place. From Courtray he was driven by the plague to seek shelter at Bruges ; but on his journey, with his wife and children, was met by a band of marauders, who stripped them of all they Possessed, even to the clothes of the infant in arms. lUckily one of the bandits threw away an old gar- ment, in which Van Mander wrapped himself, and, as luckily, his wife, searching the pocket, found a piece of gold which the robber had unwittingly left there. This put the painter in good humour; he consoled his wife by telling her that he would paint at Bruges to obtain wherewith to feed and clothe themselves, and ended by taking the infant from her arms, dancing, and singing with all his might " une chanson joyeuse" so that she could not refrain from laughter in the midst of her tears. In this plight they reached the city. But his adventures were not at an end ; the plague attacked this place of refuge also ; death appeared in his most hideous forms, and the Spanish troops kept the city in a continual state of anxiety. Finding that no tranquillity was to be enjoyed in a country ravaged by soldiers and afihct- ed by Heaven, he determined to seek peace and se- curity in the United Provinces. Holland had just freed herself from the yoke of Spain ; the national flag floated on her fortresses and on her vessels ; Wilham the Taciturn protected, sword in hand, the Uberty of a regenerate people; and the Lutheran doctidnes excited in their minds that enthusiasm which produces great actions. Van Mander em- barked for Holland, and reached Haerlem without 832 accident. Here he established himself, painted for the churches and for private individuals ; formed an academy, and had numerous scholars. In his hours of leisure he wrote an abundance of verses. He translated the Iliad of Homer ; the Georgics and the Bucolics of Virgil ; the Metamorphoses of Ovid ; and began his Lives of the Painters. The last he finished at Zevenbergen, between Haerlem and Alk- maar, where he remained for a year. At this place his early love for dramatic representations revived. He composed an allegory touching the arts, which his pupils performed. The inhabitants of the neigh- bourhood were invited; the piece was enlivened with fire-works ; the theatre ornamented under his direction with crowns, garlands, and trophies com- posed of all the instruments used by painters ; the exhibition was received with general applause. From Zevenbergen he went to reside at Amsterdam. Here he fell sick; and, although he endeavoured to van' quish his pain by his courage, he was obliged to send for a doctor. From that moment his situ- ation became perilous ; for he found it was two against one, says the biographer. The man of skill (Michiels calls him Le guerisseuf) expedited the business by a debihtating regimen, and the patient died of weakness. His brothers surrounded him at this most important moment, (au moment supreme,) and endeavoured to console his wife, who with seven children wept about leas funeral bed. They crowned him with laurel in his coffin ; three hundred friends and amateurs followed him to the field of eternal re- pose ; a multitude of panegyrists feelingly deplored his loss ; his name for a long time was encircled with glory among the people of Belgium and Holland. At the present time his celebrity is somewhat cloud- ed ; the bad taste of his pictures has not maintained its brilliance ; and his other works are read only by the learned, or rather they read but one, the " His- tory of Painters." Of this work Michiels gives a short critical analysis, in which censure predomi- nates ; and he promises to complete this study of the painter-writer at the commencement of his fourth volume. This specimen, he says, shows what re- sources the biography of artists present. Not only does the interest not exclude truth, but supposes it, A heavy and monotonous recital, in losing all cha- racter, in neglecting the real attributes, falls into a species of falsehood, as it puts a skeleton in the place of a man. As the foregoing is but the skele- ton of Michiels' full-fleshed figure, the reader may judge of its dimensions. The writer of a dictionary of artists is compelled by necessity to abridge many circumstances that are very interesting to readers of romance, and notice those only that treat of facts relating to the painter's performances. It is for these that a dictionary is consulted; and the in- quirer is generally satisfied if they are clearly stated, however short and unembellished. As our respect- ed friend, Michiels, has not completed his biogra- phical portrait, it would be premature, and perhaps unjust, to accuse him of having omitted what is considered the most essential part in the history of an artist, a description of his works. It must be confessed, at the sarne time, that he has laid down some very excellent rules how this should be done ; and done it might be, in the manner he proposes, provided that a volume could be allotted to the Ufe of every painter. Whether patient readers would be found is another question. AU former biogra- phies, folios and octavos, would be but post-chaise companions, mere hand-books, compared^ to a work so elaborated. It may, however, be suspected that vann] PAINTERS AND ENGRAVERS. [vans what he says of other compilations might be equal- ly the fate of this : " On en lit quelques pages, on se traine sur la texte, puis on biille de lassitude, et on tourne ses regards ailleurs." To escape these disagreeable sensations, the many prefer such abridg- ed accounts as this and other dictionaries present, and the compilers only have to toil through the fa- tiguing relations, to select what will save the reader the same unpleasant labour. To those who are willing to encounter it, we cannot recommend a more pleasant travelling companion and guide than Alfred Michiels.] VANNI, Francesco Cavaliere. This painter was bom at Siena in 1563, and was taught the rudi- ments of design by his father, an artist of little ce- lebrity, who died when he was very young. He afterwards became the disciple of Arcangiolo Salim- beni, who had married his mother. According to " Baglione, he visited Rome when he was sixteen years of age, where he entered the school of Gio- vanni de Vecchi, under whose direction he designed from the antique, and studied the works of the best masters : the style of Baroccio particularly attracted his attention, which he imitated with great success, and returned to Siena a graceful and correct de- signer. He afterwards visited the different cities of Lombardy, and at Parma was some time occupied in copying the works of Coreggio and Parmigiano. By the recommendation of Cardinal Baronio, he was invited to Rome, to assist in the decoration of St. Peter's, where he painted his celebrated picture of Simon the Magician, which, although considerably damaged by imprudent cleaning, stiE excites admira- tion. It is designed and coloured in the style of Baroccio. For this performance, Clement VIII. conferred on him the order of Christ. He painted several other pictures for the public edifices at Rome, of which the most considerable are, St. Mi- chael vanquishing the rebel Angels, in the sacristy of St. Gregorio ; a Pieta, in S. Maria in VaUicella ; and the Assumption, in S. Lorenzo in Miranda. His best performances are, however, to be met with at Siena, in some of which, he approached nearer to the graceful style of Baroccio, than even the disci- ples of that master. Such are his pictures of the Marriage of St. Catherine, in the chapel of II Re- fugio ; and S. Raimondo W9,lking on the Sea, in the church of the Dominicans. The latter is considered the finest work of art in that city. Although Vanni appears to have generally adopt- ed the style of Baroccio for his model, his design is usually more correct, particularly in the hands, and his touch is more animated and facile. His compo- sitions, though seldom abundant, are characterized by judgment and propriety, the airs of his heads are dignified and expressive, and his colouring is tender and harmonious. He died at Siena in 1610. We have a few etchings by this able artist, which are designed and executed in so correct and spirited a style, that it is to be regretted that he did not more frequently amuse himself with the point; among others are the following : The Virgin with the infant Jesus sleeping. St. Catherine of Siena. St. Francis receiving the Stigmata. The ecstatic Vision of St. Francis. [Francisco Vanni was born in 1565. His father married the widow of Arcangiolo Salimbeni, who died in 1563, not in 1583, as is generally supposed. See the note to the article Arcangiolo Salimbeni. Lanzi observes, that the widow of Arcangiolo mar- ried again, and bore Francesco Vanni in 1565, con- sequently the latter could not be the scholar of Arc- angiolo, though such an idea is very prevalent. Bartsch describes but three etchings as genuine by F. Vanni ; St. Francis receiving the Stigmata he omits; two others attributed to the master, The Virgin reading and the Infant asleep, and St. Fran- cis meditating a Crucifix, he considers the first doubtful, the second false.] VANNI, Rapfaelle,- was the. son of Francesco Vanni, born at Siena in 1596, and received his first instruction in the art from his father, whom he had the misfortune to lose when he was only thirteen years of age. He was afterwards sent to Rome, and recommended to the care of Antonio Caracci, under whose tuition he is said, by Mancini, to have ac- quired an ability superior to his father. Posterity, however, has not ratified so favourable a decision. He is generally allowed to have been a bold and cor- rect designer, and to have possessed a judicious management of the chiaro-scuro. The works of his contemporary, Pietro da Cortona, appear to have had for him peculiar attraction, and he has imitated' the splendid style of that master in the greater part of his works. His picture of the Birth of the Vir- gin, in the church of La Pace, is entirely Corton- esque ; as are also the angles and cupola of S. Ma- ria del Popolo. He was made a member of the Academy of St. Luke in 1655. [The time of his death is not ascertained. His brother, Michelangiolo Vanni, is more celebrated as the inventor of stain- ing marble than as a painter.] VANN I, Giovanni Batista. According to Bal- dinucci, this artist was born at Florence in 1599 ; other authorities state him to have been a native of Pisa. He was a disciple of Cristoforo Allori, and painted history with some reputation. Of his works as a painter, the most considerable is a picture of S. Lorenzo, in the church of S. Simone, at Flo- rence. He is, however, more known as an engraver than a painter. We have by him several etchings, executed in a spirited and masterly style, although the drawing is not very correct. Among others are the following : A set of fifteen Plates from the paintings hy Coreggio, in the cupola o( S. Giovanni, at Farma. The Martyrdom of S. Placido ; after the same. The Marriage of Cana ; after P. Veronese. [Bartsch says he died at Florence in 1660. He thinks that the seventeen prints mentioned in the text include the Whole of his engravings, though. Gori has attributed others to him, after Bambocdo and P. Veronese.'] VANNINI, Ottavio. This painter was born at Florence in 1585, and was first a disciple of Gio. Batista Mercati, but he was afterwards instructed by Anastagio Fontebuoni, and ultimately entered the school of Domenico da Passignano, whom he assisted in many of his principal works. In the pictures he painted from his own designs his execu- tion is laboured and cold ; and though he is dili- gently attentive to the individual parts, the whole is feeble and ineffective. He died in 1643. [Lanzi allows that he was a good colouristj and Zani marks him B B.l VANNUCCHI. See Sarto. VANNUCCI. See Pehugino. VANSOMER, Paul. This artist was bom at Antwerp about the year 1576, and, according to Vanmander, resided at Amsterdam in 1604, with his brother Bernard, where they practised portrait paint- ingwith great success. Paul Vansomer soon after- wards visited England, as there are several English 833 VAMU] A DICTIONARY OF [VANU portraits by him, dated from 1606 to 1620. He was one of the ablest painters of portraits who visited this country previous to Vandyck. His portrait of the Lord Chamberlain, William, Earl of Pembroke, in St. James's Palace, is equal to any production of the time. He painted two pictures of James I., one of which was engraved by vertue ; his queen, Anne of Denmark, and several of the nobility. Vanso- mer died about the age of forty-five, and was buried in St. Martin's-in-the-Fields, as appears by the re- gister, January 5, 1621 : Patilus Vansomer pictor eximius sepultus Juit in eedesia. [The accounts given by different writers of Paul and Bernard Van Somer, or Van Someren, contradict each other. Balkema says that they established themselves at Amsterdam, where they both died ; Bernard in 1632, and Paul in 1641. If so, the Paul of our text was not the brother of Bernard. But writers of more authority say that he was. As there were several artists, painters and engravers, of the same name, much confusion has been caused b^ the writers not attending to dates. What is said of Paul Vansomer in the text, so far as his being an excellent portrait painter; of his painting many of the English nobility ; of his resi^ng in England a considerable time, and d^ing there, is correct. Some have even confounded mm with the engraver of the same name ; this is not so. Paul the engraver flourished much later than Paul the painter ; and mezzotinto scraping was not known during the life of the latter.] VANUDEN, Lucas. This painter was the son of an artist of little repute, bom at Antwerp in 1595, and was taught the rudiments of design by his father. He had not the advantage of any superior instruction, but, endowed with a decided genius for landscape painting, he was indefatigable in his studies from nature, and passed his leisure hours in the fields and forests, where he designed with fideli- ty every object which appeared to him picturesque or remarkable, and was particularly attentive to the peculiar appearance of the atmosphere, from the time the rising sun dissipates the vapours, till it sinks in the horizon. He represented these effects with uncommon truth and precision, and by an at- tentive study of the admirable landscapes of Rubens, he acquired an excellent tone of colouring, and a vigorous and animated touch. His extraordinary merit recommended him to the particular attention of Rubens, at a period when Antwerp was the resi- dence of so many able artists. That distinguished master assisted him with his advice ; he fi-equently employed him to paint the landscapes in the back- grounds of his historical pictures ; and occasionally embellished the landscapes of Vanuden with his ad- mirable figures. The congeniality of their taste and execution gave to these performances the ap- pearance of being the productions of the same hand. Some of the small landscapes of Vanuden, which are esteemed his best works, bear so strong a re- semblances to those of Rubens, that they are only distinguishable by a less daring execution, and have the effect of those of Rubens viewed through the medium of a diminishing optic. His pictures re- present views in Flanders; and though the local confines of his country do not admit of the extensive vistas which we admire in the expansive scenery of Claude or Poussin, he compensates, in a great de- gree, for this privation, by a faithful and interest- ingly simple representation of nature. Some of the latter works of Vanuden are decorated with the figures of David Teniers; and. this embellishment 834 is no small enhancement of the value of nis pictures. We have several etchings by this able artist, which are executed in a picturesque and masterly style ; among which are the following : Ten Landscapes and Views in Flanders, of various sizes ; from his own designs. Four Landscapes ; after Rubens. The first impressions are before the name of Eubens was inserted. Two Landscapes with figures; after Titian ; one with a Holy Family, and the other with the Good Samaritan. [Bartsch has given descriptions of fifty-nine etch- ings which he attributes to Lucas Van Uden ; he, however, acknowledges that several of them bear so strong a resemblance to those of Louis de Vadder, that experienced connoisseurs often find themselves embarrassed in their endeavours to distinguish them. Weigel, in his Supplement to Bartsch, has added two, and has also pointed out the variations that exist Of the greater number. He has also thrown light on those described bjr Bartsch, and marked with the letters P A I, which he has re- stored to the true master. This master is P. A. Immenraet, a contemporary of Van Uden, whose name has been unaccountably corrupted by most of the Flemish and. Dutch writers to Emelraet. On account of this misnomer, probably, the works of Immenraet were said to be very rare, though the fine landscapes of Emelraet, as adjuncts to the his- torical compositions of other painters, were well known. It is hazardous to dissent from Bartsch, who says these letters, P A I, are, according to all appearance, the initials of some painter after whom Lucas Van Uden made the engravings. The letters are traced with a fine point on five of the plates enumerated by Bartsch, numbers 15 to 20 inclu- sive. Neither of these has the name or mark of Van Uden ; it must not therefore be said that the misappropriation (if it be so) was the act of that artist. But they are included in a series of ei^ht etchings, the first of which (Bartsch, N". 13) is in- scribed I/acas van Uden invenit. Franciscus van den Wyngaerde excudit. Weigel remarks, that three other pieces (N°'. 27, 32, and 34) have the same let- ters, and consequently he considers them to be the works of Immenraet. But there are more feathers to be plucked from Van Uden. The numbers 36 to 40 inclusive, and 43 and 44, in Bartsch's Catalogue, are claimed by Robert Dumesnil for Jean Bonne- croy. Of this engraver very little is known. Zani mentions him as Giovanni, or Giovanni Sebastiano Bonnecroy, a Fleming, but gives no date ; he how- ever marks him B B., a proof that he knew his works, and classes him as a landscape painter and engraver. There are some slight differences in the descriptions of Bartsch and Dumesnil. Bartsch, N°. 36, says, " Au miUeu du devant on appercoit un herger entourS des plusieura moutons. II semble Itre un genou en terre." Dumesnil says, " Au milieu du devant on aper9oit Penfant prodigue agenouiUe gardant des pour- ceaux," and he names the piece " L'Enfant pro- digue." The impressions seen by Bartsch must have been before the inscription J. Bonnecroy fee. Exe. Another is inscribed J. B. F. Bonnecroy F. ; a third, J. Bon the latter part being hidden by the work, as is also the case in another. To these seven i)umesnil has added one, not mentioned by Bartsch, " Le Cheval eflfraye," signed Joari. Bonnecroy Inv. Fee., treated in the manner of Louis de Vadder. Dumesniljremarks, that in five or six of these pieces Bonnecroy was evidently inspired by Lucas Van Uden and Louis de Vadder, so as to pro- duce an illusion. See Bobcrt Dumesnil's excellent VANU] PAINTERS AND ENGRAVERS. [VARQ work, " Le Peintre Graveur Fran5ais,"tom. iii. See also Bartsch, " Peintre Graveur," torn, v., and R. Weigel's invaluable Supplement. A remark, how- ever, must be made on uie print, N". 57, of Bartsch, known as the " Watering-place." The first im- pressions are inscribed Lucas van Uden pinxit et ex- cud. Afterwards it bears Pet Paul Rubenius pinxit — Lucas van Uden fecit — Frandscus van den Wyn- gaerde excudit. The picture is now in England, and in the collection of the Duke of Buccleuch ; it was formerly in that of the Due de Tallard, and after- wards of the Duke of Montague. The solution of the discrepancies on the prints is, that Van Uden painted the landscape, and Rubens the cattle and figures. In the first instance. Van Uden conceived that he had a right to claim it, as probably the figures were considered by him as merely embel- lishments to his landscape ; in the second, Wyn- gaerde, the publisher, may have suggested that the name of Rubens would be more advantageous to the sale of the print. It may be observed, that it is not engraved by Bolswert, or any other that Rubens generally employed on his landscapes. The subject is weU known, from the admirable print by Brown. In the catalogue of James Hazard's prints, sold at Brussels in 1789,- there are fifty-six attributed to Van Uden : among them is a first impressimi of this disputed landscape, before the line at bottom ; it is described as a pure aquafortis etching, before the retouch, signed Lucas van Uden pinxit et excud: and said to be unique. The Writer of the catalogue adds, " Cet article est interessant." The British Museum, however, possesses two of these prints ; firsi, the pure etching, with the name of Van Uden pinxit et excud. ; second state, with the inscription as before, and without the line at bottom ; and also the third state, with the name of Rubens. In the same col- lection is a print by Van Uden which seems to have escaped the notice of all writers on the subject. It is a bird's-eye view of the mansion of Cleydael, and the territory thereunto appertaining, inscribed L. van Uden delineavit et fecit, ANNO mdc.lxi. It is to be found in a book entitled " Notitia Marchiona- tns," &c., by Jacob Le Roy, published at Amster- dam in 1678. It measures L. 18f in. ; H. 12| in. It is supposed that Van Uden died about 1662.] VANUDEN, James, was the brother and scholar of the preceding artist, and painted landscapes in the style of Lucas Vanuden ; but his pictures are in every respect very inferior. ' VANVITELLI, or VANVITEL, Gaspar, call- ed Dagli Occhiali. This painter, though generally considered of the Italian school, was born at Utrecht in 1647. He excelled in' painting architectural and perspective subjects, and has represented the views of modem Rome, and of different cities and sea- ports in Italy, with a precision approaching to those of Venice by Canaletto. His delineation and ad- measurement of the buildings and other objects are exact, and his tints are natural and agreeable ; though he is very inferior to Canaletto in the spirit and ani- mation of his touch, and in the lustre and brilliancy of his colouring. He died at Rome in 1736. [The family name of this painter was Witel, but having passed the sweater part of his life in Rome and Na- ples, he Italianized it to Vanvitelli. There was an- other of the same name, who was a scholar of Mat- thew Withoos, and painted similar subjects to those of that master. Luigi Vanvitelli, the architect who built the magnificent palace at Caserta^ was the son of the painter called Occhiali.] VARCO, Alonso de. According to Palomino, this Spanish painter was born at Madrid in 1645, and was a disciple of Don Josef AntoUnez. He painted landscapes in the style of his instructor, and was much employed for the convents and the private collections at Madrid, in which city he died in 1680. VARDY, John, an English engraver, who flour- ished about the year 1749, by whom we have aprint representing the Gothic hall at Hampton Court, executed in a neat, spirited style. [VAREGE, , if not a scholar, a close imitator of Cornelius Poelemburg, flourished about the middle of, the I7th century. He painted small landscapes with figures, generally on copper. He is not noticed by the Dutch or Flemish writers, and from the name it may be conjectured that he was of French origin.] VARELA, P'rancisco, a Spanish painter, bom at Seville in 1606. He was a scholar of Pablo de las Roelas, and painted history with considerable reputation. Amongst his most considerable works are his pictures of the Martyrdom of San Vicente, in the church dedicated to that Saint ; and an altar- piece representing St. Michael, in the convent of la Meroed. There are also several of his pictures in the private collections at Seville, where he died in 1656. [Varela must have been born earlier than 1606, as he was employed in 1618 by the Carthu- sians of Santa Maria to make copies of certain pic- tures painted by Gaudin for the grand Chartreuse at Grenoble. Bermudez commends his correct drawing and Venetian colouring, and notices The Last Supper, in the church of San Bernardo, as one of his best works. The picture is signed with his name,,and dated 1622.] [VARGAS, Andres de, was born at Cuenca in 1613, and went while young to Madrid, where he placed himself under Francisco Camilo ; he applied attentively to drawing, but still more so to the style of colouring of his master, in which he soon succeed- ed. Camilo became his Mend, and through his recommendations he was employed both in the churches and by private persons. On his return to Cuenca he painted in fresco the chapel of Our Lady of the Sanctuary, and several large pictures in oil. He had some of the qualities of a good painter, and would have been so but for his carelessness, and the bad system he adopted of regulating the quality of his work by the price. He died in 1674. His works are in churches at Madrid, Cuenca, Hiniesta, and in private collections.] VARGAS, Luis de. De Vargas was one of the most eminent Spanish painters of the sixteenth century. According to Palomino, he was born at Seville in 1528. Having learned the elements of the art in his native city he went to Italy, and passed seven years at Rome, where his studies were prin- cipally directed to the works of Pierino del Vaga. On his return to Seville he found himself unable to compete with Pedro Campana, whose works were at that time in great repute, and he returned to Rome, where he renewed nis studies with increased alacrity. A second residence of seven years in that capital, and an attentive study of the works of Eaf- faelle and Michael Angelo, which were the models he now consulted, enabled him to return to Spain an able and correct designer. Soon after his ar- rival at Seville he gave proof of extraordinary abi- lity in two pictures he painted for the cathedral, representing Christ bearing his Cross, and Adam and Eve. The latter gained him great reputation, and was so much admired by Matteo Perez Alesio, 835 varg] A DICTIONARY OP [VABO a painter of eminence, that, on contemplating his performance, he exclaimed, that one limb of the Adam of de Vargas was worth more than the whole composition of his colossal St. Christopher; and returning soon after to Italy, gave that honourable testimony of his own candour, and the merit of de Vargas, which is noticed in the Life of that artist. He executed several other works for the churches at Seville, both in oil and in fresco; among the most esteemed of which are the principal altar-piece in the cathedral, and a picture of the Virgin hold- ing a rosary, in the convent of San Pablo. De Vargas was not less distinguished for his ex- cellence in portrait painting, than for his historical pictures ; some of his productions in that branch are by his Spanish biographer compared to the works of Raiiaelle. He died at Seville in 1590. [Palomino, in his account of Luis de Vargas, has mistaken dates and circumstances. Vargas was born in 1502, and died in 1568. According to Ber- mudez, he went to Italy in 1527, and according to Pacheco, remained there twenty-eight years, and re- turned to his own country about the middle of the 16th century. The first picture which he painted after his return was a Nativity for the cathedral at Seville, in 1555, and which it appears still exists as an altar-piece in the chapel dedicated to that event. This date Bermudez found in the records of the chapter, and the picture is inscribed Tunc disceham Zmsius de Vargas. There seems to be no proof that he returned to Spain after an absence of only seven years, which would be in 1534, to compete with Pedro Campaiia, who was at that very time in Italy, and did not make his appearance at Seville till about 1548. The great works of Vargas were painted in fresco, and unfortunately little of them now remains. Amoujg the most remarkable was the subject of Christ bearing his Cross, called "La calle de la Amargura" which he painted in 1563. Crimi- nals going to execution were allowed to stop at the church where this picture was to perform their de- votions before it. About thirty years after its com- pletion, it was repaired by Vasco Pereyra, a Portu- guese artist. The Last Judgment, painted for the Casa de la Misericordia, is a wreck. The upper part of the composition presents traces of the Re- deemer, the Virgin Mary, and the Apostles; but the lower part, in which were groups of the elect and condemned, is completely efiaced. The same fate has befallen the figures of the Apostles, Evan- gelists, and other Saints, which he painted in the niches of the tower of the cathedral, in the last year of his Ufe. Of his pictures in oil, that which has obtained most admiration is one representing the genealogy of Jesus Christ in the flesh, to which they have given the Italian name " La Gamla," on account of the compliment paid to it by Mateo Perez Alesio, as mentioned in the text. The anecdote, however, is not true ; for Vargas died fifteen years before Perez painted his St^ Christopher. Luis de Vargas was mild, benevolent, and charitable, suffer- ing with patience the attacks and injuries of his rivals. In his house he led the life of an anchorite. At his death they found in the chamber to which he used to retire for his devotions, the hair shirts, scourges, and other instruments of penitence and mortification, and even a coffin in which he was accustomed to repose and ruminate on death. Yet he was, in his intercourse with the world, of a cheerful disposition, and occasionally indulged in a witty expression. An indiflerent artist having painted Christ on the Cross, asked his opinion of 836 the figure; Vargas replied, " It is well ; it seems to be saying — Lord, forgive them, for they know not what they do." Cean Bermudez says that Vargas painted many pictures, both in fresco and in oil, equal to the best masters of Italy. Nothing could be more correct than his contours, nor grander than his forms, nor better understood than his fore- shortenings ; for in these particulars he was superior to the most renowned of his countrymen who have followed him. If in his smaller pictures (those painted on panel in oil) the aeriel effect and grada- tions of light and tints had Been equal to the splen- dour of his principal colours, the beautiful foldings of his draperies, the nobleness of the expressions and of the attitudes, the graceful air of the figures, the strict imitation of nature in the accessories, he would have been the best painter of Spain; but these defects were very common in his time, and the greatest artists were not free from them.] VAROTARI, Dario. This painter was born at Verona in 1539, and was a scholar of Paolo Vero- nese, though he did not entirely follow the princi- ples of that master, but endeavoured to imitate the style of Titian, particularly in the airs of his heads. His chief residence was at Padua, where he became the foimder of a respectable school. Some of his principal works are in the church of S. Egidio, in that city. There are also several of his pictures in the churches at Venice, and in the state. He died in 1596. [Dario was respectable as a painter, but much more eminent as an architect.] [VAROTARI, Dario, Juniobb, was the pand- son of the preceding, and son of Alessandro v aro- tari, called II Padouanino. He flourished about the year 1660. He was a painter, engraver, poet, and physician. Though his works as a painter are not known, his portraits have been highly extoUed for the spirit of their attitudes, their colouring, and exquisite taste in the manner of Giorgione. In Bartsch we find two portraits engraved by him; that of his grandfather, Dario Varotari, and of Vin- centius Gussonus, Eq., both signed with his name. There are no other particulars of him as an artist, except that he painted rather to please his friends than for gain.] VAROTARI, Alessandro, called II Padouani- no, was the son of the elder Dario Varotari, and born at Padua in 1590. His father dying when he was only six years of age, he was instructed in the art by a painter who is not mentioned. He, how- ever, derived his principal improvement by study- ing the fresco works of Titian, which remained at Padua, and his juvenile copies of some of them were the surprise and admiration of the artists. He was sent to Venice when he was very young, where the talents he discovered at so early an age pro- cured him the name of II Padouanino. At Venice he continued his studies after the works of Titian, and at length entered so entirely into his manner, that he was considered one of the most successful followers of his style. If his design had been equal to his colouring, few painters of the Venetian school would have surpassed him. He generally selected subjects which admitted the introduction of the naked, in which he was as successful in the beauty and tenderness of his carnations, as deficient in the correctness of his drawing. His most considerable works at Venice are, the Marriage at Cana, in the Capitolo della Carita; four pictures representing subjects from the Life of St. Dominick, in the re- fectory of S.S. Giovanni e Paolo ; and a Miracle of the Virgin, in S. Maria Maggiore. He died in 1650. VARO] PAINTERS AND ENGRAVERS. [VASO [His eulogy by Lanzi should not be omitted. Pa- douanino, says that excellent critic, was always equal to the task of handling any subject that had before been treated by Titian ; his softer with grace, his more powerful with strength, his heroic with dignity; in which last, if I mistake not, he sur- passed every disciple of that master. " Le donne, i cavalier, I'armi, e gli Amori," these, and let me add to them his boys, were the favourite subjects of his pencil, which he exhibited to the most advantage, and which he most frequently introduced in his compositions. He knew now to treat landscape as well, and in some of his small pictures has succeeded admirably. He was familiar with the science of the sotto in sH, (ceiling painting, seen from below to above,) of wnich he gave a most favourable speci- men in the church of St.^ Andrea di Bergamo, in three admirable histories of that Saint. It is a work embellished with beautiful architecture, and replete with gi'aces. He has approached equally near to his model in the sobriety of his composition, in the very difficult use of the middle tints, in his con- trasts, in the colour of his flesh, in smoothness and facility of hand. In forming a judgment of his pro- ductions it is necessary to be on our guard agamst a variety of copies ; many of his disciples having so happily imitated him that Venetian professors with difficulty distinguish their hands from that of their master.] VAROTARI, Chiaea. This lady was the daugh- ter of Dario Varotari, [the elder,] and flourished at Venice about the year 1648. She was instructed in the rudiments of design by her father, and is. cele- brated by Ridolfi, and in the poetry of Boschini, for her extraordinary talents in portrait painting. In the Florentine GaUery of the portraits of artists, is that of Chiara Varotari, painted by herself. VASARI, Giorgio. According to Bottari, in his Wote (die Vite del Vasari, this painter and emi- nent writer on art, was bom at Arezzo in I5I2. He is said to have received his first instruction in de- sign fi'om a glass painter, named Guglielmo da Mar- sigUa, commonly called II Prete Gallo ; but he after- wards studied under Michael Angelo Buonaroti and Andrea del Sarto. His greatest improvement was derived from his studies at Rome, whither he was conducted by Cardinal Ippolito de Medici, who had taken him under his protection, and by whose family he was afterwards loaded with riches and honours. He designed from the antique marbles, the works of Michael Angelo in the Sistine chapel, and the frescoes of Rafiaelle in the Vatican ; and formed to himself a style in which he discovered his predilection for the works of Buonaroti. Having acquired some reputation as a painter, he applied himself to the study of architecture, in which he became one of the ablest professors of his time, and united in himself the various acquire- ments by which Giulio Romano and Pierino del Vaga, following the example of Raffaelle, had so eminently distinguished themselves. He was em- ployed in severd public works at Rome, particu- larly in different parts of the Vatican, and in the Sala deUa Cancellaria, where he painted, by the direction of Cardinal Parnese, a series of frescoes, representing the principal actions of Pope Paul III. In the church of S. Giovanni Decollate he painted for the principal altar the Martyrdom of that Saint, which is one of his most esteemed pic- tures in oil. There are many other works by Vasari in the different churches in Italy, among which the most remarkable are three sacred subjects in the refec- tory of S. Michele in Bosco, at Bologna; the Feast of Ahasuerus, in the church of the Benedictines, at Arezzo; and the Adoration of the Magi, at the Conventuali, at Rimini. In 1553 he was invited to visit Florence, by Cosimo I., who employed him in the superintend- ence of the important works in which he was then engaged in the Palazzo Vecchio, where the decora- tions were executed by Vasari and his disciples. Of these the most considerable was the apartment of Clement VII.; in which he has represented that Pope crowning the Emperor Charles V.; and in the other compartments the principal actions and victories of that monarch. He is allowed to have been an able designer, and to have been a competent master of the ornamental style. But, from the extent and variety of his un- dertakings, he occasionally fell into negligence and manner, and he was at aU times languid and cold in his colouring. Vasari is more celebrated as a writer than as a painter. His principal work was a History of the Painters, Sculptors, and Architects, from the period of Cimabue till his own time, entitled Vite de piu eecellenti pittori, scultori, e architetti, first published at Florence in two volumes in 1550, and republished with large additions, and the heads of the artists, in three volumes, in 1568, [and again in 1648. Since that period many excellent editions have appeared, both in quarto and octavo ; the latest is one pub- lished at Florence, 1832—1838, edited by Maselli ; another is now in progress in duodecimo, cura di una Society di Amatoridelle Arti belle. A German translation, of considerable excellence, is in the course of publication, and an English translation is promised in Mr. Bohn's Standard Library.] He died at Florence in 1576. [It seems probable that Giorgio Vasari was bom earlier than 1512, if any thing can be gathered from his own account of himself in the following words : " Diro bene che dopo aver io ne'miei primi anni designato quante buone pitture sono per le Chiese d' Arezzo mi furono insegnati i primi prin- cipj con qualche ordine da Guglielmo da Marzilla Frazese. — Condotti poi I'anno 1524 a Fiorenza da Silvio Passarini Cardinal di Cortona, attesi qualche poco al disegno sotto Michelagnolo, Andrea del Sarto, ad altri." Several writers of authority say he died in 1574. We know not whether it will be to the credit of Vasari, or otherwise, to quote the following sentence from the Abate Pietro FaruU's Annals of Arezzo : " L' Abate D. Silvano Sazzi, Camaldolese, scrisse le Vite de' Pittori, e le dono a Giorgio {Vasari) che le stampi sotto il suo nome." But il Padre Serafino Razzi, the brother of D. Sil- vano, only says " puo vedere il tutto nelle vite de' Pittori, Scultori, e Architetti scritte per la maggior parte da D. Silvano Mazzi, mio fratello, per il Sig. Cav-. M. Giorgio Vasari Aretino, suo amicissimo." It is but justice to all parties to give these quota- tions, as Giorgio is so frequently accused of par- tiality and misstatements in his otherwise very valuable work.] VASCELLINI, Gaetano, a modern Italian en- graver, bom at Castello S. Giovanni, in the Bo- lognese state, in 1740. He learned the principles of design from Ercole Graziani, and was msti-ucted in engraving by Carlo Faucci at Florence. We have by him some portraits from those in the Flo- rentine Gallery, and several subjects after various Italian masters, among which are the following : 837 VASC] PORTRAITS. Andrea Vannuclii, called del Sarto. Daniello Bicciarelli, da Volterra. SUBJECTS. St. Joseph and St. Francis of Paula ; after Set. Conca. Mary Magdalene penitent ; after F. IWino. Venus ; after Titian. Danae ; after the same. [VASCO, denominated Gean-Vasco, a Portu- guese painter. Whether he is to be recognised as Ferdinand de Vizeu, Oran-Vaseo de Vizeu, Fer- nandez Vasco de Cazal, or simply Vasco-Pereira, or Vasco-Fernandez, is not finally determined. If reli- ance can be placed on Portuguese testimony, or rather assertion, he was the greatest painter that ever lived ; not only are his pictures the most ex- cellent, but the most numerous. All in Portugal that have not secured a name are by Gran- Vasco. Attendants on strangers, who are desirous of seeing the pictures in the churches, have no difficulty in namrag the master. And pray, who is Gran- Vasco ? — inquired an impertinent. Gran-Vasco ! exclaimed the Cicerone with contemptuous surprise at the ig- norance of the inquirer, — Gran Vasco — ^is Vasco de Gama ! Possibly he was as near the truth, as far as regarded the pictures, as more erudite Portuguese connoisseurs. Zani notices Vasco-Pereira, a Por- tuguese painter, who operated in 1594, and marks him BB; and Cean Bermudez has given an ac- count of him among the Spanish artists. Count Raczynski, who was desirous of identifying him with Gran-Vasco, and who examined a small pic- ture by Vasco-Pereira, with the date 1575, aban- dons the idea for the present, and has left the elucidation of this difficult subject to his friend M. J. Berardo, who has undertaken the task with great zeal, spirit, and intelligence. Until the results of M. Berardo's inquiries are made known it would be premature to enlarge on the subject. The con- clusions he had arrived at in 1844 were the follow- ing: That Gran-Vasco was the son of another pamter; that his name was simply Vasco Fernan- dez; that it is of no importance whether he was born in the city of Vizeu or in a mill in the vicinity ; that he flourished in the reign of Dom Sebastien ; and that all traditions and memoirs in contradiction to these facts, which he may have put forth in former statements, ought to be dismissed as having no foundation. He has also given a copy of the baptismal register, which proves that Vasco, the son of Francisco Fernandez, painter, and Marie Henriquez, his wife, was baptized at the church of Vizeu, on the 18th of September, 1552. For an ac- count of his works, real and apocryphal, the in- quirer is referred to " Les Arts en Portugal" by the Count A. Raczynski, a book which will gratify him in the 'perusal, as abounding with much in- formation respecting artists very Ettle known, and sound criticism conveyed in a frank and pleasing manner.] [VASCO-PBREYRA, a Portuguese painter, who resided at Seville, in great credit, at the end of the 16th century. He was employed in 1594 to repair the fine fresco of Christ bearing his Cross, painted only thirty years previously by Luis de Vargas. He was one of the artists employed in the cathedral of Seville in 1598, to form the magnificent funeral de- corations for the service on the death of Philip II., and showed as much talent as any therein engaged. He painted the decollation of St. Paul for the con- vent of that order, in competition with Mohedano A DICTIONARY OF [VASS and Vasquez. He executed many other works which have ceased to exist in Spain, though some are to be found in Portugal. He was reckoned a skilful designer, but dry and hard as a colourist, as may be noted in the Pour Doctors of the Church Eainted by him for the library of the chartreuse of anta Maria de las Cuevas, and an Annunciation in the college of S. Hermenegildo. He died at the commencement of the 17th century. See Gran- Vasco.] VASCONI, PiLippo. By this engraver, who flourished about the year 1720, we have several plates of Views in Venice and the vicinity. VASQUEZ, Alonso, a Spanish painter, born at Ronda in 1589, and was educated at Seville, under Luis de Vargas. He painted history with con- siderable reputation, and was a contemporary and rival of Francisco Pacheco. His design is correct, and discovers an intimate acquaintance with anato- my, and his pictures are painted with freedom and facility. His prinripal works are in the monastery of the Barefooted Carmelites at Seville. He died in that city in 1650. [Alonso Vasquez was a scholar of Antonio Arfian ; he was one of the artists em- ployed on the magnificent catafalque for the funeral of Philip II. in 1598, and consequently was born earlier than 1589. It is also incorrect to say that he died in 1650, as his death occurred many years before Pacheco published his work in 1649. The exact date is not known, and few of his pictures exist] VASSALLO, Antonio MaeiA. This artist was a native of Genoa, and flourished about the year 1670. He was a scholar of Vincent Malo, ,of Cam- bray, who had studied under Rubens. Vassallo excelled in painting landscapes, animals, fruit, flow- ers, &c., which were admirably coloured, and touched with great spirit and freedom. He also occasionally painted historical subjects, in which he had given proof of considerable ability, but died young. VASSEUR, John Charles lb, a modern French engraver, born at Abbeville in 1734. He was a pupil of Daulle and Beauvarlet, and has engraved several plates, chiefly after the works of the modern French painters, in a neat, finished style. Among others are the following : The Triumph of Venus ; after Boucher. The Death of Adonis ; after the same. The Continence of Scipio ; after Le Maine. Biana and Endymion ; after J. B. Vanloo. Apollo and Daphne ; after Luca Giordano. The Triumph of Galatea ; after J. F. de Troy. The Parting of Hector and Andromache ; after RestoiU. Alexander and his Physician ; after the same. Tarquin and Lucretia ; after A. Peters, The Milk-maid ; after J. B. Greuze.. Thais, or the beautiful Penitent ; after the same. [The Step-Mother; after Greuze. The Widow and the Curate ; after the same. The Will destroyed ; after the same. Lionardo da Vinci expiring in the arms of Francis I. ; after Minageot. The Four Seasons ; after Gallet. A Holy Family ; after R. Mengs."] He also engraved from Aubry, Krause, Lagren^e, Dietricy, and others. [He died in 1816.] VASSILACCHI, Antonio, called L'Aliense. This painter was born in the Grecian island of Milo, in the Archipelago, in 1556. He was sent to Venice when he was young, where he became a scholar of Paolo Veronese. Ridolfi informs us, that his progress under that master was such as to excite the jealousy of his instructor, who dismissed him from his academy, and advised him to confine vast] PAINTERS AND ENGRAVERS. [UDIK himself to pictures of a small size. Confident in his powers, and suspecting that Paolo was prac- tising towards him the same disgraceful illiberality which Titian had shown to Tintoretto, he applied himself to his studies with redoubled alacrity. One of his eEirliest public works was a picture of St. Sebastian, with a glory of angels, for the church of S. Maria delle Vergine, and, on its being reported that it was from a design of Paolo, he determined to dispose of all the drawings he had made in the school of that master, as a proof of his determina- tion to abandon his style. He now applied himself to study the works of II Tintoretto, and acquired a boldness and energy of style which approached the best productions of that master. Such are his pic- tures in the Chiesa de S.S. Apostoli, at Venice, re- presenting Abraham sacrificing Isaac, Cain slaying Abel, and the Brazen Serpent. In the Sala dello Scrutinio are several of the best productions of Aliense, which prove him to have possessed a fertile and inventive genius, an excellent tone of colouring, and an unusual facility of execution. He died at Venice in 1629. VAST, Vandee. The name of this artist, who was probably a native of Holland, is afiixed to some etchings of landscapes, which are executed in a tasteful and spirited style. [It is supposed that he is the same as Adrian Vander Veert, or Weerdt. See that article.] VAUGHAN, Robert, an English engraver, who flourished about the year 1650. He was cihiefly employed in executing portraits, and other plates, for the booksellers, which are more sought after for the characters they represent, than the merit of the prints. He engraved a monument in Dugdale's " Warwickshire," and some of the maps ; the prints for Morton's " Ordinal," and part of those for Ash- mole's " Theatrum Chemicum," in 1651. ■ Vertue informs us, that during the interregnum, Vaughan engraved a portrait of Charles II. to which he afiixed so o£fensive an inscription, that after the Restoration an accusation was preferred against him. We have, among others, the following por- traits by him : James I. Launcelot Andrews, Bishop ofWinchester. Sir John Wynn, of Gwedur, Bart. ; scarce. George Clinord, Earl of Cumberland. John Fisher, Bishop of Kochester. Sir Fnmcis Drake. Arthur Hildesham, Preacher atAshby-de-la-Zouch. Sir Walter Ealeigh. Sir Thomas Lyttleton, Chief Justice of the King's Bench. Thomas Wilsford, Mathematician. Edward Terry, Rector of Greenford, Middlesex. 1655. Henry Vere, Earl of Oxford. Kobert Vere, Earl of Oxford. Thomas "Wentworth, Earl of Strafford. James Usher, Bishop of Armagh. Sir George Crooke, Chief Justice of the King's Bench. Benjamin Jonson, Foet. Edward Turgis, Poet ; scarce. VAUGHAN, William. This EngUsh engraver was probably a relation of the artist mentioned in the preceding article. He flourished about the year 1660, and, like Robert Vaughan, was principally employed by the booksellers in frontispieces and other book ornaments. We have by him three prints, engraved for a small folio pamphlet, describ- ing the " Suflerings of Sir WUUam Dick, of Braid," which are now become scarce. He also engraved a set of thirteen plates of animals, entitled " A Book of such Beasts as are most useful for drawing, graving, or arms painting and chasing ,•" designed by F. Barlow, and engraved by William Vaushan. 1664. VAUQUER, ■ . This artist was a native of France, and probably followed the profession of a goldsmith. He engraved, from his own designs, several plates of flowers and ornamental foHage, which he entitles Livres des Fleurs, propres pour or/evres etgraveurs. UBERTINI, Francesco, called II Bachucca. According to Baldinucci, this painter was a native of Florence, and flourished from about the year 1530 till 1557. He painted history with consider- able reputation, and also excelled in the grotesque and ornamental style. One of his best historical works is his picture of the Martyrdom of S. Arcadio, in the church of S. Lorenzo, at Florence. The lat- ter part of his life was passed in the service of the Grand-duke Cosimo, for whom he executed several cartoons for tapestry, and painted some historical pictures for his gallery. [His historical pictures are generally on a small scale, with numerous figures ; there were two in the collection of the Rev. Mr. Sandford, exhibited a few years ago at London, very spirited and interesting. One of them, Joseph sold by his Brethren, is engi'aved in Rosini, " Storia della Pittura Italiana," plate 133. He was also a worker in gold and silver.] UCCELLO, Paolo Mazzocchi, called. This old painter was born at Florence in 1349, and was a disciple of Antonio Veneziano. He was one of the earliest artists who applied themselves to the study of perspective, in which he was greatly as- sisted by Giovanni Manetti, a celebrated mathe- matician of the time. He distinguished himself as a painter of animals, but he particularly excelled in designing all sorts of birds, of which he had formed a large collection of the most curious, on which ac- count he acquired the appellation of Uccello. In . the church of S. Maria Novella, at Florence, are several subjects of the Old Test9.ment, which he had selected for the purpose of introducing a variety of beasts and birds, designed with surprising neat- ness and precision. Among others, are Adam and Eve in Paradise, the Family of Noah entering the Ark, the Deluge, &c. These subjects he treated with so much truth and nature, that he may be styled the Bassano of his time. He also painted landscapes, with ruins and figures, which, from his knowledge of perspective, were designed with a cor- rectness and intelligence unknown to his contem- poraries. Lanzi mentions a colossal portrait of Gio. Aguto on horseback, painted by Paolo, in the cathedral at Florence, which is considered one of the boldest de- signs of that early period. He died in 1432. [Zani says it is wrong to suppose him of the family Mazzo- cm ; he signed his pictures Pauli Uccelli Opus, and he was living in 1436. His picture of the Deluge is engraved in Rosini, plate 30.] UCHTERVELT. See Ochtervelt. UDINE, Giovanni Nanni, called da. The family name of this painter was Nanni, though he is occasionally called by Vasari,' Ricamatore. He was bom at Udine in 1494, and having discovered an early disposition for the art, by designing the animals and birds pursued by his father in the chace, he was sent to Venice, where he was placed under the tuition of Giorgione, and acquired a com- petent acquaintance with the principles of the chia^ ro-scuro, and an excellent tone of colouring. The fame of Raffeelle had reached Venice, and mspired Giovanni da Udine with an ardent desire of visiting 839 udin] A DICTIONARY OF [VECC Rome, to contemplate the works of that illustrious artist His protector, the patriarch Grimani, de- sirous of promoting his wishes, furnished him with letters of recommendation to Count Baldassare Cas- tiglione, by whom he was introduced to Raffaelle, and was admitted into his school. He was employed by that great master in painting the ornamental ac- cessories in many of his works, consisting of ani- mals, birds, fruit, flowers, &c. At the time he was thus employed by his illustrious preceptor, the dis- covery was made of the precious remains of an- tiquity in the baths of Titus. Giovanni da Udine was selected by Raffaelle to make designs from the beautiful grotesque ornaments in stucco, found in the different apartments. He not only succeeded in his commission to the entire satisfaction of his mas- ter, but discovered a process of compounding a stuc- co, which had the same appearance, and probably the same durability, as that used by the Romans. He was now employed by Raffaelle to execute the greatest part of the arabesque and grotesque orna^ ments in stucco, in the loggie and apartments of the Vatican, which he finished in so tasteful and mas- terly a style, that they have ever been the objects of universal admiration. After the death of Raffaelle he was employed by Clement VII. in conjunction with Pierino del Vaga, to ornament that part of the Vatican called La Torre di Borgia, where they represented the Seven Planets ; the emblematical figures were designed by del Vaga, but the grotesque ornaments and symboli- cal decorations were executed by Giovanni da Udine. In 1527 he was compelled, by the sacking of Rome, to fly from that city, and he took refuge at Udine, where he was for some time employed. He was afterwards engaged at Florence, by the family of the Medici, in several considerable works. He re- turned to Rome in the pontificate of Pius I VI, where he died in 1564, and was buried in the church of La Rotonda, near the tomb of Raffaelle. [Zani places his birth in 1489, and his death in 1561, to which Lanzi seems to assent. With respect to the family name, there is no certainty. Nanni, or Nani, in some places in Italy stands for Giovanni, and Micamatore signifies a designer or worker of embroidery. His beautiful decorations in the loggie of the Vatican may have obtained for him the lat- ter appellation. An engraving from his picture of Christ disputing with the Doctors, in the Academy at Venice, will be found in Rosini, " Storia della Pittura," plate 148.] UDINE, Maetino da, called Pellegrino di SAN Daniello. This painter was born at the castle of San Daniello, ten miles distant from Udine, about the year 1480, and was a disciple of Giovanni BelUni, during that painter's residence at Udine. He acquired the name of Pellegrino from an ex- pression of approbation bestowed on his talents by his master, Bellini, who, on seeing some of his early productions, exclaimed, Pellegrino! or excellent! He painted several pictures for the churches at Udine, which raised his reputation to a level with that of his instructor, whose works were at that time in the highest estimation. In the cathedral is one of his admired productions, representing St. Joseph, with the infant Christ and St. John, which was esteemed not inferior to the picture of S. Marco, by BelUni, in the same church, which is considered his master-piece. But his most celebrated ijerform- ance is an altar-piece in S. Maria de Battuti, repre- senting the Virgin, with several female saints, and St. John the Baptist, in which he displayed a dawn- 840 ing of the breadth of style, and the mellowness of colouring, which were afterwards carried to such perfection by Giorgione. In the church of S. An- tonio, at San Daniello, are some paintings in fresco by Pellegrino, representing the Life of Christ, which are highly commended by his biographer Renaldis. He died soon after, in 1545. [VEAU, Francesco, a painter of architecture and perspectives, was born at Pavia in 1727, and died in 1768. He was an excellent painter in the decorative style, but there are no particulars of him recorded.] VEAU, John Le, a French engraver, born at Rouen about the year 1736. He went to Paris when he was young, where he became a pupil of J. P. Le Bas, and has engraved several plates, in the neat and spirited style of that eminent artist, among which are the following : A Pair of Views in Flanders, by moonliglit; after Van- der Neer. A View of Montserrat ; after Vernet. The Fishermen ; after the same. The Cascade of Tivoli ; after La Croix. A View of Ptizzoli ; cfter the same. The Village Blacksmith ; after Berghem. A Landscape, with a Shepherd watching his Flock; after Ruysdael. Abraham sending away Hagar ; after Dietricy. The Shepherdess of the Alps ; after Aiibry. [This is perhaps the same artist that Zani names John James Le Veau, a designer and engraver of landscapes, bom in 1729, and died in 1785.] VECCHI, Giovanni de. This painter was bom at Borgo S. Sepolcro, in 1536. He went to Rome when he was young, where he first became a dis- ciple of Raffaelle delle CoUe, but he afterwards studied under Taddeo Zuccaro, who was at that time employed by Cardinal Alessandro Farnese, in the embelhshment of his palace of Caprarola, where, in conjunction with his instructor, he executed several considerable works. There are many of his pictures in the churches at Rome, of which a par- ticular description is given by Baglione. In S. Lorenzo in Damaso, is one of his most esteemed productions, representing the Martyrdom of St. Lawrence ; in the cupola of the Chiesa del Gesu, he painted in fresco the Four Doctors of the Church ; and in S. Maria d'Aracaeli are several pictures of the life of St. Jerome. He died at Rome in 1614. VECCHIA, PiETRO [deila,] was bom at Venice in 1605, and was brought up in the school of Ales- sandro Varotari, called II Padouanino. He did not, however, adopt the style of that master, but applied himself to an imitation of the works of Giorgione and II Pordenone, in which he was so successful, that some of his pictures have been mistaken for the productions of those masters. His powers were better adapted to familiar and fancy subjects than to the dignity of history, and his best pictures re- present armed soldiers, banditti, and corps-de-gardes, which he painted with great vigour and effect. His talent in imitating the works of the old masters in- duced the doge and senate of Venice to employ him to copy, in oil, the historical works in mosaic, which are in the church of St. Mark, which he ex- ecuted with great ability, and painted two altar- pieces of his own composition, for the same church, representing the Crucifixion, and our Saviour driv- ing the Money-changers out of the Temple. His colouring is warm and tender, and he was well versed in the principles of the chiaro-scuro. He died in 1678. vece] PAINTERS AND ENGRAVERS. [VKLA VECELLI, TiziANo. See Titian. VECELLI, Francesco, was the brother of Tizi- ano VecelH, the great luminary of the Venetian school, and was born at Cadore, in Friuli, in 1483. After being instructed by his brother in the elements of the art, ne served some years in the army, and he was probably induced to turn his thoughts to paint- ing as a profession, by the extraordinary success of his brother. He painted some pictures for the churches and public edifices at Venice, which pos- sessed sufficient merit to alarm the jealousy of Titian, particularly a picture of the Transfiguration, in the church of S. Salvatore, which gained him gi'cat reputation. But his most celebrated perform- ance, and which frequently has been taken for a work of Titian, is a picture of the Nativity, in the church of S. Giuseppe, at Belluno. By the per- suasion of Titian, he is said to have abandoned painting in 1531, and devoted himself to commercial pursuits. [Strange, if true, that Titian should per- suade him to abandon a practice in which he was so successful !] VECELLI, Oeazio. This artist was the son and disciple of Titian, born at Venice in 1540. He distingui^ed himself as a painter of portraits, some of which were esteemed little inferior to those of his father; though he occasionally painted historical subjects, one of the most considerable of which was in the ducal palace at Venice, but was destroyed in the conflagration. He died in the same year with his father, in 1576. [Zani calls him "figlio na- turale di Tiziano seniore."] VECELLI, Marco, called Marco di Tiziano. This artist was the nephew of Titian, born at Ve- nice in 1545, and accompanied that distinguished painter in his journeys to Rome and Germany. He was the favourite disciple of his great instructor, and approached nearer to his style, both in composition and colour, than any of his relatives. There are several considerable works by him in the palazzo di S. Marco, ^mong the most esteemed of which is an allegorical subject on the peace of Italy, in the an- techamber to the Sala del Consiglio. Another ad- mired work of Marco VeceUi is a picture in the Sala della Bussola, representing the Doge Leonar- do Donato kneeling before the Virgin and infant Christ. He also painted several considerable works for the churches at Venice, Trevigi, and in the Friuli, particularly a picture of Christ fulminating the world, and the Virgin and several Saints inter- ceding, in S. S. Giovanni e Paolo, at Venice. He died in 1611. VECELLI, Tiziano, called Tizianello, was the son of the preceding artist, and in the beginning of the seventeenth century acquired some reputation by the pictures he painted for the public edifices at Venice. The excellent principles which had been estabUshed by the great founders of the Venetian school had, however, now given way to negligence and manner, which is evident in all his works. His best-productions are his portraits, which possess the merit of resemblance, and a natural tone of colour. VECELLI, Cesare. This artist was the younger brother of the celebrated Titian,- and flourished about the year 1590. We have by him a set of prints engraved from the designs of Titian, in a spi- rited and masterly style, representing the ancient and modern habiliments of various parts of the world, published at Venice in 1590, entitled. Be gli Hahiti Antichi e Moderni di diverse parte del mondo, Libri duefatti da Cesare Vecellio. A second edition of this work appeared in 1664, with a more explana- tory title, as follows : Rdceolta difigwe delineate dal gran Tiziano, e da Cesare Vecellio suofratello diligent temente intagliate. [Cesare Vecelli was not the brother of the celebrated Titian ; he was of another branch of the family. He did not engrave the wood- cuts to the work entitled Be gli Habiti Antichi e Moderni, ^c, mentioned in the text, though they have been so long attributed to him ; they were exe- cuted by Christopher Chriegher, of Nuremberg. Neither were the designs made by the great Titian nor by Cesare ; so the title to the edition of 1664 is altogether false.] VECQ, James la. This painter was bom at Dort in 1625, and was educated in the school of Rembrandt, whose excellent manner of colouring, and admirable conduct of the chiaro-scuro, he suc- cessfully imitated. After leaving that excellent school, by an unaccountable caprice and want of judgment, he abandoned the pnnciples of his able instructor, and adopted the manner of John de Baan. He painted history and portraits, but at- tached himself chiefly to the latter. A singular anecdote is reported by Houbraken in his Life of this artist. Whilst he was in France, he was applied to by an old priest, at Sedan, to paint his portrait. When La Vecq attended him for that purpose, he informed him, that, some years before, he had his portrait painted by a Fleming, but that it was so httle to his liking, that he had ordered it to be put into his garret. La Vecq expressed a curiosity to see this wretched performance, but his surprise was not httle, when he discovered, on wiping away the dust, one of the finest heads Van- dyck had ever painted. How many are there of the laity who do not judge better than this ecclesiastic ! [and how many improbable anecdotes of a like kind are recorded ! Curiously enough, all such discover- , ies are of the hest works of the master !] VEEN, Martin van. See Hemskirk. [They who are desirous of knowing more of Martin van Veen, or Martin Hemskirk, than is related in a pre- vious article, vnU find the history of his life, detailed with all the zest of a romance, in the third volume of Alfred Michiels' " Histoire de la Peinture Flam- ande et Hollandaise." They will also find subjoined a catalogue of his works, to the number of one hun- dred and twenty-nine pieces, copies and originals, or the knowledge of which is derived from prints, or the writings of Karel Van Mander and others. The present location of many is also pointed out, so that a travelling inquirer may gratify his curi- osity by inspecting them. In the article Martin jBTemsAirA;, it is said ne died in 1573; several writers, however, place his death in 1574.] VEEN, Otho and Gilbert van. See Venius. VEENHUYSEN, J., a Dutch engraver, who flourished at Amsterdam about the year 1656. He engraved a set of views of the public buildings in that city, which are executed in a neat, slight style. They are embelhshed with figures, which are de- signed with tolerable correctness. They were pub- lished at Amsterdam in 1656, with descriptions in Dutch and French. [He also drew portraits, and operated in 1677.] VEGEL, J. S. Mr. Strutt has considered this artist worthy of record, though he pronounces him " an obscure engraver of frontispieces and other book plates, which he executed in so bad a style, that they by no means merit notice." [It may be suspected this means one of the Vogels ; but with so bad a character, it is not worth the inquiry.] VELA, Cheistoval, a Spanish painter, horn at 841 vela] A DICTIONARY OF [vela Jaen in 1598, and was first a scholar of Pablo de Cespedes, but afterwards studied under Vincenzio Carducho. He chiefly resided at Cordova, where he painted history with some reputation, and was esteemed a correct designer, though languid and weak in his colouring. In the cloister of 'the con- vent of San Augustin, at Cordova, is a series of the Prophets; designed in a grand style. He died at Cordova in 1658. [Whatever he did good has been destroyed by the restorers : he was drowned in the well of his own house.] VELASCO, Don Antonio Palomino. This Spanish painter, and the principal biographer of the artists of his country, was a native of Valencia, where he flourished about the year 1700. He painted several pictures for the churches and con- vents at Valencia, Salamanca, and Granada, and was one of the painters to Philip V. of Spain. He is, however, more known as a writer on art than as a painter. He published an elaborate treatise on the Art of Painting, in two folio volumes, published at Madrid, in which he notices upwards of two hun- dred painters and sculptors, who flourished in Spain, from the time of Ferdinand the Catholic to the con- clusion of the reign of Philip IV. Of this work there was an abridgment, in Spanish, published in London in 1742, entitled, La^ Vidas de hs Pintores y statuarios eminentes Espanoks. Of which there is an English translation. [Don Aciscio Antonio Palomino de Castro y Velasco, the Vasari of Spain, was born at Bu- jalance in 1653. His parents were Don Ber- nabe Palomino and Donna Maria Andrea Loza^ no, who, being in good circumstances, transferred their residence to Cordova, in order to bestow an education on their son suitable to his rank. Here he studied grammar, philosophy, theology, and jurisprudence ; but his ruling passion discovered itself by his devoting his leisure hours to copying prints. In 1672, the painter Juan de Valdes Leal returned from Seville to Cordova, and was shown some of his productions j he gave him encourage- ment to proceed, and taught him the fundamental rules of painting; this decided his course, and he acknowledged Valdes Leal as his only master. He made gi'eat progress, but did not abandon his Uter- ary studies, and was ordained for the church. In 1675 he received some further instruction and en- couragement from Juan de Alfaro, who recommend- ed him to visit Madrid, and study the works of the great masters there. But Palomino continued his studies at Cordova till 1678, when Alfaro returned to Madrid, and Palomino accompanied him. He found employment at the court, and gave so much satisfaction to his friend Alfaro, that he appointed him by his will to finish some pictures which he had commenced, but was unable to terminate from debiUty. He next formed a friendship with Juan Carreno, and Coello, and was chosen by the latter to assist in painting the ceiling of the queen's gal- lery at the Alcazar ; he executed his part so much to the satisfaction of his coadjutor, that he, having other works to accomplish at the Escurial, left him to finish it. This he performed with entire success, and obtained the approbation of the king, and con- sequently of the critics of the court. This obtained for him the honorary distinction of king's painter, but without salary. On the marriage of Charles II. with Donna ManaAnade Neoburg,in 1690, he de- signed the arches and other ornaments for the bridal entry to the city, which confirmed him in his place, and entitled him to the emoluments. In 1.692, the 842 arrival of Luca Giordano caused some consternation among the Spanish painters ; but Palomino main- tained his position, Luca was probably not so well versed in Christian theology as in heathen mytho- logy, and Palominxj was able to instruct him in the subjects he was called upon to paint. This he did with such delicacy and perspicuity, that Giordano embracing him exclaimed, " The work is abeady finished!" In 1697 he went to Valencia, where he painted the frescoes in the presbytery of the church of S. Juan del Mercado, and remained there for three years, with the exception of a short period passed at Madrid, and painted several important pictures. In 1705 he went to Salamanca to paint the frescoes in the convent of S. Bsteban, in which he represented the church militant and triumphant, accompanied with many allegories. On his return to Madrid he produced many other pictures ; and in I715,.published the first volume of his " Museo Pic- torico," on which he had been employed for many years. He had previously painted the sacristy of the chartreuse of Granada, representing St. Bruno supporting the World, and a glory of Saints and An- gels; five pictures for the grand altar at Cordova, and the hieroglyphics which adorned the funeral of Donna Maria Luisa de Saboya. He published the second volume of the " Museo Pictonco," or Lives of the Spanish Painters, in 1724. From this time his health began to decline ; and his wife having died in 1725, he entered fully into orders, and was ordained priest. He died in the following year, and was buried on the 13th of August, with great fu- neral pomp, in the same grave as his wife, in the church of S. Francisco, at Madrid. It was deemed but justice to Palomino Velasco to add thus much to the scanty notice taken of him in the text ; the limits of a dictionary do not permit to enter so largely as is perhaps desirable into the history of one who did so much to preserve the fame of others. Neither is this the place to analyze his book on Painting and Painters, which, with many oversights, contains a vast store of good materials, and which, until the more exact work of Cean Bermudez ap- peared, was the only one worth consulting for a knowledge of the arts and artists of Spain.] [VELASCO, Luis de, an historical painter, who is entitled to a place among the talented artists of Spain, has not only been unnoticed by Palomino and Ponz, but had the misfortune to have his works attributed by them to others. He resided at Toledo in 1564, and painted several pictures for the cloister of the cathedral. In 1581 he was appointed painter to the chapter, and in November of the same year began his picture of the Incarnation of Christ, which is over the door of the cloister, and which Antonio Ponz has attributed to Bias del Prado; this and three others for altar-pieces he finished in 1584-5. One of these represents the Virgin, of ex- ceeding beauty, holding the Infant in her arms, ac- companied by S. Antonio, S. Bias, and a female Saint; above are four angels holding an imperial crown, and below an armed warrior worshipping; and the figures of S. Cosme and S. Damian form the laterals. These pictures have been highly and justly praised, as forming a noble and beautiful work. Palomino has erroneously attributed them to Bias del Prado, as Ponz had that of the Incar- nation. But the archives of the cathedral show that they were executed by Luis de Velasco, by or- der of the archbishop. Cardinal Quiroga, and taxed by Miguel Barrosa in 1585 at 419,788 maravedis, which was paid to him in that year. He also vela] PAINTERS AND ENGRAVERS. [VEIA painted the portrait of the Cardinal in 1594, and that of D. Garcia de Loaysa in 1599 ; both of which were placed in the chapter-room of the cathedral. There are other excellent works by him, but few in number. In his drawing he is correct, his charac- ters are noble io. form, his colouring harmonious; and his style exhibits a good acquaintance both with the antique and the best masters of Italy. He died at Toledo in 1606.] [VELASCO, Cristobal de, was the son and disciple of Luis de Velasco. He adopted the max- ims and imitated the style of his father, but did not arrive at the same degree of excellence. In 1598 he painted the portrait of the Archduke Albert, be- fore he renounced the archbishopric of Toledo to espouse the Infanta Isabella. This was placed in the winter chapter-room of the cathedral with the series of portraits of other prelates. He painted for Philip III. seven views of cities in Flanders, to place in his hunting residence in the woods of Val- sain, for which he received the sum of 20,673 reals. His son, Matias de Velasco, was also an histori- cal painter; he accompanied thecourt of Philip III. to V alladohd, and painted some pictures for the royal nunnery of the Carmelites of that city, repre- senting several mysteries in the life of the Virgin. Ponz supposed these pictures were by a Fray Ar- senio Masacio, because he painted a S. Francisco and a Santa Clara in the same place ; but Palomino asserts that they were painted, as well as several others in Valladolid, by Matias de Velasco.] VELASQUEZ, de Silva, Don. Diego. Don Diego Velasquez de Silva, the most distinguished painter of the Spanish school, was born at Seville in 1594. He was of a noble family, originally of Portugal, which had been reduced by the troubles of their country, and had established itself in Anda- lusia. His parents, although in. very narrow cir- cumstances, gave their son a liberal education, and as he had evinced, during his literary studies, an ex- traordinary genius for drawing, he was permitted to indulge his inclination, and was accordingly placed under the tuition of Francesco Herrerathe elder, a rigid instructor, but of considerable ability. The morose manner and brutal temper of that master be- coming insupportable to the gentle nature of the young Velasquez, he quitted his school, and entered the academy of Francisco Pacheco, a man of letters, and an able designer. Under that master his ta- lents began to display themselves in a variety of sketches from nature, of peasants and ordinary peo- ple, in pecuUar habits and occupations, as they struck ms fancy in the streets. In these first sallies of his genius, he gave a faithful and striking repre- sentation of the manners and characters of the lower orders of the people, and the various acces- sories and objects of still-life, with which he accom- panied them, were designed and painted with un- usual fidelity and spirit. Of these early productions one of the most celebrated is his picture, now in the new palace at Madrid, of the old Water-carrier of Seville, portrayed in a tattered garment, which, through Its rents, discovers naked parts of the body, giving water to a boy to drink out of his barrel, in which he exhibits a wonderful character of nature and expression, with an unusual degree of science in muscular anatomjr. Velasquez continued to paint subjects of this familiar description for some years, and, when urged by some of his friends to aspire to a higher department of the art, he replied, that he E referred being the first in that humble walk, to olding a second place in the higher cast of historic painting. He had studied five years in the academy of Pacheco, when that master bestowed on him his daughter in marriage, and his father-in-law having received from Italy some pictures by Guido, Cara- vaggio, and others, the contemplation of them ex- cited Velasquez to a more elevated idea of his art. He now turned his thoughts to history and portrait, and conceived an ardent desire of visiting the rich treasures of art amassed in the royal collections at Madrid, in the Escurial, and in the palace of Bueno Retire. In 1622 Velasquez left Seville to visit the metro- polis of Spain, where he had passed upwards of a year, when his talent recommended him to the no- tice of Conde de GUvarez, the favourite minister of Philip IV., who took him under his immediate pro- tection, and accommodated him with apartments in his palace. He afterwards introduced him to the king, who expressed his desire to have his portrait painted by Velasquez. This was the most imme- diate crisis of his fame and fortune. Philip had been painted by the most eminent artists of the time, who had successively exerted themselves in portraying a young sovereign, in possession of every thing which could excite their emulation and re- ward their abiUty. He painted a portrait of Philip on a large scale ; the king was drawn in armour, mounted on a magnificent steed, with aback-ground of beautiful scenery. In this trying attempt ne suc- ceeded beyond his most sanguine expectation, and all the cognoscenti joined in giving the palm to Ve- lasquez, above all his predecessors. So complete was his triumph, that Olivarez was directed to inform his inmate, that the royal person of Philip would in future be intrusted to no other pencil but his. When Velasquez had finished the portrait of the king, he received permission to exhibit it in a public street in the city ; the courtiers applauded it to the skies, and the poets wrote sonnets in his praise. He was next employed to paint the infants Don Carlos and Don Fernando, and the portrait of the minister, his patron, mounted, like his royal master, on a noble Andalusian courser, richly caparisoned. Fortune now began to snower her favours on him. He was appointed principal painter to the king, with a liberal salary, besides a munificent remuneration for his pictures. Great rewards being thus heaped upon Velasquez, great things were expected from him, and though he had distinguished himself be- yond all his contemporaries as a portrait painter, he had not yet attempted any considerable historical composition. Vincenzio Carducho, Eugenio Caxes, and other artists, who had preceded him in the public favour, had signalized themselves by painting a subject of great public interest, the expulsion of the Moors from Spain by Philip III. He now determined to enter the lists with these competitors, by painting a picture of this popular event. On this occasion he produced a superb composition ; in the centre he placed the king, armed, and in the act of command- ing a party of soldiers, who are escorting a group of Moors, of difierent ages and sexes, to an embarka- tion, which awaits them in one extremity of the picture ; on the other side is personified the kingdom of Spain, as a majestic matron, in armour, with part of a stately edifice. This distinguished performance he signed with the following inscription : Didacus Velasquez Hispalensis Philip IV. JRegis Hispan.pietor ipsiusque jussu fecit, anno 1627. Velasquez had no sooner completed this celebrated picture, than he again expenenced the favour and munificence of his 843 vela] A DICTIONARY OF [vela sovereign. He was made one of the chamberlains to the king, and received an additional stipend, in support of his new dignity. In the same year, 1627, Rubens visited Madrid, in his quality of ambassador, and formed an intimacy with Velas(}uez, for whose extraordinary talents he had the highest respect. This intercourse led to frequent dissertations, on the part of Rubens, re- specting the state of the arts in Italy, which inspired his friend with an irresistible desire of visiting Rome and Venice, for the purpose of contemplating the beauties of antiquity, and the works of the best masters. Velasquez was now in such favour, that he had no sooner expressed his desire for a tour to Italy, than he found his wishes anticipated by every fa- cility and indulgence on the part of his royal pro- tector. The Duke d'Olivarez was directed to fur- nish him with a sum, amply sufficient for the expenses of his journey, and to supply him with the warmest recommendatory letters. In 1629 he embarked at Barcelona, and, on his landing at Venice, was lodged in the hotel of the Spanish ambassador. The works of Titian, in the palace of St. Mark, excited his admiration, nor was he less surprised and delighted on seeing the ad- mirable productions of Tintoretto, in the Scuola di S. 'Rocco, particularly the Crucifixion and the Re- sun-ection. After a residence of a few months at Venice, he proceeded to Rome, where he was most graciously received by Cardinal Barberini, nephew to Urh^n VIII., who procured him apartments in the Vatican, where he had, at all times, access to the productions of Michael Angelo Buonaroti and Raf- faelle. He studied .the works of those illustrious artists with unremitted attention and delight. Dur- ing his residence at Rome, he painted his celebrated history of Jacob when his sons present him the bloody garment of Joseph, one of his most capital performances^ He also paipted at Rome his fine picture of the Discovery of the Infidelity of Venus, as related by Apollo to Vulcan, who is represented at his forge, attended by the Cyclops ; a subject which enabled him to display his art in its fullest extent. The light and shadow from the reflection of the forge, and the, sparks which fly from their hammers, produce a surprising effect. The athletic forms and dusky hues of the Cyclops are artfully contrasted with the beautiful proportions and fine tints in the figure of Apollo. The character of Vul- can is finely conceived, and the composition is ar- ranged with infinite judgment. Both these perform- ances were transmitted to King Philip, by whom they were placed in the most distinguished situations in his palace. After an absence of a year and a half Velasquez returned to Spain, passing through Naples in his way, where he painted the portrait of Donna Maria of Austria, Consort of Ferdmand III. Absence had not impaired his favour with the king, who made him one of the gentlemen of his wardrobe, and ap- pointed him a painting room in his palace, of which the king himself kept a private key, for the purpose of visiting his painter without the forms of cere- mony, as Charles V. had done to Titian. In 1638 Velasquez painted his celebrated picture of our Saviour on the Cross, now in the convent of S. Placido, at Madrid. This single figure would be sufficient to immortalize the fame of Velasquez. It is designed with great simplicity and nature, but with an expression in the features, an afiecting air in the reclining of the head, and an harmonious tone of 844 colouring, at once so tender, and of such efiect, that nothing can exceed it. It was about this time that he painted his famous picture representing the cele- brated General Pescara receiving the keys of a Fle- mish citadel from the governor of the place. The group of generals, soldiers, citizens, horses, &c., and the striking effect of the town and landscape, in the back-ground, have established the fame of this noble picture, as one of the finest productions of the mas- ter. Mengs decidedly calls it the chef cPoeuvre of Velasquez, and has pronounced it to be faultless, except in the circumstance of the soldiers' lances, which he criticises as being too long. Surely this is a very trivial remark, to fell from the pen of such an authority, and, trivial as it is, there is great reason to doubt if it is founded in truth. After all, who would expect that any eminent critic, after pro- nouncing the performance to be faultless in every essential or noble part, wo^jld seriously state this trifling remark as an exception ? It is not surpris- ing that the productions of this period of his life were executed in his best style, when his taste had been refined by his studies at Rome, his judgment matured by experience, and his fire not yet abated by years ; caressed by his sovereign, applauded by his contemporaries, and at the summit of all worldly prosperity. In 1643 the minister d'Olivarez was dismissed from his employment, and banished from court, to his town of de Toro. The good fortune of Velas- quez received no shock by the disgrace of his patron. In the year 1648 the king intrusted him with a par- ticular embassy to Pope Innocent X., and he was, at the same time, commissioned to purchase the finest works of art, both statues and pictures, which he could meet with in Italy, for the royal collection. On this expedition he embarked at Malaga, and having landed at Genoa, he parsed through Milan, Padua, and from thence to Venice, where he passed some time in reviving his acquaintance with the admirable productions of Titian, Tintoretto, and Paolo Veronese ; and had the good fortune to pur- chase some capital pictures by the best Venetian masters. He afterwards visited Bologna, where he was not less fortunate in making several valuable acquisitions, and engaged Michael Angelo Colonna, and Agostino Mitelli, to visit Spain, to assist in the decoration of the royal palaces. On his arrival at Rome he was received with great favour and dis- tinction by the pope, and, as the business confided to him afforded him leisure to exercise his profes- sional talents, he was engaged to paint the portrait of Innocent X., and those of several of the cardinals and the nobility of Rome. The pontiff, in token of his satisfaction, presented him with a gold medal. The academicians of Rome elected him of their body, and sent his diploma after him to Spain. After an absence of nearly three years, in 1651, Velasquez took his departure from Genoa, on his return to Spain, freighted with a magnificent col- lection of antique statues, busts, and a variety of pictures by the most distinguished Italian painters. He arrived in safety with his cargo, and was received by his royal master with his accustomed kindness and favour. In 1656, Philip conferred on him the order of Santiago, an honour only bestowed on per- sons of eminent pretensions, either in rank or for service. He continued to experience the protection of his sovereign, and the public estimation, until the year 1660, when he died at the age of 66. He was buried, with the most distinguished funeral honours, in the superb church of San Juan. vela] PAINTERS AND ENGRAVERS. [vela [The proper names of this great artist, according to a custom prevalent in Spain, and as given by Cean Bermudez, are Don Diego Sodriguez de Silva y Velasquez ; his father's being Juan Sodrigttex ' de Silva, and his mother's, Oeronima Velasquez. He vi^as bom at Seville, in 1599, not in 1594, as stated by Palomino, and was baptized in the chm-ch of S. Pedro on the 6th of June in that year, as appears by the registry. For the purpose of those who only occasionEiily refer to a dictionary, the foregoing account, correct in most of the particulars, may be deemed sufficient ; but not so for the gratification of the enthusiastic admii-ers of the painter, who desire to be informed of every event in his life, and to be made acquainted with every work that emanated from his mind, or was executed by his hand. To give these details would require a volume, and that volume of facts would be as interesting as a Spanish romance. Fortunately, three English gentlemen, men of high education, cultivated taste, and excel- lent critics in works of art and Uterature, whose knowledge of pictures is derived from ocular in- spection, and not from partial panegyrics or tra- ditional common-places', have recently favoured the world with their observations and judgment on Spanish painters, among whom Velasquez is allotted a full share. The inquirer, therefore, has only to consult Mr. Ford's " Hand-book for Travellers in Spain ;" Sir Edmund Head's " Hand-book, or His- tory of the Spanish and French Schools of Paint- ing;" and Mr. Stirling's " Annals of the Artists of Spain ;" to be made fully acquainted with the life and character of Velasquez and his works, and at the same time to be instructed in all that relates to the Spanish schools, and dehghted with the manner in which the knowledge is conveyed. So vivid are their descriptions they justify the observation, that the most interesting part of the life of an artist is to be found in his studies and his works. Frequent mention is made of the intimacy which subsisted between Philip IV. and Velasquez, as much to the honour of the King as to that of the painter, and of the monarch's appropriation of the productions of his favourite's talents j this explains why so few of this great artist's works were till recently known out of Spain. Velasquez essayed almost every subject within the province of his art, and succeeded in all that he undertook. He was equally successful in painting fruit, flowers, animals, interiors ; portraits on foot or horseback, whether men or women, in- fancy or old age ; historical landscape, or transcripts from nature ; or the more elevated representation of events recorded in sacred or profane history. With regard to his mode of painting landscape, it is alto- gether different from that of the Flemish or Dutch masters, whose careful finishing often compels the inspector to use a magnifying medium to compre- hend the accurate details. Velasquez produces the objects at once; the canvass is scarcely covered; the contours are free ; earth, trees, and sky, clouded or serene, form one harmonious mass. If approached too near, the scene appears confused, uncertain, cha- otic; viewed at a proper distance, the confusion assumes form, and presents nature simple, beautiful, and subhme. In portraiture he excels all his coun- trymen, and rivals the best of other schools. The pleasure derived from beholding his equestrian fi- gures is enhanced by observing the temerity with which he places them in the most unpromising aspects. Under his management littleness assumes magnitude. See Philip mounted on his Andalusian steed, prancing over an arid plain against an un- bounded horizon, encompassed with the blaze of a burning sun, with no accessory to justify shadow for contrast or relief; yet, amidst this apparent neglect, or defiance of the rules of art, the portrait becomes illusive, and presents all the characteristics of re- ality : the hair is agitated, the blood circulates in the fresh and fair countenance, the eyes are observ- ant, the mouth ready for speech, and you are under the delusion that horse and rider are living, and in action. In compositions called historical he avoided those mysteries so generally treated by the artists of Italy and Spain, selected from Scripture, or the le- gends of the church ; not from inability to accom- phsh whatever was grand, pathetic, or picturesque in those writings, but from a preference to the real- ities of life. He eschewed gods and goddesses, angels and beatified saints ; his vocation was among men ; he studied nature in her known forms and workings, and abandoned the ideal to those who preferred soaring in the regions of fancy, and em- bodying imaginary representations of improbable fictions, or of " things invisible to mortal sight." His pictures from sacred history are therefore few, and relate chiefly to events recorded as matters of fact. Of this kind is the celebrated Crucifixion, painted for the nunnery of S. Placido, but now in the royal gal- lery of Spain. " Never," says Mr. StirUng, " was that great agony more powerfully depicted. The head of our Lord droops on his right shoulder, over which falls a mass of dark hair, while drops of blood trickle from his thorn-pierced brows. The anatomy of the naked body and limbs is executed with as much precision as in Cellini's marble ; and the Unen cloth wrapped about the loins, and even the fir-wood of the cross, display his accurate attention to the smallest details of a gi-eat subject." Cumberland, in his " Anecdotes," remarks, " If there were no- thing but this single figure to immortalize the fame of Velasquez, this alone were sufficient." The Forge of Vulcan, his single attempt in heathen mythology, exhibits him to great advantage as an anatomist and painter, but will not obtain for him the praise of feeling like the poet. Los Bebedores, or Los Bor- rachos, a drunken revel of nine vulgar figures, is, however, perfection ; all good judges who have seen it concur in its praise. Mr. Stirling says, " For force of character and strength of colouring, this picture has never been excelled; and its humour en- titles Velasquez to the name of the Hogarth of An- dalusia." Mr. Ford, in his " Hand-book of Spain," observes, " This mock coronation of a drunken group combines the humour of Teniers with the breadth and effect of Caravaggio. The actors may indeed be low in intellectual character, but they are true to the hfe, and if deficient in elevated sentiment, are rich in meaning, and are transcripts of real men." The finished picture is in the royal gallery of Spain, and the oririnal sketch in England, at Heytesbury House, in Wiltshire. Las Hilanderas, or the Spin- ners, ranks as one of his most famous pictures. It represents a large room of a tapestry manufactory, in which females of different ages are employed spinning and winding, and others exhibiting goods to a customer. From such simple materials he has, as if by magic, produced a wonderful work of pic- torial art. For tnith of character, perspective ar- rangement, and delusion of light and shadow, it is considered marvellous. It ornaments the royal gallery of Spain. His last great work, entitled. Las Menihas, or Maids of Honour, and called by Luca Giordano, " The Theology of Painting," completed his triumphs in the art. -It was painted in 1556, 845 VELA] A DICTIONARY OF [tela and represents a large room in the old palace in which are assembled the Infanta Margarita with her attendants, and Velasquez at his easel as occu- pied in painting, but pausing to converse, or to ob- serve the effect of his performance. Notwithstand- ing the difficulties the painter had to encounter, in consequence of the absurd costume of the court at that period, he succeeded by a skilful arrangement of the characters, principals and subordinates, by the introduction of the dwarfs Maria Barbolo and Nicolasito Pertusano, as contrasts to the greater personages, a large tawny hound, and other acces- sories; by management of chiaro-scuro, gradation of perspective, and all the appUances of art by which art is disguised, in producing a picture which, so long as the materials exist, will continue to charm the intelligent, and excite the admiration of all classes. It is recorded that Philip came frequently to observe the progress of the work, and, at the ter- mination, being asked by the painter if his Majesty saw any thing wanting, replied. Yes, one thing more ; then taking the pallet and pencil from the hands of Velasquez, drew on the breast of his portrait the red cross of the order of Santiago, which distinguished honour he afterwards confirmed. In England, until recently, Velasquez had been better known by his portraits than by his land- scapes or historical pictures, and it was generally supposed that his talent was confined to the first. In that department his productions are numerous; but as his portraits were chiefly of persons con- sidered illustrious, whether by courtesy or other- wise, or of men of high families, distinguished for learning or their political station, they were seldom seen out of Spain. The chances of war, however, exposed many of them to the power of the con- queror, by whom, for the artistical merit, they were transferred to other localities. Some few person- ages of other nations had the good fortune to have their likenesses preserved for posterity by his magi- cal pencil, and their virtues are enhanced, and their vices extenuated, in admiration of the workman's ability. It is on record that he commenced a por- trait of the misled and unfortunate Charles, Prince of Wales, afterwards king of England. There be- ing a negotiation for a treaty of marriage between that prince and the Infanta Donna Maria, daughter of Philip IV., Charles was determined to have a view of his intended bride before the conclusion. With the romantic spirit of a youth of three and twenty who had a will of his own, and had been tutored by his father in high notions of royal pre- rogatives, and in other respects humoured as a bah/, he secretly departed for Spain, accompanied by the Duke of Buckingham, and appeared at Madrid to the consternation of the English ambassador, and to the delight of Philip, who from policy affect- ed to admire his gallantry. Exactly at this period Velasquez had been introduced to the court, under the auspices of the Count-duke Olivares, and had obtained so much of the royal notice as to evince that he was one whom the king would thereafter delight to honour. It does not however appear that he received the royal command to paint the por- trait of the romantic visitor ; but there was sufficient interest in the circumstances of his arrival, of his being at that moment the great object of attention, and likely to become a member of the royal family of Spain, to prompt Velasquez to secure his portrait. Pacheco relates that he contrived to take a sketch of the prince as he accompanied the king to a chace ; that he did more may be supposed from Charles 846 having presented him one hundred crowns. But one hundred crowns, even at that time, was not a princely recompence for a finished portrait, by the heir-apparent of England at the wealthy court of the master of the Indies. The reward, however, shows that something was done by the painter of which the prince was cognizant ; what that some- thing was, whether a sketch, a study, an ebauche, or a finished portrait, and what has been its destiny, are now matters of conjecture. The question has lately been agitated, and discussed circumstantially, without producing conviction in the minds of some who would be well pleased with the discovery. The grand landscape in which a Boar-hunt, ac- cording to the old Spanish fashion, is represented at the Pardo, now forming a part of the English National Gallery, has awakened attention to the ability of Velasquez in this department. Edwin Landseer, referring to this picture, say?, " I never saw so much large art on so small a scale ;" yet, it required five years' consideration on the part of government before funds could be allowed for the purchase, though strongly recommended by the trustees. A prompt movement by Sir Robert Peel at last vrithdrew it from foreign competition, and preserved it to the nation. A similar landscape is in the Ashburton collection ; in those of the Duke of Sutherland, the Marquis of Lansdowne, and the Earl of Clarendon, there are others. Of those that by way of distinction are called historical pictures, the best accounts will be found in the " Hand-book of Spain," by Richard Ford, Esq., and in the " An- nals of the Arts in Spain," by William Stirling, Esq. The lively descriptions by those gentlemen place the subjects distinctly before the mind's eye of the reader, and their critical remarks, blending instruction and entertainment, are evidently the re- sults of personal observation, and not of traditional report. - The editor intended to give a full catalogue of the master's works ; but that has been done sdready by Mr. Stirling from the best sources known, and will be found at the end of his third volume. The greater and better part being, however, in Spain, it would not, perhaps, interest the majority, who have not the opportunity of visiting that country ; so it has been deemed advisable to mention those only that are in England, and therefore accessible. The following list contains all that have come to the editor's knowledge by inspection or otherwise. PICTURES BY VELASQUEZ, IN ENGLAND. Lot and his Daughters, formerly in the Orleans' collection, now at Cheltenham. Lord Northwick. The finding of Moses ; at Castle Howard. Earl of Carlisle. * The Virgin kneeling, with outstretched arms, supposed receiving the Annunciation; at Leigh Court, Somersetshire. W. Miles, Esq. Head of John the Baptist in a charger. Lord Northwick. St. Francis Borgia arriving at the Jesuits' Col- lege, a composition of eight figures life-size ; Staf- ford House. Duke of Sutherland. Los Borrachos, composition of six figures; the first study for the celebrated picture; at Heytesbury House, Wiltshire. Lord Heytesbury. Las Meninas, or the Maids of Honour, a finished sketch for the celebrated picture, by some consider- ed to be a small repetition ; at Kingston Hall, Dor- setshire. O. Bankes, Esq. vela] PAINTERS AND ENGRAVERS. [vela ITie Alcalde Sonquillo, called the Fighting Judge, who was sent to reduce Segovia in the war of the Communeros in 1520. He is standing, in a dark dress, on a floor paved with brown and white marble, with his hand resting on a walking-stick. London. James Hall, Esq. El Aquador de Sevilla, the Water-seller of Se- ville; engraved by B. Amettler; at Apsley House. Dvke of Wellington. The signing of the Marriage Contract between the Infanta Margarita Maria, daughter of Philip IV., and the Emperor Leopold; an unfinished picture, and probably the last from the hand of Velasquez. In the hands of a dealer. Three small studies ; a Repast, a Man with Dogs, and an equestrian portrait of Philip IV. London. IJord Cowley. An incident in the Life of St. Charles Borromeo ; a sketch. Stafibrd House. Duke of Sutherland. Boar-hunt at the Pardo; formerly in the royal palace at Madrid ; presented by Ferdinand VII. to Sir H. Wellesley, afterwards Lord Cowley, and sold by him to the trustees of the National Gallery for £2200. London. National Gallery. A Study of part of the preceding. Lord Nor&mnck. A Hunting Scene, probably at the Pardo. Lon- don, Piccadilly. Lord Ashburton. Two Landscapes with figures. The Grange. Ditto. A Woodland Prospect, probably in the Chace at the Pardo. London. JBarl of Clarendon. The old Alamedor of Seville. London. Ditto. A rocky Landscape, with figures on horseback asking their way of two beggars. Stafford House. DuJce of Sutherland. Two Landscapes, with equestrians and other figures. Bowood, Wiltshire. M. of Lansdoume. Landscape, with a fortified place, and figures dancing. Apsley House. Duke of Wellington. A white Poodle smelling at a Bone. Earl of Elmn. Fish hanging by a string; Grapes and Citrons on branches ; and a basket of Apples. Keir in Perth- shire. W. Stirling, Esq. Chalices and other vessels, and Fruit ; doubtful. Ditto. A Boy standing with a plumed cap in his hand ; a sketch in black crayons. Ditfo. PORTRAITS. PhiUp IV., an equestrian sketch. Leigh Court. W. Miles, Esq. Ditto, in shooting dress, with dog and gun ; full- length, life-size, unfinished. London. Col. H. Baillie. Ditto, standing, in a black dress, and holding a par per; sold in the Altamira collection by the editor in 1827. O. JBankes, Esq. Ditto, standing, in a black dress trimmed with sil- ver, holding in his hand a paper with the name of Velasquez. Hamilton Palace. Duke of Hamilton. Ditto, small full-length figure. Earl ofEllestnere. Ditto. Lord Nbrthwick. Ditto, bust, in crimson and ermine. DuhBieh. Ditto, bust, life-size, in a black dress. Lord Ash- burton. The Cardina.1 Infant Don Ferdinand in shooting costume, unfinished, Ufe-size. Col. H. Baillie. The Infant Don Balthazar Carlos on a pony ; a study. Dulwich. Ditto, on a piebald pony, in the court of the ma- nege, with attendants. Marquis of Westminster. Ditto, on a black pony, a repetition of the forego- ing with variations. S. Rogers, Esq. Ditto, standing, in a rich black dress ornamented with silver, his right hand resting on the back of a chair, his left on the hilt of his sword ; full-length, life-size. Sold in the collection of W. Wells, Esq., of Redleaf,in May, 1848, for £682 10*. Ditto, bust, life-size, in a black dress trimmed with silver. Col. H. Baillie. An Infant of Spain, supposed to be Don Prospero, son of Queen Mariana, wno died in his fourth year, lying in a rich bed, the face only seen. Marquis of Lansdowne. Don Juan of Austria, natural son of PhiUp IV., in a rich miUtary dress. Lord Northwick. The Count-diie of Olivares on a white horse. Earl of Elgin. Ditto, standing, in a black dress embroidered with green, and wearing the green cross of Calatrava; full- length, life-size. Col. H. Baillie. Ditto, head only. Marquis of Lansdowne. Julian Valcareel, acknowledged by the Count- duke of Olivares as his son, by the name of Don Henrique de Guzman; full-length, life-size, unfinish- ed. Sold by the editor in the Altamira collection in 1827. Earl of Ellesmere. Don Luis de Haro, Marquis of Carpio, on horse- back. Cheltenham. lard Northwick. Admiral Adrian Pulido Pareja, full-length, life- size. Earl of Badnor. Ditto, full-length, life-size. Duke of Bedford. Ditto, ditto. Ashton Hall. Sir A. Aston. The Marquess of Castel Roderigo, full-length, hfe-size. Ditto. Ditto. A Spanish General, full-length, life-size. Sir T. Baring. Cardinal Gaspar de Borja, in a black dress and cap, bust, life-size. O. Bankes, Esq. Henry de Halmale, in a rich dress, black hat, and long boots ; a servant holding a white horse ; life-size. Thos. Purvis, Esq. Velasquez, head only. Marquis of Lansdowne. Ditto, ditto. Earl of Ellesmere. Ditto, so called, ditto. Duke of Wellington. Head of a Man wearing a red cap and feather, called a portrait of Velasquez. M. of Westminster. Ferdinand II., Duke of Tuscany, and his vdfe Vittoria della Rovere ; probably copied after Velas- quez. National Gallery. Innocent X. in a red cap and violet cape, seated, half-length, life-size. Duke of Wellington. Ditto, bust, hfe-size, red cap and cape. Cawdor House, Lanarkshire. Mrs. Stirling. Ditto, seated in a chair. Luton. Marquis of Bute. Prince of Parma and a Dwarf; at Castle Howard. In the catalogue of that collection it is ascribed to Correggio, but called by Waagen an admirable picture by Velasquez. Earl of Carlisle. A Sculptor, called, in the catalogue of the Fitzwil- liam Museum at Cambridge, Fiamingo. Cantbridge Museum. A Man, in the same collection. Francisco de Quevedo y ViUegas, the poet and novelist. Duke of Wellington. Juan de Pareja, the freedman of Velasquez ; bust, hfe-size. Earl of Badnor. Ditto, bust only. Earl ^ Carlisle. Bust of a Gentleman. Kirkley Hall. Ben. J. S. Ogle. A Man. Burghley House. Marquis of Exeter. A Man, in a black dress, called Torquemada, bust only. Earl of Clarendon. 847 vela] A DICTIONARY OP [veld Bust of a Man. Kingston Hall. G. Banhes, Esq. Male Dwarf, Parrot, and Lapdogs. Id. Aahhmion. Boy i head seen in profile. Bulwich. Boy with a pencil and book. Lord. Northwick. . A Child, half-length, with head of a Black Dog. Bungay. Mr. Childs. Queen Mariana, in. a black dress trimmed with silver, and white feathers in her hair ; life-size to the knee. Richard Ford, Esq. Queen Mariana, head only. Earl of Carlisle. Ditto, with hair extravagantly dressed, and adorn- ed with red feathers. Colonel H, Baillie. Lady in a green dress embroidered with gold, her right hand holding a kerchjef, and her left playing with flowers in a gold dish ; to the knee, but less than life-size. Thomas Purvis, Esq. Head of a Girl. Althorp. Earl Spencer. Mr. Stirling, in the " Annals of the Artists of Spain," has given a beautiful summary of the cha- racter of Velasquez as a man, independent of his talent as an artist. He remarks, that " the records of his life are more ample than those of any other artist of Spain, and the facts which illustrate his character as a man are worthy of the works which display his genius as an artist. The short notices of Pacheco, nis father-in-law, indicate the affection- ate regard in which he was held liy his nearest kindred j and that he was no less esteemed in the wider circle of the court is evinced by the sorrow expressed at his death, which was as great as a court is capable of feeling. He was kindly remem- bered by Philip ; for when certain charges, of what nature is not stated, brought against him after his deSth, made it necessary for his executor to refiite them in a private audience, the king, after listening to the defence, made answer : ' I can believe all you say of the excellent disposition of Diego Velas- quez.' His native nobleness of mind was shown in his grateful remembrance of the patronage of the count-duke OUvarez j when that powerful favourite was disgraced and banished from court he visited him in his exilCf at Loeches. Half a life spent amidst the contaminating influence of courtiers, could not destroy his sense of gratitude for early favours. To the honour of Philip it is recorded, that this conduct, though contrary to the established etiquette of courts, so far from exciting resentment, raised the artist in his esteem ; for in the very year of Plivarez's dismissal, Velasquez was made assistant gentleman of the royal chamber." The same excel- lent writer continues : " No mean jealousy ever in- fluenced his conduct to his brother artists; he could aflford ilot only to acknowledge the merits, but to forgive the malice of his rivals." An instance is adduced in which he not only showed the humi- lity of a great mind, but a readiness of wit in re- torting on his calumniator. There was a precious piece of criticism often in the mouths of his detrac- tors, namely, " that he could paint a head, and no- thing else." This being once repeated to him by Phihp, he replied, that " they flattered him, for he knewofnoonepfwhomit couldbesaidthathe paint- ed ahead thoroughly well." It is no matter of, surprise that Velasquez and Rubens were intimate and sin- cere friends ; such men could only feel esteem for each other. But he must have possessed great sweetness of temper, as well as commanding Supe- riority of intellect, to subdue the natural ferocity of Eibera, and ,the impetuosity of Alonso Cano, and compel both, so jealous as they were of rivals, to accept favours from him, and silently admit his su- periority. Had he possessed the smallest particle 848 of envy, Alonso Cano and Murillo would have been, of all the contemporary Spanish artists, the objects of his fear and dishke ; but of these two he was the particular protector, and by his influence on all occa- sions, when they needed it, promoted their interest. " His example and influences," says Mr. Stirling, " doubtless tended very greatly to the preservation of that harmony which prevailed among the artists of Madrid in the reign of Philip, and presents so pleas- ing a contrast to the savage discord in the scliools of Rome and Naples, where men contended with , their rivals not merely with the pencil, but with the cudgel, the dagger, and the drug. The favour- ite of Phihp, in fact the minister for artistic affairs, he filled the position with a purity, and a disinter- estedness, very uncommon in the councils of state i he was the wise and munificent distributor, and not, as too many would have been, the greedy monopo- list of royal bounties. To befriend an artist less fortunate than himself, was one of the last acts of his amiable and glorious life."' It would occupy more space than can be afforded in a dictionary to quote the numerous noble and amiable traits in the character of Velasquez ; they are recorded more or less in every account of him both as an artist and as a map. The public, particularly the amateurs of Spanish pictures, are under a great obligation to Mr. Stirling for the light he has flirown, not on Velas- quez only, but on all the Spanish painters, in his recently published work, " The Annals of the Art- ists of Spain ;" it has supplied a desideratum in a manner truly gratifying ; and, combined with Mr. Ford's particulars of Spanish pictures, in his " Hand-book for Travellers in Spain," has super- seded the necessity of any other work on the subject. [VELASQUEZ MINAYA, Don Francisco, a knight of the order of Santiago, painted familiar subjects for his amusement. He resided at Madrid about 1630.] VELDE, EsAis VAN de. This artist was bom at Leyden about the year 1590, and was instructed in the art by an obscure painter, called Peter Denyn. He painted landscapes, vrith figures and cattle, but particularly excelled in battles, skirmishes of ca- valry, and attacks of banditti, which were inge- niously composed, and touched with a light and spirited pencil. The neatness of his touch, and the correctness of his design, induced several of his contemporaries to engage him to decorate their pic- tures with his figures. We have several etchings by Esais van de Velde, which are executed with neatness and spirit, they consist of landscapes and views from his own designs, and are usually marked with the initials of his name. [The best authori- ties place the birth of Esaias van de Velde in 1597, and his death in 1648. Among his etchings are a Whale cast ashore on the coast of Holland in 1614, with a number of persons Viewing and measuring it ; Peasants at the door of a Cottage, with a village in the distance; several small Landscapes, pub- lished collectively at different tjmes. They are in- scribed J5si/as, or ^sa^as Vanden Velde invent."} VELDE, John van de, was the younger brother of the preceding artist, and was born at Leyden about the year 1595. He painted landscapes and merry-makings, but distinguished himself more as an engraver than as a painter. We have a con- siderable number of prints by him, which are exe- cuted in two different styles, directly opposite to each other. His plates of landscapes and views are chiefly etched, and his point is free and spirited; the hghts are broad and clear, and,' though his shadows occasionally want strength, they in general veld] PAINTERS AND ENGRAVERS. [VEID produce a pleasing and masterly effect His other prints are executed with the graver, sometimes as- sisted with the dry-point, in a nighly-finished style, resembling that of Count Goudt. They chiefly consist of night-pieces, or scenes by candle-light, and such subjects as require great depth of shadow. The following are his principal works : PORTRAITS. John Acronius, Theologian ; after Francis Sals. Jaeoh Mattham, Engrayer ; after P. Soutman. John Torrentins, Painter ; 1628. Lawrence Coster ; after J. van Carnpen. SUBJECTS CHIEFLY FROM HIS OWN DESIGNS. The Twelve Months, in twelve plates ; numbered. 1616. Another set of the Twelve Months ; larger. The Four Seasons ; in four plates ; after Valcle. 1617. A set of four plates of the History of Tobit ; [after Wten- broeck.^ The Four Elements ; after W. Bvytemuoegh. The Four Times of the Day. The Magic Lantern ; after P. de Molyn. The good Samaritan. The Pancake Woman. A set of six Landscapes, with ruins, figures, and cattle ; [after G. Vander Horst.^ The Sorceress ; considered his best plate ; engraved in 1626. The Trictrac-players. A Village Festival. 1623. A View in Italy ; after Tempesta. A View of the Chateau of Brussels, with a tournament. A set of Thirty-six Landscapes, entitled Playaante Landschappen, door Jan van der Velde. C. Visscher, exc. St. Francis kneeling, with a book and a skull before him ; after W. van Boons. The Mountebank selling Medicines. He engraved besides a great variety of landscapes, views, and other subjects. [To his etchings may be added a series representing Spanish Troops marching in the Low Countries during the years 1638, 1641, and 1645, with other military scenes, c^r Jacob Martis de Jonge. A half-length por- trait of Oliver Cromwell in armour, with his head uncovered ; it is an oval within a square. In the angles are the letters O. C. P. R. encircled with palms and laurels. It is engraved with the burin and the point on a plate prepared as for mezzotinto scraping. It is rare. John van de Velde was born in 1598, according to the better authorities.] VELDE, William van de, the elder. This painter was born at Leyden in 1610, and in the early part of his life followed the occupation of a mariner. It is not mentioned at what time he turned his thoughts to painting, or by whom he was instructed in the art; but before he was twenty years of age he had acquired considerable reputation as a painter of marine subjects, which he usually represented in black and white, in imitation of drawings in Indian ink. His technical acquaintance with every description of shipping, with their va- rious forms and rigging, particulany qualified him for a precise and faithful representation of these objects. His talents recommended him to the notice of the States of Holland, and Descamps acquaints us, that he was accommodated by them with a small vessel for the facility of accompanying their fleets, for the purpose of designing their different manoeuvres, and was present in various sea-fights, in which he exposed himself to the most imminent danger, in the prosecution of his studies. He is said to have been a witness of the sea-fight between the Duke of York and the Dutch Admiral Opdam, in 1665 ; and the more memorable engagement, the following year, between the English fleet under the 3 I command of the Duke of Albemarle, and the Dutch under Admiral de Ruyter. King Charles II., who had become acquainted with his talents during his residence in Holland, in- vited him to England, where he arrived some time before 1675, as, in that year, the king settled a salary of a hundred pounds per annum on him. He continued in the same capacity in the service of James II. until his death, in 1693, and was buried in St. James's church, with the following inscrip- tion on his tomb-stone : " Mr. William van de Velde, senior, late painter of searfights to their Majesties, King Charles II. and King James, dded in 1693." [Many of the larger pictures of sea-fights bearing the signature of W. van de Velde, are from designs by the father, and executed in colours by the son ; those painted in a coarse and loose manner are pro- bably entirely by the former. Such are a series of twelve naval engagements and sea-ports in the palace at Hampton Court, though signed like the best of the younger Van de Velde ; they are dated 1676 and 1682.] VELDE, William van de, the younger. This inimitable marine painter was the son of the artist mentioned in the preceding article, and was born at Amsterdam in 1633. He received his first instruc- tion in the art from his father, but afterwards studied some time under Simon de Vlieger, an eminent painter of sea-pieces, whose works were then held m high estimation. His progress under that master was extraordinary, and He not only surpassed his instructor, and all his contemporaries, but he ar- rived at a perfection, in the particular branch to which he devoted himself, which is universally allowed to be unrivalled. " The palm," says Lord Orford, " is not less disputed with Raffeelle, for his- tory, than with Van de Velde, for sea-pieces." He had acquired the most distinguished reputation in his native country, by the admirable cabinet pic- tures with which he enriched the collections in Holland, when his father prevailed on him to join him in London. His talents soon recommended him to the notice of the king, who engaged him in his service, with an equal salary to mat of his father. He resided chiefly at Greenwich, which had been chosen as a situation best suited to his professional pursuits. During the life of the elder Van de Velde, he was principally employed by the king in painting pic- tures from the designs of his father, as appears from the following privy seal, purchased by Dr. Rawlin- son, the antiquary, among the papers of Secretary Pepys. " Charles the Second, by the grace of God, &c., to our dear cousin. Prince Rupert, and the rest of our commissioners for executing the place of Lord, High Admiral of England, greeting. Whereas we have thought fit to allow the salary of one hundred pounds per annum unto William van de Velde the elder, for taking and making draughts of sea-fights; and the like salary of one hundi'ed pounds per annum unto William van de Velde the younger, for putting the said di-aught into colom-s, for our particular use ; our will and pleasure is,'and we do hereby authorize and require you to issue your orders for the present and future establish- ment of the said salaries to the aforesaid William van de Velde the elder, and William van de Velde the younger, to be paid unto them, or either of them, during our pleasure, and for so doing, these our letters shall be yom* sufficient wan-ant and dis- charge. Given under our privy-seal, at our palace 849 veld] A DICTIONARY OF [veld of Westminster, the '20th day of February, in the , •26th year of our reign." The exercise of his extraordinary talents was not confined to the service of the king, he vi^as employed by the nobility, and painted an infinite variety of sea-pieces, calms, and, storms, which are still the or- nament of the principal collections. The compositions of the younger Van de Velde are distinguished by a more tasteful arrangement of his objects than is found in the productions of any other painter of marines. His vessels are most cor- rectly designed, and, from the improvement which had taken place in ship-building, are of a more graceful and pleasing form than those of his prede- cessors ; the cordage and rigging are finished with a delicacy, and at the same time with a freedom, which are without example ; and his small figures are drawn with a correctness and touched with a spirit which are inimitable. In his calms, the sky is brilliant and sunny, and in the glassy smoothness of the water every object is reflected with a lumin- ous transparency, which is only to be met with in the works of this admirable artist. In his squalls or fresh breezes, the swell and curl of the waves is dehneated with a truth and fidelity which could only be derived from an attentive and accurate observ- ance of nature ; and in his storms and hurricanes, the tremendous conflict of the elements, and the horrors of shipwreck, are represented with a striking solemnity that afiects the beholder. This eminent artist died in 1707, as appears by this inscription under the print of his portrait: Outiehnus Van de Velde, junior, namum et prospec- tuum marinarum pictor, et oh singularem m ilia arte peritiam a Carolo et Jacoho 2 do. Magnce Britannics regibus annua mercede donatus. Obiit 6 Apr. A. D. lfQ7. est. suae. 74. [It is probable that the greater part of the fine cabinet pictures by W. van de Velde, the younger, which are now so highly appreciated, were painted before he came to England. The views are ofi" the Dutch coast, and the vessels are principally those of Holland ; the figures also are mariners of the country. These bear the impress of one mind and one hand, and none other can claim a share in the honour of producing them. Some of a later date may be from studies made pre- vious to quitting the place of his nativity; and, therefore, present similar scenes, and take rank ac- cordingly. It follows, that his most admired pic- tures were painted before he was five-and-forty ; not but many of great excellence were the produc- tions of a later period. Smith's Catalogue raisonnfe, vol. vi. and Supplement, describes about three hun- dred and thirty ; making allowance for repetitions, and for some executed in conjunction with his fa- ther, there will remain at least three hundred that may be safely considered authentic. His drawings are very numerous, especially sketches and studies, and prove the indefatigable pains he took to be ac- curate in the forms of his vessels,^ their appurten- ances, and the ordonnance of his compositions. It was a saying of a late eminent and very tasteful collector, that he possessed as many as would cover an acre of ground: this may have been an exagger- ation ; but it is known that during the years 1778 and 1780, there were about eight thousand sold by public auction. It is also recorded, that his execu- tion was so rapid in sketching, that he frequently filled a quire of paper in an evening. Many of his larger pieces represent actions between the English and Dutch fleets, and on these he often wrote over 850 the ships their names and those of their command- ers ; and under his own vessel in front, V—Velde's Oallijodt, or Myn Galhjodt, proving that he was a spectator of the battle. His sketches are executed in broai black lead only; his more finished draw- ings with the pencil or pen, and shaded with Indian ink. lii the late Baron Verstolk de Soelen's collec- tion, sold at Amsterdam in 1847, were several of high quality and great interest. At the sale of M. GoU de Frankenstein, at Am- sterdam, in 1833, a drawing in Indian ink of " Ves- sels becalmed," sold for £40, and another for £27. In the same year, at the sale of M. de Vos's collec- tion, a Calm obtained £31; and a " View off the coast at the Texel" was purchased for the museum at Haerlem, at the sum of 1600 florins, £144 ster- ling. These may be considered noble prices for drawings, which require so much care in their pre- servation, but bear no comparison with the estimate of his pictures. A few examples of the value of the latter may be interesting. A View off the entrance of the Texel, in the Earl of EUesmere's collection, which sold in 1766 for £80, is now estimated at £1000; another in the same sold in 1765 for £84, now worth £500. A Sea-view, which at the Choiseul sale in 1772 brought only £31, in 1828 sold for £300, and is now in the collection of Sir Robert Peel. The Departure of Charles II. from Holland in 1660, sold in 1781 for £82, and recently for £800. A View off the coast of Holland sold in I816,for £144, and in Sir Simon Clarke's sale in 1840 for £1029i Three pictures in Lady Stuart's sale produced 2220 guineas, one of which sold in Sir Lawrence Dundas's, in 1794, for 250 guineas. A View on the Sea-shore, 16 inches by 12, in 1726, (nineteen years only after the painter's death,) sold for £9, and in 1835 for £108. The picture known as " Le coup de Canon j' brought in 1786 £52, and in 1790 only £36 ; at the sale of Jeremiah Harman's collection in 1844 it sold for 1380 guineas. This account of prices might be considerably en- larged, were the editor disposed to divulge his know- ledge of private transfers ; but such transactions are not of the same validity as those that are patent.] VELDE, Adrian van de. This admired paint- er was born at Amsterdam in 1639. It does not appear that he was related to the two .preceding artists. He discovered, whilst he was yet at school, a decided disposition for painting, and covered the walls of his father's house with sketches of every description of animals, designed with an intelligence very unusual at that early age. This marked in- clination for the art induced his father to place him under the tuition of John Wynants, under whom his progress was so extraordinary, that it surprised his instructor. Wynants was one of the ablest landscape painters of his time, and he educated his pupil in the system he had himself pursued, of studying every thing from nature. Our artist passed the greater part of the day in the fields, designing every thing that was essential to his pursuit ; and he was soon convinced, that, in the particular branch of the art to which he devoted himself, the, conceptions of the happiest and most inventive ge- nius fall short of the abundance, the variety, and the truth, which the study of -nature affords. He did not, however, confine himself to landscape and animals, he drew from the model, and became a cor- rect designer of the human figure. Wynants, who was himself deficient in this re- spect, had hitherto been under the necessity of ap- veld] PAINTERS AND ENGRAVERS. [veld plying to other artists, to decorate his landscapes with figures and animals, which service was usuily rendered him by Philip Wouwerman or John Lin- gelback. He now found a more than adequate re- source in the talents of his disciple, and some of the finest landscapes of Wynants ai-e adorned with figures and cattle by Adrian van de Velde, which form no inconsiderable part of their value. Such was his excellence in these auxiliary embellish- ments, that many of his contemporaries applied to him for similar assistance, and the pictures of Van- der Heyden, Hackaert, Hobbema, [Ruisdael, Ver- boom, Moucheron,] and others, have frequently the advantage of being ornamented with his figures and animals. Although Adrian van de Velde was brought up in the school of a landscape painter, and had not the advantage of a regular education ia the higher walk of historic painting, such was the extent of his genius, and the variety of his powers, that he ac- quired considerable reputation by an altar-piece he painted for the Roman Catholic church at Amster- dam, representing the taking down from the Cross, which was not less admired for the correctness of the design than the beauty of the qolouring. He painted, for the same church, several historical sub- jects taken from the Ufe of Christ, which sufficiently prove that he would have distinguished himself as a painter of history, if he had not chiefly devoted himself to another branch of the art. The scenery in his landscapes is frequently confined to the pas- ture in which his cattle are grazing; but this hum- ble prospect is always represented with so much truth and nature, that it captivates by its simplicity. The colouring of his trees, his herbage, and plants, is fresh and juicy, and they are touched with as much spirit as delicacy. His skies are brilliant and clear, and his pictures exhibit a sparkling glow of sunshine, which is almost peculiar to himself. His animals, particularly the cows, sheep, and goats, are designed with a correctness and perfection which has never been surpassed. His pictures are deservedly held in the highest estimation, and as he died in the prime of life, the number of them, though always very highly finished, establishes his inde- fatigable application, as well as his uncommon facility of execution. He died at Amsterdam in 1672: We have by this charming artist about twenty etchings, executed in a finished, but mas- terly style. They are usually marked with the initials of his name, A. V. V. A set of three small plates of Cows grazing. A set of ten plates, representing Cows and other domes- tic animals, with a Bull for the title. Three plates of Sheep. A Keturn from the Chase. A large Landscape ; lengthways. A, Landscape with historical figures. This print is scarce. ("The following are the titles of the twenty-one etcnings described by Bartsch, " Peintre Graveur," tom. i. : 1. A Cow and a BuU; A. V. V.f. 1659. 2. A Cow lying down ; Adrian van de Velde f. 1657. 3. The Three Oxen; A. V. Velde f. 4. Two Cows and a Sheep; A. V. V.f. 5. Three Cows; A. V. V.f. 6. The Ox in the Water; A. V. V.f. 7. The Horse; A. V. V.f 8. The Calf; A. V. Velde f 1659. 9. The Dogs; A. V. Velde f 1659. 10. The Goats ; A. V. Velde f 3i2 U. The Cow and two Sheep at the foot of a tree. 1670. A. V. V.F. This is one of his principal , works and is a real chef d'osuvre. 12. A black and white Ox and three Sheep ; A. V. V.F. 1670. This is of the same beauty as the preceding. 13. Two Cows at the foot of a tree ; A. V. V. F. Like the preceding in execution, and probably of the same date : a superb piece. This, with the two preceding, sold in Count Rigal's sale for 400 francs. 14. The Ewe suckhng a Lamb iA.V.V.F. 1670. Etched with a very delicate point. 15. Two Sheep; A. V, V. F. 1670. 16. A Goat; A. V. V. The six last pieces, forming a series, are generally found together, but they are very rare ; particularly the last of the series, which is extremely so. This piece has been copied by Mr. Gibbon for Mr. Sheepshanks's intended catalogue. 17. A Shepherd and Shepherdess with their flocks ; Adryaen Vande, Velde, fe, et, Ex, 1653. Very rare. It sold in Count Rigal's sale for 200 18. The City Gate; A. V. Velde f. 1653; the figure 3 revei'sed. 19. A halt of Huntsmen; A. V. Velde f. 1653. This, with the preceding, sold in Count Rigal's sale for 355 francs. 20. A male and a female Peasant. There is neither signature nor date to this etching, but there is scarcely any doubt that it is of the same year as the three preceding, as it is engraved exactly in the same taste as N°. 17 : it is extremely rare ; it was not in Count Rigal's collection. It has been copied by Bartsch. 21. A Peasant on horseback ; .,4. V. Velde f 1653. This is s\&o extremely rare : an indifierent im- pression in Count Rigal's sale brought 101 francs. It will be noted, that as the five last etchings are of the year 1653, the artist (if the date of his birth be given correctly) was only fourteen yeai-s old. To this list Rudolph Weigel, in his valuable Sup- plement to Bartsch, has added the four following : 22. A Landscape with peasants and travellers; signed A. V. Velde f. An impression of this print was in the cabinet of Count Rigal, and another in that of the king of Holland, being the only two known at the time that the Count Rigal's catalogue was published, in 1817: it was sold in his sale for 405 francs. There is a copy by Mr. Benjamin P. Gibbon, intended for a catalogue of Mr. J. Sheepshanks's collection, but which has not yet appeared. 23. A Woman spinning ;^.F'.Fe«e,/.'1653. This is also described in Count Rigal's catalogue, and there said to be the only impression known : it was sold in his sale for 950 francs. 24. A Cavalier and two Sportsmen ; A. V. Velde f 1653. This is also described in Count "Rigal's catalogue, as the only one known ; it was sold in his sale for 950 francs." It has been copied by Gibbon for Mr. Sheepshanks's cata- logue, which has not yet appeared. A less faithful copy is to be found among the Painters' Etchings by Walker. Weigel, however, observes that there are other known impressions of these three prints. They ' were in the collections of Ploos van Amstel, Leydeu' 851 veld] A DICTIONARY OF [VENn V. Vlaardingen, Josi, and the Count de Fries ; .and are to be found in the Musee at Amsterdam, in the British Museum, and in the cabinet of the Archduke Charles at Vienna. 25. A Cow lying down. On this impression are the letters E D. interlaced; but they appear to be printed with type. It is in the collection of the Archduke Charles. It may be useful to mention a small oblong piece of A Sheep lying down, which is marked A. v. V. This has. been copied excellently by Mr. Gibbon for Mr. Sheepshanks : the original is in the British Museum, weigel is of opinion that it bears a strong resemblance to the manner of J. van der Meer de Jonge. For a knowledge of the variations of those described by Bartsch, the inquirer should consult Rudolph Weigel's " Supplement," Leipzig, For the fullest details of Adrian van de Velde's pictures the readiest reference will be to Smith's " Catalogue raisonne of the Works of the Dutch and Flemish Masters," vol. v. and Supplement. In these volumes there are about one hundred and eighty described, with the names of many of the collections through which they have passed, or where they are at present located. It may, how- ever, be gratifying to the less curious to be informed of the increased estimate that has been placed on this master's works during the last seventy or eighty years ; a few examples are therefore quoted. The numbers are those in the catalogue. No. 2. A mountainous Landscape, in which Ja- cob, his family, and servants appear conduct- ing their flocks and herds, sold, in the year 1765, for £130; in 1811, at M. Le Brun's sale at Paris, it brought 24,000 francs, £960. No. 5. Watering Cattle, sold, in 1754, for £135, and in 1810, for £688. It is now in her Ma- jesty's collection. No. 8. Peasants with Cattle fording a stream, sold, in 1771, for £280; in Sir Simon Clarke's sale, in 1840, for 760 guineas. It is now in the collection of Sir Robert Peel. . No. 15. A Landscape with Cattle, Peasants, and Sheep, sold in the famous Braamcamp collec- tion, in 1771> for £218, and in the Brentano, in 1822, for £746. It is now in the Museum at Amsterdam. No. 26. La Chasse Royale, sold in the Lo?mier sale, in 1763, for £53, and in the Count Peri-e- gaux's, in 1841, for £1125. It was piu'chased for the Baron Rothschild. These advances in price are large, but they are not commensurate with the higher estimates made by Experts of many that are in public galleries and royal collections, and therefore not likely to be sub- jected to the chances of sales, as may be the case with those belonging to private per'sons ; the va- luers are therefore always on the safe side.] VELDNER,[or"VELDENER,] John. A Ger- man engraver on wood, who flourished about the year 1480. He is said to have executed a set of cuts for a book entitled " Speculum Humanse Sal- vationis," translated into the German language, published in 1483. They are cut in the rude style in which the art was practised at that early period. [John Veldener was a man of considerable talent; he was a designer, an engraver, and a printer. He 'was probably a native of Westphalia, as Italian writers call him Oiovanni di Westfalia. He operated 852 as a designer so early as 1447 ; he printed the book called " Fasciculus Temporum," in Latin, orna^ mented with wood cuts, at Louvaine, in 1474; " Caroli ViruU formula Epistolare, in 1476 ; that entitled " Speculum Humanse Salvationis," also with wood cuts, at Culembourg, in 1483 ; and " His- toria Santae Crucis," at the same place, in the same year. These are facts regarding John Veldener. Whether he really designed and engraved the cuts that ornament those books is a question that has exercised the industry and ingenuity of several able writers to maintain or refute. It is certain that he used the privilege of dividing the wood blocks with the cuts for " Speculum HumaneE Salvationis," which was first printed in folio, to make them ad- missible to his quarto edition. They are not so very rude as might be inferred from what is said in the text. Had Veldener's name not appeared al- ready in the Dictionary, the editor would have left him to Heineken, Santander, Ottley, Zani, and Jackson, with others who have written elaborately, and some of them learnedly, on the subject of the books, and respecting him. To those writers the inquirer is referred for further information. VELI, [or VELLI,] Benedetto. This artist was a native of Florence, and flourished about the mid- dle of the seventeenth century. He painted history with some reputation, and Lanzi mentions in fa- vourable terms a large picture by him in the ca- thedral at Pistoja, representing the Ascension. [There is, perhaps, an error in saying he flourish- ed in the middle of the seventeenth century, as his picture was painted as a companion to one by Gre- gorio Pagani, who died in 1605; Zani says that Velli operated in 1588.] VENANZI, Francesco. In the " Memorie de Pittori Pesaresi e Urbinafi," by Giosefib Montani, this painter is said to have been a native of Pesaro, and flourished about the year 1670. He was for some time a disciple of Guido, but afterwards stu- died under Simone Cantarini. He did not, how- ever, attach himself to the style of either of those masters, preferring the more vigorous and eflTective manner of Guercino and the Gennari. In the church of S. S. Gervasio e Protasio, at Bologna, is a fine picture by him, representing the Descent of the Holy Ghost ; and in the church of S. Antonio, at Pesaro, are two subjects from the life of that saint, which are considered his finest works. [His names were Giovanni Battista, not Francesco; a picture by him is signed Joan. Venantius Pisauren- sis, F. 1687.] [VENDBAMINI, John, an eminent engraver, was bom at Boncade, near Bassano, in 1769. He pursued his studies in his own country till the age of nineteen, when he came to London, and com- pleted his artistic education under Bartolozzi. In 1805 he went to Russia, and spent two years in that country. He was patronized by the emperor and the court, and his talents so highly appreciated, that he was refused a passport when he was desirous of returning to England. He, however, with the as- sistance of his friend, the Duke of Saracapriolo, at that time Neapolitan ambassador, contrived to escape, disguised as a courier charged with de- spatches. What hastened his departure, as he in- formed the editor, was an accident that happened to a large cameo, Alexander and Olympia, which he was employed to design and engrave for the em- peror. This being one of the most valuable an- tique gems known, he was commanded to execute his work in the palace. By accident the laurel vene] PAINTERS AND ENGRAVERS; [VENJ that encircled the brow of Alexander was broken, and the artist was well aware that no excuse would pacify the autocrat, he therefore adopted the dan- gerous resolution of taking it out of the palace to be repaired. He might have received a few strokes of the hnout for the first offence ; a visit to Siberia would have been the sure reward for the second. Being known to the guard, he was suffered to pass without question ; he nurried with all the terrors of apprehension to a jeweller, had the fracture skilfully repaired, and returned to the palace without his ab- sence being noticed ; nor was the circumstance dis- covered till some years afterwards. On his return to England he continued his pro- fession with diligence and success. He engi-aved several popular pictures by contemporary painters ; but those on which his reputation stands are after works by the old masters. Among these are the Vision of St. Catherine, after Paul Veronese ; St. Sebastian, after Spagnoletto ; Leda, after Lionardo da Vinci ; and lastly, the Raising of Lazarus, after Sebastian del Piombo. Vendramini was a very accurate draftsman, and frequently engraved from the picture without mak- ing a previous drawing. He died at London the 8th of February, 1839.] VENENTI, GiULio Cesare, a Bolognese gentle- man, who was a great admirer of the art, and studied it with the zeal of a professor. He was born at Bo- logna about the year 1609, and was instructed in design by Pilippo Brizio, who had studied under Guido. We have several etchings by this amateur artist, executed in a spirited style ; among which are the following : The Guardian Angel ; after Dom. Maria Canuti. Tancredand Clorinda ; after the same. The Virgin of the Kose ; after Parmigiano. A Landscape, with the Holy Family ; after An. Caracci. He usually marked his plates with the monogram ^^. [Zani places his death in 1697.] VENEZIANO, Antonio. See Mosis. VENEZIANO, Sebastiano. See Piombo. VENEZIANO, Carlo. See Saracino. VENEZIANO, Antonio. Vasari and Baldi- nucci are at variance respecting the place of nativity of this painter ; the former states him to have been bom at Venice in 1310, and to have studied at Flo- rence under Agnolo Gaddi ; the latter, whose pre- tensions to accuracy are highly respectable, asserts that he was a native of Florence, and acquired the name Veneziano from his long residence at Venice, where he executed several works in the Ducal Pa- lace. His principal works are at Pisa and Flo- rence. Some of his pictures are still preserved in the Campo Santo at Pisa, representing the history of S. Ranieri ; and at Florence is his most celebrat- ed performance, of the Miracle of the Loaves and Fishes. His style was less dry and formal than the fenerality of his contemporaries, and he is said to ave carried fresco painting to a higher degree of perfection than it had attained previoas to the pe- riod at which he lived. He died in 1384. VENEZIANO, DoMENico. This painter was born at Venice in 1420, and, according to Vasari, was a disciple of Antonio da Messina after he had learned the secret of oil-painting from John van Eyck, by whom he was made acquainted with the recent discovery. He afterwards resided some time at Loreto and Perugia, and ultimately settled at; Florence, where his works, both on account of their merit and the novelty of the process, were greatly admired. He formed an intimacy with Andrea del Castagno, an eminent Tuscan painter, to whom his friendship induced him to intrust the secret. Urged by the ambition of remaining the sole pos- sessor of so valuable a discovery, Castagno con- ceived the horrible design of assassinating his friend, and effected his treacherous project in 1476, when Domenico Veneziano was in his fifty-sixth year. His principal works are in the church of S, Lucia, and in the monastery degli Angeli, at Flo- rence. VENIER, Nicholas. This artist is mentioned by Mr. Strutt as the engraver of a set of twelve plates, representing the Months of the Year, after VENIUS, or VAN VEEN, Otho. This estim- able artist was of a distinguished family of Holland, and was born at Leyden in 1556. He was care- fully educated by his parents in the belles-lettres, and though his progress in the study of the classics was remarkable, they did not oppose the decided in- clination he discovered for painting. He received some lessons in design from Isaac Nicholas, and was afterwards a scholar of Jodocus van Winghen. ^ When he had reached the age of fifteen, the civil wars obliged him to leave his native country, and to retire to Liege, where he continued to prosecute his studies, both in literature and in the arts. His talents recommended him to the notice of Cardinal Grosbeck, at that time Prince Bishop of Liege, who, desirous of procuring him the best means of im- provement, advised him to visit Italy, and furnished him with letters of particular recommendation to Cardinal Maduccio at Rome. On his arrival in that capital, he was received by his Eminence with the greatest kindness, and was accommodated with apartments in his palace. He became a disciple of Federigo Zuccaro, and by the instruction of that master, and an attentive study of the best produc- tions of the art, and the beauties of antiquity, he ac- quired a correctness of design, and a more elevated taste, than was possessed by any of his Flemish competitors. After a residence of seven years in Italy, Otho Venius visited Germany, where he pEissed some time in the service of the emperor, who made him the most flattering proposals, to retain him at his court. The desire of returning to the Low Coun- tries induced him to decline so honourable an in- vitation, and passing through Munich and Cologne, where he painted some pictures for the Duke of Ba- varia and the Elector, he arrived at Brussels, where Alessandro Farnese, Prince of Parma, who was at that time the governor of the Netherlands, appointed him his principal engineer, and painter to the court. He drew the portrait of his protector, and executed several other works, which established his reputa- tion as the most eminent painter of his time. After the death of the Prince of Parma, Otho Venius established himself at Antwerp, where he embeUished the churches and public edifices with several celebrated pictures. It was at this time that Rubens became his disciple, and it is no mean claim to celebrity, to have been the instructor of that illustrious artist. When the Archduke Albert, who succeeded the Prince of Parma in the government of the Low Countries, made his pubUc entry into Antwerp, Otho Venius designed the triumphal arches which were erected on the occasion, and the ingenuity of the compositions was so much admired by the Arch- duke, that he invited him to the court of Brussels, 853 VENi] A DICTIONARY OF [verb appointed him his principal painter, and master of the mint, which situations he filled with great re- spectability until his death, in 1634. The works of Otho Venius exhibit a fertile and inventive genius ; his compositions are learned and judicious, and his design, formed by his studies at Rome, is more graceful and correct than that of any of his contemporaries of the Flemish school. The airs of his heads are graceful and expressive, his draperies are cast with ease and propriety, and he was one of the earliest of the Flemish artists who had a perfect intelligence of the principles of the chiaro-scuro. Among his principal works in the public edifices in the Low Countries are, the Marriage of St. Catherine, in the church of the Capuchins at Brussels; the Last Supper, in the cathedral at Antwerp ; the Resurrection of Lazarus, in the church of St. Bavon at Ghent; and the Adoration of the Magi, in the cathedral at Bruges. Otho Venius distinguished himself in literature as well as in the arts, and published several works, which were all embellished with plates, chiefly en- graved by his brother, Gilbert Venius, fi-om his designs. Among others are the following : a His- tory of the War of the Batavians against Claudius Civilis and Cerialis, from Tacitus; Horace's Em- blems, with observations ; the Life of Thomas Aqui- nas ; and the Emblems of Love, divine and profane. VENIUS, or VAN VEEN, Gertrude. This lady was the daughter of Otho Venius, and was born at Brussels about the year 1600. She was in- structed in the art by her father, and excelled in painting portraits. There is a print of a portrait of Otho Venius, painted by her, engraved by RuchoUe. VENIUS, or VAN VEEN, Gysbert, or Gil- bert, was the younger brother of Otho Venius, and was born at Leyden about the year 1566. He en- graved a variety of plates, executed with the graver, in a style resembling that of Cornelius Cort. He probably visited Italy with his brother, as we have several prints by him, after the works of the Italian masters. His drawing is tolerably coiTect, and the character of his heads is not vrithout expression. He also engraved a great number of plates from the designs of his brother, chiefly emblematical subjects, and some portraits, which possess considerable merit. The following are his most esteemed prints ; PORTRAITS. Ernest, Duke of Bavaria ; in a medallion, supported by Fame. Cardinal Aleasandro Famese ; aft&t Otho Venius, Giovanni da Bologna. 1589. SUBJECTS AFTER VARIOUS MASTERS. The Four Seasons; after Raffaelle del Colle. 1589. These have heen incorrectly stated to he from the de- signs of Raffaelle d'Urbino. The Espousal of Isaac and Bebecca ; after Sal. Peruzzi; in ftve sheets, in the form of a frieze ; fine and scarce. The Visitation of the Virgin to St. Elisabeth ; after F, Baroccio. The Crucifixion ; after the same. The Emblems of Horace ; after Otho Venius. The Emblems of divine and profane Love ; after the same. The Life of St. Thomas Aquinas ; a set of several plates ; after the same. [He was born at Leyden in 1558, and died at Ant- werp in 1628.] [VENIUS, or VAN VEEN, Rochus, bom at Antwerp in 1650, excelled in painting live and dead birds, which he finished with great care. He died at Haerlem in 1706.] [VENNB, Abraham Vander, a portrait painter, bom in 1586, and died in 1650. There is a portrait 854 of Prince William' I. by him in the Museum at Am- sterdam.] [VENNE, Adrian Vander, born at Delft in 1589, was a scholar of Jerome van Diest. He excelled in fancy designs for illustration ; he made those that ornament the works of the Dutch poet Cats, and furnished numerous vignettes for the printers of his time, in which he exhibited good taste and a lively imagination. He was equally facile in paint- ing ; and though some of his pictures are of immense size, the number is said to be prodigious. The sub- jects of some are the famous battles fought in Flan- ders. He painted the portrait of Prince Maurice on horseback, accompanied by his brothers, and other members of the Nassau family. He also pos- sessed considerable literary talent, and pubUshed several works of a satirical tendency. He died at the Hague in 1662. [VENNE, Hubert Vander, born at the Hague, painted bas-reliefs, groups of children, vases, and other ornaments. There are no particulars of him, but he is supposed to have been of the same family as the preceding.] [VENNE, Jan Vander, bom at Brussels, paint- ed landscapes. Which are sometimes enlivened with figures by Baut.] VENTURINI, Giovanni Francesco. This art- ist was bom at Rome about the year 1619. From the style of his engraving, it is probable that he was a disciple of Giovanni Batista Galestruzzi. He etched several plates from the works of Italian mas- ters, among which are the following : A set of Plates ; after Polidaro da Caravaggio ; fi-om the designs of Galestruzzi, Diana and her Nymphs at the Chace ; after Dommi- chino. The Pulpit of St. Peter's ; ^ter Bernini. A bird's-eye View of the Palaces and Gardens in and near Rome. VENUSTI, Marcello. This painter was born at Mantua in 1515, and was a scholar of Pierino Buonacorsi, called del Vaga; but he was more in- debted for the reputation he acquired, to his study of the works of Michael Angelo Buonaroti, and the pictures he painted from the designs of that master. He executed several works, from his own composi- tions, in the churches and public edifices at Rome, which are mentioned by Baglione, among which he particularly notices the Martyrdom of St. Catherine, in the church of S. Agostino ; and St. John preach- ing in the Wilderness, in S. Caterina alii Funari. The Cardinal Alessandro Famese employed him to copy the stupendous picture of the Last Judgment, by Michael Angelo, on a small scale, which he ac- complished in so perfect a manner, that it excited the admiration of that illustrious artist, who en- gaged him to paint, from his design, an altar-piece for the Capella de Cesi, in the church of La Pace, representing the Annunciation ; and in various other works. In the palazzo Borghese is a fine picture by him of Christ bearing his Cross, from a design by Michael Angelo. He died in 1576. VERAT, Darius. Mr. Strutt notices this artist as the engraver of a print representing two Women, half-length, one of which is combing her hair. It is slightly etched, and inscribed Ahx. Verat, pinx. Darius JUius sculp. [These names signify Alexander and Darius Varottari."] VERBEECK, or VERBEECQ, Philip, a Dutch engraver, who fiourished about the year 1620. He engraved several plates in a style so nearly resem- bling that of Rembrandt, though anterior to that verb] PAINTERS AND ENGRAVERS. [verb artist, that his prints have been sometimes con- founded with those of that distinguished master. Among others we have the following : A Bust of a young 'Womaii, with a hat and a pelisse, A Bust of a Man, with a turban and feather. Esau selling his Birthright to Jacob. A Kins seated on his Throne, with a Man kneeling be- fore him. A Shepherd seated at the foot of a tree. 1619. [There were several artists, painters and engrav- ers, of the name Verbeeck, or Verbeecq, who operated during the first half of the 17th century; they have been confounded with each other. Philip operated at the same period as Peter Verbeecq, both being en- gravers as well as painters and designers : but Peter signed P. C. Verbeecq, and dated from 1619 to 1639; Philip also dated in the latter year. But there was a O. Verbeeq, whose manner of etching also resembles that of Rembrandt ; it is to this art- ist the print of Esau selUng his Birthright to Jacob belongs, and he operated as late as 1659. Peter Verbeeck was also a painter of landscapes, with subjects of hunting parties, halts of travellers, and conversations ; he was one of the first instructors of Philip Wouwerman, whose early pictures bear some resemblance to his. Both Peter and Philip Ver- beeck were natives of Haerlem; it is probable that G. Verbeeq was of the same place and family, though there is a slight difference in the spelling of the name, a circumstance very common with the Dutch artists of the period. Brulliot' describes a print of " A Shepherd standing," signed P. C. Ver- beecq, and dated 1639. He wears a bonnet orna- mented with a feather, and is dressed in a short cassock, with a calabash on his right side, and holds a crook ; he is accompanied by a dog. This seems to have escaped the notice of other writers. Tw^o small busts, in ovals, of a Man and a Woman, in Oriental costume, have the same signature and date. Acknowledged connoisseurs having attributed the etchings of the Verbeecqs to Rembrandt, makes it desirable to clear up the confusion that has hitherto existed. The inquirer will be assisted by consult- ing Bartsch's Catalogue of the works of Rembrandt ; Zani, Enciclopedia Metodica, parte seconda, vol. iii. ; Brulliot, Dietionnaire des Monogrammes ; Ri- gal's Catalogue ; and probably Nagler, whose Dic- tionary has not at present reached the name.] [VERBIUS, or VERBUIS, Arnold, called the Libertine, a painter of history, portraits, and las- civious subjects, was born at Dort about 1646, and died in Friesland in 1704.] VERBOOM, . This artist was a native of Holland, and flourished about the year 1620. He painted landscapes in a very pleasing style, which deservedly find a place in the best collections of his own country, though Uttle known in England. We have a few charming etchings by the hand of this able artist, which are executed with taste and spirit. [It is surprising that so little notice should have been taken by the Dutch writers of Verboom, con- sidering his excellence as a landscape painter, and the beauty of his two known etchings. , He flour- ished about the middle of the 17th century, as ap- pears by the date 1654 on one of his pictures, and was probably a native of Haerlem, as he painted and etched the surrounding scenery. His style of painting participates of that of Waterloo and Both, but not so warm as the latter, and occasionally ap- proaches that of Jacob Ruisdael. His landscapes are generally well wooded, and the foliage lightly touched and verdant, but time has in some instances deepened the tones. Occasionally they are enriched with figures and animals by Wouwerman, or Lingel- bach. His pictures are, however, of rare occur- rence; indeed, so much so that they are scarcely Known out of Holland. Besides the two etchings described by Bartsch, first impressions of which, though of extreme rarity, are well known to all in- telhgent print collectors, it is supposed that there are others to which he omitted to put his name. Indeed, only one of those described has his name, V'Boom /., though there can be no doubt of the other. There is a series of six landscapes engraved after him by Gronsvelt. Bartsch writes his name A. n. V. Bomn ; others call him Abraham Ver- boom ; on a picture seen by the editor, the signature is A. Verboom. In the Museum at Amsterdam there is a woody scene near a river, by him ; and in the Museum at Brussels, a landscape, with figures preparing for the chace ; the figures and animals are by Lingelbach. The two Jprints described by Bartsch are, 1. LeHameau, It is so called from a AoveZ which is seen in the distance, towards the right, of a landscape in which there are several trees, the tallest having but little foliage ; the name is at the top on the left. L. Gp.Ql, H. 4p. V)l. 2. La piece d'eau. A landscape, of the same dimensions as the former, in which there is a sheet of water in the centre extending to the bottom of the print on the left. Several trees are on the banks ; the largest is lopped above, some of the branches have very little foliage, and others are quite bare. There are six or seven more at unequal distances. The view is terminated abruptly by a horizontal line. Bartsch remarks that these two prints are so very rare that they were not to be found in some of the most celebrated collections, such as those of Marcus Vander Dussen, Ploos van Amstel, and others equally renowned. Heineken does not mention them in his Dictionary, nor does Basan, nor Strutt, in their accounts of engi-avers ; a proof that they were absolutely unknown to them. The earliest impressions are those in which there is the least ap- pearance of the burin, and before the skies were expressed by horizontal lines. There are modern im- pressions which, according to Weigel, are very bad.] [VERBRUGGE, Andriesz, Gysbert, was born at JLeyden the 12th of July, 1633, according to Im- merzeel, but Fiiessli and Zani say twenty years later. He was a scholar of Gerard Dou, but, con- fined himself chiefly to portrait painting. He passed some time in England, but returned to his own country and established himself at Delft, where he died, says Fiiessli, in 1730, in his 77th year. It is said that a great number of portraits and cabinet pictures, of considerable merit, by him are to be found at Delft: the discovery will occasion some surprise.] VERBRUGGEN, [or TERBRUGGEN,] Hen- ry. This painter was born at Utrecht in 1588, and was brought up in the school of Abraham Bloemart. As soon as he was able to subsist on the produce of his talents, he determined on visiting Italy, and re- sided ten years at Rome and Naples, where his merit recommended him to the notice of several of the nobility, and he painted many pictures for the public edifices and private collections, which were admired for the correctness of the design, and for the boldness of his handling. He particularly dis- tinguished himself by an altar-piece he painted for '855 verb] A DICTIONARY OF [VERE one of the principal churches at Naples, represent- ing a Deposition from the Cross, composed in a grand and impressive style. On his return to Hol- land, he chiefly resided at Middleburg, where he continued to exercise his talents with great respect- ability, until his death in 1640, at the age of 52. When Rubens made his tour through Holland, he was particularly struck with the works of Verbrug- gen, and pronounced him to be one of the ablest painters of his country. [The name is Terhruggen, not Verbruggen; all the authorities agree that he died at Utrecht in 1629, in his 41st year.] VERBRUGGEN, Gaspar Peter. This paint- er, born at Antwerp in 1668, was the son of Peter Verbruggen, an artist of whom nothing further is known, than that he was director of the Academy at Antwerp in 1659 ; and he probably learned the rudiments of design from his father. Having ac- quired considerable reputation in his native city as a painter of flowers and fruit, he established him- self at the Hague in 1706. The Greffler Fagel em- ployed him, in conjunction with Matthew Terwes- ten, in the decoration of his hotel. The figures were painted by Terwesten, who was an eminent historical painter, and the festoons of flowers and fruit, with the other ornaments, were executed by Verbruggen. In 1708 he was made a member of the Academy at the Hague, where, during a re- sidence of several years, he amassed a competent fortune, with which he returned to Antwerp. The works of Verbruggen evince an uncommon facility of execution, and his style exhibits the loose and spirited touching of John Baptist Monnoyer, rather than the polished finishing of Van Huysum, or Rachel Ruysch. Towards the latter part of his life he became negligent, and his productions of that period are very inferior to those of an earlier date. He died in 1720. [N'ote. The celebrated sculptors and carvers in wood, Pieter and Henri Francois Verbruggen, should not be confounded with the painters of the same name. Their masterly works were to be seen in the cathedral and churches at Antwerp in pulpits, con- fessionals, and other ecclesiastical ornaments ; and in the carved decorations of many noble mansions in Belgium. Sad havoc was made of them during the war, and some magnificent pieces were sold to brokers and consigned to England.] VERCHIO. See Civerchio. VERCRUYS. See Kruger. [VERDIER, FRAN901S Du, sometimes called Van Hawken, a French historical painter, designer, and engraver, was born in 1651, and died in 1730. He was a scholar of Le Binin, and copjed many of the works of his master; he is better known by these than by his original compositions. His drawings are numerous in France ; they are chiefly in black or red chalk heightened with white ; but have the appearance of being plagiarisms from Le Brun without additional excellence.] VERDIZOTTI, Giovanni Maria. ' This artist was born at Venice in 1525, and, according to Ri- dolfi, was the scholar and friend of Titian. He ex- celled in painting landscapes, in the great style of his instructor, though generally of a small size, and embellished them with figures, usually representing some subject of history or the fable. Tradition speaks of him as a man of letters and apoet. Among other literary works, he published a Translation of Ovid's Metamorphoses, and the ^neid; and, on the death of Titian, celebrated the memory of his 856 master with a Latin poem. He died at Venice in 1600. VERDOEL, Adrian. This painter was a native of Holland, and was born about the year 1620. He was brought up in the school of Rembrandt, whose manner he followed. His design was more correct and his compositions more elevated than those of his master, but he was unequal to him in the har- mony of his colouring, and the eflTect of the chiaro- scuro. His pictures are little known, as he quitted the art, and engaged in commercial pursuits. [It is said that he studied under Leonard Bramer and one of the De Wittes previous to entering the school of Rembrandt. He died at Flushing in I68I.] [VERDUSSEN, John Peter, was an excellent painter of horse-fairs, hunting-pieces, and other subjects, in which animals formed the principal objects. Some of his pictures are to be found in the Munich collection, and occasionally in England. There are but few particulars respecting him re- corded, but he fiourished from 1/43 to 1763, in which year it is supposed that he died.] VERELST, Simon. This artist was bom at Antwerp in 1664, and distinguished himself as a painter of flowers and fruit. He visited England in the reign of Charles II., where his works were extremely admired: he was extensively employed, and his prices were the highest that had ever been given for similar subjects. The noble author of the Anecdotes has given so whimsical a picture of the vanity and conceit of this eccentric artist, that the insertion of it vidll not be deemed uninteresting. " The Duke of Buckingham patronized him, but having too much vrit to be only beneficent, and per- ceiving the poor man to be immoderately vain, he piqued him to attempt portraits. Verelst, thinking nothing impossible to his pencil, fell into the snare, and drew the duke himself, but crowded it so much with fruit and sun-flowers, that the king, to whom it was shown, took it for a flower-piece. However, as it sometimes happens to wiser buffoons than Verelst, he was laughed at till he was admired, and Sir Peter Lely himself became the real sacrifice to the jest ; he lost much of his business, and retired to Kew, whilst Verelst engi-ossed the fashion, and for one half-length was paid a hundred and ten pounds. His portraits were exceedingly laboured, and finished with as much delicacy as his flowers, which he still continued to introduce into them. Lord Chancellor Shaftesbury going to sit to him, was received by him with his hat on. ' Don't you know me ?' said the peer. ' Yes,' replied the painter, ' you are my Lord Chancellor : and do you know me ? I am Verelst. The king can make any man chancellor, but he can make nobody a Verelst.' Shaftesbury was disgusted, and sat to Greenhill. He called himself the god of flowers, and went to Whitehall, saying, he wanted to converse with the king for two or three hours. Being repulsed, he said, ' He is king of England, I am king of paint- ing, why should we not converse familiarly to- gether.' He showed an historic piece, on which he had laboured twenty years, and boasted that it con- tained all the several manners and excellencies of Raffaelle, Titian, Eubens, and Vandyck." His ab- surdities were not diminished by the inconsiderate applause bestowed on his works, and the homage paid him by the poets of his time ; among which were the following lines by Mr. Prior: When famed Verelst this little wonder drew, Flora vouchsafed the growing work to view ; ^vere] PAINTERS AND ENGRAVERS. [VERB Finding the painter's science at a stand, The goddess snatched the pencil from his hand, And finishing the piece, she smiling said. Behold one work of mine, that ne'er shall fade. He died in 1710. [It was an absurdity of Walpole to say that Sir Peter Lely lost much of his business through the popularity of Verelst; Lely died in 1680, when Verelst was only sixteen years old. Probably much of the other gossip is of the same stamp.] VERELST, Herman, was the brother of the preceding artist, and chiefly resided at Vienna, until It was besieged by the Turks in 1683, where he ac- quired some reputation as a painter of fruit and flowers, and sometimes attempted history. The suc- cess of his brother induced him afterwards to visit England, where he passed the remainder of his life, and died in 1700. [There seems to be a mistake here either with regard to date or relationship ; it is stated in the following articles that his daughter was born in 1630, and his son in 1667-] VERELST, Cornelius, was the son of Herman Verelst, born at Vienna in 1667, and accompanied his father to England, where he met with success in painting similar subjects. VERELST, Maria. This accomplished lady was the daughter of Herman Verelst, born in 1630, and learned the first rudiments of design from her father, but was more indebted to the instruction of her uncle, Simon Verelst, with whom she princi- pally resided. She excelled in painting portraits of a small size, and occasionally attempted history. She had received an excellent education; was a freat proficient in music, and spoke Latin, German, talian, and other languages. [If the date be cor- rect she could hardly have received instruction from Simon Verelst, who was her junior by thirty-four years.] VERENDAEL, N. This artist was born at Antwerp in 1659. It is not known by whom he was instructed in the art, but he acquired consider- able celebrity as a painter of flowers and fruit. His works are very highly wrought up, and he appears to have been desirous of imitating the delicate finishing of Abraham Mignon. Every object is faithfully copied from nature, and the insects, which he was fond of introducing into his pictures, are de- signed and touched with surprising minuteness and precision. His flower-pieces are tastefully arranged, and they are generally prefeiTed to his pictures of fruit. Although the works of this painter are Uttle , inferior to those of Mignon, they are still very un- equal to the admirable productions of John van Huysum and Rachel Ruysch. [They are beautiful productions, and worthy of a place in any collection. He died in 1717.] [VEREYCKE, Hans, by his contemporaries called Little John, was born at Bruges in I5I0. He painted portraits and landscapes with considerable abiUty ; ne showed good taste in his selection of the latter, and gave them an agreeable and natural air in the representation. It is supposed that he died about 1569.] VERGAZON, Henry, a Dutch'painter of land- scapes and ruins, who resided in England in the reign of WilUam III. He also painted portraits of a small size, but was chiefly employed in painting the back-grounds of Sir Godfrey Kneller's pictures. VERHAECHT, Tobias. This painter was bom at Antwerp in 1566. It is not known who was his instructor, but he had acquired some celebrity as a landscape painter,when he determined to visit Italy, in search of improvement. He resided some time at Florence, where his talents recommended him to the notice of the Grand Duke of Tuscany, for whom he painted several large landscapes and views, and afterwards visited Rome, where his works were held in no less estimation. On his return to Flan- ders, he was considered one of the ablest landscape painters of his time, and had the credit of being the first master of Rubens. His scenery is grand and extensive, and he possessed a more perfect acquaint- ance with aerial perspective than any of his con- temporaries. He embeUished his landscapes with the ruins of antiquity, of which he had made a va- riety of designs during his residence at Rome. As he was not very successful in painting figures, those in his pictures are usually by the eminent painters of his time, particularly by Franck. He died in 1631. [VERHAGHEN, Peter Joseph, an historical painter, was born at Aerschot the 19th of March, 1728, according to Immerzeel, (Balkema says 1720,) and was instructed by Kerckhoven and Beschey. He was indefatigable in his application, and .pro- duced a great number of pictures, remarkable for their colouring. He was patronized by Prince Charles of Lorraine, and by the Empress Maria Teresa. At the expense of the government he tra- velled through France, Sardinia, and Italy. At Rome he painted an Ecce Homo, and Christ at Em- maus, which attracted much- attention. The rich- ness of the composition and the beauty of the colouring of the latter astonished the Italians, says his biographer, and they could scarcely credit that it was painted by Verhaghen. Such was the ad- miration it excited at Rome, that the Pope, Clement XIV., desired to know the painter. At an audience, his Holiness was so charmed with his talents and modesty, that he accorded him, continues his bio- grapher, plenary indulgence at the hour of death for himself, his relations and connexions to the third degree, and for thirty other persons at his nomina- tion. This was pretty liberal ; but his Holiness did something more substantial, in a worldly sense ; he presented the artist with two gold medals. After painting several other pictures, he took an affec- tionate leave of the liberal Pope, and returned to Vienna, where he was graciously received by the Empress, to whom he presented his picture of Christ at Emmaus. This her Majesty placed in her bed-chamber ; his Ecce Homo was located in the royal chapel ; and a third picture, not named, was sent to keep company with St. Stephen in the Imperial Gallery. He was appointed principal painter to the Empress, who made him the present of a gold snuff'-box with an enamelled portrait of Maria Christina. These favours, however, could not induce him to remain at Vienna ; so he returned to Louvain on the 24th October, 1773, when he was met by such a cavalcade to welcome him, that nei- ther a horse nor a carriage, says his biographer, was to be found in the city. Such honours would have turned the head of any one but a painter ; he took them calmly and philosophically. He did not re- lax his industry ; he painted numerous other pic- tures ; but, says the biographer, the fecundity of his pencil caused him often to neglect the drawing and finishing. An enumeration of his works would be too long for insertion ; but are they not to be found in the churches and convents of his country, and at "Home and Vienna ? and are they not recorded in 857 vehh] A DICTIONARY OF [VERH the " Messager des Sciences Historiques"for the year 1839? Verhaghen died the 3rd of April, 1811.] VBRHBLST, Egidius, or Giles. According to Huber, this artist was a native of Bavaria, and was bom about the year 1742. After being instructed in the rudiments of design in his native country he went to Paris, where he became a pupil of John George Wille, and on his return to Germany en- graved several portraits and other subjects, in the neat and finished style of that master. Among others, we have the following by him : PORTRAITS. Charles Theodore, Elector of Bavaria. 1790. Elizabeth Augusta, his consort. The Elector of Treves. A. W. Ifland. SUBJECTS. A set of five plates for a. Translation of Tasso's Jeru- salem. Two Heads, characteristic of Innocence and Simplicity ; for the work of Lavater. [Egidius (Giles) Verhelst, or Verelst, was the son of a Bavarian sculptor, and born in 1742. For some years he followed the profession of his father, and practised at Munich, Stuttgard, Augs- bu'rg, Dusseldorf, Manheim, and other cities. At Manheim he was appointed Professor of Design to the Academy, and a member of that of Dussel- dorf. Being desirous, however, of acquiring further knowledge in art, he went to Paris, and placed him- self under the directidn of J. G. Wille, to improve himself in engraving, which he had previously practised. After some stay with this able master, he returned to Munich, and made it his profession. There are several well-executed portraits by him, and book-illustrations, mrticularly those that orna- ment the translation of Tasso's Gerusalemme Liber- ata by HeinSius. He was living in 1790. There was another of the same name, who was a designer and engraver, and flourished about 1733. He was the son of an older Egidius, a sculptor, and probably the uncle of the preceding ; but there are no particulars of him, and he is noticed here merely to prevent confusion.] [VERHELST, Peter, (some call him Paul,) a painter of familiar subjects in the manner of Gerard Dou, Mieris, and Slingelandt, was born about the year 1614, but where is not on record. He treated his subjects with gi-eat ability in drawing, colouring, and composition, and much skill in the distribution of light and shadow. Though his pictures are in the style of the masters above named, they have no appearance of copying, or studied imitation. By a date on one it appears he was living in 1659; how much later it is impossible to say, as the editor can find no account of nim in the Dutch writers.] VERHEYDEN, Francis Peter. This painter was born at the Hague in 1659, [others say 1657.] He followed the profession of a sculptor until he was forty years of age, and was one of the artists employed in modelling the figures and ornaments for the triumphal arches erected on the public entry of William III. into the Hague, in 1691. Having seen some pictures of animals by Francis Snyders, he was so struck with them, that he determined to abandon sculpture, and devote himself to painting. In this change of profession, contrary to the expect- ations of his friends, he was very successful. He painted huntings of various animals, which were ingeniously composed, and designed with a spirit and correctness Uttle inferior to the distinguished 858 artist he had adopted as his model. He also ex- celled in painting fowls and dead game, in the style of Hondecooter, and acquired a freedom of touch, and a boldness of pencilling, that is surprising, when we consider the late period of his life at which he commenced painting. His pictures are little known, except in Holland, where they are held in considerable estimation. He died in 1711. [VERHEYDEN, Matthew, probably the son of F. P. Verheyden, born at Breda in 1700, is spoken of as a good portrait painter. He was first placed under Michael Carre, but having lost his father at the early age of eleven, he was taken under the pro- tection of Terwesten and Netscher, and pursued his studies with great assiduity. At the age of fifteen he went to the Hague, and profited by the instruc- tions of Karil de Moor. From these able masters he must have derived great information ; and it seems that he gave such general satisfaction as en- abled him to live in that place with competence and comfort. His portraits, however, like those of many other good painters, are not known out of Holland, being attributed perhaps to masters with whose names the public are more familiar.] VERHOEK, Peter Cornelius, a Dutch paint- er, born at Boodegraven in 1642. He was a disciple of Abraham Hondius, under whom he became an able designer of animals. He afterwards travelled to Italy, where he studied attentively the works of II Borgognone, and distinguished himself as a paint- er of battles and skirmishes of cavalry. He met with very flattering encouragement both at Rome and Naples, where his works were generally ad- mired. His small figures and horses are correctly drawn, and touched with great spirit and animation. He also painted landscapes in a pleasing style, which he decorated with figures in the manner of Callot. [He was born in 1633, and died in 1702. He first studied under Vander Ulft, as a painter on glass ; and afterwards at Bologna.] VERHOEK, Gysbert, or Gilbert. This artist was born at Boodegraven in 1644 ; he was the younger brother of the painter mentioned in the preceding article, from whom he received his first instruction in the art, but he after>vards became a scholar of Adam Pynaker. He did not, however, attach himself to the style of that master, but paint- ed similar subjects to "those of his brother, repre- senting battles, marches of cavalry, and encamp- ments. He particularly excelled in the di'awing of horses, in every action or attitude, and the animated touch of his pencil was pecuharly adapted to the subjects he painted. The works of this artist are frequently found in the collections in Holland, though little known in this country. He died in 1690. [VERHUIK, or VERHUITS, Cornelius, said to nave been bom at Rotterdam in 1648, painted a variety of subjects, but was chiefly distinguished for his skirmishes and hunting-pieces. It seems that he spent some time in Italy, where his works were much admired. For this reason, perhaps, his coun- trymen have taken but little notice of him. He died about 1702. The editor, however, suspects that he is identical with Peter Cornelius Verhoeck, mentioned above.] [VERHULST, Peter, a native of Dort, painted fruit, flowers, and insects, in the manner of Otho Masseus, or Marcellis. He was a scholar of Wil- liam Doudyns, which is all that is said of him.] VERKOLIE, John, was born at Amsterdam in Verk] PAINTERS AND ENGRAVERS. [verm 1650, and was the son of a locksmith, who brought him up to his own profession ; but having met with an accident when he was about twelve years of age, which confined him for three years to his bed, he amused himself, during a painful and tedious confinement, with copying whatever prints or other objects of art he could procure. After his recovery he was permitted to indulge the propensity which he had discovered, and he became a disciple of John Lievens, by whose instruction he was m a short time sufficiently advanced to dispense with further assistance. The works of Gerard Pietersz van Zyl were at that time held in the highest estimation, and instead of following the style of his instructor, he endeavoured to imitate the high-finished manner of that master. He was chiefly employed in paint- ing portraits of a small size, though he occasionally painted historical subjects and conversations, which were well coloured, and touched with neatness and delicacy. He died in 1693. John VerkoUe was one of the earliest engravers in mezzotinto in Holland. We have, among others, the following prints by him : PORTRAITS. Stephen Welters ; Amator Artium ; after Kneller. ■WiUiam Henry, Prince of Orange. Hortensia de Mancini, Duchess of Mazarin ; after Lely. His own Portrait ; after de Leeuw. SUBJECTS. Diana and Calisto ; after Gasp. Netscher. Venus and Adonis ; after his own design. Venus and Cupid. 1682. Pan and Flora. VERKOLIE, Nicholas. This artist was the son and the disciple of John Verkohe, and was born at Delft in 1673. His father died when he was twenty years of age, but he had made sufficient progress in the art to continue the prosecution of his studies without the aid of another master. For some time he painted small portraits and domestic subjects in the style of his father, but he afterwards applied himself to historical painting, in which he became one of the ablest artists of his time. Amongst his most esteemed works are three pictures, formerly in the collection of M. de Neufville, at Amsterdam, representing David and Bathsheba, Moses saved from the Nile, and St. Peter denying Christ. His compositions are simple and judicious, his design is more correct and graceful than is usual with the artists of his country ; his colouring is tender and harmonious, and his pencil is firm, though deUcate. The pictures of Nicholas Verkolie are found in the choicest collections in Holland, where they are de- servedly admired. He died at Amsterdam in 1746. This artist also distinguished himself as a mezzotinto engraver, and carried that art to a much higher de- gree of perfection than his father. The following are his principal plates : PORTRAITS. Bernard Picart ; after Nattier. John Peter Van Zomer, holding a print in his hand; after A. Boonen. SUBJECTS. The Holy Family ; after Ad. Vander Werff. Diana and Endymion ; after Gas. Netscher. Bacchus and Ariadne ; itf'ter the same. A Shepherd and Shepherdess ; after the same. Ai Entertainment in a Garden ; after J. B. Weeninx. [VERMEER, Jan, more generally called Delft Vander Meeh, or Vander Meer of Delft. Of an artist whose works are so highly Valued, it is surprising that so little is known. It is said that he was a scholar of a painter of the name of Charles Fabritius, who lost his life when the powder explo- sion occurred at Delft in 1654, and that he followed the manner of his master, portrait painting and per- spectives. It is said that he was born in 1632; it is known by his pictures that he operated in 1667- The subjects he most frequently painted were fe- males occupied in domestic concerns, or engaged in the amusements of reading, writing, music, or cards. These he treated with much of the elegance and suavity of Gabriel Metsu in the figures, and an ap- proach to Peter De Hooge in perspective and chia- ro-scuro. But he did not confine his pencil to in- teriors ; he painted landscapes and views of cities with equal ability. A view of the town of Delft, at sunset, is now in the Gallery at the Hague,; it is one of the most unpretending yet surprising pictures of the lind. The editor was present at the sale in 1818, when it was purchased for the king of Hol- land at the sum of 5000 florins. Another by him is in the Museum at Amsterdam; it represents the staircase of the convent of St. Agatha, at Delft, where William, the first Prince of Orange, was killed in 1584. The Dutch, who had formerly neglected his pictures, are now fully alive to their merits and value, and so are others ; consequently they obtain high prices when they appear in sales, which is but seldom. He probably died towards the end of the seventeenth century, as' there is some where aa account of his effects being sold about that time.] VERMEULEN, Cornelius, a Flemish engrav- er, born at Antwerp in 1644. In the early part of his life he passed some time in France, but after- wards chiefly resided in his native city, where he engraved many plates, of which the most estimable are his portraits, as his drawing was not sufficiently correct to succeed in historical subjects. He work- ed entirely with ihe graver, in a neat, clear style. The following are his most esteemed prints : portraits. Anne Boleyn, Queen of Henry VIII. ; engraved for Lar- rey's History. Catherine Howard ; for the same. Catherine Parr ; for the same. Lady Jane Grey ; for the same. Robert, Earl of Leicester; for the same. Oliver Cromwell ; for the same. William III. ; for the same. Haria Louisa of Orleans ; after Jligaud. Phihp V. of Spain ; after Vivien. Maximilian Emanuel, Elector of Bavaria ; cfter the same. Louis de Luxembourg, Marshal of France ; after Rigaud. Maria Louisa de Tassis ; after Vandyck. Peter Mignard, Painter ; /rom a picture by himself. Nicholas Vander Borcht, Fainter ; after Vandyck. SUBJECTS. Bacchus and Erigcne ; after Guido ; for the Crozat Col- lection. » -oi ■ Mary of Medicis escaping from the city of Blois ; after the picture by Rvhens, in the Luxembourg Gallery. [VERMEULEN, Andrew, born atDortin 1763, was instructed in painting by his father. His sub- jects are landscapes with figures, horses, and cattle, very lively and full of colour. He also painted winter scenes, with figures skating and otherwise amusing themselves on the frozen canals in Holland. They are good furniture pictures ; many of them were purchased by English dealers about thirty years ago, and since that time a number of copies, or imitations, by a lady resident in Holland, the wife of a dealer, have been sent over, and which in 859 verm] A DICTIONARY OF [VEKN some instances are even superior to Vermeulen. He died at Amsterdam in 1814.] [VERMEULEN, Cornelius, father of Andrew, was born at Dort in 1732, and was an ornamental painter and picture dealer. He copied pictures of the older Dutch masters that came into his hands in the way of his trade, by which he acquired a good style of colouring ; but did not produce any original composition remarkable for correctness in design. He died at Dort in 1813.] VERMEYEN, John Cornelius. This painter was born at Beverwyck, near Haerlem,in 1500. It is not mentioned by whom he was instructed, but his ability recommended him to the protection of ' the Emperor Charles V., who engaged him in his service, and he attended that monarch in many of his expeditions. In 1535 he was present at the taking of Tunis by the Emperor, where he made designs of the most remarkable events of the siege, from which he executed the cartoons for the suit of tapestry, which is said to ornament the Escurial. Towards the latter part of his life he principally re- sided at Brussels, where he painted some pictures for the churches and public edifices, which are mentioned by Vanmander in very favourable terms ; particularly two altar-pieces in the church of St. Gery, representing the Nativity and the Resurrec- tion. He died at Brussels in 1559. [As his father, Cornelius, who flourished in 1490, was a painter, it may be supposed that lie instructed his son. Vermeyen's talents were not confined to one de- partment of his art ; he equally excelled in historical subjects, portraiture, and landscape. He was also well skilled in mathematics, geometry, and archi- tecture. The pictures which he painted of the Im- perial progresses, and the views of cities in Spain and elsewhere, are supposed to have perished in the fire at the Pardo in 1608. It must not be omitted' that he was a great favourite with Charles V., not only for his ability as a painter, but for his long beard. This must have been enormous, if it be true that, though the wearer was a tall man, it used to trail on the ground, and the Emperor, when in a playful mood, would tread upon it for amusement. Vermeyen was also an engraver. BruUiot claims the credit of being the first to notice him as such, and has given descriptions of four of his etchings, which he says are executed with a broad point, but free and expressive, and in a taste peculiar to the master. He gives his cipher, thus, ^ , which properly signifies Jean Cornelisz, and is to be found on the following prints : 1. The Virgin and Infant accompanied by an Angel, 1545 ; L. 12p. 8?., H. 9p. 2. A Man duped ; composition of several half-length figures. At the bottom is inscribed, Sic Hispana Ve- mts loeulos excantat amaitdo, sic fiwata rapit bastia Stultus amans, 1546 ; L. 15p. 11., H. Wp. U. 3. A young Woman with a Cat, half-length profile, 1546; H. 7j!). 9^., L. 5p. 4. A young Woman seated on a Couch, apparently sew- ing, 1546 ; H. 9p. %., L. 6p. il. It may be noted that, owing to the peculiarity of wearing so long a beard, he was called Barbato, Barbudo, Barbalonga, Hans with the Beard, and other appellations; and he is sometimes mentioned as Hans or Jan May, Majo, or de Mayo.] VEEMIGLIO, Giuseppe. This painter was a native of Turin, and flourished about the year 1675. He painted history, and was esteemed one of the ablest artists of the Piedmontese school. There 860 are several of his works in the churches and public edifices at Novara and Alessandria, but his most esteemed work is a large picture of Daniel in the Den of Lions, in the library della Passione at Mi- lan. This picture is regarded by Lanzi as one of the ablest productions which had appeared in Milan since the time of Gaudenzio Ferrari. In the ex- pression of his heads, he appears to have studied the works of the Caracci, and his colouring is warm and harmonious. One of his last works was a large picture painted for the refectory of the Padri Olive- tani, at Alessandria, representing Christ and the Sa- maritan Woman, in which he introduced an admir- able landscape, with the city of Samaria in the distance. VERNET, Joseph. This eminent artist was born at Avignon in 1712. After receiving some in- struction in the rudiments of design in his native city, he went to Rome, where he became a disciple of his countryman, Adrian Manglard, a painter of landscape and sea-pieces, of some celebrity. His progress under that master was extraordinary, and it was not long before he surpassed his instructor. During a residence of many years at Rome and Naples, he painted a great variety of landscapes, sea-ports, and other marine subjects, which were greatly admired, not only by the Italians, but by the collectors of every country. He gave to his landscapes and views the beauty and freshness of nature, and ornamented them with groups of chai-m- ing figures, arranged with unusual taste, correctly designed, and touched with uncommon neatness and spirit. The reputation he had acquired in Italy induced Louis XV. to invite him to return to France, where he was engaged to paint a set of pio^ tures of the searports of that kingdom. He exe- cuted his commission with great ability, though the exactness and precision requisite for the represents^ tion of his subjects deprived them of the picturesque and striking effect which we discover in the views of his own selection, and gave them somewhat of the formality of portraiture. He afterwards painted many pictures of views near Rome, the environs of Tivoh, and of Italian sea-ports, which were justly held in the highest estimation ; and he continued the exercise of his extraordinary talents with undi- minished reputation, until he reached the age of 77, when he died, in 1786. We have a few small etch- ings by this ingenious artist, executed in a neat and spirited style ; among which are the following : A Landscape, with a Bridge and part of a Village. A Shepherd and Shepherdess. A View of a Market-place. A Canal, with Fishermen. [His name was Claude Joseph Vernet. He was born in 1714, and died in 1789. Bryan is not the only writer of a dictionary who has erred in arith- metic ; according to his dates Vemet would have been only 74 when he died ; but in another dic- tionary, where Bryan is reflected on for what was evidently a typographical error, of placing a cipher for a 6, the same dates are given, and the painter is said to have arrived at 81. In a recent work the dates are given correctly, but it is added, that he died at the age of 77- We are none of us infallible.] [VERNET, Antoine Charles Horace, gener- ally known as Carle Vernet, was the son of Claude Joseph Vernet, the celebrated painter of landscapes and marine subjects. He was born at Bourdeaux the 14th of August, 1758. lie commenced the study of painting early under the instruction of his father, and at the age of seventeen obtained the second vern] PAINTERS AND ENGRAVERS. [VERR grand prize at the Academy of Painting; and in 1782 he gained the grand prize, which entitled him to the privilege of going to Rome with a pension. In 1787 he became a member of the Academy, and in 1814 a member of the Institute. As he is so uni- versally known by prints from his pictures of ge- neral interest, it may suffice to name a few of his larger works which belong peculiarly to France. These are, The Battle of Marengo ; A Battle with Mamelukes ; The Emperor Napoleon giving orders to his Marshals on the mormng of the Battle of Austerlitz ; The Portrait of Napoleon on Horse- back I The Bombardment of Madrid ; The Battle of Rivoli ; The Emperor hunting in the Woods of Boulogne ; The French Army entering Milan ; The Battle of Wagi-am; and others of like important events during the Imperial reign. The number of other subjects by him would fill a volume in descrip- tion ; they consist of military scenes, hunting-pieces, familiar occurrences, and creations of fancy. He was considered among the best of his time as a. painter of horses, and there are many small eques- trian portraits by him. Many of his pictures have been lithographed. He died in 1836, a Chevalier of the order of St. Michel, and of the Legion of Honour. He was the father of the no less celebrat- ed Horace Vemet, still living, an honour to his country.] VERNICI, Giovanni Batista. According to Malvasia, this painter was a native of Bologna, and was brought up in the school of the Caracci. He painted history with considerable reputation, and distinguished himself by several pictures he painted for the churches and public edifices at Pe- saro and Urbino, particularly in the latter city, where he was appointed principal painter to the Duke, in whose service he died in 1617. VEROCCHIO, Andrea. This artist was bom at Florence in 1432. He distinguished himself more aa a sculptor than a painter. As he was one of the ablest designers of his time, his academy was much frequented, and he had the credit of counting among his disciples Pietro Perugino and Lionardo da Vinci. Tradition states him to have abandoned painting on the following occasion. The monks of S. Salvi, at Valambrosa, having engaged him to paint a picture representingthe Baptism of Christ by St. John, Lionardo da Vinci, who was at that time his scholar, was engaged by his master to paint the figure of an angel, which made a part of the group ; the pupil performed his task in a man- ner that so far surpassed the rest of the picture in the beauty of the design, and the superiority of the execution, that Verocchio, chagrined at being thus outdone by a youth, resolved to reUnquish the pen- cil for ever. Baldinucci asserts, that he practised painting rather as a pastime than a profession, and that his greatest excellence was in the founding of metals. He died in 1488. [They who possess what they consider pictures by Andrea Verocchio may be left to enjoy their opinion ; though it is improbable that one who took so much pains to design the human form correctly, should have produced such abortions as are fre- quently attributed to him. He, who could not, in his last moments, dying in an hospital at Venice, endure the sight of an ill-carved crucifix, but in- sisted on haviijg one brought, the work of Dona- tello, to cheer his parting soul, had too high a sense of the beautiful to put forth such trash. Verocchio was the first, in conjunction perhaps with Pol- lojuolo, to take moulds of the human form, for the pm-pose of making casts to serve as models for de- signing. See L. DA Vinci.] VERONA, Maffeo. This painter was born at Verona in 1576, and was a disciple of Luigi Benfat- to, but he derived more advantage from studying the works of Paolo Veronese than the instruction of his master. He is said, by Ridolfi, to have painted with uncommon celerity, and to have particularly excelled in fresco. There are many of his works in the public edifices at Venice, among which are two pictures in the chapel dedicated to S. Isidoro, in the church of St. Mark, representing Christ bearing his Cross, and the Crucifixion. In the same church are two altar-pieces by him, of the De- position from the Cross, and the Resurrection. He also painted several pictures for the cathedral at Udine, and for the churches of his native city. He died in 1618. VERONESE, Paolo. See Cagliari. VERONESE, Alessandro. See Turchi. VERR 10, Antonio. This artist was born at Naples in 1634. It is not mentioned by whom he was instructed, but as soon as he had made sufficient progress in the art to travel on the produce of his talents, he went to France, and settled at Toulouse, where he met with employment, and painted a pic- ture for the principal altar of the church of the Car- melites, which is described in Du Puy's " Traite sur la Peinture." Charles II., wishing to revive the manufacture of tapestry at Mortlake, which had been interrupted by the civil war, invited Verrio to England, but instead of engaging him in that pur- suit, he employed him in ornamenting Windsor Cas- tle, where he executed most of the ceilings, one side of St. George's Hall, and the chapel. On the ceil- ing of the former he had represented Anthony, Earl of Shaftesbury, in the character of Faction ; and in a picture representing Christ healing the Sick, he absurdly introduced nimself, Sir Godfrey Kneller, and Baptist May, surveyor of the works, in long pe- riwigs, as spectators of the miracle. He has record- ed himself as the author of these gaudy works in the following inscription, over the tribune at the end of the hall : Antonius Verrio Neapolitanus non ignobili stirpe natus ad honorem Dei, Augustissimi Kegis Caioli secundi et Sancti Georgii Molem hanc felicissim^ manu DecoraTit. The king rewarded him liberally. It appears by a memorandum preserved by Vertue, that he re- ceived near seven thousand pounds for his perform- ances at Windsor. On the accession of James II. Verrio was again employed at Windsor, in Cardinal Wolse/s tomb-house, then destined for a Romish chapel. The Revolution was by no means agreeable to Verrio's religion or principles. He is even said to have refused, for some time, to work for King Wil- liam. He was employed by Lord Exeter at Bur- leigh, where he painted several apartments, which are reckoned among his best productions ; and af- terwards executed many considerable works at Chatsworth, among which the altar-piece in the chapel, representing the Increduhty of St. Thomas, is considered one of his best pictures. By the per- suasion of Lord Exeter, he at length consented to serve King William, and was employed to paint the great staircase at Hampton Court, which is so 861 verr] A DICTIONARY OF [vers wretched a performance, that Lord Orford observes, " It appears as if he had spoiled it from principle." He died at Hampton Court in 1 707. [According to Zani, and other authorities, he was born at Lecce, in the province of Otranto, in 1639. Pope has im- mortalized him in one of his Epistles : " On painted ceilings you devoutly stare, Where sprawl the saints of Verrio and Laguerre."] [VERRYKE, or VEREYCKB, Hans, called also Khyn Hanskin, or Little John, was a painter of Bruges, and lived about the middle of the 16th cen- tury. He was eminent in landscapes with figures, and for painting on glass. He was also a portrait painter. He painted the portraits of Karl van Man- der's uncle Claudius, his wife and children, in a triptigue, the centre of which represented the Vir- gin in a landscape. He flourished from 1530 to 1556.] VERSCHURING, Henry, a Dutch painter, born at Gorcum in 1627. His father, who was a captain of infantry in the Dutch service, was desir- ous of bringing him up to the profession of arms, but the feeble constitution of his son prevented him from carrying his project into effect ; perceiving the boy's disposition for designing, he placed him under the tuition of Theodore Govertz, a portrait painter of some reputation, by whom he was instructed, un- til he was thirteen years of age. His genius leading him to a different department of the art, he quitted his first instructor, and became a scholar of John Both, at Utrecht, and had studied six years under that distinguished artist, when he was recommended by his preceptor to visit Italy for improvement, where he had himself studied with so much advan- tage. On his arrival at Rome, he frequented the Academy, and employed himself in designing after the best models. His taste leading him to paint animals, huntings, and battles, he particularly studied every thing that could be useful to him in that branch of the art. He designed the most re- markable and picturesque views in the vicinity of Rome, with the remains of ancient architecture, with which he enriched the back-grounds of his pictures. His works were greatly admired, not only at Rome, but at Florence and Venice, where he passed some time. After a residence of ten years in Italy, he returned to Holland, where the troubles of his country afforded him but too frequent opportuni- ties of witnessing the melancholy calamities of war- fare. Hefollowed the armies into the field, and design- ed with the greatest truth and fidelity the disastrous events of which he was an eye-witness. Although he occasionally painted landscapes, his best pictures represent battles, attacks of banditti, and the plun- dering of villages. He possessed a fertile and in- ventive genius, and there is a great deal of fire and animation in all his works. His figures and horses are correctly designed, and touched with lightness and spirit. He was a man of so respectable a cha- racter, that he was chosen to be one of the burgo- masters of the city he lived in, and he accepted the oflice, with the condition that he should not be obliged to quit his profession. Verschuring was honoured as a magistrate, esteemed as an artist, and beloved by his fellow citizens, when, going on an excursion by water, he was unfortunately drowned, near Dort, in 1690, in the sixty-third year of his age. We have a few slight but spirited etchings by this artist, represent- ing battles and skirmishes, which are naw become scarce. 862 [It is merely a matter of taste to say which are the best pictures of Henry Verschuring, for all that have come under the editor's notice have their beauties. His views in the vicinity of Rome are en- riched with objects that belong to the scenery, and figures that exhibit the manners and customs of the country, so that the whole composition appears to have been painted simultaneously. Bartsch describes only four etchings by him ; two have his name in full, the others the initials only : 1. A Battle ; in the middle two Horsemen galloping to the left, one armed with a helmet and shield, the other with his head bare sounding a horn to rally the troops. H. Verschuring,/. There are two variations. 2. The Travellers ; in the middle a Woman mounted on an Ass, with a young Boy befoi'e her, and a Man on horseback by her side ; in the foreground a large Dog barking at the Travellers. H. Verschtiring, f. 3. The two Dogs ; a small piece, slightly engraved. On the left a Greyhound with his head lifted up as if howl- ing, and on the right a Dos couched, turning his head towards the Hound. H. V . S. in a monogram. 4. The Three Dogs ; this is of the same size as the pro- ceding, and engraved in the same taste. On the right a Greyhound standing and turning his head towards a Dog lying down, a third Dog is in the background near the left. The artist's cipher at bottom. Weigel has not added any to the list, but there are three others that have so strong a resemblance to H. Verschurinefs style of etching, that an emi- nent connoisseur in such matters has noted them in manuscript, without vouching for their authenticity : it may tend to elucidation to quote them : A Dog reclining, in profile, head to the right bowed to the ground between the fore-paws, collar on the neck with initials A I M — stump of a tree on the right. No name. L. 31 in., H. II in. A Man holding a saddled Horse by the bridle, near the centre ; on the left an Officer, a back figure, with a sword under his arm, is watering ; another figure in the background and in shadow, apparently on horse- back, is giving directions to the Man holding the bridle. On a stone towards the middle, P. B, In. L. a in., H. 3S in. A Horse-race. In the centre in front a Man is at full gallop towards the right, where figures and a post are seen in the distance ; another Man is following from' the left ; above are several figui'es, one of whom is seat- ed in state in front of a portico. No mark. H. 6J in., W. 6 in. VERSCHURING, William, was the son of the artist mentioned in the preceding article, born at Gorcum in 1657, and was for some time instructed by his father ; but his inclination leading him to a different branch of the art, he was permitted to in- dulge his propensity, and became a disciple of John Verkolie. He painted with success small portraits, conversations, and domestic subjects, which were finished in the pleasing style of his instructor, and by which he had acquired considerable celebrity, when he abandoned painting, and applied himself to commercial pursuits. [VERSCHUUR, LiEVEN, a marine painter, was born at Rotterdam, and flourished in the latter half of the seventeenth century. His manner resembles somewhat that of De Vlieger ; equally free, but per- haps more lively in colour. His sea-pieces and river- scenes by moonlight are excellent. In the Museum at Amsterdam are two pictures by him ; one repre- sents Charles II. of England entering the port of Rotterdam, and the other, the punishment of a sur- feon for having attempted to poison Admiral Van fes. Albert, the brother of Lieven, was a por- trait-painter. They both died in the same year, 1691.1 [VERSTEEG, or VERSTEIGH, Michiel, a vers] PAINTERS AND ENGRAVERS. [VEUt painter of landscapes, and interiors of apartments by lamp or candle-light, was born at Dort in 1756. He commenced by painting landscapes with figures and cattle, which he did in a very pleasing manner, somewhat resembling Jansons, though evidently aiming at the older and greater masters ; in colour- mg they are verdant, yet warm, and the details are carefully attended to, particularly in the trees, which are sometimes too much elaborated. He afterwards abandoned landscape, and painted interiors, with subjects called conversations, by lamp-light, or can- dle-light, in which he became eminent. Without reaching the excellence of Schalken in pencil- ling, he often equals him in the effects of his light and shadow, and the scientific distribution over a larger space. His pictures of this class are to be found in the best collections in his own country, and some few have been brought to England. He lived much respected to a good old age, but the edit- or has not ascertained the exact year of his de- cease ; it was about 1840. He was a member of the Royal Institute of the Netherlands, and of the Aca- demy of Painting at Antwerp ; the latter honoured him with a medal, in testimony of the merit of his beautiful works.] VERSTRAELIN, J., a Dutch engi-aver, who flourished about the year 1620. We have by him a plate representing Maurice, Prince of Orange, Ijang dead, surrounded by his officers and guards. In the foreground are two children holding his achieve- ment. This print is more valued for its rarity than the merit of the execution. VERTANGEN, Daniel. According to Des- camps, this artist was bom at the Hague in 1598, and was a disciple of Cornelius Poelemburg. He painted similar subjects to those of his master, re- presenting landscapes, with small figures, princi- pally Nymphs bathing. Bacchanals, and subjects from Ovid. His pictures are pleasingly composed, and are, like those of his instiiictor, finished with great neatness, and agreeably coloured. They are, however, very inferior to those of Poelemburg, both in respect to force and the beauty of the colouring. From the similarity of the subjects, the best works of Vertangen have occasionally been mistaken for those of Poelemburg, but this can only happen to the inexperienced collector. VERTUE, George. The memoirs of this estim- able artist and antiquary have been detailed in so interesting a manner, by the noble author of the Anecdotes of Painting in England, a work, chiefly digested and published from the manuscript notes of Mr. Vertue, that we cannot present our readers with a more satisfactory account of him than by giving the following extract from it. George Vertue was born in the parish of St. Mar- tin's in the Fields, London, in the year 1684. His parents were more honest than opulent. About the age of thirteen he was placed with a master who en- graved arms on plate, and had the chief business of London; but who, being extravagant, broke and returned to his country. Trance, after Vertue had served him about three or four years. Returned to his parents, Vertue gave himself en- tirely to the study of drawing for two years, and then entered into an engagement with Michael Vandergucht for three more, which term he pro- tracted to seven, engraving copper-plates for him, when, having received instructions and advice from several painters, he quitted his master on handsome terms, and began to work for himself. This was in the year 1709. The first twelve months were passed in drawing and engraving for books. The art was then at the lowest ebb in England. The best per- formers were worn out ; the war with France shut the door against recruits ; national acrimony, and the animosity of faction, diverted public attention from common arts of amusement. At that period the young engraver was recommended to Sir God- frey Kneller, whose reputation, riches, parts, and acquaintance with the first men in England, sup- ported what little taste was left for mrtu, and could stamp a character wherever he designed to pa- tronize. At intervals of leisure he practised drawing and music, learned French and a little Italian. It ap- pears that he afterwards acquired Dutch, having consulted in the originals all that had been written in those three languages on the art to which he was devoted. His works began to draw attention, and he found more illustrious patronage than that of Kneller. Lord Somers employed him to engrave a plate of Archbishop Tillotson, and rewarded him nobly. The print will speak for itself. It was the ground- work of his reputation, and deserved to be so. Nothing like it had appeared for some years, nor at the time of its production had he any competi- tors. Edelink was dead in France, White in Eng- land, Van Gunst in Holland. In 1711 an Academy of Painting was instituted by the chief performers in London, Sir Godfrey Kneller was placed at the head ; Vertue was one of the first members, and drew there for several years. To the end of that reign he continued to engrave portraits from Kneller, Dahl, Richardson, Jervas, Gibson, and others.- On the accession of the present royal family he published a large plate of the head of the king, of which a great many were sold, though by no means a laborious or valuable performance. However, it was shown at court, and was followed by those of the prince and princess. All concurred to extend his business. In any recess from that he practised in water-colours, sometimes attempting portraits; oftener copying from ancient or curious pieces, which he proposed to engrave. So early as the year 1713, he commenced his researches after the lives of our artists, and began his collections, to which he added prints by former masters, and every thing that could tend to his great work, the History of the Arts in England. His thirst after British antiquities soon led him to a congenial Mecaenas. That munificent collector, Robert Harley, second Earl of Oxford, early distinguished the merit and application of Vertue. Another patron was Hene- age Finch, Earl of Winchilsea, whose picture he painted and engraved, and who, being president of the Society of Antiquaries, on its revival in 1717, appointed Vertue, who was a member, engraver to it. The plates published by that society from cu- rious remains, were most of them by his hand, as long as he lived. The university of Oxford employed him for many years to engrave their almanacks ; instead of in- sipid emblems that deserved no longer duration than what they adorned, he introduced views of public buildings and historic events. In 1730 appeared his twelve heads of poets, one of his capital works. Vertue's next considerable production was a set of heads of Charles I. and the loyal sufferers in his cause, with their characters subjoined, from Claren- don. Thi* was scarce finished, before Rapin's His- tory of England appeared. The two brothers, 863 vest] A DICTIONARY OF [UGGI Knaptons, engaged Vertue to accompany it ^Tth effigies of kings, and suitable decorations. This undertaking employed him for three years. He next engaged with the Knaptons to engrave some of the illustrious heads, the greater part of which were executed by Houbraken, and undoubtedly sur- passed those of Vertue; yet his performances by no means deserved to be condemned, as they were by the undertakers, and the performer laid aside. In 1740 he published his proposals for the commence- ment of a very valuable work, his historic prints, drawn with extreme labour and fidelity, and exe- cuted in a most satisfactory manner. To the indefatigable exertions of this laborious artist we are indebted for the preservation of many valuable antiquities, besides the numerous portraits he engraved for the illustration of English history. He continued his researches, and the exercise of his art, until he reached his seventy-second year, when he died in 1756, and was buried in the clois- ters of Westminster Abbey. His works are ex- tremely numerous, and consist of portraits, copies from old pictures, and antiquities of every kind. Lord Orford has given a complete list of them at the end of his catalogue of engravers. The follow- ing is as ample a hst of his prints as our limits will permit : PORTRAITS. King Richard II. ; from the painting in 'Westminster Abbey. Queen Elizabeth ; after Isaac Oliver. Maiy, Queen of Scots ; after Zuccaro. Queen Anne ; after Knetler. King George I. ; 1715 ; Tery large. The same ; smaller ; 1718 ; a better print. George,, Prince of Wales. The Princess of Wales, with an Angel bringing a Crown ; After Amiconi. Frederick, Prince of "Wales ; after Boit. Princess Anne. ■William, Duke of Cumberland ; after Jervas. Princess Mary, "William Seymour, Duke of Somerset. Henry Somerset, Duke of Beaufort. "William Cavendish, Duke of Newcastle. John, Duke of Marlborough. John, Duke of Buckingham. Philip, Duke of "Wharton ; after Jervas. Lionel, Duke of Dorset. Henry Howard, Earl of Surrey. Francis, Earl of Bedford. Edward, Earl of Dorset. Heneage, Earl of "Winchilsea. I Edward, Earl of Oxford, sitting ; with many pieces of his collection round him. Sarah, Duchess of Somerset. Elizabeth, Countess of Shrewsbury. Dorothy, Countess of Sunderland. Sophia, Countess of Granville. Archbishop Warham. Archbishop Cranmer. Archbishop Parker. Archbishop Tillotson. John Bobinson, Bishop of London. Edward Chandler, Bishop of Durham. Gilbert Burnet, Bishop of Salisbury. "William Loyd, Bishop of "Worcester, sitting in his library ; one of his best prints. John Spencer, Dean of Ely. Humphrey Prideaux, Dean of Norwich Sir Thomas More. Sir Nicholas Bacon. Sir Francis Bacon. Sir Joseph Jekyll, Master of the Rolls, sitting; fine. Sir John "Vemay, Master of the Bolls ; fine. HISTORIC PRINTS, AND PRINTS WITH TWO OR MORE PORTRAITS. Henry "VII. and his Queen, with Henry "VIII. and Jane Seymour. 864 Three Children of Henry VII. Charles Brandon, Duke of Suffolk, and Mary, Queen of France. Frances, Duchess of Suffolk, with Adrian Stoke, her first husband. Thomas, Earl of Arundel, his Countess and Children ; a private plate. Thomas, Earl of Strafford, and his Secretary. The Earl of Strafford's three Children. "William, Duke of Portland, his Duchess, and Lady Mary "Wortley. The Procession of Queen Elizabeth to Hunsdon-house. The Tomb of Lord Damley. James I. when a child. Earl and Countess of Lenox, &c., praying by it. The Battle of Carberry-liill. Edward VI. granting the palace of Bridewell for an hospital. The Court of "Wards, with an explanation. VBRVEER, Art Hubertsz. This artist was born at Dort in 1646. He painted history, and is said to have been a correct designer, but was heavy and black in his colouring. In attempting to imi- tate the magical effect of Rembrandt, his tints be- came gloomy and obscure, and his best performances appear to have been the productions of negligfence and despatch. VERWILT, Francis. This artist was born at Rotterdam in 1598, and was a scholar of Cornelius de Bois, a landscape painter of little celebrity, whom he soon surpassed. He was a successful imitator of the works of Cornelius Poelemburg, and his land- scapes are decorated with figures, in the style of that master. His pictures are nighly finished, and his colouring is brilliant and clear. [He died in 1655.] VEYTH. SeeVYTH. UGGIONE, or OGGIONE, Marco, was a native of Oggione, near Milan, and was born about the year 1480. According to Lanzi, he was one of the most favoured disciples of Lionardo da Vinci, and may bfe regarded as one of the ablest painters of the Milanese school. He did not adopt the elaborate and finished style which was followed by the ma- jority of the scholars of Lionardo, but principally distinguished himself by his extensive works in fresco, which were admired for the beauty and bold- ness of his design, and the purity of his colouring, which has lost nothing of its original freshness. Such are his great works in the church of La Pace, at Milan, and, above all, his picture of the Cruci- fixion, in the refectory, composed in the grandest style, correctly designed, with an admirable ex- pression in the heads, which would not have dis- graced his illustrious instructor. He copied the celebrated Last Supper, painted by Lionardo da Vinci for the refectory of the Padri Domenicani at Milan, for the Carthusians at Pavia, in so exquisite a manner, that it almost compensates for the loss of the original. Of his oil pictures, two of the most esteemed are in the churches of S. Eufemia, and S. Paolo in Compito, at Milan, which, though highly respectable, are inferior to his fresco works. He died in 1530. [The exact year of Marco da Oggione's birth is not ascertained; it was probably ten years earlier than that supposed in the text. His pictures painted in fresco in the church and refectory of Santa Maria della Pace, at Milan, are now in the Brera; they were removed from the walls by Barezzi. What- ever difference of opinion may exist respecting the merits of '5^s original works, there can be none with regard to the obligation he has conferred by his copy of " The Last Supper" by Lionardo da "Vinci. That copy is now in the Royal Academy of Arts in England, and has every right to be considered the UHLl] PAINTERS AND ENGRAVERS. [vice most accurate extant. The editor reverts with pleasure to the part he took in placing it there. It was imported to this country by a foreigner in con- junction with Mr. Jones, a gentleman at that time actively employed in the traffic of works of art. By the editor's advice it. was for a short time exhibited, but attracted very little attention. The artists who were invited, scouted it ; it was but a copy ; — they wanted the original. That, however, Cavaliere Bossi's book, del Cenacolo, showed was impossible, as scarcely a vestige of it remained two centuries before. The importers were disappointed, and some- what embarrassed ; it was again rolled up to try its fortune elsewhere. As a last resource, the editor wrote an article, Which was inserted in the " An- nals of the Fine Arts," a pubUcation of the day, conducted by Mr. James Elmes, of which a copy may perhaps some where exist, and this attracted the more particular notice of Mr. Thomas Lawrence, and the picture was -bought at his recommendation, at an abated price. The true lover of art will always E refer this old unassuming copy to any of later date, owever well got up, as is observed by Mr. Wornum. The same intelligent writer on art justly remarks that " the mere fact that Oggione's copy was paint- ed for people who must have been well acquainted with the original, and by a distinguished pupil of Lionardo from the original when in a perfect state, ought to be sufficient guarantee for its fidelity, not- withstanding its imperfections, making of course due allowance for the ditferent capacities of the two men."] UHLICK, an obscure German engraver, who resided at Leipsic. The name of this artist is affixed to a portrait of John Melchior Jacob, dated I7I9. It is neatly engraved, but in a stiflf, formal style. [Ac- cording to Zani he operated as late as 1740.] VIA, Agostino a. This artist was a native of Verona. His name is affixed to a print represent- ing Daniel in the Lions' Den, aft^ Pietro da Cortona. VIA, Alessandeo della, an Italian engraver, who resided at Venice about the year 1730. He en- graved several portraits, which ai-e very indifferently executed, and a plate, representing the Virgin and infant Christ, with St. Sebastian and other saints, after Paolo Veronese. VIANEN, John van, a Dutch engraver, bOm at Amsterdam about the year 1660. He engraved several portraits, as well as frontispieces and other book-plates. We have also by him several views in Amsterdam. His plates are chiefly executed with the graver, in a neat style, though without much taste. Among his portraits are the following : Frederick WilMam I., King of Prussia. Augustus Pfeiffer, superintendant at Lubec. John Turetin, Theologian, of Geneva. [Brulliot is of opinion that the views in Amster- dam are by Isaac Van Vinne : but he attributes to Vianen the plates to Le Noble's Fables.] [VIANEN, Paul van, a portrait painter, as we learn from a print in which he appears seated at work on a portrait, in an oval, of Jan Van Aken, which rests on his easel. There are three persons in the print, aU in the prime of life; they wear ruffs, and look towards the spectator. Below is inscribed, " In hac tabella qui pingitur, loannes ab Aken ; qui pingit, Paulus Vianensis ; uterque arte celeberrimus"; and in the margin, Joannes lutma de oude mv.— Jacobus lutma fecit aquafarti et exc. — ■ Whether this is the same as Paul Van Vianen, the goldsmith, modeller, and chaser, who flourished 3k about the middle of the 17th century, may be worth inquiry.] VIANI, Giovanni [Maria.] This painter was born at Bologna in 1637, and was a fellow student with PasineDi, in the school of FlaBiinio Torre. Few of his contemporaries equalled him in the cor- rectness of his design, which he continued to im- prove by a constant attendance at the academy, to draw from the model, and to cultivate his know- ledge of anatomy, a practice he continued till the end of his life. To his perfect acquaintance with the figure, he added an elegance in his forms, a grace in his attitudes, and an amenity in his co- louring, which remind us of the admirable produc- tions of Guido. In the public edifices at Bologna, he has left several proofs of his ability, of which the most esteemed are, the Annunciation, in the church Of S. Giuseppe; and S. Filippo Benizi carried up to Heaven ; and the Crowning of the Virgin, at the Servi. He died in 1700. [Bartsch describes four etchings by him; Christ crowned with Thorns, after Annihal Carracci ; St. Francis with the Infant Christ in his arms, after Lodovico Carracci ; Dido, after Annihal r and War, after Lodomco. Other pieces are cited by L. Crespi.] VIANI, DoMENico [Maria,] was the son of the artist mentioned in the preceding article, born at Bologna in 1670, and was educated under his fa- ther, who kept a rival academy to that of Carlo Cignani, which was much frequented. Guidalotti, who has written the life of this artist, extols his talent as superior to that of his father ; an opin- ion to which few of the judicious will be inclined to subscribe. He is not only inferior to the elder Viani in the correctness of his design, but in the beauty of his forms, and in the truth and deli- cacy of his colouring. He is, however, bolder in his outline, and more vigorous in the opposition of his lights and shadows, in which he appears to have imitated the works of Guercino ; and more ex- travagant in his ornaments, which he acquired by his studies after the Venetian masters. In the church of La Nativity, at Bologna, is a series of the Prophets and the Evangelists by him ; and in the chui^ch of S. Spirito, at Bergamo, is a picture representing a Miracle wrought by S. Antonio, which is mentioned by Lanzi in very favourable terms. He died at Pistoja in 1716. [Zani says he was born in 1668, and died in 1711. Bartsch de- scribes an etching by him of Joseph with the infant Jesus.] VICARO, Francesco. By this artist we have a set of neat etchings of landscapes, executed in a spirited style, and as they appear to be the produc- tions of a painter, are pfobably from his own de- signs. [This is the same as Francesco Vaccaro. See that article.] [VICENTE, Babtolome, a landscape and fres- co painter, born at Saragossa in 1640, studied painting under Juan Carreno at Madiid. It is said that he spent seven years in copying pictures at the Escurial, and those he most admired for their colouring and taste were the works of the Bassans. He painted a few pictures at Madrid, some of which were from designs by his master. Having acquired the reputation of a good painter he returned to Saragossa, and employed himself in teaching ma- thematics, and painting landscapes of small size, which he treated in an agreeable manner. Among his larger works are quoted a fresco for the convent of the Augustines, the altar-piece of the churcTi of St. Lawrence, and St. Peter in Prison, in the Uni- 865 vice] A DICTIONARY OF [VICT versity. Some of his pictures are said to exist in the Hieronymite convent at the Pardo, near Valla- dolid. He died at Saragossa in I7OO.] VICENTINO, Andrea. This painter was born at Venice in 1539, and was a scholar of. the elder Palma. He painted history in the style of his in- structor, and was employed in several considerable works, representing subjects from the history of the Republic, in the Sala del Gran Consiglio, in the palace of St. Mark. He also painted easel pictures for private collections, of which Lanzi particularly notices one in the Florentine Gallery, representing the Anointing of Solomon, King of Israel. He died in 1614. VICENTINO, Batista, an Italian engraver, who was a native of Vicenza, and flourished at Venice about the year 1540. In conjunction with Giovanni Batista del Moro, he engraved a set of fifty plates of landscapes, with ruins and architecture, which are executed in a bold, spirited style. He usually marked his prints Batista, P. V, F,, and accom- panied them with Latin inscriptions, descriptive of the particular views they represented. [This is the same as Batista Pittoni. See that article.] _ VICENTINO, Francesco Mafpei, was a na- tive of Vicenza, and flourished about the year 1630, and he was a scholar of Santo Peranda ; but he afterwards improved his style by studying the works of Paolo Veronese. He painted many pictures for the churches and pubhc edifices at Padua, where he principally resided, and died in that city in 1660. VICENTINO, Giovanni Niccolo, called Ros- siGLiANi, an Italian painter, and engraver on wood, bom at Vicenza about the year 1510. His cuts are executed in chiaro-scuio, in which he made use of three blocks ; among others are the following : Hercules MlUng the Lion ; after Saffaelle. A Sibyl reading a Book ; after the same. Venus embracing Cupid. The Death of Ajax ; after Polidoro da Casravaggio. [See Bartsch, Peintre Graveur, torn, xii., where it will be found that this artist signed Joseph Nico- laus Vicentini, and Nic, 8. Vicentino, I. ; for the other names, Giovanni, and Rossigliani, he thinks there is no good foundation. He is also called Gioseffo Scolari Vicentino. These capricious vari- ations have caused much confusion.] VICENTINO, Niccolo. See Boldini. VICO, or VICUS, or VIGHI, Enea. This artist was born at Parma about the year 1512. He is said to have been instructed in design^by Giuho Romano. The distinguished reputation Marc An- tonio had acquired at Rome by his engravings, ex- cited his curiosity, and he visited that capital, where he became his disciple. Naturally of an ardent disposition, he appears no't to have been endowed with sufiicient patience to finish his plates in the beautiful style of his instructor ; and, although he perfectly understood the design of the figure, his impetuosity did not permit him to pay proper atten- tion to the correctness and beauty of his outline, a quality so justly admired in the works of Marc An- tonio. His prints, notwithstanding these defects, are held in considerable estimation. Enea Vico was also an engraver on wood ; we have by him a wooden cut of the portrait of Charles v.. Emperor of Germany, surrounded by emblemar tical figures, composed with taste and well drawn. It is executed with great care, and the hatchings, in imitation of strokes, are well expressed. He en- graved a variety of medals, and a set of thirty-six antique gems. When he did not sign his plates 866 with his name at length, he marked them with the initials M. V., sometimes upon a tablet, and some- times without it. His prints are extremely numer- ous, of which the following are the most worthy of notice : PORTRAITS. Charles V., surrounded by emblematical figures, inscribed, Inventum soulptumqtib ab Aenea Vico Par- MBNSE, MDIi. Bust of Giovanni de Medici, in a border. 1560. Bust of Cosimo.de Medici, when young. Bust of Alfonso II., Duke of Ferrara. VARIOUS SUBJECTS. The Army of Charles V. passing the Elbe ; from his The Battle of the Amazons ; inscribed, JBellum Ama- zonum. 1543. A Female Figure, with her arms extended, over which appears an Owl flying in the air ; after Parmigiano. 1548. A free subject of Vulcan and Venus ; after the same, 1543. The Battle of the Lapithae and Centaurs; after II Rosso. 1542. The Dispute of Apollo with Cupid ; after Baccio Ban- dinelli. The Academy of Baccio Bandinelli ; after the same. The Conversion of St. Paul ; after F. Salviati. Judith with the Head of Holofemes ; after M. Aiig'eh Biionaroti. The Entombing of Christ ; after Raffaelle. 1548. The Death of lucretia. 1541. Jupiter and Leda ; after M. Angeh Biumaroti, A Bacchanalian Subject ; after the same. The Annunciation; after Titian. A set of twelve Vases ; from the designs of Polidoro da Caravaggio. A set of finy plates of the Habiliments of different Na- tions ; from his own designs. [It is imperative that the inquirer refer to Bartsch, Peintre Graveur, tom. xv., for full inform- ation respecting Eneas Vico, and his works. He will there find descriptions of nearly 500 prints by him. It may, however, be noticed that probably he was born in 1520, as stated by Bartsch and Zani, and died about 1570. His first master was Tomasso Barlacchi, who was a print publisher. Zani and Bartsch are decidedly of opinion that Eneas Vico never engraved on wood ; and the latter says there does not exist after his design even, an engraving in wood. VICTOR, or FICTOOR, John, a Dutch painter, who, according to the dates found on his pictures, flourished about the year 1640. This able artist has escaped the notice of every biographer, although his works are found in the choicest collections, a distinc- tion to which their extraordinary merit deservedly entitles them. From his style of penciling, and his intelligent management of the chiaro-scuro, it is more than probable that he was educated in the school of Rembrandt; and, though there is less depth and glow in his colouring than in some of the best productions of that admired master, his tints are clearer, and not less chaste. His pictures usually represent subjects taken from the Old Testament, which are treated entirely in the manner of Rem- brandt. He sometimes signed his name Fictoor, as appears from a picture by him in the Gallery of the Louvre, which is inscribed Jan Fictoor. 1650. [The history of the Victors, or Fictoors, is lost in obscurity, though their works are now pretty gene- rally known. It is certain there were several of the name; we find Jan, F., S., Jacob, or Jacques, and Lodomch, or Laurens, and they appear to have been contemporaries. Jan was the eldest, and probably the father of the others. He was of VICT] PAINTERS AND ENGRAVERS. [VIEH Flemish origin, and studied in the school of Rubens, though he afterwards adopted the manner of Rem- brandt. So closely does he approach that master, that it is impossible to divest one's mind of the be- lief that he practised under him, though there be no other evidence than what appears in his pictures from sacred history. It would scandalize some were the editor to point out works that have hither- to been attributed to Rembrandt, which owe their paternity to Jan Victor; but there are such, and in rich collections too. It is not meant that they possess all the excellences of the great master, but sufficient of his principles to deceive, without a close examination by a duly qualified connoisseur. The possessors seldom have a doubt ; if they are dealers, never. The diversity of manner that appears in the pic- tures which have the name of Ihtoor, or Victor, both in the subjects and the execution, clearly shows that they are not from the same mind nor the same hand. Jan Victor, havingimbibedin theschool of Rubens a taste for the elevated, chose the histo- ric, though he sometimes exercised his pencil on por- traiture. It is true, that with the penciling and co- louring of Rembrandt, he adopted his characters, and not the more refined and dignified of Rubens. The historical pictures with the name, however, be- long to him. Whether JF. and S., Jacob and Lodovick, chose different walks, or painted occasionally together, is not easy to determine. There are pictures of vil- lage pastimes and peasants' occupations, travellers refreshing at inns, fish-markets, fruit-stalls, and similar subjects ; and of fowls, fish, landscapes with animals, and objects of stiU life, which belong to them. In the landscapes with travellers, and pea- sants at alehouses, there may be observed a resem- blance to pictures attributed to Camphuysen. F. Victor was Known as a painter of familiar subjects, Lodovick of still life, Jacob of animals; they aU flourished from about the middle of the 17th century. It is supposed that Jan, the chief of the name, who operated in 1620, was bora about 1600, and died about 1670.] .VICTORIA, Vicente. This Spanish painter was bom at Valencia in 1658. He went to Rome when he was young, where he became a scholar of Carlo Maratti. He distinguished himself in Italy as a painter of history, and was taken into the em- ployment of the Grand Duke of Tuscany. His por- trait is among those of the distinguished artists in the Florentine Gallery. He also painted several pictures for the churches and convents at Valencia. He died at Rome in 1712. We have a few etchings by this artist ; among which are the following : The Virgin and infant Christ in the clo^ds, with a glory of angels, and St. John, St. Fiancis, and St. Jerome be- low ; after Raffaelle. The Last Supper ; after Ciro Ferri. The Kesuxrection ; after the same. [He was more eminent in literature and antiquarian knowledge than in painting ; his highest praise for the last being that he imitated, but did not equal. Carlo Maratti. It was the Madonna di Foligno that he engraved, and dedicated to the Grand Duke Cosmo III. There are a great number of etchings and en- graving by him, which are neatly executed.] fVIDAL, Diego, the elder, a Spanish histori- painter, was bom at Valmaseda in 1583. He painted a picture of a naked Christ, and one of the Virgin with the Infant in her arms, which were deemed worthy a place in the cathedral of Seville, of which he was a prebend, and are commended by Bermudez ; Pacheco, who had seen the drawings of Vidal, speaks of them in eulogistic terms. He died at Seville the 30th of December, 1615. He is called the elder to distinguish him from his nephew of the same name.] [VIDAL DE LIENDO, Diego, called the YOUNGER, bom at Valmaseda in 1602, was nephew of the foregoing, and like him was both a painter and a canon of the cathedral of Seville. He also followed his uncle's example in going to Rome to study the arts and divinity together. His pictures in the sacristy of the cathedred of Valencia evinced considerable skill, and represent a variety of Saints, and a copy of Raphael's picture of the Archangel Michael triumphing over the evil one. These figures are all of the size of life. The artist died at Seville the 9th of August, 1648.] [VIDAL, DiONisio, was born at Valencia about 1670, and was a disciple of Antonio Palomino, and also his travelUng companion to various places with Juan Conchillos, visiting shrines and antique re- mains, by which he obtained both pleasure and instruction. On his return to Valencia he was em- ployed to paint in fresco the vaults of the church of St.' Nicolas, which he executed from designs furnished by Palomino, who does not fail to de- scribe the subjects at large, and by no means to the disadvantage of the master .or his disciple. The subject of course relates to the life and miracles of the Saint, much of which is represented in allegory and by symbols. He painted pictures in several other churches, but some are destroyed, and some are of no great importance. He died at Tortosa while employed in painting the chapel of the Holy Virgin, of the Girdle; it is not said in what year.] VIDAL, Gerald, a French engraver, born at Toulouse in 1742. He resided chiefly at Paris, where he engraved a variety of plates after the modern French painters, among which are the fol- lowing: Jupiter and lo ; after Ch. Monnet. Jupiter and Antiope ; after the same. Venus and Adonis ; after the same, Binaldo and Armida ; after the same. Paris and Helen ; after David. [VIDAL, JosEF, a painter of battles and familiar subjects, was born at Vinaroz, and was instmcted by Esteban March at Valencia, under whom he distinguished himself, as a successful imitator of that master's vigorous style. He had a son of the same name, who was also a painter, but not of equal talent to his father.] [VIDAL, L , a painter of fruit, flowers, dead birds, and other natural objects. Of this artist there is no account, but his manner of composition resembles that of liie elder Van Os, though he ap- pears to have been an earlier painter. His drawing is very accurate, and his penciUng dehcate, but the tone is sometimes too low for effect. The poppy seems to have been a favourite, as it occupies a con- spicuous place, but he makes the rose, the tulip, and sundry wild flowers combine with it in perfect harmony. "The dew drops on the leaves are as transparent as those in pictures by Van Huysum, and a bird's nest with eggs almost equals that master.] VIEHL, Peter, a modern French engraver, born at Paris in 1755. He was a pupil of B. L. Prevost, and has engraved several plates, in a neat, finished style ; among others are the following : The Judgment of Paris ; after Rottenhamer. 867 VIEl] A DICTIONARY OP [VIQN The Bath of Diana ; after Mettai. A pair of Landscapes ; after Ruysdael. [VIEIRA, Francisco, a Portuguese painter, born at Lisbon in 1699, studied painting in the school of Trevisani at Rome, and further improved himself by copying the works of Annibal Caracci in the. Parnesian Gallery. He resided for nearly seven years at Rome in the suite of the Marquis of Abrantes, and having carried off the first prize in the Academy of St. Lulie, he returned to Portugal. At this time he was only in his sixteenth year, but he was commissioned by the king, John V., to paint a large picture of the Mysteries of the Eucharist, which it seems he accomplished to the satisfaction of his Majesty in six days ; he afterwards had the honour to portray the royal countenance, to be used as a model at the mint for the coin dies. He had now formed an attachment to a young lady of a high family, and this gave rise to some romantic adven- tures, her friends being opposed to their union, and he being equally determined to possess her. A con- vent, a journey to Rome, a disguise, an elopement, a hairbreadth escape from a pistol ball, and other in- cidents, occupy some years of his life, but still em- ployed with his pencil in Italy and Spain. The love affair being settled, and Vieira recalled to Por- tugal by the. king, he fixed his residence at Lisbon, where, for forty years, he painted for the palace, convent of Mafra, and other places, with much re- putation. Many of his pictures are said to have perished in the great earthquake at Lisbon in 1755, but some of the best escaped. Count Raczinski particularizes a few of his works. He mentions one obtained by the Count de Lippe, a magnificent pic- ture of St. Anthony ; another, an Adoration of, the Kings, purchased by an Englishman named Wil- liam Hudson, at a large price ; an excellent picture of St. Augustine at the entrance of the convent of Grace, a St. Prancis near the principal altar in the church of the Infant Jesus ; pictures of the Apostles Peter and Paul, and others of St. Frangois de Paule, and of Paul the first Hermit. To these he adds the enchanting pictures of the unhappy Dona Infes de Castro, and of Duarte de Pacheco, which are to im- mortalize his memory. He was skilful as an architect, and a specimen of his talent is referred to in a foun- tain whichhe designed for the gardenofDon Gusmao. In 1744 he entered the religious order of Santiago; and in 1755 his wife, the nun Ignez, for whom he encountered so many adventures, died. He rehn- quished the pencil from that time, and retired to spend the rest of his days in pious meditation. He died at Lisbon in 1783. Cean Bermudez speaks favourably of his drawing, and the vigour of his fancy ; and says he etched and engraved in a man- ner to satisfy the inteUigent.] [VIEIRA, Francisco, the younger, a Portu- guese by birth, who studied painting in Italy, and came to England at the latter end of the I8th cen- tury. He exhibited some pictures at the Royal Academy in the years 1798 and 1799 ; one of which is described as Viriato, the Lusitanian chief, exhort- ing his countrymen to take vengeance for the per- fidy of Galba. Vieira, during his stay in England, resided with Bartolozzi, and probably studied under him, as he is also said to have been an engraver. He married and returned to his own country, where, it is said, he died in 1805. He is called the younger, to distinguish him from the more eminent painter spoken of in the preceding article.] VIEN, Joseph Maria. This artist was born at Montpellier in 1710, and studied at Paris under 868 Charles Natoire. He afterwards visited Rome, where he passed some years in designing from the antique, and the best masters of the Roman school. On his return to Prance he was admitted a member of the Academy at Paris, and was afterwards ap- pointed professor of painting. He painted several pictures for the churches at Paris and at Versailles, which gained him considerable reputation. We have a few etchings by this artist, among which is a set of thirty small plates, representing the difierent habits of the Turkish masquerade given at Rome by the pensioners of the Royal Academy of France. He also engraved the following prints : Lot and his Daughters; after de Troy; [after his ovm design also.'] A set of five Bacchanalian subj ects ; from his own designs. [Joseph Marie Vien was born the 18th of June, I7I6, at Montpellier, and died at Paris the 27th of March, 1809. He was a very prolific painter of subjects religious and profane, and gained as much reputation by the one as the other. For the churches he painted Jesus instituting the Eucharist, The Raising of Lazarus, The Preaching of St. Denis, The Holy Virgin attended by Angels, Saints re- ceiving Crowns in reward for Martyrdom, Miracles, and Legends for the edification of devotees. For places less sacred. The parting of Hector and An- dromache, Helenpursued by Eneas, Venus wounded by Diomed, Briseis in the tent of Achilles, Sappho playing on the Lyre, Cupid and Psyche, a young Greek Girl comparing her breast to a Rose-bud, Sports of Nymphs and Cupids, Union of Hymen and Love, the Adventures of Lot and his Daugh- ters ; and judging by the numbers, these latter sub- jects were his fevourites. He was a member of several Academies in France and Italy. Napoleon created him a Count of the empire and Command- ant of the Legion of Honour ; he was also a mem- ber of the Senate. He was the master of David, and considered the regenerator ofpainting in France,] VIENOT, Nicholas, a French engraver, who flourished about the year 1630. He imitated, with considerable success, the style of engraving adopted hy Pontius. We have the portraits of Philip IV., King of Spain, and his Queen, Elizabeth of Bourbon, copied by him on a smaller scale, from the prints engraved by Pontius, after Muhens. He also en- graved some plates from John Both, Pellerin, and other masters. [There was another engraver of the same name, who operated fifty years later.] VI6HI, . SeeVico. VIGNALI, Jacopo. This painter was bom at Florence in 1592, and was a disciple of Matteo RosselU. His style resembles that of Guercino, not so much in his forms as in the breadth of his masses, and in the vigorous effect of his light and shadow. His principal works in oil are in the church of S. Simone, at Florence ; but he appears to greater ad- vantage in the frescoes with which he has decorated the chapel of Buonaroti. He died in 1664. VIGNON, Claude, a French painter and en- graver, born at Tours in 1590. He studied several years in Italy, where he attached himself to the style of Michael Angelo Caravaggio, which he fol- lowed with some degree of success, though he was equally ignoble in the selection of his forms, and without his excellence in colouring. He died in 1670. We have by this artist several etchings ex- ecuted in a spirited and masterly style, among which are the following : A set of thirteen plates of the Life of Christ. St. John in the Desert. vigr] PAINTERS AND ENGRAVERS. [VILt St. PhiKp baptizing the Eunuch of the Queen of Candace. The Martyrdom of St. Andrew. The Crowning of the Virgin. [For an account and description of twenty-seven etchings by him, see Duraesnil, P. G. F., torn. vii. He left two sons, Claude Francois, a,ni. Philippe, who were both painters, but neither distinguished himself.] VIGRI, Caterina. This paintress was born at Bologna in 1413. She is sometimes called S. Ca- terina di Bologna, from the sanctity of her Ufe, which was chiefly passed in a cloister. She rarely painted in oil, being principally engaged in illumin- ating missals, and painting in miniature. She died in 1463. VILA, Senen. According to Palomino, this Spanish painter was a native of Valencia, and a disciple of Estevan Marc. He resided chiefly at Murcia, where he painted a great number of pic- tm'es for the churches and public edifices, particu- larly for the convent of Santa Isabel, the monastery of Santo Domingo el Real, and the Enfermaria di San Francisco. He was a more able designer than a colourist, and gave great expression to his heads. He died in 1708. VILA, Lorenzo, was the son and disciple of the artist mentioned in the preceding article, and was born at Murcia in 1682. He painted history in the style of his father, and had gained considerable re- putation by the pictures he painted for the churches, particularly a Holy Family, for the refectory of S. Fulgenzio, at Murcia, when he became an ecclesias- tic, and died in 1713. VILADOMAT, Don Antonio. This painter was born at Barcelona in 1678. He is said to have made a surprising progress in the art, without the help of an instructor, and when he was twenty-one years of age, was engaged to paint a set of pictures of the Life of St. Bruno, for the Carthusians at Monte AUegre, in which he evinced extraordinary powers of native genius, unassisted by the advan- tages of a technical education, or improved by travel. He also painted three subjects from the Life of St. Francis, for the cloisters of the Franciscans, at Barcelona, which were greatly admired. He died in 1755. [Mengs regarded Antonio Viladomat as the prin- cipal Spanish painter of the day, and other good judges have spoken of his works with approbation. He did not confine his talents to subjects for churches and convents; he painted landscapes of great beauty, and battle-pieces admired for their spirit ; and he was no less successful in portraiture. For the last seventeen years of his life he was afiUct- ed with paralysis in his hands, ^nd of course ceased to work with the pencil. He left a son named Joseph, who was also a painter, but very inferior to his father. The works of both are to be found in the churches and convents of Barcelona.] VILLACIS, Don Nicholas de. This Spanish "^painter was of a noble family of Murcia, and, after receiving some instruction in design in his native city, his parents sent him to Madrid, to enter the school of Don Diego Velasquez. He afterwards travelled to Rome, where he improved his style, by studying the most remarkable works of art in that capital. On his return to Spain he established himself at Murcia, where he distinguished himself by several considerable works, of which the most important was a series of pictures of the Life of San Bias, in the convent of la Santissima Trinidad de Calzados : and the Martyrdom of S. Lorenzo, in the church of the Dominicans. [Being rich, he painted chiefly for his amusement, and therefore his works are rare in public places. His correspondence with Velasquez is said to be still in existence. He died in 1690.] VILLAPRANCA, Pedro. This artist is men- tioned by Mr. Strutt as the engraver of a Head of Frederick Ordez de Valais. [Pedi-o de Villafi-anca Malagon, a Spanish en- graver and painter, was born at Alcolea in La Mancha, and received instruction at Madrid from Vincencio Carducho. He, however, preferred the gi-aver to the pencil, and is one of the few Spaniards that have excelled in the art. He engraved a great number of title-pages, portraits, and illustrations, particularly for the Books of Official Rules of the Orders of Santiago, Calatrava, and Alcantara; these are also embellished with portraits of Philip IV., to whom he was appointed engraver in ordinary, with a salary of 100 ducats. The dates of these works are from 1640 to 1660. The pictures that have been noticed as by him, are some which he executed for the church of San Phelipe el Real at Madrid, for which the prior paid him 20,136 reals. The time of his decease is not ascertained, but his last known print is the portrait of Calderon, engraved in 1676.] VILLAIN, G. R., [Gerard Renaud,] a French engraver, who flourished about the year 1760. He engraved a portrait of M. Dufour de Ville Neuve ; after Mauperin. VILLAMENA, Francesco. This eminent de- signer and engraver was born at Assisi about the year 1566. According to Baglione, he visited Rome in the pontificate of Sixtus V., where he applied himself with great assiduity in designing from the antique, and the works of the most distinguished masters. It is not certainly known by whom he was instructed in the art of engraving, but he is generally supposed to have been a fellow student with Agostino Caracci, under Cornelius Cort. His style of engraving is bold and open, and he handled the burin with uncommon facility. The effect of his prints is niore clear than powerful, from the lights being too equally diffused over the whole sub- ject, which gives them a slight and unfinished ap- pearance. This defect is, however, discernible in most of the productions of that time, and is com- pensated in a great degree by the correctness of the drawing, and the expression in the heads. The prints by Villamena are numerous, they are occasionally signed with his name at length, some- times with the initials F. V. F., and he sometimes The following used the monogram are his most considerable works : PORTRAITS. CiEsar Baronius Soranus, Cardinal. 1602. Christophorus ClaTius, Bambergensis e Societ. Jesu. 1606. Robertus Bellarminus Politianus. Christiem IV., King of Denmark. Galilee GalUei, of Pisa, famous Mathematician. SUBJECTS FROM HIS OWN DESIGNS. St. Theresa meditating in her Cell. Mary Magdalene penitent, crowned by an Angel. St. Francis praying before a Crucifix. A set of six grotesque Figures, one of which is a Monk begging, accompanied by two Children. A print called The Boxers, representing a Man fighting against a crowd of people. Another print, called The Antiquary, representing Joha Alto standing in one of the streets of Rome. 869 VI LI,] A DICTIONARY OF [VINC SUBJECTS AFTER VARIOUS MASTERS. Moses showing the Braaen Serpent to the Israelites; after Ferrau da Faenea. The Virgin and infant Christ, with St. Francis; after the same. The Holy Family, with St. John, St. Elisabeth, and St. Anne ; after Raffaelle. 1602. The same subject ; engraved at Rome in 1611. St. Bruno, with his companions, doing penance in the Desert; after Lamfranco. The taking down from the Cross ; after Baroccio. The Presentation in the Temple ; after Paolo Veronese. This plate was begun by Agostmo Caracci, and was finished by Villamena ; it is scarce. St. Bernard, with the Virgin in the douds ; after Vanni. A set of twenty Scriptural subjects, from the paintings by Raffaelle, in the Vatioan, called Eaffaelle's Bible. [He died about 1626.] VILLAVICENCIO, Don Pedro Nunez. This Spanish painter was of a noble family of Seville, and was born in 1635. He was taught design as an accomplishment, in which his progress was so un- common, that he was induced to enter the school of Bartolome Esteban Murillo, for the purpose of cultivating painting, rather as an amusement than as a profession. He afterwards studied at Malta, under Matteo Preti, called II Calabrese, and for a short time followed the vigorous style of that mas- ter, but he returned to the tender and harmonious tinting of Murillo. He made presents of several of his works to the convents at Seville, where he died in 1700. [According to Bermudez, he painted chil- dren in a very beautiful manner, very little inferior to Murillo ; and was also distinguished as a portrait painter.] VILLE, A. DE. The name of this artist is af- fixed to a slight etching of an architectural frontis- piece, ornamented with figures, from his own de- sign. It is very indifferently executed. [VILLEGAS MAEMOLEJO, Pedro de, bom at Seville in 1520 ; it is not said under whom he studied, but from the beauty of his style it is sup- posed that he received his artistic instruction at Rome. Ponz supposed that he studied in the school of Raphael ; but that could not be, as Raphael died in the same year as Villegas ,was bom. He may have studied his works as well as those of other great Italian masters, and formed his style from theirs. His fine picture of the Visit of Mary to Elisabeth, in the cathedral at Seville, partakes of the manner of Pedro Campaiia, and has been attri- buted.to that master ; and his Lazarus in pontifical Robes, which he painted for the hospital of the La- zarinos, Bermudez considers equal to the best of that master. These are strong proofs of the merits of Villegas. Pacheco, however, has spoken dis- paragingly of him and his works ; but the key to this will be found in the friendship that subsisted between Villegas and Arias Montano, the compiler of the great Polyglot Bible, published at Antwerp, and whose principles were opposed to those of the Jesuits, of whom Pacheco was a violent partisan. Such disingenuousness militates more against the credit of Pacheco than the merits of Villegas. If there were no other commendation of the latter, it would be sufficient to say he possessed the friend- ship of Arias Montano. His works are become scarce. He died in 1597, and was buried in the church of San Lorenzo, where there is an Annunci- ation, and a Virgin and Infant, by him, adorning the altar. His friend Montano wrote the epitaph on his tomb.] [VILLEGUAIN,or VILLEGUIN, Etienne, a French historical and portrait painter, by whom 870 there are some creditable pictures, was bom in 1599, and died in 1668.] [VILLEREY, Antoine Claude Francois, an engraver, bom at Paris in 1768, according to Jou- bert, in 1754, according to Gabet, was a scholar of Romanet. He engraved several of the plates of Musee Filhol ; a great part of the vignettes for the edition of Voltaire pubhshed by Renouardj the Battle of Austerlitz for the work " Concours decen- nal ;" Innocence and Love, after PruXhon ; Hymen and Happiness, after the same; and twenty-six plates for the Galerie de St. Bruno, after Le Sueur He was living in 1831.] [VILLQLDO, Juan de, an historical painter, who resided at Toledo at the commencement of the sixteenth century, with great credit in his profession. As a proof of the estimation in which he was held, the chapter of the cathedral employed him to paint several pictures for the Muzarabic chapel, wbich he commenced in 1508, and, with the assistance of Ju- an de Borgona and Amberes, terminated in 1510. Prom this period till 1547 there is no record of his works, but in that year we find him employed by the bishop of Placencia to adorn a chapel which he had re-edified in the parish of St. Andrew, at Ma- drid. This was a work of considerable importance both for the number of the pictures, and the gi-eat variety of subjects ; but he finished it in 1548, a proof of the fecundity of his imagination, and the rapidity of his pencil. The subjects were from the fall of Adam, and the principal circumstances of the life and death of Christ, to the number of forty-five. They are praised by Bermudez for correctness of design, and for purity in the antique style. The exact year of his death is not ascertained j but it is supposed to be after 1551.] VILSTEREN, Van, a Dutch engraver in mezzo- tinto, by whom we have some portraits, among which is that of the Burgomaster Bikker. [VIMERCATI, Carlo, so called, but whose fa- mily name was Donelli, born at Milan in 1660, was a scholar of the Procaccini. He exhibited but few of his pictures at Milan, he painted more at Codogno, and in his best manner, and also in the new style of D. Crespi, which was inferior to that of the Procaccini. He died in 1715.] VINCENT, Hubert, a French engraver, who resided at Rome about the year 1691. He engraved a few plates in a very indifferent style ; among others are the following: The Nativity, called The Notte ; after Coreggio. The Judgment of Paris; after Pooh Veronese. [VINCI, Gaudenzio, said to be a native of No- vara, in Piedmont, flourished about 151 1. It is not ascertained under what master he studied, but two pictures attributed to him have a certain resem- blance to the works of Perugino, Prancia, and Li- onardo da Vinci. Lanzi places him among the imitators of the last. Mention is made of an altar- piece at Arona, near Milan, in the manner of Lio- nardo, which Lanzi designates an astonishing pro- duction ; it has the name Gaudenzio Vinci, and the date 1511. This picture, however, was lone con- sidered as the work of Gaudenzio di PeiTan, who flourished at the same period, and painted others in neighbouring places. Whether the latter ever as- sunied the name of Vinci, or that the baptismal name of the two artists caused a misappropriation, cannot now be resolved ; it is certain that tlie same style of painting is attributed by writers to both. But there is another picture with the date 1500, in the Manfrini palace at Venice, which at different VINC] PAINTERS AND ENGRAVERS. [VINC times has been ascribed to Perugino and to Luini, sTiowing that it partakes of the manner of both ; this is now said to be probably a work of Gaudenzio Vinci. It represents Christ washing the feet of his Disciples, and is praised for its solemn and beauti- ful arrangement. The draperies are partly in the style of Perugino, partly in the manner of the old Venetian painters ; the heads partake of the Um- brian and Venetian schools, nuxed with that of Lionardo. This can hardly have been painted by Gaudenzio di Ferrari, who was then only in his six- teenth year. The matter may be worth further in- quiry, as some reputations are concerned in it.] VINCI, Lionardo da. Vasari and other bio- graphers have dated the birth of this illustrious artist in 1445, but it has been satisfactorily ascer- tained by Carlo Amoretti, in his " Memorie Storiche di Lionardo da Vinci," and by Durazzini, in his " Elogio degli lUustri Toscani," that he was born at the castle of Vinci, situated in the lower vale of the Arno, in 1452. He was the son of Pietro da Vin'ci, a notary of the Signory of Florence, who perceiving, from the infantine sketches he amused himself with in his childhood, a decided inclination for the art of painting, determined to assist his natural propen- sity, by procuring him the advantages of a technical education. He was placed under the tuition of Andrea Verocchio, a friend of his father, who was an eminent master of design, and possessed a dis- tinguished reputation as a sculptor, an architect, and a painter. The extraordinary faculties of the pupU secured the attentive cultivation of the pre- ceptor, and his progress in the art was such, that in a short time he was able to assist his instructor as a coadjutor. Verocchio having been employed by the monks of S. Salvi, at Valombrosa, to paint an altar-piece for their chm'ch, representing the Bap- tism of Christ, Lionardo was intrusted to paint the figure of an angel, and performed his task with such beauty and correctness of design, and such felicity of execution, that the rest of the picture was totally eclipsed ; and tradition reports, that Verocchio was so much mortified at the discomfiture, that he re- linquished the pencil for ever. Lionardo now entered the world with the sanguine expectations of youth, beloved for the grace and urbanity of his manners, and beheld with admiration for the extent and variety of his acquirements. His studies had not been confined to painting. He was an able architect, had a perfect knowledge of ana- tomy, was extremely well skilled in mechanics, a master of optics and geometry, and had applied himself thoroughly to the study of nature and her operations. To arts and literature he added the accomphshments of the body. His person was vi- gorous and finely formed ; he was a poet, a skilful musician, and a master of all the favourite exer- cises. He understood the management of the horse, and was very dexterous in the use of arms. The possession of such extraordinary qualities soon spread his reputation over all Italy. After painting some time at Florence, Lodovico Sforza, Duke of Milan, invited him to his court, in 1494, where he appointed him director of the Aca- demy of Painting and Architecture, which he had recently revived with additional eplendour and en- couragement. Lionardi had no sooner entered on his office, than he banished all the Gothic principles established by his predecessor Michehno, and in- troduced the beautiful simphcity and purity of the Grecian and Roman style. Desirous of rendering the extensive capacity of Lionardi useful as well as ornamental to his state, the Duke of Milan engaged this distinguished en- gineer in the stupendous project of conducting the waters of the Adda, from Mortesana, through the Valteline, and the valley of Chiavenna, to the walls of Milan, a distance of nearly two hundred miles ; an enterprise which had hitherto been regarded as impracticable. Lionardo was not insensible of the arduousness of such an undertaking, and, in order to pmsue, with greater tranquiUity, his studies of those branches of philosophy and mathematics, which are most applicable to mechanics, he sought retirement at Vaverola, the seat of his friend, Fran- cesco Melzi, where he devoted himself to the most profound research into history and antiquity. He observed how the Ptolemys had conveyed the waters of the Nile through the several parts of Egypt, and how Trajan had opened a commerce with Nicomedia, by rendering navigable the lakes and rivers lying between that city and the sea. The impediments of nature gave way to the daring efforts of genius and science, and he accomplished this immense work, to the astonishment and admir- ation of all Italy. Having thus served his patron in the capacity of engineer, the Duke next employed him to embellish his metropolis with the productions of his pencil. His principal work at Milan was his celebrated large picture of the Last Supper, painted for the refectory of the Padri Dominicani, in the church of S. Maria delle Grazie, a performance w^hich history ranks amongst the most admirabfe productions of the art. He chose that interesting moment of the subject, when our Saviour declared to his disciples, that one of them would betray him. The surrounding apostles appear thunderstruck by such a prediction; the most distant from the Redeemer, doubtful if they have heard it right, are anxiously inquiring of their nearer neighbours the precise meaning of the prophecy. Some express their astonishment, some their indignation, whilst others exhibit the most candid expression of their innocence. Judas alone, though anxious to conceal his guilt, unequivocally discovers himself to he the betrayer. The head of our Saviour he did not finish, not being able to de- sign a character equal to the conception he had formed in his mind. It was afterwards completed by Gio. Batista Armenini. It has long afforded matter of infinite regret, that this admirable picture had not been painted in distemper, instead of a composition of oil and varnish, which occasioned it to begin to crumble, and fall to pieces, fifty years after it was painted. Of this extraordinary produc- tion, only three heads remain of the original, and of .those, little more is now discernible than the out- line. The world of art is, however, compensated, in some degree, for its loss, by several excellent copies, some of which are by his most distinguished dis- ciples. Of these, the most worthy of the original, are that by Marco Uggione, at the Carthusians at Pavia ; another in the refectory of the Franciscans, at Lugano, by Bernardino Luini ; and one in La Pace, at Milan, by Giovanni Paolo Lomazzo. He also painted an altar-piece of the Nativity, which was presented to the Emperor. The wars of Italy now began to interrupt the pro- gress of Lionardo. In 1500, his patron, the Duke of Milan, was overthrown in battle by the French, made prisoner, and conducted to France, where he soon after died in the castle of Loches. These dis- astrous events proved fatal to the arts at Milan, the Academy was suppressed, its professors dispersed, 871 VINC] A DICTIONARY OF [VINC and Lionardo lost every thing, except his talents, his application, and attractions. The disorders of Lombardy, and the downfal of the Sforzi, his pro- tectors, obliged Lionardo to quit Milan, and to take refuge at Florence, where the arts were still shel- tered by the genial patronage of the Medici. In 1503, the Council having determined to deco- rate their chambers with the works of the best mas- ters, Lionardi was appointed to execute one side of it, and Michael Angelo Buonaroti, who was then in his twenty-ninth year, and whose gigantic powers had already displayed themselves, was fixed on as his competitor, in undertaking the other. Jealousy of each other's ability, as is usual, excited animosity between them, and the rivalry of these great artists divided Florence into parties, who embittered their disputes, without endeavouring to reconcile their differences. Raffaelle, who had recently left the school of Pietro Perugino, was induced, by the fame of this great contest of their transcendent powers, to visit Florence. The grace and delicacy of Lionardo's style, compared with the dry and Gothic manner of Perugino, excited the admiration of the young painter, and inspired him with a more modern taste. During a residence of thirteen years at Flo- rence, he produced some of his best works, among which may be ranked his cartoon of St. Anna, in- tended for an altar-piece for the church of the Pa^ dri Servi ; his celebrated cartoon of the battle, de- signed for the great council-chamber ; and his much famed portrait of Mona Lisa, called La Gioconda, which is said to have occupied him four years. Lionardo had not hitherto seen Rome, when the elevation of Leo X. to the papal throne, whose love and protection of the arts were universally known, induced him to visit that capital in 1513, whither he went, under the protection of Giuliano de' Me- dici. He was graciously received by the Pope, who determined to employ him, when, Vasari informs us, he was discouraged from proceeding, by an ob- servation of the pontiff, who, on being informed that Lionardo, in consequence of his Holiness's com- mission, had begun to distil his oils, and prepare his varnishes, exclaimed, that " nothing good could be expected from a painter who thought of finishing his works before he had begim them." It is more probable that, being now declined into the vale of years, he found himself unable to contend with such rivals as Michael Angelo and Raffaelle, then in the zenith of their fame. His residence at Rome not proving agreeable to him, he was induced to accept of an invitation he received from Francis I. to visit the court of France. He was received by that splendid monarch with the most flattering at- tention. The fatigues of the journey, and the change of climate, reduced him to a state of languor and infirmity, which rendered him incapable of under- taking any work of importance. During an indis- position of five years, he continued to receive the most attentive marks of that monarch's esteem, who frequently visited him during his illness, and he is said to have expired in the arms of the king, in 1519. As a painter, Lionardo may be regarded as the first who attempted to reconcile minute and elabor- ate finish with grandeur of idea and dignity of form. He particularly attached himself to the expression of character, and the just deUneation of the affec- tions of the mind. If, in this sublime department of the art, he was afterwards excelled by Raffaelle, be had at least the rfory of having surpassed in it 872 every painter who had preceded him, and of having opened a path, unknown before, which was after- wards so successfully trod by Raffaelle himself. His design is correct and pure, and if he did not, Hke Raffaelle, venture into the region of the beauti- ful ideal, he selected nature in her most perfect forms, and gave to his figures a grace with which the artists of his time were entirely unacquainted. In his compositions, like the painters of antiquity, he was an enemy to confusion, and to avoid it, like them, he only introduced into his pictures such figures as were essentially necessary to his subject. Although it does not appear that he ever sedulously cultivated an acquaintance with the antique, he distinguished himself by an elevated taste, and a perfectly correct imitation of the models he consult- ed. To him we are chiefly indebted for the estab- lishment of the principles of the chiaro-scuro, which gave birth to that magical relief for which his works, and those of his disciples, are so pecuharly remarkable. An artist of such universality of talents and habits of industry, for some years at the head of an aca- demy, may be . supposed to have left behind him various writings on art. He composed several treatises and discourses on different subjects, among which are, A Treatise on Hydraulics, explaining the nature, equili- brium, and motion of "Water, with designs. A Treatise on Anatomy. The Anatomy of the Horse. This work is noticed by Vasari, Borghini, and Lomazzo. Lionardo had a pe- culiar talent in drawing that noble animal, and design- ed this treatise for the use of those who painted battles and triumphs. A Treatise on Perspective. A Treatise on Light and Shadow. His principal work is a Treatise on Painting. It was first published, in folio, at Paris, in 1651, en- titled, " Trattato della Pittura di Lionardo da Vinci. Novamente dato in Luce ; con la vita dell' is- tesso autore, scritta da Raffaelle du Fresne,&c., Pa- rigi, 1651," with figures designed by Nicholas Pous- sin. It was translated into English, and published by John Senex, London, 1721. Of the above compositions, the last is the only one which is in possession of the public, the others remain in manuscript in different libraries. One of the volumes of his drawings, with his manuscript observations, is preserved in his Majes- ty's collection. It consists of a variety of heads, portraits, caricatures, single figures, horses, and animals ; botany, optics, perspective, mechanics, and anatomical subjects. It may perhaps gratify curiosity to be informed in what manner this inter- esting assemblage should have contributed to en- rich the collection of the king. The whole of Li- onardo's works and papers were left by will to his friend Francesco Melzi, as a token of his regard. They were collected, after his decease, into thirteen volumes, and deposited at Vaverola, where they re- mained, after the death of Melzi, in the possession of his infant heirs. Those invaluable treasures were afterwards obtained from the children of Melzi, by the nefarious pretences of Lelio Gavardi, their tutor. He was, however, induced, by the zealous remon- strances of Gio, Ambrogio Slazzenta, a noble Mi- lanese, to return the whole to Orazio Melzi. In gratitude for the restoration of this valuable be- quest, Melzi presented Mazzenta with six of the vo- lumes. Of these, Cardinal Borromeo had one, which is now in the Ambrosian library ; Ajnbrogio Figini had another, which has since descended to VINCj PAINTERS AND ENGRAVERS. [VINC Ercole Bianchi, his heir ; Charles Emanuel, Duke of Savoy, had a third volume; and the other three became the property of Pompeo Leoni, one of which is that ilow in the royal collection. On the cover of the volume is inscribed in gold letters, Bi- segni di lAanardo da Vinci restaurati da Pompeo Le- oni. It is probable that this inestimable curiosity was acquired for Charles I. by the Earl of Arundel, when he was ambassador to the Emperor Ferdinand II. in 1636. It was fortunately preserved during the civil wars, and was discovered in the same ca- binet in which Queen Caroline found the portraits of the principal personages of the court of Henry VIII., by Hans Holbein. [So much has been written on and about Lionar- do da Vinci, that to attempt to give any further information respecting him would seem supereroga- tory. Yet there remains much that requires elu- cidation, which time perhaps vidll discover. He ranks by universal consent in the quintumvirate of gi'eat painters since the revival of the art ; sharing largely in the applause bestowed on Antonio AUe- gri, Giorgione, Raphael, and Titian, and often re- ceiving uie praise of being the prototype of their several distinguishing qualities. The account given in the text is perhaps sufficient for the general in- quirer, as it contains the facts detailed by numerous other writers ; and erudite connoisseurs know where to look for particular information interesting only to them. The less leai'ned are careless to Know whether he was the natural son of Ser Pietro da Vinci, a noble or a notary, and " una donna libera," and afterwards legitimatized by form of law; or whether he should be called lAonairdo Vinci, dei Vinci, or da Vinci. The appellation Lionardo da Vinci has obtained, and will continue to be his cog- nomen, though he signed one of his pictures in 1492 " Leonardus Vinci," and three prints designed, and said to be- engraved, by his hand, are inscribed in Roman capitals, Accademia di Leonardo Vinci. In Sir Mark Sykes's collection, a print is thus de- scribed : " A singular ornament on a dark ground, a circle, Academia Leonardi Vin. H. lOJ^, W. 8J." Moreover, the medal executed during his life bears the inscription, " Leonardus Vincius Florentinus," and his epitaph, said to have been dictated by him- self, concludes with " Sum Florentinus Leonardus Vincia proles." Certainly these are matters of very little importance, and only intei'esting to the cu- rious ; whatever his paternity, he was a nobleman by superiority of genius ; he had his patent from Heaven, and earthly kings could confer no addition- al honour ; he lived and died the great Lionardo. The date of his birth is now generally allowed to be 1452, though Roscoe, in his Life and Pontificate of Leo X., adopting the statements of the older writers, places it about 1443, Paulus Jovius says he died in his sixty-seventh year. All who have written accounts of Lionardo da Vinci concur in praising, in the most glowing terms, two of his grandest works in pg,inting and composition, which have ceased to have existence, it may be said, for the last two centuries ; The Last Supper, and the cartoon of a Battle between the Florentine and Milanese Troops in 1440. Of the first, a tolerably correct idea may be formed from the copy executed by his scho- lar, Marco d'Oggione, now in the English Academy of Arts ; and the composition of the cartoon may be partly gathered from the caricatured excerpt by Rubens, so finely engraved by Edelinck. It has been repeatedly said, in an unquaUfied manner, that he did not finish the head of the Saviour in the picture of The Last Supper ; this is a mistake, aris- ing ffom a misapprehension of the reply of his friend Bernardo Zenale, whom he consulted on the subject ; that reply had a comparative reference to the beautiful heads of John and James. If Lionardo left the head of Christ in an un- finished state, whence did Marco d'Oggione derive his sublime representation of the face of the Re- deemer ? Fuseh, lecturing on the copy, says, " The face of the Saviour is an a-byss of thought, and broods over the immense revolution in the economy of mankind, which throngs inwardly on his ab- sorbed eye — as the Spirit creative in the beginning over the Water's darksome wave — undisturbed and quiet. It could not be lost in the copy before us ; how could its sublime conception escape those who saw the original ? It has survived the band of time in the study which Lionardo made in crayons, ex- hibited with most of the' attendant heads in the British Gallery, and even in the feeble transcripts of Pietro Testa. I am not afraid of being under the necessity of retracting what I am going to advance, that neither during the splendid period immediately subsequent to Lionardo, nor in those which suc- ceeded to our own time, has a face of the Redeemer been produced which, I will not' say equalled, but approached the sublimity of Lionardo's conception, and in quiet and simple features of humanity, em- bodied divine, or, what is the same, incomprehen- sible and infinite powers. To him who could con- trive and give this combination, the unhmited praise lavished on the inferior characters who surround the hei'o, whilst his- success in that was doubted — appears to me not only no praise, but a gross in- justice." Thomas Phillips, the late professor of painting, in his second lecture to the students of the Royal Academy, relates the observations made by him and Mr. Hilton on their examination of the remains of the picture in 1825. He says, " Of the heads, there is not one untouched, and many are totally ruined. Fortunately that of the Saviour is the most pure, being but faintly retouched ; and it presents, even yet, a most perfect image of that Divine character, whence arose the story of its not having been finished it is diflSlcult now to conceive, and the his- tory itself varies among the writers who have men- tioned it. But," he continues, " perhaps a man so scrupulous as he (Lionardo) in the definement of character and expression, and so ardent in his pur- suit of them, might have expressed himself unsatisr fied, where all others could see only perfection." Fuseli sums up the character of Lionardo, as a painter, thus : " The universality of Lionardo da Vinci is become proverbial ; but though possessed of every element, he rather gave glimpses than a standard of form; though full of energy, he had not powers effectually to court the various graces he pursued. His hne was free from meagreness, and his forms presented volume, but he appears not to have ever been much acquainted, or to have sedu- lously sought much acquaintance, with the antique. Character was his favourite study, and character he has often raised from an individual to a species, and as often depressed to caricature. The strength of his execution lay in the delineation of male heads ; those of his females owe nearly all their charms to chiaro-scuro, of which he is the supposed inventor ; they are seldom more discriminated than the chU» dren they fondle ; they are sisters of one family. The extremities of his hands are often inelegant, though timorously drawn, like those of Christ m w VINC] A DICTIONARY OP [VINC among the Doctors in the picture we saw lately ex- hibited. Lionardo da Vinci touched in every muscle of his forms the master-key of the passion he wished to express, but he is ideal only in chiaro-scuro." The picture alluded to is now in the National Gal- lery ; Waagen and Passavant both deny its authen- ticity ; the first attributes it to Bernardino Luini, the latter inclines to think it the work of Francesco Melzi. According to these critical tourists, Eng- land is veiy poorly provided with paintings by Lio- nardo da Vinci ; almost every one that came under their review is assigned to Luini, or some other dis- ciple, or imitator, of the great man. But some are allowed to be painted from cartoons designed by him, and to exhibit much of his genius and taste in the expression. A few cartoons, and other draw- ings, are admitted to be genuine. Considering how little knowledge of pictures the gentlemen of this country possessed, before these great connoisseurs came to enlighten them, we ought to be thankful for the information, and grateful for any conces- sions. The story of Lionardo having died in the arms of Francis I. is now exploded. He died at the ch3.teau of Cloux, near Amboise, on the 2nd of May, 1519, and, according to the journal of Francis, preserved in the royal library at Paris, the court was on that day at St. Germain en Laye. It is more probable that he died in the arms of his be- loved friend and disciple. Count Francesco Melzi, to whom he bequeathed his manuscripts and studies. Melzi, in the letter written by him to Lionardo's relations immediately after his -death, makes no mention of the circumstance, which he would have done had it occurred ; and Lomazzo distinctly says that the king first learned the death of Lionardo from Melzi. The drawings discovered in the royal collection have been engraved by Bartolozzi and Tomkins, and published by Chamberlaine, in imperial folio, with the title " Imitations of the original Designs of Lionardo da Vinci," &c. Others have been en- f raved and published in various parts of Italy. Of is " Trattato della Pittura," there are several edi- tions of much later date than that quoted in the text. Count Algarotti held this work in such high estimation, that he thought it the only one necessary to be placed in the hands of a student in the art. A few words may be added respecting Lionardo da Vinci as an engraver. Zani, who, on all occa- sions, stoutly opposed those writers who asserted that several celebrated painters had engraved on wood, was willing to concede the exercise of that art to Lionardo; but he produces no satisfactory instance to show cause for his concession. He, perhaps, intended to do so at some future oppor- tunity, as he concludes by saying per ora non piu. There are good reasons, in the opinion of com- petent judges, for believing that he etched, or en- graved on copper with the burin. In the British Museum are the following, two of which are thought to be undoubtedly by him. The Bust of a young and ieautiful Female. This exquisite and unique specimen is undoubtedly from the hand of Lionardo. It was formerly in the re- nowned Storck collection, from which it passed into that of Sir Mark Sykes. At the sale of his cabinet, in 1824, it was purchased for Mr. Wilson at the sum of sixty-four pounds ; that gentleman had a fac simile engraved as a frontispiece to his privately circulated catalogue of rare prints, justly considering it as the most wonderful gem of his exti-aordinary collection. The lady is seen in pro- 874 file turned to the left, her hair is dressed in a fanci- ful manner, one of the braided locks passes over her bosom, and the sleeves of her robe are orna- mented and bound with ribbons. Height 4J in., Width 3 in. In a note to the article in his catalogue, Mr. Wilson has inserted the following letter from Mr. ,W. Y. Ottley. 31, Devonshire Street, December 31st, 1827. My dear Sir, I have been very remiss — ^but you see I wiU not let the year close upon us without writing a confirmation of my former opinion, that the beautiful little print, representing the bust of a young Lady, in profile, which was formerly in the collection of Sir M. M. Sykes, and now graces your own select cabinet, was engraved by the hand of Lionardo da Vinci himself, and not after his design by some contemporary unknown engraver : there is a genuine feeling and knowledge of heauty, evinced by the artist in marking the delicate features in that face, to say nothing of the hair, &c., which every way denote the hand of the origiilal designer, and which, I think, no other engraver of the time pos- sessed in an equal degree. I always considered it highly probable, that the horses' heads are also by him; and I am much disposed to ascribe to his hand a circular plate, (or two, if I mistake not,) re- presenting the twistings of a rope, which indeed bear his name. Lionardo not having been hitherto mentioned as an engraver, is to me no objection to the fact of having been so. Indeed, from his ver- satile character, and his fondness for novel studies bf all kinds, it is difficult to conceive that he should never have taken up the graver. You are aware that his master, Verrochio, is expressly termed an eugraver by Vasari. Excuse this hasty note, &c. W. Y. Ottley. Mr. Wilson also remarks that there is in the Royal Library at Paris, among the unsorted prints of MaroUes, a small circular engraving of a male head, in a similar style, and of similar execution. On the left are the letters acha, and on the right LI — VI, the last four letters probably denoting the name of the artist. Study of Seads of three Horses. Bartsch places this extraordinary print among the works of J. A. De Brescia, to whose style it bears, in the opinion of connoisseurs, not the slightest resemblance. Mr. Ottley's opinion is contained in the foregoing let- ter; and living judges, whom the editor has con- sulted, and whose discernment in these matters is acknowledged, think that it undoubtedly is from the hand of Lionardo. Mr. Ottley, in his " Inquiry into the History of earlyBngraving," page 473, in a note, says, "That even Lionardo da Vmci might have occasionally practised engraving, I was some years ago led to think, upon the occasion of turning over the invaluable volume of designs in his Majesty's collection ; in which I found, pasted on the leaves amongst Lionardo's studies of horses, two engrav- ings, or, perhaps, two pieces of the same engraving, representing horses' heads, executed .exactly in the taste and manner of his drawings. From what I remember of these fragments, I suspect they are no other than the anonymous print mentioned by Bartsch, vol. xiii., ancl ascribed by him to Jo. Ant, Brixiamis, cut in two." This was written in 1816. "fhere is a modern copy of this print on India paper. A large print of a Lady in a rich dress, not men- VINC] PAINTERS AND ENGRAVERS. [VINN tioned in any catalogue, and presumed to be uniqu-e, has been also attributed to Lionardo; by inspec- tion, and comparison with the first-mentioned head, the editor is of opinion that it is not so. He is in- clined to think it by an artist accustomed" to the ornamental work of a goldsmith ; and that both the design and execution are probably by Verocchio, though it may, at present, be difficult to prove it. Before proceeding to speak of others, it will be but just to quote a passage which occurs in the ac- count of Andrea Verocchio by Vasari. That there may be no mistake, it is given in the original. " Sono alcuni disegni di sua mano nel nostro libro, fatti con molti pacienza e grandissimo giudizio, in fra quali sono alcune teste di femmina con bell' arie e acconciature di capelli, quali per la sua bellezza Lionardo da Vinci sempre imito. Sonvi ancora due Cavalli con il modo delle misure e centine da farli di piccoli grandi che vengano proportionati e senza er- rori." It will be observed that Vasari says " alcuni disegni" qjid not alcune stampe ; and Zani, speak- ing of A. Verocchio, says, "Non si hanno prove clrei fosse anche Incisore." The passage in Vasari could not have escaped his notice. While inspecting the before-mentioned prints at the British Museum, the editor's attention was di- rected by Mr. Carpenter, the intelligent keeper, to one of extraordinary beauty in the same portfolio, classed with the works of John Duvet. The in- genious composition, the spirited delineation of the animals, the minute attention to the landscape, par- ticularly the back -ground, and, above all, the draw- ing of the figure seated on an eminence to the left ; every part executed with a delicate point, and show- ing mastery of hand, and a combination that could emanate only from the most exalted genius, induced Mr. Carpenter to believe it to be the production of Lionardo da Vinci, an opinion in which the editor fully concurs. Bartsch has described this print among those by John Duvet, N°. 44, vol. vii., page 515, with the title " Poison et contre poison ;" it is, no doubt, a nobler allegory than he imagined, and, instead of " un homme nud," he might have termed the figure that of the Dodonean Jupiter. It may be suspected that Guido was acquainted with the de- sign, and that it formed the model for his Apollo. Among the drawings so often alluded to by Va- sari, is one called the Head of a Magdalene ; of this Rosini has given an engraving in the fourth volume of " Storia della Pittura Italiana," which is worth inspection; it is a type of Lionardo's manner in drawing, expression, and graceful attitude : too richly decorated, however, for the character of a Magdalene.] [VINCK, J , a landscape and portrait painter, of whom there are no particulars. His landscapes are in the mixed manner of Vincken- booms, Paul Brill, and Breughel, and appear to have been painted in the early part of the 17th century. His portraits are known only by the en- gravings that have his name.] VINCKENBOOMS, David. This painter was bom at Mechlin in 1578, and was the son of Philip Vinckenbooms, an obscure painter in distemper, by whom he was taught the elements of the art, and it does not appear that he had the advantage of supe- rior instruction. He painted landscapes in the style of Roland Savery and John Breughel. They are sometimes decorated with subjects from the Bible, and sometimes with fairs and merry-makings, which are ingeniously composed, and the design of his figures is tolerably correct, though his touch is dry and hard. One of his most considerable wocks is a picture in the hospital of the Old Men, at Amster-. dam, representing a crowd of people attending the drawing of a lottery by torch-light. He occasionally painted historical subjects, in which the landscape served as a back-ground. Of this description is a picture of Christ bearing his Cross, in the collection of the Elector Palatine; and another' at Frankfort, representing Christ restoring Sight to the Blind. He engraved a few plates of landscapes, from his own designs, which he usually marked with a monogram, composed of a D, a V, and a B, thus, ^^. [He died about 1629. Some of his land- scapes have been engraved by- N. DeBruyn. In the British Museum are four drawings by him, finely executed with the pen, and washed with Indian ink ; they represent the story of the Prodigal Son.] VINKELES, Reniee, a Dutch engraver, born at Amsterdam in 1741. He was a pupil of J. Punt, and engraved some plates of historical subjects, landscapes, and conversations ; but he was principal- ly employed in portraits, among which are his own, with those of J. Schmidt, and J. Andriessen, and the portrait of M. Braamcamp. VINNE, John [Isaac?] Vandeh, a Dutch en- graver, who flourished at Haerlem about the year 1730. We have a set of twelve plates of views in the environs of Haerlem, by this artist, after Peter Bout, executed in a very neat style. [This is jiro- bably Isaac Vander Vinne, who engraved alsct,after T. Wyck. He was a publisher at Haerlem.] VINNE, Vincent [Laurensz] Vander. This painter was born at Haerlem in 1629. From his infancy he discovered a marked disposition for draw- ing, and had made considerable proficiency without the help of a master, when he was placed under the tuition of Francis Hals, one of the most eminent artists of his time. Under so excellent an instructor, his advancement was such, that he was able in a short time to travel by the produce of his talents. He visited Germany, Switzerland, and resided some time at Paris ; and wherever he went, his abiUty insured him employment and protection. In 1657 he returned to Haerlem, where he passed the remainder of his life. He painted history, por- traits, landscapes, and drolleries ; and in each of those branches discovered an uncommon facility of execution, an admirable tone of colouring, and a faithful imitation of nature. Towards the latter part of his life, the desire of gain induced him to grasp at every commission which was ofiered him, and his last works are the productions of negligence and despatch. His best performances are his por- traits, in many of which he approaches to the spirit- ed touch and truth of character, which we admire in the productions of Hals. He died in 1702. VINNE, Lawrence Vander, the son of [Vin- cent Laurensz Vander Vinne,] was born at Haer- lem in 1658, and was instructed by his father, whose style he attempted to follow, but never rose above mediocrity. .His principal merit consisted in painting flowers and plants, and he was much em- ployed by the botanists of his time. He had two younger brothers, John and Isaac, who both prac- tised the art, but lived and died in obscurity. [Ac- cording to Immerzeel, he died in 1729. He not only paintedflowers, but landscapes and cattle, in the manner of Berchem, of whom he had been a scholar.] [VINNE, Jan Vander, a son of Vincent Lau- rensz Vander Vinne, was born at Haerlem in 1663, and was a scholar of Jan van Hugtenburg. He resided in England some time, where he painted 875 VI nn] A DICTIONARY OF [viss landscapes with hunting subjects, and horse races. Some of these are respectable, and show artistic knowledge, but others by him are the works of a mere artisan, or house decorator. The quantity of make-up mountainous back-ground indicates that he worked for low wages. In old houses there are some remains to be found on wainscot panels. Perhaps he came to England to study the scenery and the horses, for on his return to Haerlem he continued to paint hunting-pieces, and occasionally skirmishes, by which he acquired wealth. He had a younger brother, Isaac, who was also a painter and engraver. Both, ultimately, left the practice, and engaged in commerce; Isaac as a publisher. Jan died at Haerlem in 1721, and Isaac in 1740.] [VINNE, Vincent Vandee, was the son of Jan Vander Vinne, probably the engraver, and was born at Haerlem in 1736. During his youth he painted fruit and flower-pieces, but afterwards adopted land- scape and cattle painting. He was much employed in ornamenting the interiors of houses, a custom prevalent in Holland ; and these pictures are seldom known beyond their locality, not being to the taste of other countries, and therefore not sufficiently valuable to remove, though they are painted on can- vass. He died at' Haerlem in 1811.] VINSAC, Claude Dominick. This artist was born at Toulouse in 1749. He engraved several portraits, and designs for goldsmiths, in the dotted manner, which are neatly executed. Among the former are, Frederick Henry Louis of Prussia ; after his own. design. P. Camper, a celebrated Physician ; after Pujos. VIOLA, Giovanni Batista. This painter was born at Bologna in 1576, and was a scholar of An- nibale Caracci, whose admirable manner of painting landscape he very successfully adopted. In com- pany with his fellow student, Francesco Albano, he visited Rome, and in conjunction with him was employed in ornamenting the palaces of the nobility, and his landscapes are frequently embellished with beautiful figures by Albano. One of the works which first brought him into repute, was a large landscape, painted for the Vigna of Cardinal Ales- sandro Montalto, where Paul Brill was employed at the same time, and whose pictures were then highly esteemed. The grandeur, both of the style and sub- ject, of Viola's landscape, greatly excelled the pro- duction of the Fleming, and acquired him great reputation. Some of his most admired perform- ances are in the saloon of Apollo, in the Villa Aldo- brandini. He died at Rome in 1622. [There was another painter of the name who flourished at the same time : he was of Bergamo.] [VISCH, Matthias De, was born at the village of Reningen in 1702. He studied under Joseph Vanden Kerkhove at Bruges, became a student of the Academy also, and obtained the first prize in 1721. He went to Paris in 1723; thence to Italy, where he remained nine years. On his return to Bruges he painted the picture of Hagar and Ismael in the Desert for the church of St. Jacques, and opened a school of design. It seems that he is re- membered more for his zeal in furthering the know- ledge of painting among the youth of Bruges than for any superior talent shown by him in the prac- tice of it. He painted the portrait of Maria Teresa for the city of Bruges, and several for other com- munities of Flanders. He collected materials for a history of painting in Belgium, which he gave to Descamps, who made use of them for the Lives of the Flemish Painters. ' De Visch died in 1765, it is 876 said from fatigue by over-exertion, on the restora- tion of the Academy, which had been consumed by fire, to make the students rival those of the Acade- my of Antwerp.] [VISO, EL P. Fe. Ceistobal del, a painter, and brother of the order of San Francisco, died at the end of the 17th century at Madrid, where he re- sided in quality of commissary-general of the In- dfes. All the saints of his order which are to be seen in the chapter-house of the convent of San Francisco, at Cordova, are by Father Viso, and show his talent.] VISPRE, [FEAN501S Saverio,] a French painter and engraver, born at Paris about the year 1730. He engraved several portraits in mezzotinto, among which are those of Louis XV. and others of the Royal Family of France. He visited London about the year 1765, where, among other prints, he en- graved a portrait of the Chevalier D'Eon. [He was living ten years later.] VISSCHER, Cornelius. This celebrated de- signer and engraver was born at Haerlem about the year 1610. He was a pupil of Peter Soutman, though he did not follow the style of that master, but adopt- ed a manner of his own, which he carried to a per- fection that has hardly been equalled. He drew with correctness and taste, and the plates that he executed from his own designs, which are esteemed the finest of his works, sufficiently attest the extent of his genius. His execution is clear and deHcate, and no artist has surpassed him in the talent of har- monizing the operation of the point with that of the graver. His plates of the portrait of Gellius Bou- ma, the Pancake-woman, the Rat-catcher, and the Bohemian Woman, may be cited as models of per- fection in that style of engraving. It will be allow- ed, however, that he is less successful in the plates that he executed of historical subjects', from the Italian and Flemish painters, particularly in the prints he has engraved after Rubens, which are in- ferior to the productions of Vorstermans, Bolswert, and Pontius. The following are his most esteemed prints : poeteaits. A Portrait, supposed to be that of himself, with a high- crowned hat, and his hand on his breast; inscribed Corn. Visscher, fecit, anno 1649. Another Portrait of Cornelius Vissdher, with a similar hat, and enTeloped in his cloak ; Corn. Visscher, fecit, anrho 1651. Andreas Deouyszoon Winius, called the Man with the Pistol. The scarcest and most valuable of his por- traits. [A proof of this portrait sold at M. Debois's sale in 1845 for 1660 francs.] Gellius de Bouma, Minister of the Gospel,, at Zutphen; fine. ■William de Ryck, Oculist, of Amsterdam ; fine. This portrait and the preceding one are commonly called the great Beards. [A proof of this sold in Debois's sale for 1020 francs.] ' Cornelius Vosbergius, pastor of Spaerwouw, with a book in his hand. 1653 ; fine and scarce. William Vanden Zande, Theologian; after Soutman; fine ; and very rare. David Peiterz de Vries, Grand-master of Artillery to the States of Holland ; scarce. Jacob Westerbaen, Lord of Brandwyck, &c. ; very rare. Coppenol, called the Writing-master. 1658. Constantine Huygens,Lord of Zuylichem; inscribed with his motto, Constanter^ 1657 ; scarce. William, Prince of Orange ; after G. Honthorst, 1649. Mary, daughter of Charles t., his consort ; after the same. 1649. Charles II., King of England ; after the same. 1650. SUBJECTS FEOM HIS OWN DESIGNS. The Pancake-woman. The first impressions are before the address of Clement de Jonghe. viss] PAINTERS AND ENGRAVERS. [viss The Rat-catcher. The best impressions of this plate are before the name of Clement de Jonghe, and without the title. The Bohemian AVoman, with three Children, one of which she is suckling. In the first impressions the name of Visscher is upon the margin, at the bottom of the print. It was afterwards effaced, to make room for the inscription, and placed on the upper part of tiie plate. A Boy holding a Candle, and a Girl with a Mouse-trap. A Cat sleeping on a Napkin ; fine, and extremely rare. [Called the small Cat. It is extremely rare, and the only impression ever sold was in M. Revil's collection, from which it was purchased by Mr. F. Standish for 1200 ft-ancs. It is now with his collection in the Louvre. ] A Cat sleeping, with a Rat behind her. The Coronation of Carolus Gustayus and the Queen of Sweden. SUBJECTS AFTER VARIOUS MASTERS. The Angel directing the Departure of Abraham ; after Bassano. Abraham's Arrival at Sichem ; a/i!er the same. Susanna and the Elders ; after Guido. Magdalene penitent ; supposed to be after Parmigiano ; very fine. [Not a Magdalene, but simply the head of a female of which the picture is at Hampton Court.] The Entombing of Christ ; after Tintoretto. ■ The Resurrection ; after P. Veronese. The Holy Family, with St. John presenting a Pear to the infant Christ ; without the name of the painter. The Last Judgment ; a/?er Mubens. The best impres- sions of this plate are before the address of Soutman. The Virgin and Infant, crowned by Angels ; after the same. Achilles discovered by Ulysses at the court of Lycomedes ; after the sam-e. The travelling Musicians ; afier A. Ostade ; very fine. Two Men, and a Woman holding a Glass ; after the same. The Skaters; after the same; very fine. [This is an interior with several figures near a large chimney : in fi-ont lies a pair of skates, from which the print has obtained its name.] The Surgeon ; after A. Brower. A Man playing on the Violin, others singing ; after the same, A Landscape, called the Attack of the Convoy ; after P. de Laer. Another Landscape, called the Coach robbed ; after the same. The Lime-kiln ; after the same. A set of four Landscapes ; after Berghem. Another set of four Landscapes ; after the same, [Cornelius Visscher, the engraver, died in 1670. Though the foregoing list of his prints is rather ex- tensive, many more might be added. Proofs of all that are enumerated are very rare, and command high prices. Some of them are incomparably fine. There were two portrait painters of the same name, but of an earlier period ; one of them was drowned in his passage from Hamburg to Amsterdam, about the middle of the 16th century; of the other there are no particulars that can be relied on. A very fine collection of the works of Cornelius Visscher is in the British Museum.] VISSCHER, John, was the younger brother of Cornelius Visscher, and flourished about the year 1650. Although he did not possess the extensive talents of his brother, he has left proofs of his abi- lity as an engraver, which rank him amongst the most eminent artists of his country. His plates are more forwarded with the point than those of Cor- nelius, and his style of etching is uncommonly pic- turesque and efiective. His prints after Berghem and Ostade are among the happiest productions of the art. He also engraved several portraits, which sufBcientlv estabUsh his ability in the use of the graver. Of his numerous prints, the following are the most deserving of notice : PORTRAITS. John de Uytenhogaert ; Joh. de Visscher, so. Peter Proelius, Minister of the Gospel at Amsterdam. Abraham Vander Hulst, Vice- Admiral of Holland. Peter Paul Rubens ; after Vanchick. Michael de Ruyter, Admiral' of Holland; after Berch- mans. Portrait of a Negro, holding a Bow and Arrow in his hand ; after a design by Corneliits Visscher. SUBJECTS AND LANDSCAPES AFTER VARIOUS MASTERS. Peasants playing at Trictrac ; after A. Ostade. A Woman spinning and a Man reeling; after the same. Peasants dancing ; called Ostade's Ball ; after the same. Peasants regaling at the door of an Ale-house ; after the same. A Country Wedding, called Ostade's Bride ; after the same. Several Peasants dancing in a Cottage, called Berghem's Ball ; after Berghem. [His finest print.] A set of four Landscapes, the Four Times of the Day ; after the same. Several sets of Landscapes with figures and animals ; after the sajne. A set of six plates of Figures and Animals ; after K. du Ja/rdin. A set of four plates of various Subjects ; after P. van Laer. These prints have been sometimes incorrectly attributed to Cornelius Visscher. Several Landscapes, &c. ; after Ph. Wowermans. A set of twelve Landscapes and Views ; after J. Van Goyen. A set of twelve Landscapes and Sea-ports ; after Herm. Swanevelt. [Jan Visscher was born in 1636, at Amsterdam. Though not equal to his brother, his works are in great esteem. Some, indeed, prefer his landscapes after Berchem to those by Cornelius.] VISSCHER, Lambert. According to Huber, this artist was the brother of Cornelius and John Visscher, and flourished about the year 1664. He resided several years at Rome and Florence, where, in conjunction with Cornelius Bloemaert and Francis Spierre, he engraved some plates from the paintings by Pietro da Cortona, in the palace of the Grand Duke of Tuscany. We have also some por- traits by him. The following are his prints most deserving of notice : PORTRAITS. Maria Theresa of Austria, Queen of France; after Vanloo. Anne of Austria, Queen of France ; after the sanie. John de Wit, Pensionary of Holland. Cornelius Tromp, Vice-Admiral of Holland ; after F. Bol. SUBJECTS AFTER P. DA CORTONA. Seleucus yielding Stratonice to Antiochus. Virtue withdrawing a young Man from the embraces of Voluptuousness. One of the ceilings of the palace. VISSCHER, Nicholas John, an engi-aver and printseller, who resided at Amsterdam about the year 1600. He was probably of the same family with the artists ali-eady mentioned. We have a variety of etchings by him, executed in a spirited and masterly manner, consisting of small land- scapes, with figures and animals, views, &c. He also engraved several portraits. Among others, we have the following prints by him, which are some- times marked with a monogiam,. composed of a C, an I, and a V : the first letter for Claus, which is an abbreviation of Nicholas, thus, ~^. PORTRAITS. Charles I., King of England, with a round hat ; marked vrith his monogram. William Laud, Archbishop of Canterbury. 877, viss] A DICTIONARY OF rVITR James II. James, Duke of Monmouth, John Calvin. Sesiderius Erasmus. SUBJECTS. An Allegorical subject on Human Life. A set of V iews of Country-seats in Holland. A View of the Castle of Loveusteyn, which was used as a state prison for Hogerbeets and Grotius. On each side of the plate are medallions exhibiting the legends of the two illustrious prisoners ; scarce. He also engraved after Jodocus Momper, and other masters. [VISSCHER, Theodore, a landscape and ani- mal painter, born at Haerlem in 1650, studied un- der Nicholas Berchem, but afterwards went to Italy, where, from his drunken habits, he acquired the name of Slempop. Some of his pictures, how- ever, are painted in a superior manner, and resemble those of his first instructor ; others are the produc- tions of ebriety and negligence. He died, according to some writers, in 1699, and according to others, in 1707.] [VISSELLET, M , an engraver, respecting whom history is silent ; it is conjectured from his name that he was a native of France, and from his works that he lived about the commencement of the 17th century. Dumesnil, torn, iii., has enumerated forty-three of subjects from the New Testament, and of Apostles and Saints. They are engraved in a coarse manner, and with little variety, resembhng the wood-cuts of J. Stella, of which they seemito be a repetition. Some are signed MV. F., and one has the name M. Vissellet, F^ VITALBA, Giovanni, an Italian engraver, who ' flourished about the year 1760. He was a pupil of Wagner, whose style he imitated. In 1765 he came to England, and engraved several plates for Mr. Boydell. Among others, we have the following prints by him : Cupid, with two Satyrs ; after Agostino Caracci. A pair, Spring and Summer ; after Fit. Lauri. Herodias with the Head of St. John; after L. Pasinelli. [He was living in 1790.] [VITALI, Alessandro, born at Urbino in 1580, was a scholar and imitator of Federico Baroceio. He copied for the convent della Torre the Annunci- ation of Loreto in such a manner that it might be taken for the original. Baroceio was pleased with his talent, and willingly retouched some of his pic- tures ; it is stipposed that he assisted him in this way in the St. Agnes and St. Agostino, placed by Vitali, one in the Duomo, the other in the church of the Eremitani, where he may be said to surpass himself. He died in 1630.] VITALI, Candido. This painter was born at Bologna in 1680. He was brought up in the school of Carlo Cignani, and was advised by his instructor, who was always attentive to the particular genius of his disciples, to devote himself to painting ani- mals, birds, flowers, and fruit. His pictures of those subjects were greatly admired at Bologna, and through all Italy, for the delicacy of his touch, the beauty of his colouring, and the tasteful arrange- ment of his compositions. He died in 1753. VITALI, GiosEFPO. This artist was a native of Bologna, and flourished about the year 1700. He was a scholar of Giovanni Giosefib dal Sole, and painted history with some reputation. There are several of his works in the churches at Bologna, of which the most worthy of notice are, a picture of the Annunciation, in the church of S. Antonio ; S. Petronio, in SS. Sebastiano e Rocco; and the Mar- 878 tyrdom of S. Cecilia, in the church dedicated to that saint. VITE, [VITI, or VITA,] Timoteo della, da Ubbino. This painter was born at Urbino in 1470, but was educated at Bologna under Francesco Francia, with whom he remained until he was twenty-six years of age, when he returned to Urbino, and had given proof of great ability, when the fame acquired by Raflaelle, his countryman and relation, by his great works in the Vatican, induced him to visit Rome, where his talents recommended him to the particular favour of that illustrious artist. Lanzi informs us that Raflaelle engaged him to assist him in painting the celebrated Sibyls, in the church of La Pace, and was so satisfled with his performance, that he permitted him to retain the cartoons. His residence at Rome was not of long duration, and he returned to Urbino, where, in conjunction with Giro- lamo Genga, he executed several important works for the cathedral, and other public edifices in his na- tive city. Siena and Forli ^so possess some of his most considerable works. His first style retained somewhat of the dry and Gothic manner of Francia, as is evident in his earliest works at Urbino, after his return from Bologna ; but by his connexion with RaflfafeUe, and his attentive study of his works, he became a graceful and correct designer, though he never possessed great powers of invention, nor a bold and vigorous execution. His most esteemed productions are, his picture of the Conception, in the church of the Osservanti, at Urbino j and Christ appearing to Mary Magdalene, in S. Angelo, at CagU. He died in 1524. [Of his style of design and composition, a specimen maybe seen in Rosini, plate 90, taken from a picture in the Milan Gallery : it represents the Virgin standing between St. John the Baptist and St. Sebastian, in a landscape. That he was a disciple of Francia is proved by the follow- ing extracts from that master's journal : " 1490, 8 LugUo, JXmoteo Vita preso in nostra Botega. 1495, addi 4 Aprile, Partito il mio caro Timoteo, che Dio le dia ogni bene, e fortuna." — It is probable that he was a relation of Raphael.] VITE, [VITI, or VITA,] Pietuo della, is believed to have been the brother of the artist men- tioned in the preceding article, who was probably his instructor in the art, as he painted history in a similar style, though very inferior to him. Lanzi conjectures that this is the artist mentioned by Bal- dinucci by the denomination of II Prete di Urbino, who was a relative, and one of the heirs of Raflaelle. VITE, Giovanni della. See Miel. [VITRINGA,WiGERUs,but generally called Wil- liam, was a marine painter, who flourished from the middle to the end of the 17th century. Balkema and Immerzeel say he was bom at Leuwarde in 1657, and the former says he died in 1721. Other writers say he was living in 1744. There must be eiTor in these dates, as there are drawings by him, with his name, dated 1652. His style of painting fluctuates between those of Backhuysen, who is supposed to have instructed him, and William Van de V elde ; and sometimes resembles that of Riet- schoof, but does not appear to be the result of ser- vile imitation. His storms are sometimes excellent. This approximation to other masters is perhaps the cause that his pictures are not easily recognised, and they seldom have his name. His drawings, in Indian ink washed with bistre, are better understood; they have his name, and are frequently dated. It is said that he was a Jurisconsult, therefore a man of education ; but, from his numerous drawings and VITU] PAINTERS AND ENGRAVERS. [vivi paintings, it would seem that he devoted more time to the arts than to the study of the law.] VITUS, DoMENico, an Italian engraver, bom about the year 1536. The circumstances of his life are little known. He is supposed to have been in- structed in engraving by Agostino Veneziano, called de Musis, whose style he imitated with some suc- cess. In the prime of life he became a religious of the monastery of Valombrosa, in the Apennines. We have by him several prints, executed with the gi-aver, among which are the following : St. Bartholomew ; inscribed, Dom. Vitus ordinis Valis- umbroste Monachua exeidit Bomce. 1576. St. Joachim holding a Censer ; after A. del Sarto. Jupiter and Calisto ; inscribed, jbominieus V. F. A Riyer God ; after the antique. A set of small plates, representing the Passion of our Saviour, with borders, ornamented with birds, beasts, &c. A set of plates from the Antique Statues ; Dom. Vitus, fee. VIVARES, Francis. This artist was a native of France, but he passed the greater part of his life in England. He was born at MontpelKer about the year 1712, and was indebted for his principal in- struction in design and engraving, to J. B. Chate- lain, after his arrival in London. Being a man of considerable genius, he improved upon the style of his instructor, and became one of the most eminent engravers of landscape of his time. He was parti- cularly successful in his plates after the works of Claude Lorraine, and his prints preserve much of the air and picturesque beauty which distinguish the productions of that admirable painter. Among others, we have the following prints by him ; A set of four Views of Ruins ; after J. Smith. Eight Views in Derbyshire; after Thos. Smith of Derby. A Landscape, called the Hop-gatherers; after Geo. Smith. A Landscape ; afSer Gainsborough. A View in Hollamd, by moonlight ; after Vander Neer. A Land-storm ; after Ga^ar Poussin. A Tempest, with the histoiy of Jonas ; ' after tJie same. A Landscape, Morning ; after Claude Lorraine. The Companion, Evening ; after the same. The Enchanted Cattle ; after the same. A View in the Environs of Naples ; after the same. [Francis Vivares was the son of a tailor, and was for some time employed in that occupation. His principal works are after Claude, and show good taste in the selection and execution. His pieces amount to about one hundred and fifty. He died at London in 1782, and is ranked among the English engravers, much to the mortification of the French.] [VIVARINI, Antonio, called also da Murano, of which place he was a native. He flourished about the middle of the fifteenth century, as ap- pears by pictures dated 1444 and 1451. He occa- sionally painted in conjunction with his brother Bartolomeo, and Zuan, or Giovanni, Alamanno; some of these, altar-pieces, exist at Venice, and are rich in colouring, resembling the style of Bellini in that particular ; in others, in which Giovanni had no share, the colouring is pale, with a strong pre- ponderance of blue and white. JFrom this circum- stance it is presumed that the former were coloured solely by the German. Plate 61, in Rosini, gives a favourable impression of his skill as a designer, both in architecture and the figure ; the Virgin and Child in the central compartment are natural and elegant. His brother, Bartolomeo, one of whose pictures, dated 1465, is in the royal galleiy at Na- ples, was more licentious in his arrangements and accessories, and more ornamental in ms draperies, as may be seen in plate 67 of Rosini. He painted also in conjunction with Marco Basaiti ; a large altar-piece, be^nn by Bartolomeo and finished by his coadjutor, is in S. Maria de' Frari, at Venice. It represents, in the upper part. The Coronation of the Virgin, and in the lower, St. Ambrose, surround- ed by several other Saints ; and is considered a se- vere but beautiful and dignified work. Of the de- cease of these brothers there is no published record on which reliance can be placed, but it is said that Bartolomeo lived to the end of the century.] VIVERONI, F. This artist is mentioned by Mr. Strutt as the engraver of some very indifferent views in Ireland. VIVIANL SeeCoDAGOHA. [VIVIANI, Ottavio, a painter of architecture and perspectives, was born at Brescia, and flourish- ed about the middle of the seventeenth century. He is frequently confounded with Viviani Codago- ra, who lived about the same time, and painted similar subjects, but in a superior manner. Coda- gora studied in the Roman school, Ottavio in the Venetian. His instructor in architecture and per- spective was Tommaso Sandrini, and in landscape he received lessons from Agostino Tassi at Genoa. His smaller pictures, as is usual with this class of painters, are made up of the remains of ancient ruins, selected and arranged for pictiiresque efiect, in which he shows judgment and taste ; but some- times the composition is too much crowded, and perhaps overloaded with ornament. He was excel- lent in figures, and used them with great advantage in showing the relative height of objects. There is great variety in his colom'ing, too much for perfect harmony ; but, on the whole, the effect is striking, and such pictures being intended for mere decora- tion, their richness does not ofiend. His knowledge of perspective is exhibited on all occasions, and his chiaro-scuro assists the illusion, but time has em- browned his shadows, and given too solemn a gloom to his temples and lengthened arcades. The exact time of his decease is not known ; it is placed by different writers in difierent years, confounding him with Codagora.] VIVIEN, Joseph, a French painter, born at Lyons in 1657. He was brought up under Charles Le Brun, and, for some time, painted portraits in oil, with considerable success. But he afterwards adopted painting in crayons, which he carried to a perfection unknown before him, and estabUshed a reputation which will probably survive the transient and perishable nature of the vehicle of his talent. The merit of his portraits was not confined to a per- fect resemblance; his heads exhibited an uncom- mon appearance of life and nature, and an admir- able expression. His carnations were fresh and pure, his touch vigorous and spirited, and the general tone of his pictures was tender and harmo- nious. He occasionally accompanied his portraits with historical or emblematical subjects, illustra- tive of the character or history of his model j in which he did credit to the school in which he was educated. He passed the latter part of his Ufe in the service of the Elector of Bavaria, for whom he painted some of his best pictures. His portrait, by himself, is placed among the distinguished artists in the Florentine Gallery. He died in 1735. [His portrait of the great Fenelon, author of Telemachus, is in the Louvre. His countrymen called him the French Van Dyck ; he was so.] VIVIER, John du. This artist was born at 879 vler] A DICTIONARY OF [VLIE Liege in 1687, but chiefly resided at Paris, where he was received into the Academy in 1718. He particularly excelled in engraving dies for medals, and was appointed medallist to Louis XV. in 1735. We have also a few plates by him, which are exe- cuted in a neat, clear style ; among which are the following : PORTRAITS. Bartholet Flemael, Painter. Peter de Gouges, Advocate in Parliament; after Tonr- Hiere. SUBJECTS. The Entombing of Christ j after A. van Ueuvel. The Temptation of St. Anthony ; after the same. The Dutoli Cook ; after the same. [John or Jean Du Vivier, the medallist, and G. De Vivier, or Du Vivier, the engraver, were diflfer- ent persons ; the last three prints quoted above be- long to the latter. Jean Du Vivier, born in 1687, could not have engraved prints published before 1666, and they appear in the catalogue of M. de Marolles of that date. Though these prints are in- scribed with the name of Van Heuvel, two of them are after Teniers. It is curious that Du Vivier should have put the name of Van Heuvel to these, and then put forth etchings in the manner of Te- niers, marked with that artist's monogram ; it is, however, fact that he did so. What personal pro- noun the letter G stands for is not ascertained ; but the engravings signed G. De Vivier are Dutch, not French. The following are described by Robert Dumesnil, in " Le Peintre Graveur," torn. iii. : 1. Christ in the Sepulchre ; Anton, van Heuvel invent. ; G. de Vivier^ fecit. Four verses in Dutch, beginning, *' Hier is het leveti soet." 2. Tbe Four Evangelists, in one piece, no mark, 3. The Temptation of St. Anthony ; Anton, van Heuvel invent. ; G\ de Vivier feeit. 4. Thetis and Chiron ; the Centaur holding the infant Achilles in his arms ; no mark. 6. A Flemish Kitchen ; Ant. V. Heuvel pinxit ; G. du Vivier fecit. 6. The Flageolet Player ; no mark. 7. The Tippler; in the manner of Ilembrandt; no mark. 8. A Landscape outside of a fortified city ; a winter scene. Many figures are skating, and otherwise amusing them- selves on the ice ; persons of condition, in coaches and on foot, dressed in the costume of the time of Louis ' XIII. , or the minority of Louis XIV., are looking on; ^ no mark. VLERICK, Peter. This painter was born at Courtray in 1539. He was the son of a lawyer, who, perceiving his inclination for the art, placed him under the tuition of WiUiam Snellaert, a painter in distemper, with whom he only continued a short time. The reputation of Charles d'Ypres, an able designer and painter of history, who had studied in Italy, induced him to leave his first instructor, and to become his disciple. The morose and capricious disposition of that master prevented his remaining with him longer than two years ; but he had al- ready made sufficient progress in the art to under- take a journey to Italy on the produce of his talents. He travelled through France, and met with such en- couragement, during a short residence in Paris, that he was enabled to proceed to Venice, where he en- tered the school of II Tintoretto. Aided by the ad- vice and example of that able artist, he acquired an admirable style of colouring, and a prompt and vigorous execution. Descamps reports, that Tintoretto held the talents of Vlerick in such estimation, that he offered him his daughter in marriage; but his desire of visiting Rome, and his attachment to his native country, prevented his accepting the proposal. After a resi- dence of four years at Venice, he proceeded to Rome, where he applied himself, with uncommon assiduity, in designing from the anrique, and studying the works of the best masters. During his residence at Rome, he executed some considerable works in con- junction with Girolamo Muziano. In 1568 he re- turned to Flanders, and established himself at Tournay, where he resided the remainder of his life. Van Mander, who was his disciple, mentions the following as his principal works, and states him to have been an artist of great ability. The Brazen Serpent ; Judith with the Head of Holofernes ; the Four Evangelists ; and the Crucifixion, with the Virgin Mary and St. John. He died in 1581. ULPT, Jacob Vander. This painter was born at Gorcum about the year 1627. It is not known under whom he studied the art, but his first occu- pation appears to have been painting on glass ; and there are some windows executed by him in the churches of Gorcum, and in Guelderland, which are little inferior to the works of the celebrated brothers. Dirk and Wouter Crabeth, in the beauty and vivacity of the colouring. He afterwards dis- tinguished himself as a painter of historical pic- tures, of a cabinet size, which are ingeniously com- posed, and the small figures, with which they generally abound, are correctly drawn, and touched with great neatness and spirit. Prom the subjects and scenery he represented, it would be presumed that he had resided some time at Rome, but it is satisfactorily ascertained, by the Dutch biographers, that he never was out of Holland. His pictures usually represent subjects of the Roman History, processions, and markets, in which he introduced the most remarkable views in Rome and the vici- nity. He was perfectly acquainted with perspective and architecture, and copied this scenery from the best prints and drawings he could meet with, which he selected with judgment and taste. His works are generally crowded with figures, tastefully grouped, and in their respective habiliments he showed a marked attention to the propriety of costume. As his pictures are very highly finished, and his time was much occupied by the duties of his office, (be- ing one of the burgomasters of the city,) his works are rarely to be met with, and are scarcely known except in Holland, where they are highly esteemed. [His drawings, of which there are several in Eng- land, are more pleasing than his pictures, the latter being too florid, and so highly laboured as to appear like painting on glass. It is said that he painted a view of London Bridge and the parts adjacent, the river covered with boats. The exact time of his death is not known, but some say in 1679.] VLIEGER, Simon de, was bom at Amsterdam about the year 1612, and acquired a considerable re- putation as a painter of sea-pieces and landscapes ; although it is not known by whom he was instruct- ed. He had the credit of being the master of Wil- liam van de Velde, the younger, and, though his merit was eclipsed by the brilliant talents of his disciple, his pictures are deservedly placed in the choicest collections. We have a few etchings by this artist, representing views in Holland, and rural subjects, executed in a spirited and masterly style. [Simon de Vlieger was really a very clever mas- ter, and deserves more notice than has been bestow- ed on him. Like Vangoyen, he is judged by his inferior productions, or by pictures that have been injured by time in their colouring, or by injudicious VllE] PAINTEKS AND ENGRAVERS. [VOER cleaning. His selections are picturesque, his com- positions are not crowded with unnecessary objects, his execution is remarkably free, and in the repre- sentation of the effects of a gale, or fresh breeze, he approaches the grandeur of Ruisdael. Unfortun- ately his colours, in many instances, have faded, or vamshed altogether, particularly in the sky, so that his pictures appear cold or murky ; still a master mind and hand may be discerned. Bartsch has de- scribed, P. G., tom. i., twenty etchings by him of landscapes, rivers, canals, and animals ; some of these approach the style of Waterloo. The time of his death is not ascertained ; one of his etchings has the date 1642.] YLIET, John George van, a Dutch painter and engraver, born at Delft in 1610, and was one of the numerous disciples of Rembrandt. Of his works as a painter little is known ; but we have a consider- able number of prints by him, which are executed in imitation of the style of his master. His plates amount to about ninety, most of which are from the designs of Rembi-andt, a few after J. Lievens, and some from his own designs. They produce a sur- prising effect ; the lights being broad and clear, and the shadows dark. His drawing is very incorrect, and his draperies clumsy and mannered. Notwith- standing these defects, the prints by Van Vliet are held in considerable estimation. He sometimes signed them with his name, and sometimes used the monogram i- The following are his prin- cipal works : PORTRAITS AND HEADS ; AFTER REMBRANDT. Bust of a Man, -withi his face in shadow. 1634. Bust of an old Man, with a tuiban and aigrette. The Head of a Warrior. An old Man with his hands joined, apparently in great affliction. 1634. Bust of an Oriental Character, with a far cap. An Old Woman reading. One of his best prints. SUBJECTS AFTER REMBRANDT. Lot and his Daughters ; very fine. The Baptism of me Eunuch. St. Jerome praying in a cavern, with a book and a cruci- fix. This is the finest print. SUBJECTS AFTER J. LIEVENS. Jacob obtaining his Father's Blessing instead of Esau. Susanna and the Elders. The Resurrection of Lazarus. SUBJECTS FROM HIS OWN DESIGNS. An Assembly of Peasants regaling. The Rat-catcher. A set of twenty-two plates of the Arts and Trades. VLIET, Henry van. This painter was born at Delft in 1608, and was instructed in the art by his uncle, WilUam van Vliet, a reputable portrait paint- er. For some time he practised portraiture, but afterwards distinguished himself as a painter of perspective and views of the interior of churches and temples, in the style of Emanuel De Wit, which are frequently represented by torch-Ught, and pro- duce a picturesque and pleasing effect. They are decorated with figures neatly and correctly drawn. [He painted porfa-aits in the manner of Mireveldt, and scenes by moonlight j but his best works are interiors of churches, more by daylight than torch- light, and only inferior to De Wit. * The date of his birth is uncertain ; it is said that he died in 1646, which is equally so.] [VLIET, William van, bom at Delft in 1584, painted historical subjects and portraits : his works are very little known. He died in IG42.] 3 L ULIVELLI, CosiMO, was born at Florence in 1625, and was a disciple of Baldassare Franceschini, called H Volterrano. He was a successful follower of the style of his instructor ; and Lanzi observes, that he painted history so much in the manner of Franceschini, that his works have been sometimes mistaken for those of that master, though, to the intelligent observer, they will appear less elegant in the forms, less chaste and effective in the colouring, and mannered and laboured in the execution. [He died in 1704.] ULRIC, John. This artist was a native of Ger- many, and is mentioned by Mr. Strutt as a very skilful engraver on wood, in the manner distin- guished by the appellation of chiaro-scuro. Baron Heineken conjectures that he lived before Ugo da Carpi, and prior to the commencement of the six- teenth century; but the style of composition, the drawing, and the execution of his prints, render it more probable that, he flourished about the middle of the sixteenth century, and he apparently formed his taste by studying the works of the Italian mas- ters. He usually marked his prints with a mono- gram formed of an I. and V. separated by two swords crossing each other, between which is a small tree Among others we have the following cuts by him : A Naked Figure shooting Arrows at a Snake which is entwined round an Infant. A Knight armed by his Esquire, The Crucifixion. [See the article Pilgrim, John Ulric. It is not so certain that he was a native of Germany ; it is probable that he was an Italian. It would re- quire a long dissertation, if the question were en- tered into, and probably with no very satisfactory result. As at present advised, it may be safer to let the matter rest : those more interested than we are may recommence the battle i we will join the victors, and woe to the vanquished ! It is a mis- take to say there are two swords in the tablet ; they are feoo peaceable pilgrim staves, and are improperly represented in the cut.] ULRICK, Henry, a German engraver, who flour- ished about the year 1590. We have by him a few portraits, executed in a stiff, formal style, and a small circular print, representing the Crucifixion, with the Virgin Mary and St. John. [He was a publisher as well as an engraver, and operated from 1590 to 1628. He was of Nuremberg; there is a series of twelve circular prints by him, and several others.] UMBACH, Jonas. This artist is mentioned by Baron Heineken as a German painter and engraver, but his works are not specified. [Jonas Umbach was born at Augsbourg in 1624, and died in 1680, according to Zani, but Brulhot says in 1700. He was an historical painter, and engraver. There are a great numb^ of small etch- ings by him, executed with a broad point and very spirited. Many have his name in full, and others only his monogram. The most complete catalogue of his prints is that by Winkler. Some of his pic- tures and designs have been engraved by others ; as he made many drawings for goldsmiths and booksellers. There was a younger Jonas, but there are no particulars respecting him, except that he drew portraits.] VOEIRIOT, . See Woeiriot. VOERST, Robert Vander. This artist was 881 voet] A DICTIONARY OF [VOLL born at Amheim about 'the year 1596. His style of engraving resembles that of Giles Sadeler, and his plates are executed with the gi'aver in a clear, neat manner. He visited England when he was yoiing, as he engraved a considerable number of EngUsh portraits, and his latest works in that country are dated. 1635. Vanderdoort, who mentions him three or four times in King Charles's Catalogue, expressly calls him the king's engraver, for whom he executed two plates, one of his Majesty's sister, the other from Vandyck's picture, of the Emperor Otho, painted to supply the loss of one of Titian's Ceesars. We have, among others, the following portraits by him : Charles I. and his Queen ; on one plate ; after Vandyck. Prince Rupert. James Stewart, Duke of Lennox ; after Geldorp. Rotert, Earl of Lindsey ; after Mirevelt. Philip, Earl of Pembroke ; after Vanch/ck. Eriiest, Count Mansfeld ; after the same. Simon Vouet, Painter ; after the same. His own Portrait ; after the saTne. Edward, Lord Littleton. James, Mai-quis of Hamilton, Henry Rich, Earl of Holland- William Fielding, Earl of Denbigh. [To these may be added, Sir Kenelm Digby ; after Van Dyck. Inigo Jones ; very fine ; after the same. Christian, Duke of Brunswick ; after the same. Sir George Carew ; cfter tlie same. Elizabeth, Queen of Bohemia; after Gerard Honthorst. Zani places his birth in 1610, and his death in 1669.] VOET, Alexander, a Flemish engraver, born at Antwerp in 1613, and,irom his style, is supposed to have been a pupil of Paul Pontius. His graver is sufficiently neat, but his drawing is incorrect, and he is very inferior to his model in the general effect of his prints. Among others, we have the following prints by him : Judith with the Head of Holofernes ; after Rvhens. The Holy Family returning from Egypt ; after the'same. The Virgin and Infant, to whom Angels are presenting Fruit ; after the same. The Martyrdom of St. Andrew ; after the same. ' Seneca in the Bath.; after the same. The Entombing of Christ ; tifler Vandych. Folly, holding a Cat ;, after Jordaens. The Cardyplayers ; after De Vos. ' VOET, Chaeles Boschaet. This painter was born at Zwolle in 1670, and was instructed in the rudiments of design by his elder brother, who, though he was not a professional artist, had learned drawing, for the purpose of assisting him in his studies of botany and natural history ; and was a correct designer of flowers, plants, and insects. Having made considerable progress under his bro- ther, he applied hiinself to" an attentive study of those objects from nature, and became one of the most.eniinent artists of his time. Descamps asserts, that his talents recommended him to the protection of the Earl of Portland, whom he accompanied to England, and was much employed by that noble- man, as well as by King Wilham III. He is not, however, mentioned in the Anecdotes, and it is more probable, that though he was taken into the service of that monarch, he continued to reside in Holland, as he was chiefly employed in decorating the palace at Loo. He painted flowers, fruit, plants, birds, and objects of still-life, which were designed with correctness and precision, and veiy highly finished. He died at the Hague in 1745. V06EL, Beenaed, a German engraver, born at Nuremberg in 1683. He chiefly resided at Augs- 882 bourg, where he engraved several portraits, some of which are executed with the graver, and others in mezzotinto. Among others are the following : John Kupetzky, Painter. 1737. [Of which Laborde has given a fac simile.] Christopher Weigel, Engraver ; after Kupetzky. 1735. [It is said that he died in 1737.] VOGHTER, Heney, a German engraver on wood, who, according to Professor Christ, was born at Strasburg about the year 1507. He is said to have imitated the style of Albert Durer with some success. He executed the cuts for a drawing-book, entitled " A Book of the extraordinary and marvel- lous Art, very useful to all Painters, Sculptors, Goldsmiths," &c., printed at Strasburg in 1540. [According to Zani, he was born in 1497, and died in 1537. But there was another wood engraver of the same name and family, and called the younger, who was born in 1513, and operated in 1545.] VOISARD, Stephen Claude, a French en- gi'aver, born at Paris in 1746, and was a pupil of B. Baron. He engraved some plates after the French painters, and we have by him a neat copy of the Battle of La Hogue, by WooUett, on a smaller scale. VOLANT. This artist is mentioned by Papillon as a native of France, and an engraver on wood. He has not specified any of his works. [There were two engravers on wood, Antoine Voulant, who operated in 1564, and George, who was living in 1600; nothing further is said of them.] VOLIGNY, . Florent Le Comte men- tions this artist as an engraver, but his principal talent was drawing portraits with a pen, which he afterwards washed with India ink, in a soft and delicate manner, which were greatly admired. [This probably means Voligny de Tonneres, an engraver, who died in 1699.] [VOLKAERT, Nicholas and Klaasz, father and son, painters of Haerlem, flourished in the 15th century; the elder about 1450, the younger from 1480 to the end. They painted chiefly in dis- temper, after the ancient manner, and were ae- ^ counted good artists for the time. 'They also mSde designs for the glass painters, as the name occa- sionally occurs on fragments of windows that per- haps formerly belonged to convents, or churches that no longer exist, and which have been imported in large quantities by Jews, and other brokers of no particular religion.] [VOLLERDT, or VOLLAERT, John Chris- tian, or Cheistophee, born at Leipsic, was a scholar of Alexander Thiele. It is supposed that he was the painter of small landscapes, views on the Rhine and in Switzerland, somewhat in the manner of Schutz, enlivened with figures and ani-' mals. Many of them were imported about twenty years ago by the traffickers in moderate-priced pic- tures, and were sufficiently pleasing to find a ready sale. He died in 1769, in his 61st year. Some of his pictures have been engraved.] VOLLEVENS, John. This painter was born at Gertruydenberg in 1649. He was first a scholar of Nicholas Maas, but his principal improvement was derived from his studies under John de Baan, one of the most eminent portrait painters in Hol- land, with whom he remained eight years, and, after the death of that master, succeeded to the greater part of bis practice, and became one of the most popular and most employed artists of his time. The Prince of Courland, and the Prince of Nassau, Stadtholder of Friesland, were among his particular patrons. His portraits have the merit of a perfect VOLP] PAINTERS AND ENGRAVERS. [VONC resemblance, his colouring is clear and chaste, and his touch bold and free. He died at the Hague in 1728. [His son, of the same name, was also a good portrait painter, but there are no particulars re- specting him, except that it is supposed he was a short time in England.] VOLPATO, Giovanni, a modern Italian designer and engraver, born at Bassano about the year 1738. He went to Venice ^hen he was young, where, ac- cording to Huber, he received some instruction from Bartolozzi, and engraved several plates after Piazzetta, Maiotto, Amiconi, Zuccarelli, M. Ricci, and others. He afterwards visited Rome, where his talents found a wider field. Gavin Hamilton employed him to engrave several of the plates for his Sohola Italica Pictures ; and he was the princi- pal artist employed in the execution of the splendid set of coloured prints, from the works of Raffaelle, in the Vatican, and in various other considerable publications. Among his most esteemed works are the following : PLATES ENGRAVED FOR THE COLLECTION OF G. HAMILTON. The four Sibyls ; from the paintings hy Raffaelle, in the church of S, Maria della Pace. The Marriage of Alexander and Roxana ; after Raffaelle. Modesty and Vanity ; afier L. da Vinci. Perseus and Andromeda ; after Polidoro da Ca/ravaggio. Christ praying on the Mount ; after Coreggio. Mary Magdalene at the feet of Christ, in the house of Simon the Pharisee ; after P. Veronese. The Marriage of Cana ; after Tintoretto. The Gamesters ; after M. Angela da Caravaggio. SUBJECTS AFTER GAVIN HAMILTON. The Death of Lucretia. Innocence. Juno. Hebe. Melancholy. Gaiety. ILLUMINATED PRINTS AFTER THE PAINTINGS BT RAFFAELLE. The School of Athens. The Dispute on the Sacrament. . Hehodorus driven from the Temple of Jerusalem. 'Attila stopped by the appearance of St. Peter and St. Paul. St. Peter delivered from Prison. Mount Parnassus. The Burning of the Borgo Vecchio. The Miracle of the Mass at Bolsena. This plate was en- graved by his disciple Raphael Morghen. A variety of other works, consisting of the most remarkable views in and near Rome, and other subjects. [He signed some of his early prints Cfio- vanni Renard, either as a play on his name, or to signify his own astuteness.] VOLTERRA, Daniele Ricciarelli, called di. The family name of this distinguished artist was Ricciarelli, but he is more generally designated by that of Daniele di Volterra, from the place of his birth. He was bom in 1609, and was first a dis- ciple of Giovanni Antonio Razzi, called II Sodoma, but he afterwards studied under Baldassare Peruzzi. Not meeting with the encouragement he expected in his native city, he went to Rome, and was first employed as a coadjutor to Pierino del Vaga, in the Vatican, and in the Capella Massimi, in the church of La Trinita de Monti. He was, however, chiefly indebted for the reputation he afterwards acquired to the friendship and instruction of Michael Angelo Buonaroti, who assisted him with his designs for the works he executed for Agostino Chig^, in the Famesina, and others of his most celebrated pro- ductions. But the chief monument of his fame was .3 L 2 the series of frescoes he executed in the Capella Orsini, in the church of La Trinity de Monti, wliich occupied him seven years, representing the History of the Cross. In these he is said to ha«re been greatly aided by the stupendous powers of Buonaroti. The principal painting was the much-famed Depdr sition from the Cross, which, after the Transfigura- tion, by Raffaelle, and the Communion of St. Je- rome, by Domenichino, was universally considered the finest picture at Rome. Of this sublime produc- tion, the world of art has been deprived by the ignor- ance and barbarism of the spoUators of Europe. Desirous of removing one of the greatest ornaments of Rome to their receptacle of robbery and plunder, they attempted to detach the plaster from the wall, when the whole crumbled to pieces. Of the gran- deur of the composition, the boldness of the design, and the admirable expression in the heads of the fainting mother of Christ, and the holy women who support her, some idea may be formed from the fine print engraved from it, by Dorigny. In another chapel of the same church is the Assumption of the Virgin, and the Presentation in the Temple, painted from the designs of Daniele di Volterra, by his dis- tiples Gio. Paolo Rossetti and Michele Alberti. After the death of del Vaga, in 1547, he was ap- pointed, by Pope Paul III., by the recommendation of Michael Angelo Buonaroti, superintendent of the works in the Vatican, and employed to finish the ornaments of the Sala Regia, which had been begun by Pierino. His last great work, as a painter, was his cele- brated picture of the Murder of the Innocents, for the church of St. Peter, at Volterra, which was after- wards purchased by the Grand Duke Leopold, and placed in the tribune of the gallery at Florence. On the death of Pope Paul III., in 1549. JuUus III., who succeeded, divested Daniele of his employ- ment of superintendent of the Vatican, and his pen- sion, and it appears that the latter part of his Ufe was chiefly devoted to sculpture. Pope Paul IV., from reUgious scruples, having consida-ed the Last Judgment of M. Angelo Buo- naroti unsuitable to the sanctity of the place, on account of the nudity of some of the figures, had determined on destroying the work, when Daniele was prevailed on to undertake to clothe the excep- tionable figures, out of respect for that distinguished performance. He died at Rome in 1566. VOLTERRANO, II. See Pranceschini. [VONCK, or VONK, C , an artist of great talent, who painted birds, quadrupeds, and ob- jects of still-hfe, m the manner of Melchior Hon- dekoeter and Francis Snyders. There is no satis- factory account of him ; but his works are found in some of the richest collections. In the Dresden Gallery there is a landscape by Jacob Ruisdael with birds beautifully painted by Vonck ; this gives some idea of the period in which he flourished. His pic- tures are also described in various old catalogues, and on all occasions with commendation for correct- ness of design, and beauty of colouring. It is pro- bable that some of the pictures about which persons of discernment hesitate when they find them attri- buted to Snyders and Hondekoeter, are by Vonck ; but dealers are so jealous of the reputation of great masters, that they credit them with every picture that has a resemblance to their known works. Pity that amateurs do not prefer merit to name, and spare themselves the vexation of a discovery that they have courted imposition by their preference. There was another painter of the name, who resided at 883 voog] A DICTIONARY OF [VORS Middebourg about. 1 750; he also painted birds, and still-life subjects in .the manner of Artus Schou- mans, of whom he was probably a scholar. He was living in 1778.] [VOOGD, Hendrik, a landscape painter, born at Amsterdam about 1766, was a scholar of 'Juriaan Andriesgeft, and a protegS of M. D. Versteeg. He was furnished by the latter with the means of visiting Italy, where he painted some of the most beautiful scenery. One of his pictures which he sent to the Societe des Sciences, at Haerlem," obtained for him a pension of fifty ducats per annum for three years. Thus encouraged, "he continued his studies with assiduity till he was acknowledged to be the prin- cipal landscape painter at Rome, and designated the Dutch Claude. At intervals he sent pictures to the exhibitions at Amsterdam, two of which were particularly admired, representing the environs of Rome; these were exhibited in 1810 and 1814. Whether he ever revisited his native country does not appear : he died at Rome in 1839.1 VOORHOUT, John. This painter was bom at Amsterdam jn 1647. He was the son of a watch- maker, who, perceiving his disposition for drawing, placed him under the care of Constantine Verhout [or Verbout] of Gouda, a painter of conversations and gallant assemblies, with whom he passed six years; but an ambition to distinguish himself in a higher department of the art, induced him to return to Amsterdam, where he became a disciple of John van Noort, who had acquired some reputation as a painter of history and portraits, Under whom he studied five years. In 1672, wheil the French army entered Holland, Voorhout took refuge at Frederickstadt, and from thence removed to Hamburg, where he met with very flattering encouragement, both in painting por- traits and historical subjects. After an absence of three years, tranquiUity having been estabUshed in the Low Countries, the solicitations of his friends, and the desire of revisiting his native country, in- duced him to return to Holland, and his success was not less encouraging than it had been at Hamburg. He painted the portraits of -the principal personages of the city, and was conimissioned to paint several historical subjects, by which he acquired great re- putation ; among which was a picture of the Death of Sophonisba, which has been celebrated by the Dutch poet Smidt. Voorhout is ranked, by Des- camps, among the ablest painters of his country; the subjects he selected from the Greek and Roman history were noble and elevated, and he treated them with propriety and judgment. His pictures are found in the choicest collections in Holland. [The Dutch writers are not agreed respecting the date of his decease. Some say in 1700, others in 1710. But, to make it more difficult, they mention two brothers of the name, whoni they distinguish as Voorhout the elder and Voorhout the younger, and say they both painted in the same manner, without mention- ing what manner of subjects they painted. They add, the elder died in 1723, and his brother, Jan, in 1749.] [VOORT, or VOERST, Cornelius Vander, a portrait painter, was bom at Amsterdam in 1580. His pictures are mentioned with commendation for skin in the aiTangement, and freshness in the co- louring. It is- said that he died in 1632. The capri- cious manner of the Dutch painters in signing their names, or of their biographers in writing them, ren- ders it very difficult to asceilain which artist is meant, or to whom a work is to be apportioned under the appellation Vander Voort, Voerst, Voorst, Voors, or 884 Verroort, which are frequently used indiscrimi- nately.] VOORT, M. Vander. The name of this artist is affixed to a spirited etching, representing boys playing with .musical instruments. It is appa- rently the work of a painter, and exhibits consider- able abihty. [This is probably Michael Vervoort, a painter and engraver, who flourished about 1745.] • yORSTERMAN, Lucas, the elder. This emi- ■nerit engraver was born at Antwerp about the year 1580, and at first studied painting in the great school of Rubens ; but was afterwards advised, by his illus- trious preceptor, to devote himself entirely to en- graving. No painter had the satisfaction of seeing so great a number of his best works so finely en- graved as Rubens. He was surrounded by artists of -the greatest ability, who worked immediately under his eye, and who had the advantage of his as- sistance and advice, which contributed, in no small degree, to the beauty and excellence of their prints. Of these, no one has more successfully engraved from the designs of Rubens, than Lucas Vorster- m^n. His drawing is correct, and the characters of his heads full of expression. His plates are exe- cuted entirely with the graver, which he handled with great facility, though he was always more at- tentive to the general effect, than to the neatness and regularity of the execution ; and, in his best prints, he has transcribed with surprising fidelity the life and spirit of the original paintings. His plate of the Adoration of the Magi, after Rubens, is re- farded as one of the finest productions of the art. le visited England in the reign of Charles I., where he resided eight years, from 1623 to 1631, and was employed by that monarch and the Earl of Arundel. Vorsterman usually signed his plates with his name, but he sometimes used a cipher composed of an L. and a V. joined together thus, Yj' ■ His prints are very numerous, of which the following are the most esteemed : portraits after vandvck. Chai'les I., King of England. Thomas Howard, Earl of Arundel. Isabella Clara Eugenia, Infanta of Spain. Gaston, Duke of Orleans. Ambrose Spinola, GoTemor of the Low Countries. Wolfgang William, Duke of Bavaria. Francis de Moncade, Count of Ossone. Nicholas Rockox, a Magistrate of Antwerp. Anthony Vandyck, Painter. Peter de Jode, the elder. Engraver. Charles de Mallerie, Engraver. James Callet, Engi-aver. Theodore Galle, Engraver. AVenceslaus Koeberger, Painter. Deodatus Delmont, Painter. Peter Steevens, Amateur, of Antwerp. John Van Mildert, Statuary. Hubert Vanden Enden, Painter. Lucas Van TJden, Painter. Cornelius Sachtleven, Painter. Orazio Gentileschi, Painter. John Lievens, Painter and fingraver. PORTRAITS AFTER VARIOUS MASTERS. Thomas Howard, Duke of Norfolk ; after Holbein. Sir Thomas More ; after the same. Erasmus ; a^er The Tribute-Money. The Descent from the Cross. The first impressions of this fine print are before the address of Com. van- Merlen. The Angel appearing to the Holy Women at the Se- pulchre. St. Francis receiying the Stigmata. The Martyrdom of St. Lawrence. Mary Magdalene renouncing the Vanities of the World. The Battle of the Amazons ; a large print, on six sheets. SUBJECTS AFTER VARIOUS MASTERS. The Holy Family ; after Raffaelle. The Entombing of Chi'ist ; after the same. St. George ; after the same. Christ praying in the Garden ; after An. Caraoci. Lot and his Daughters ; after Orazio Gentileschi. The Virgin and infant Christ, with two Pilgrims ; after M. Angela da Caravaggio. Chi'ist dead, supported on the lap of the Virgin, with Angels weeping j after Vandgek. St. Theresa ; after the same. Christ bound to the Pillar ; after G. Segers. ^ The Death of St. Francis ; after the same. ' ' St. Ignatius'; after the same. The Fable of the Satyr, with the Peasant who blows-hgt and cold ; after J. Jordaens. A Bear-hunt ; after F. Snyders. A Concert, consisting of five personjs, one of which is a Girl playing on the Guitar; after Adam, de Coster j being a companion to the Concert, engraved by-,Bo^ swert ; after Theodore Romiouts. VORSTERMAN, Lucas, the younger, was the son of the artist mentioned in the preceding article, and was born at Antwerp about the year 1605. Al- though he had the advantage of his father's instruc- tion, his prints are very inferior, in every respect, to those of the elder Vorsterman, and he never rose above mediocrity. The following are considered his best productions : PORTRAITS. Lucas Vorsterman the elder ; after Vandyek. Sir Hugh Cartwright ; after Diepenbeck. SUBJECTS AFTER VARIOUS MASTERS. The Trinity ; e^ter Rubens. Part of the ceiling of Whitehall ; after the same. The Virgin in the Clouds, surrounded by Angels ; after Vandyek. The Satyr, and the Feasant blowing hot and cold ; after J. Jordaens. This print greatly resembles that of the same subject engraved by his father. The Triumph of Biches ; after Holbein. ■the greater part of the Plates for the book on Horseman- ship, by the Duke of Newcastle. Several of the Plates in the collection called the Gallery of Teniers. 'Various other subjects from other masters, and some por- traits from his own designs. VOS,- Martin de, an eminent Flemish painter, born at Antwerp in 1520. He was the son of Peter de Vos, an artist of sufficient ability to be received into the academy at Antwerp, in 1519, from whom he received his first instruction in the art. He had afterwards the advantage of frequenting the school of Francis Floris, under whom he studied until he was twenty-three years of age, when he determined to visit Italy, and i)assed some years at Rome, where he improved his style of design by studying with attention the works of the gi-eat painters of the Roman school. The charm of Venetian colouring engaged him' to visit Venice, where he had the good fortune to conciliate the este'em and friendship of II Tintoretto, who not only instructed him in the best principles of colouring, but employed him as a coadjutor to paint the landscapes in his pictures. With the aid of such advice and assistance, de Vos became an admirable colourist, and gained such re- putation, that he was employed in painting the portraits of several of the illustrious family of the Medici, as well as in some historical subjects which added to his famci After an absence of eight years, De Vos returned to Flanders, where the celebrity he had acquired in Italy excited public curiosity, and he wais commis- sioned to paint several altar-pieces for the churches at Antwerp, and, the other cities of the Netherlands. He was also much employed as a portrait painter, and there is an appearance of nature in his heads, which was unequalled at the period at which he lived. He was received into the academy at Ant- werp in 1559. He continued the exercise of his talents until the year 1604, when he died, at the age of 84. His principal works in the cathedral at Antwerp are, the Marriage at Cana; Ihe Incredii- lity of St. Thomas ; the Miracle of the Loaves ; the Temptation of St. Anthony ; and the Resurrection. In the church of St. James is a fine picture of the Last Supper, [Martin de Vos was born in 1531, and died in 1603, consequently at the age of 72. His works, both in portraiture and historical compositions, were numerous, and. had considera,ble influence on the art in his time ; but many of his pictures were de- stroyed by the Iconoclasts. Whatever he may have gained in Italy, his surviving pictures show that on his return to Flanders he reverted to the characters and manners of his country.' In history he ipust be judged by Flemish canons ; in portraiture he is the preciu-sor of Rubens and Van Dyck, who pei-haps owe more to him than their admii'ers are wilUng to acknowledge.] , VOS, Peter de, was the brother of Martin de Vos, and painted history, but his works are little known. VOS, William de. This artist was the nephew and scholar of Martin de Vos, and painted history in the style oi his instructor, in which he acquired considerable reputation. His portrait was painted by Vandyek, among the distinguished artists of his time, which he also etched, and it was finished with the graver by Bolswert. VOS, Paul de. This painter was born at Alost, about the year 1600. From the subjects and style of his pictures, it is probable that he was a disciple of Francis Srfyders. He painted animals and hunt- ings with great ability, and his works are little, if at all, inferior to those of that distinguished artist. He Was much employed for the royal collection of Spain ; and there are several of his finest works in the palace of Bueno Retiro, which are deservedly held in the highest estimation. His animals, par- ticularly his dogs, are drawn with uncommon cor- rectness and spirit, and his colouring is clear and harmonious. [He died in 1654,] VOS, Simon de, was born at Antwerp in 1603, and had the advantage of studying in the school of Rubens, under whom he became a very eminent painter of history and portraits. There are some altar-pieces by him in the churches at Antwerp, which have been sometimes mistaken for the works of his illustrious instructot. Such are his picture of the Resurrection, in the cathedral ; the Descent 885 vos] A DICTIONARY OF [voui from the Cross, in the church of St. Andrew ; and St. Norbert receiving the Sacrament, in the abbey of St. Michael. Sir Joshua Reynolds commends this picture, and speaks of him, as a portrait paint- er, in the following terms : " De Vos was particu- larly excellent in portraits. There is at Antwerp his own portrait, painted by himself, in black, lean- ing on the back of a chair, with a scroll of blue pa- per in his hand, so highly finished, in the broad style of Coreggio, that nothing can exceed it." Si- mon de Vos was liying in 1662. [VOS, De. Of this name, and apparently of the same family, there were several other painters near- ly contemporaries. As most of them painted land- scapes, portraits, and animals, their works and names have been confounded. Among them are, Cornelius, a second Peter, a second William, a Hen- ry, and other baptismal appellations, but very little information to enable the inquirer to distinguish their works. A race of painters of the name con- tinues in Holland to this day.] VOSTERMAN, [properly VORSTERMAN,] John. This artist was born at Bommel in 1643. He was the son of a portrait painter, who taught him the first rudiments of design, but he afterwards studied at Utrecht, under Herman Zachtleven, and became one of the most admired landscape painters of his time. Whatever was his merit, his vanity was at least equal to it. He visited Paris, where he assumed the title of Baron, and, for a short time, kept up the establishment of a person of rank. His necessities obliged him to return to Holland, and, in 1672, on the approach of the French army, he re- moved from Utrecht to Nimeguen, where his talents became known to the Marquis of Bethune, for whom he painted several landscapes and views of the Rhine, and by whom he was employed to col- lect the best works of art that he could meet with. Soon after the Restoration he came to England, and was employed in painting a view of Windsor, and a few other works for the king, but, demanding ex- travagant prices for his pictures, he did not receive many commissions, and his emoluments not being able to support his extravagance, he was arrested for debt, and was released from his confinement by a contribution of his countrymen. Sir William Soames being sent ambassador to Constantinople, by James II., Vosterman accom- panied him, intending to paint the most remarkable views .in that country; but Sir William dying on the road to the Ottoman court, his project was pre- vented. Before his departure from England, he had been invited to Poland, by his patron the Mar- quis of Bethune, and he probably went thither on the death of the ambassador. Had the industry of Vosterman been equal to his genius, he would pro- bably have equalled any landscape painter of his country. The scenery of his pictures is frequently taken from the borders of the Rhine ; his colouring is chaste and agreeable, and he was a perfect master of aerial perspective. His views are usually deco- rated with boats and small figiu-es, which are cor- rectly drawn, and touched with neatness and spirit. [It is said that he died in 1699, but it is not cer- tain.] VOU, I. DE, a Dutch engraver, who flourished about the year 1 700. He engraved views and build- ings in Amsterdam, which are etched and finished with the graver in a neat, clear style. VOUET, Simon, an eminent French painter, born at Paris in 1582. He was the son of Law- rence Vouet, a painter of little celebrity, by whom he was taught the rudiments of the art, and, with- out the aid of better instruction, he acquired some reputation in portrait painting. When he was twenty years of age, the Baron de Sancy engaged him to accompany him, as his painter, to Constan- tinople, where he drew the picture of the Grand Signor ; and though it was impossible to do it other- wise than by the strength of memory, and from a view of him at the ambassador's audience, it is said to have been extremely like. He afterwards went to Rome, where he was favoured vrith the protection of Pope Urban VIII., and his nephew the Cardinal, by whom he was employed in St. Peter's, and paint- ed several pictures for the Barberini palace, which are amongst his best works. He resided at Rome fourteen years, and, in 1624, was chosen prince of the Academy of St. Luke. In 1627 he returned to France, and was appoint- ed principal painter to Louis XIII., who had al- lowed him a pension during his residence in Italy. He was employed in decorating the palaces of the Louvre, the Luxembourg, and St. Germain's ; the hotels Richelieu and Bouillon ; and painted several pictures for the churches at Paris, of which the most esteemed are the principal altar-piece in St. Eustache, representing the Martyrdom of St. Agnes ; and the Assumption of the Virgin, in St. Nicholas- des-champs. He died at Paris in 1641. The first style of Vouet resembled that of Valen- tin, and the pictures he painted at Rome possess considerable force, but after his return to France, the multiplicity of his engagements induced him to adopt one more expeditious, and which had little to recommend it, except a surprising facility. His genius was unequal to grand compositions ; his de- sign is mannered, and not always correct ; his colouring false, and the character of his heads with- out expression. France is, nevertheless, indebted to him for being the first who attempted to reform the French school from the insipid and barbarous manner which prevailed before him, and introducing somewhat of a better taste, which was afterwards greatly improved by his numerous disciples, among whom he had the credit to rank Le Brun, Le Sueur, Mignard, and others. [Robert Dumesnil has made us acquainted with an etching by Simon Vouet. It represents a " Holy Family," in which the infant Jesus, in the arms of the Virgin, holds in one hand a bunch of cherries, and with the other tries to take a bird which Joseph presents on his forefinger. The figures are half- length, except the child, in a landscape. Signed Si.Vouetjn. sculp. 1633. Dorigny and others have engraved about one hundred and fifty plates of scriptural and historical subjects, painted by S. Vouet in the Barberini pa- lace, the Louvre, the Luxembourg, St. Germain's, and the churches of Paris; these were published collectively at Paris in 1627 — 65. There is great diversity among writers regarding the dates of his birth and death ; but the best authorities agree with those given above.] VOUILLEMONT, Sebastian, a French en- graver, born at Bar-sur-Aube, about the year 1620, [others say 1623.] He was a pupil of Daniel Rabel, and afterwards went to Rome, where he resided several years. We have by him several prints en- graved from the works of the ItaUan masters, as well as from his own designs, and those of Rabel, his master, of which his etchings are the best ; when he attempted to finish them with the graver he was less successful. He sometimes marked his plates voye] PAINTERS AND ENGRAVERS. [VBIE with the cipher j^ • The following are among his best prints : The Murder of the Innooenta ; after RaffaeUe. 1641. Christ mth the Disciples at Emmaus ; after the same. Mount Parnassus ; after the same. The Holy Family ; after N, Poussin. The Virgin and Infant Christ; after Parmigiano. The Marriage of St. Catherine ; after Albano. A young Man presentiiig Money to a Fortuneteller. VOYEZ, Nicholas Joseph. This artist was born at Abbeville in 1742. He went to Paris when he was very young, and became a pupil of Beau- varlet, his fellow citizen. We have several plates by him executed in the neat style of his instructor, among which are the following : PORTRAITS. Louis XVI. ; engrayed in 1785. Marie Antoinette, Queen of France. Marie Adelaide Clotilde Xaviere of France. Prince Henry of Prussia. SUBJECTS. Angelica and Medoro ; after Blanchard. The Astrologer ; cfter G. Douw. An old Man in meditation ; after the same. He also engraved from the pictures of Greuse, Baudouin, and other masters. [His brother Fran- cois, also an engraver, was born in 1746, and operated in 1802. There is nothing important re- specting them.] VOYS, Art de. This painter was born at Ley- den in 1641. His father was a celebrated organist, and was desirous of bringing him up to the same profession ; but his son discovered so little taste for music, and so decided a disposition for the art, that he was induced to place him under the tuition of Nicholas Knufer, a painter of history of some re- pute, at Utrecht, with whom he continued two years, when he returned to Leyden, where he became a disciple of Abraham Vanden Tempel. De Voys, however, did not adopt the manner of either of his instructors; he fonned an intimacy with Peter van Slingelandt, who had been a disciple of Gerard Douw, whose highly-finished style he followed with the greatest success. Although he occasionally attempted history on a small scale, his best productions are portraits and conversations, and domestic subjects, which are little inferior to the works of Metzu or Mieris. His drawing is very correct, and his colouring clear and transparent, with a perfect intelligence of the chiaro-scuro. The pictures of this ai-tist are extremely scarce, as they are very carefully finished ; and he is said to have passed several years of his hfe in idleness and dis- sipation, in consequence of his having married a person of considerable fortune. [Balkema says he died in 1698. There are pictures by him in the Museum at Amsterdam and in the Gallery at the Hague. There are also two in the Louvre, one of which is supposed to be the portrait of Pynacker, the landscape painter. Several are to be found in Eng- lish collections ; they are chiefly of single figures, and when perfect are very beautiful in the execution.] URBINO, Eaffaelle Sanzio di. See Raf- FAELLE. URBINO, Timoteo di. See Vite. •»• URBINO, LucA di. This artist is mentioned by Mr. Strutt as the engraver of a set of prints for a drawing-book, from the designs of M. Angelo, the Caracci, and other great masters. They are exe- cuted with the graver, and his drawing is generally correct. On one of the plates, in the book above- mentioned, he inscribed his name at length, Lucas de Urbino f, but he usually marked his prints with a monogram composed of several letters, thus, m- [VREE, or VREEM, Nicolas de, a flower painter, born at Utrecht in 1650, was celebrated in his day for the lightness of his pencil, and the fresh and natural brilliancy of his colours; his works, however, are but little known out of Holland. He died at Alkmaar in 1702.] VRIBS, John Fredeman de. This painter was born at Leewarden, in East Friesland, in 1527. He was sent, when young, to Amsterdam, where he became a scholar of Renier Gueritsen, under whom he continued five years, and applied himself with great assiduity to perspective, and in designing architectural views. In 1549 he went to Antwerp,' where he was em- ployed, in conjunction with others, in painting the triumphal arches which were erected on the public entry of the Emperor Charles V. and his son Philip into that city ; on which occasion he proved him- self an artist of considerable ability. He was much employed in decorating the saloons of the principal mansions with perspective views, which he designed with such truth and effect, that the illusion was complete. He travelled through Germany and Italy, and he every where met with encouragement and employment. After his return to Antwerp, the latter part of his life was principally occupied in making designs of architectural and other subjects, for the printsellers, particularly Jerome Cock, who published a great variety of prints from his de- signs. For his works, as an engraver, see the article Feisius. VRIES, Adrian de. This artist was a native of the Low Countries, and was probably of the same family with John Fredeman de Vries. He is said to have been a painter of architecture, and we have by him a set of large, coarse etchings, repre- senting theatrical decorations, executed in a hasty, slight style. [VRIES, John Renier de, a landscape painter, and probably a scholar of Jacob Ruisdael, whose manner he imitated, flourished from about the middle to near the end of the 17th century. He painted a great number of small landscapes on panel, ge- nerally forest scenery, in which he frequently in- troduces a cottage, and in the distance a mill, some- times with the effect of sunshine, but more frequently without. His manner partakes of Ruisdael and Dekker ; and his colouring has the sombre hues of the latter. He contrives to throw the light on the trunk of an oak, or some other large tree, which is generally laboured with close attention to nature. The figures introduced are of a clownish character, and evidently painted by himself. His pictures are mostly signed with his monogram, which bears so strong a resemblance to that of Jacob Ruisdael, that many have been, and are, deceived by it.] [VRIES, Salomon de, born at Antwerp in 1556, was the son of a painter of the name of Jan De Vries, by whom he was instructed. He painted land- scapes ornamented with ruins, which are not badly composed, but his colouring has become dark, pro- ducing an unpleasant effect, and diminishing their value. He died at the Hague in 1604. There were several other painters that bore the name of De Vries, but the editor cannot cite any examples of their works, nor rely on the accuracy of the accounts he has met with respecting them.] 887 VROO] A DICTIONARY OP [UYTE VROOM, Henry Cornelius de. This painter was born at Haerlem in 1566. He was the son of a sculptor, who died when he was very young, and his ■ mother having afterwards married Cornelius Henricksen, a painter on china, he was instructed in the rudiments of design by his step-father. His inclination at first led him to paint views of towns, and he resided some time at Rotterdam, but, not meeting with the encouragement he expected, he embarked on board a vessel bound to St. Lucar, and from thence proceeded to Seville, where he re- mained some time, but met with no better success. He afterwards visited Italy, and during a residence of two years at Rome, was employed by the Cardi- nal de Medici, and became acquainted with Paul Brill, whose advice and assistance were of infinite service to him. On leaving Rome he went to Venice, where he did not remain above a year, and, passing through Milan, Genoa, Turin, and Paris, he returned to Haerlem, where he was industriously employed in painting small devotional subjects, which he purposed to dispose of in Spain, and with that intention he embarked a second time for Se- ville, but was shipwrecked on the coast of Portugal, and found his way to Lisbon, destitute of every thing but his talent, where, relating the danger he had escaped, he was engaged to paint a representa- tion of the tempest which he had described, in which he succeeded so happily, that it was purchased by a Portuguese nobleman, at a considerable price. Vroom continued to be employed, and he improved so much in painting sea-pieces and storms, that on his return to Holland he applied himself entirely to that branch of painting. At this period, the great Earl of Nottingham, Lord High Admiral of England, whose defeat of the Spanish Armada had establish- ed the throne of his mistress, being desirous of pre- serving the detail of that illustrious event, had bespoken a suit of tapestry, describing the particu- lars of each day's engagement. Francis Spiering, an eminent maker of tapestry, undertook the work, and engaged Vroom to draw the designs. The painter came to England to receive instructions, and to execute his commission ; and- contracting a friend- ship with Isaac Oliver, was drawn by him. He returned to his own country, and painted a large picture, which was much admired by Prince Mau- rice, of the seventh day's action of the fight above- mentioned. Vroom died rich, in what year is not mentioned. [The tapestries wrought from the designs of Van Vroom, representing the defeat of the Spanish Ar- mada, having perished in the fire which consumed the houses of parliament, his manner of treating the subject can be judged of now only by the engravings made by Pine, and published in 1730, accompanied by ten charts of the sea-coasts of England. Some writers say that he died in 1619 ; Immerzeel says he died at Haerlem in 1640. It would seem that Vroom was of a roving disposition, and that he made a second voyage to Spain ; for we find his name blended with that of Henri de las Marinas, a marine painter, born at Cadiz in 1620, but whose parentage is not mentioned. Particulars respecting him are veiy scanty ; but it is agreed that he visited many foreign countries. His works are now very little regarded.] [VROOMANS, Nicolas, particularly celebrated for the manner in which he painted serpents and other reptiles, was bom in Holland in 1658, or 1660, and died about 1719. He represented with great truth in design and colour, and beautifully penciled, all 888 sorts of wild plants, briers, and parasitical creepers, among which he placed toads^ frogs, mice, moths, worms, spiders in their webs, birds' nests, and other objects ; in all of which he is excellent, but remark- ably so in the forms and movements of the serpent tribe. His pictures are of rare occurrence in England.] [UTRECHT, Adrien van, born at Antwerp in 1599, was an eminent painter of domestic fowls, dead, game, and objects of still-life. In these de- partments he was but little inferior to Francis Snyders. He frequently assisted other artists by the introduction of fruit and flowers to their pictures as accessories. He went to Spain, where he was much employed by Philip IV.. ; and it was there he painted the magnificent assemblage of fruit in the large picture by Rubens of " Pythagoras and his Disciples," which is now in Buckingham Palace. This portion has ■ been erroneously attributed to Snyders. He died at Antwerp in 1651.] [VUEZ, Arnold, an historical painter, highly lauded by some, and equally condemned by others, was born at Oppenois, near St.- Omer, in 1642. He studied at Rome, and was employed by Le Brun at Paris and Versailles. His works are said to be nu- merous in the religious establishments at Lille, Cambrai, and Douay. They are said to be abun- dantly rich in the composition, and ornamented with architectm-e, but badly coloured. He died in 1724.] VUIBERT, or WIBERT, Remi, a French paint- er and engraver, born at Paris in 1607, and is sup- posed to have been a scholar of Simon Vouet. His works as a painter are little known, but he en- f raved several prints after some of the most eminent talian painters, as well as from his own designs. Among others, we have the following prints by him: Adam receiving the forbidden Fruit from Eve ; after BaffaeUe. The Judgment of Solomon ; after the same. Apollo and Marsyas ; after the same. The taking down from the Cross ; after N. Poussin. The Cure of one possessed of a Devil \from his own design. [The engravings of Remy Vuihert are dated from 1635to 1663. RobertDumesnil, "Le Peintre Graveur Prangais," tom. ii., has described twenty-nine, after Raphael, N. Poussin, Domenichino, Pietro da Cor- tona, Prangois Du Quesnoy, (the sculptor called 11 Flamingo,) and Vuibert's own designs. But there are others that have not, probably, come under his observation, as the latest date quoted by him is 1643 ; whereas Zani quotes " Remigius Vuihert Gallus sculpsit Ki. An. 1663." Vuihert resided for a considerable time at Rome, and probably died there. He was on intimate terms of friendship with N. Poussin, who speaks of him in his correspond- ence with M. de Chantelou. In some instances his engravings are analogous to the manner of Frangois Perrier, m others to that of P. Sealberge."] VYL, J. Den. The name of this artist is affixed to a few etchings of cows and sheep, which appear to have been executed about the end of the sixteenth century. They are scarce. [This is probably the artist by whom there are many drawings to be found in Holland, signed I. den Uil, or den, Dyl ; at pre- sent there are only five of his etchings described ; an Ox and a Sheep, a Bull, two Oxen, a Dog, and a Buffalo. In style they approach those of Nicholas Moojaert, but do not equal them in merit. UYTENBROECK,MosES,calledLiTTLE Moses. This artist was a native of the Low Countries, and flourished about the year 1640. He is supposed to have been a scholar of Cornelius Poelemberg, whose uyte] PAINTERS AND ENGRAVERS. [UYTB style he imitated. He painted landscapes, which he usually embellished with subjects taken from history, or the fable. We have several very spirited etchings by this painter, which are much esteemed. He died in 1650. [The name of this artist is written in divers man- ners; as Moses van Utenbroeek, Vytenbrouek, Veit van den Broeck, Van Brouck, Vtenbrouck, Wten- hrouck, Wtenhroeck, and other modes of spelling. He flourished from 1615 to 1646 ; the time of his death is uncertain. In his paintings he imitated the style of Adam Elsheimer, and Cornelius Poelen- burg, particularly the latter ; and it is probable that many of his landscapes, with fabulous subjects, have been attributed to that master. Of his etchings and engravings Bartsch has given a description of fifty-eight, in tom. v. of Le Peintre Graveur; to these Weigel, in his Supplement to Bartsch, has added nine, and has also given full particulars of the variations of those described by his predecessor. The following are the titles, in the order in which they appear in Bartsch and Weigel : 1. Portrait of the Artist ; on a pedestal is written Moyses van Wtenbrouok pictor. SUBJECTS FROM THE BIBLE. 2. Abraham dismissing Hagar ; M. Wtenbrouck. 1620. 3. Hagar and Ishmael in the Wilderness. 4. The Angel comforting Hagar ; M. Wtenbrouok, 1620, the figure 2 reversed. 5. Hagar in the Wilderness, seated at the foot of a tree, and Ishmael resting his head on her hip ; Wtenhroeck fe. J. V. ex. 6. Hagar and Ishmael in the Wilderness, walking to the left. 7. Hagar seated at the foot of a large Tree ; Mo. V. Vyt. f. Ma, V. Vy. ex. 8. Hagar comforted hy the Angel ; the Angel floats on a doud above, on the left. 9. Abraham going to sacrifice Isaac; M. Vtenbrouck 1620. 10. The Angel preventing the Sacrifice ; M. Vtenbroeck fecit. 16i6 Hh: exc. 11. Samuel anointing Saul King of Israel ; Wtenbrouck. 1620 — J. C. Visscher excu. 12. Bathsheha at the Bath, an old Woman presenting a Letter ftom King David. HISTORY OF TOBIT. 13. The elder Tobit confiding his Son to the care of the Angel ; M. V. B. 1620 — Broer Jans excu. Hage. 14. Tobit alarmed at the sight of a monstrous Fish ; Mo. Wtenbrouck. 1620. Thereisacopy of this print hy an anonymous engraver. It difiers from the original in several points ; particularly in the omission of the Ox, which a man is driving to the right in the former. On the copy is inscribed M Uytenbroeck in. J. C. Visscher ex. 1.5. Tobit carrying the Fish, accompanied by the angel Kaphael. 16. Tobit restoring sight to his Father; M.v. Wtenbrouck. 1621. 17. The Holy Family returning from Egypt. FABULOUS SUBJECTS. 18. Juno delivering lo to Argus. 19. Mercury conversing with Argus ; M.v. brouck 1621. — J. C. Visscher ex. 20. Argus attending his Cattle. 21. Argus requesting Mercury to stay with him. 22. Mercury lulling Argus to sleep ; Goats reposing on the right. 23. Mercury prepa;ring to cut off the head of Argus. 24. Mercury lulling Argus to sleep ; a dog reposing on the i^ht. 25. The same subject. In the distance, to the right, is a a Man driving a Cow and some Goats. 26. Apollo guarding the Herd of Admetus ; the first im- pressions are without signature; the subsequent are marked M. V. Wtenbrqeck ex., written twice, towards the middle of the lower part of the print. 27. Battus betraying Mercury. 28. Mercury punishing Battus. 29. Mercury upbraiding Battus. ' 30. Bacchus and Ariadne. 31. Diana and her Nymphs ; Afo. V. Vyteribrauck f. Mo.' V. Vytenbrouek ex. Vertumnus and Pomona. 33. Silenus drunk; M. V. Wtenbrouck f. Ma. V. Wten- brouk ex. First impressions are without the names. VARIOUS SUBJECTS. 34. A Man and a large Gourd ; Mo. V. Vyt. f. M. V. Vy. ex. 35. A Woman seated, and a Child with a large Gourd on its shoulder ; a Goat and a Cow in the distance ; Mo. V. JJytenbrouk f. Ma. v. Uytenbrouk ex. The first impressions are without the names. 36. A Woman kneeling near a streamlet, and a Shepherd standing near a wooden enclosure; Mo. V. Vyten- brouek f. Mo, V. Vytenhrouck ex, 37. A Peasant Family ; Mo. V, Vytenbrouek f. Ma. V. Vytenhrouck ex. 38. A Woman from bathing ; her back is towards the spectator, and she holds her shift in her hands. 39. A similar subject, but she is seen in profile, and her face is turned towards the spectator. A very beautiful print, and remarkably ^2^z£an^ in efiect. 40. A Woman bathing, surprised by a Shepherd. 41. to 44. Subjects of 'Animals ; Cows, Horses, Goats, and 45. Arcadian Shepherds ; Mo. V, Vytenbrouk f. Ma. V. Vytenbrouk ex. 46. A Woman and three Children ; Mo. V. Vytenbrouek f. Ma. V. Vytenbrouek ex. 47. A young Mother on her knees before an old Man seated near the door of a house ; Mo. V. Vytenbrouek f. Ma. V. Vytenbrouek exc. First impressions are without the names. 48. A Shepherd and Shepherdess ; the latter has her head ornamented with fiowers. 49. A Land-storm, in which a Woman is taking refuge in the aiTns of a Shepherd, and alarmed animEds are pre- cipitating themselves on each other ; a Cow and two • Goats ai'e under shelter. 50. Indians gathering Tobacco ; M. V. Brouck. 51. Indians preparing Tobacco ; M. V. Brouck. 52. A Landscape, with a Man driving a laden Ass and several Goats before him. 53. A Landscape, with a Tower and two Obelisks. 54. A Landscape, with a round Tower and Ruins. h5. A Landscape, with a Man walking, and a Woman on an Ass. 56. A Landscape, with Figures, and Animals on a bridge. 57. A Landscape, with Cattle,and Jacob wrestling with the Angel. 58. A Landscape, with a Temple, and the Angel and Tobit. To the foregoing, Weigel, in his " Supplement to Bartsch," has added, 69. Salmacis and Hermaphroditus ; in the collection of the Archduke Charles, at Vienna. Described also in Ki- gal's catalogue. 60. Apollo guarding the cattle of Admetus. Described in Bigal's catalogue. 61. A rocky Landscape, in which are two Men and a Wo- man walking. It has the address of A^ Visscher, with the initials J. C. V. interlaced. In the collection of the Archduke Charles, and described in Eigal's cata- logue. 62. Indians employed in dressing Tobacco. This, and numbers 50 and 51, belong to a book entitled " Tabaco- logia," by John Neander, published by Elzevir in 1622. They appear also in a second edition, published in 1626, but badly retouched. 63. A Cow standing, two Sheep and a Goat lying down. Described in Robert Dumesnil's catalogue, No. 1. 64 A Cow ruminating. In the same catalogue. No. 2. ' Mo. V. Vyt. f. Mo. V. Vyt. ex. 65. A wild Horse. In the same catalogue, No. 3. 66. A Landscape, with Euins, and two Shepherds (Mer- cury and Argus ? ). In the collection of the Archduke Charles. 67. St. Peter and St. John curing the lame Man at the gate of the Temple ; with the mark of N. Visscher, as editor, and the date 1616. In the collection of the Archduke Charles.] 889 uyte] A DICTIONARY OP [WAAB UYTENWAEL, Joachim. This artist was born at Utrecht in 1566. He was the son of a glass painter, who taught him the rudiments of design, and he followed his father's profession until he was eighteen years of age, when he became a scholar of Joseph de Beer, under whom he studied three years, when he travelled to Italy, and passed some time at Padua. In that city he became known to the Bi- shop of St. Malo, and accompanied that prelate to France. He remained in his employment two years, when he retiirned to Utrecht, where he passed the rest of his life. He painted history in the style of Bartholomew Sprangher, and his design, like that of the artist he took for his model, is frequently strain- ed and extravagant. His cabinet pictures are more esteemed than those of a larger size. Van Mander speaks in favourable terms of two small pictures by this master, in the collection of the Elector Palatine, representing a Peast of the Gods, and Mars and Venus. [His small pictures of feasts of the gods are rather numerous, they resemble the works of Corne- lius of Haerlem on a reduced scale, but much richer in colour. They are remarkable for elaborate fin- ishing, and are really beautiful of their class. He died young, about 1640.] VYTH, or VEYTH, John Martin. This artist was born at Schafhausen in 1650. After receiving some instruction in design in his native country, he travelled to Italy, and passed some years at Borne and Venice. He attached himself particularly to the study of the works of M. Angelo Buonaroti, whose great style of design is discernible in all his works. He painted history, and enriched the col- lections at Basle, Berne, and Schafhausen, with -several historical pictures, which prove him to have been one of the noblest artists of his country, al- though his merit was not duly rewarded, as he lived in indigence. He died in 1717. w WAAL, or WAEL, John de. This painter was born at Antwerp in 1557, and was a disciple of Prancis Frank the elder. He painted history in the style of his master, and had acquired sufliicient cele- brity to be received a member of the academy in his native city, when he died in the prime of life. [The dates of his birth and death are contradictory. Fiiessli says he died in 1633, at the age of 75 ; and so says Zani. That is certainly not the prime of life. Van Dyck painted his portrait. His pictures are very rare. See the note to the article, John Bap- tist De Waal.] WAAL, or WAEL, Lucas de, was the son of the preceding artist, born at Antwerp in 1591, and was first instructed in the art by his father; but, as his genius led him to landscape, he was afterwards placed under the tuition of John Breughel. He followed the style of his preceptor with great suc- cess, and, on leaving that master, he travelled to Italy, and passed some time at Genoa, where his works were highly esteemed, and he met with very flattering encouragement. Although his pictures occasionally represent battles and attacks of cavalry, which are well composed, and touched with great spirit and animation, his most esteemed works are his mountainous landscapes and waterfalls, in which the scenery is extremely picturesque ; his colouring is chaste and natural, and his pencil neat and spirit- ed. He died in 1676. WAAL, or WAEL, Cornelius de. This artist was the younger brother of Lucas de Waal, and I 890 was born at Antwerp in 1594. He received his first instruction in the art from his father, John de Waal ; but he afterwards accompanied his brother to Italy, and resided some time at Genoa, where, ac- cording to Lanzi, he painted some pictures for the churches, but he chiefly excelled in painting battles, mai'ches, skirmishes of cavalry, and processions, in which he gained a distinguished reputation. His compositions are ingenious and abundant, his flgures and horses are correctly designed, and his touch is peculiarly adapted to the subjects. The fury of the combatants, the dismay of the vanquished, and the suffering of the wounded, are delineated in his pictures with admirable expression. He was much employed by the Duke of Arschot, and painted several of his best pictures for Philip III., king of Spain, by whom they were held in the highest estimation. He died in 1662. We have by this artist several very spirited etchings from his own compositions, among which are the following : A set of seven prints ; inscribed Illri, D. D, Gulielmo Vander Straten, venustas hasce imagines. C. de Wael amoris dicat. Tliey represent a variety of subjects, among ■which are some of Peasants quarrelling and amusing themselves. WAAL, or WAEL, John Baptist de. This artist is said, by Huber, to have been a nephew of Cornelius de Wael. We have by him some shght etchings, from the designs of his uncle, among which is a set of eight prints, representing the his- tory of the Prodigal Son. [Bartsch has started a difiiculty regarding this artist. He says, " We have a series oijlve prints representing the Life of the Prodigal Son, which are engraved after designs by Cornelius De Wael. Three of these pieces are anonymous, the other two are executed by a John Baptiste de Wael, who has marked them with his name, and the date 1658. This artist, contemporary with Cornelius de Wael, or perhaps his son, is absolutely unknown. In comparing the two signed prints with the fourteen pieces of which we here give the descriptions, (torn. V. Peihtre Graveur,) and which bear also the name of John Baptiste de Wael, it becomes evident that these latter cannot be the work of the John of 1658, so much difference is there in composition, drawing, and the point. There is therefore no doubt that the author of them is John Baptiste de Wael, who, according to Descamps, was the father of Cornelius." Bartsch then gives an account of John de Wael, whom he designates the Old, corresponding with what is said in a previous article, adding the cir- cumstance, that he travelled with another painter, of the name of John de Mayer, to Paris, where he ac- quired a fortune, and died in 1633. The fourteen prints described by Bartsch consist of landscapes, with figures and animals, and are named according to the subjects. They were pub- lished collectively, as they are numbered consecu- tively in Arabic figures at the bottom, on the right. The first print serves as the title, and bears the fol- lowing dedication and inscription : " III™', ac Orn"". Dno, Gasparo de Hoomer bonarum Artium Maecenati dign"^. D. D. D. Johannes Bap'", de Wael." On the lower margin : Con licence de superiori in Moma da Vincenzo Billy vicino Vorologio della Chiesa noua. Hence it may be concluded that he was some time in Italy, though the circumstance is not noticed by biographers. It may be added, that Rudolph Weigel concurs with Bartsch in his remarks, previously cited.] WAAn] PAINTERS AND ENGRAVERS. [WALC [WAARD, or WAERD, Anthony de, born at the Hague in 1689, was a scholar of Simon Vander Does, and afterwards studied at Paris. He is men- tioned as a painter of historical subjects, portraits, landscapes, and animals, and also as a decorator of the interiors of apartments. Of his history nothing further is recorded, and his works are scarcely known out of Holland. It is said that they are esteemed there, and obtain high prices. It is con- jectured that he died at the Hague in 1752, as a sale of his collection of pictures was made there in that year.] [WAAS, or WAES, Aart VAN,a native of Gouda, and scholar of Wouter Crabeth, travelled in Italy and returned to Gouda, where he painted some pretty pictures of familiar subjects, and died in 1646, says Balkema, but Immerzeel says in 1650. This is all that is related of him as a painter ; but in a catalogue of prints (Hazard's) there are nine gro- tesque subjects attributed to him both as painter and engraver. What the subjects are of eight that are uprights, is not said ; but the ninth represents a painter, disgusted with his art, " qui fait ses ordures sur la palette et les pinceaux." At the bottom of the print is inscribed " oTO dat ick door de honst, 8fc. 1 645."] WACHSMUTH, Jerome, a German engraver, who chiefly resided at Vienna. He engraved, among other prints, the Elements and the Seasons, from his own designs, in which he has shown a humble imitation of the' style of Bernard Picart. WAEGMAN, Henht. According to Fuessli, in his Lives of the Swiss Painters, this artist was born at Zurich in 1536. He is little known as a painter, but several of his drawings are preserved in the portfolios of his countrymen, which, his biographer informs us, possess great merit, and resemble the vigorous and spirited style of Paolo Farinato. WAESBERGE, Isaac, a Dutch engraver, who flourished from the year 1650 till 1660. We have by him several portraits, among which is that of Admiral de Ruyter, after H. Berchmans. It is executed in a style resembUng that of Cornelius Visscher. WAGNER, Hans Erhard. According to Pro- fessor Christ, this artist was a native of Strasburg, and engraved a considerable number of copper- plates, which were printed in that city by John Heyden. He usually marked his prints with a cipher composed of an H and E joined together, and followed by a W, thus, JEW. [He flour- ished about 1690.] WAGNER, James, was probably of the same family with the preceding artist, and is said by Professor Christ to have inscribed his prints, J. Wa.fee. [WAGNER, John George, born at Dresden in 1732, was a scholar of the celebrated Dietrich.' He painted landscapes with pastoral subjects. Nymphs bathing, and other Arcadian relaxations and pas- times ; the picturesque scenery on the borders of the Meuse, and also maritime compositions. His pictures are very pleasing, and partake largely of the manner of his instructor ; indeed they have been frequently sold in England as the works of Dietrich. His drawings in water-colours are highly esteemed, and for their peculiar beauty will con- tinue to be so, by intelligent amateurs. This ex- cellent artist died in 1767. He is sometimes called the younger, to distinguish him from another of the same name, who was a portrait and historical paint- er, and flourished a century earher.] WAGNER, Joseph. This artist was born at Thalendorf, on the Lake of Constance, in 1706. He first studied painting under Jacopo Amiconi, at Venice, but was persuaded by his instructor to turn his thoughts to engraving. He accompanied his preceptor to Paris, where he received some lessons in engraving from Laurence Cars, and in 1733 visited England with Amiconi. His first produc- tions here were the portraits of the three princesses, Anne, Amelia, and Caroline, daughters of George II. He executed several other plates during his re- sidence in this country, and returned to Venice, where he established himself as an engraver, and carried on a considerable business as a printseller. His prints are very numerous, and he had a number of scholars, who became eminent in the art ; among which were Bartplozzi, Flipart, Berardi, and others. The following are considered his best prints : portraits after amiconi. Peter the Great, Emperor of Kussia, conducted by Mi- nerva. Anne, Empress of Eussia. Elizabeth Petrowna, Empress of Russia. Carlo Broschi, called Farinelli, Musician. SUBJECTS AFTER VARIOUS MASTERS. The Education of the Virgin ; after Amiconi. The infant Christ sleeping j after the same. The Holy Family ; after P. Veronese. The Interview between Jacob and Kachel; after L. Giordano. Rebecca receiving the presents from Eliezer ; after the same. The Death of Abel ; after Benedetto Luti. Mary Magdalene in the House of the Pharisee ; after the same. The Virgin and infant Christ ; after Solimene. The Assumption of the Virgin ; after Piazetta, St. John in the Desert ; after C. Vanloo. Twelve Landscapes and Pastoral subjects ; after Zuc- cherelli ; engraved by Wagner and his pupils. [He died in 1780.] WAKKERDAK, P. A. The name of an artist affixed to a portrait of Kenou Simons Hassalaer. [Nothing seems to be known of this artist's history. He engraved in mezzotinto a landscape after Jan Asselyn, showing a cavern, with ruins near it, and peasants of both sexes at the entrance.] WALBURG, . Mr. Strutt mentions this artist as a designer and engraver. His name is affixed to a portrait of John Frederick Gronovius, from a design of his own, which is very indifferently executed. WALCH, Jacob, an old German engraver, who flourished about the year 1480, and is supposed by some to have been the master of Michael Wolge- mut, but the accuracy of this supposition is ex- tremely questionable. The engravings attributed to this artist bear a great resemblance to those of Israel van Mecheln, and have the laboured appear- ance of imitation. It is more probable that he was a disciple of that master, "rhe copper-plates by Wolgemut bear no resemblance to those by Walch, who never engraved on wood, whereas the greater part of the works of Wolgemut are wooden cuts. His drawing, as was usual at that early period, and his compositions, have all the stiffness and formaUty which' characterize the primitive productions of the German school. The prints attributed to this artist are marked virith a W, to which is added a kind of cross, thiis, W^ , among which are the following : St. Elisabeth seated on a species of Throne, reading. The Virgin Mary appears below, with the infant Christ. On the right hand, David is represented vvith^ 891 WALC] A DICTIONARY OF [walk his haxp, and on the left, Aaron. Behind the throne rises a genealogical stem of the lineage of Christ, from David to Joseph, represented by half figures ; a very large upright print. A Gothic Ornament for a crosier. The Inside of a Gothic Building. A Ship striking against a Eock, inscribed f^aetlite. Several small plates, representing Tents, with Soldiers armed, and on horseback. Some narrow upright plates, representing different Saints, standing in niches of Gothic architecture. Three SkuUs in an arch, ornamented with Gothic work. Mr. Strutt observes, that there are some few prints marked with the cross only, without the "W. ; but these have all the appearance of being more ancient than those of Walch, and differ in every re- spect from them. They are much more rudely en- graved, and in a bolder and more determined style, 1-esembling that of Martin Schoen', with whom the artist was probably a contemporary. Among these are the following : A "Wild Man fighting with a Bear ; a small upright plate. A "Woman seated, caressing a "Unicorn ; the same. "WALCH, George, a more modern engraver, who flourished about the year 1650. He appears to have been chiefly employed in engraving portraits, which are executed with the graver in a very indifferent style. Among others is a portrait of Lucas Frede- rick Behaim, of Nuremberg. [He also engraved in mezzotinto, and operated in 1678.] WA|LCH, S. The name of this artist appears on some very indifierent portraits in mezzotinto. [If this doe^not apply to the preceding, it may mean an amateur engraver of the name Sebastien, who lived about 1756. He was a native of Switzerland, and engraved in mezzotinto, after the manner of D. V. Preissler, a series of portraits of the burgomas- ters of Zurich from 1336 to 1740, from designs by J. C. FUsslin, to which he put his name.] WALE, Samuel. This artist was born in Lon- don, and was brought up as an engraver on plate. He afterwards studied design in the academy in St. Martin's Lane. He also practised painting, in which he imitated the manner of Francis Hay man, and executed several decorative pieces for ceilings. But his chief employment was designing for the book- sellers, the principal part of which drawings were engraved, with great spirit, by Grignion. He un- derstood architecture and perspective, and greatly assisted Mr. Gwynn, in the decorations of his archi- tectural drawings, particularly in the section of St. Paul's, and was of service to him in the literary part of his publications. At the establishment of the Royal Academy, "Wale was chosen one of the founders, and appointed first professor of perspective to that institution. Upon the death of Mr. Wilson, he was also made librarian, both which places he held till his death, which was on the 6th of February, 1786. We have a few slight etchings of vignettes by him from his own designs. [He made designs to illustrate an edition of Izaak Walton's Angler ; his name appears frequently in the early exhibition catalogues of the Royal Academy, but rather as a designer than as a painter. His subjects are taken generally from ancient English history, and are de- scribed as " stained, or washed, drawings." Either from indolence, or lack of invention, he exhibited the same drawings more than once; but he is scarcely remembered now by any other than those made for book illustration.] [WALES, James, born at Peterhead, in Scot- land, in 1748, of respectable parents, showed his genius for drawing at an early age. He was edu- 892 cated at the University College of Aberdeen : he went to the East Indies in 1791> but in what ca- pacity is not said, and died at Bombay in Novem- ber, 1796. He has left many excellent portraits in India. He designed the picture of the Mahratta Durbar, which was afterwards completed in Eng- land by Thomas Daniell, R. A., and also engraved by him. He made all those splendid drawings of the Caves of Ellora, and the plans, which were, after his death, pubUshed by Thomas Daniell. In pursuit of this arduous undertaking he caught the fever of the counti-y, which proved fatal. He has left also some admirable portraits of Indian princes and their ministers, now in the possession of Sir Alexander Malet, Bart., of Wilbury House, in Wilt- shire. In the article relating to Thomas and William Daniell, it is stated that all the drawings for the " Oriental Scenery," published in six volumes, were, with the exception of tlie " ExtavaUons" made by William; this would induce the supposition that the " Excavations " were by Thomas. The writer of the memoir from which the article was taken should have been more explicit, if acquainted with what is stated above. The prints of the Caves of , Ellora all bear Mr. Wales's n^me as well as Mr. Daniell's; and the editor is informed that the dravdngs were given to the latter as part payment for his painting the Mahratta Durbar, from designs furnished by James Wales, for the late Sir Charles Warre Malet, Bart., who married his daughter, and that the pic- ture is still in the family's possession. It is not intended to detract from the great and acknowledged merit of the Daniells that these circumstances are related, but as an act of justice due to an artist of high talent, -Hfith whose works the public are ac- quainted, but whose name has hitherto been unre- corded. On reference to the work of " Oriental Scenery " by T. and W. Daniell, there will be found the twenty-four "Views of the Mountains of Ellora and the Hindoo Excavations, drawn by James Wales, and engraved under the direction of Tho'. Daniell, dedicated to Sir Charles Warre Malet, Bart., the late British resident at Poonah. This is satisfac- tory, as it vindicates Daniell, and places the name of James Wales in an honourable position.] WALKER, Robert, an English portrait painter, who was contemporary with "Vandyck, and improved his style by studying the works of that eminent artist ; but he did not attract much notice until the time of the Commonwealth, when he was employed to paint the portrait of Cromwell, and those of the principal personages of the republican party. He drew the Protector more than once. One of those portraits represented him with a gold chain about his neck, to which was appended a gold medal, with three crowns, the arms of Sweden, and a pearl, sent to him by Christiana, in return for his picture, by Cooper, on which Milton wrote a Latin epigram. This head, by Walker, is in the possession of Lord Mountford, at Horseth, in Cambridgeshire, and was given to the late lord by Mr. Commissary Greaves, who found it in an inn, in that county. Another is at the Earl of Essex's, at Cashiobury. He also painted Cromwell and Lambert together. This was in Lord Bradford's collection. A fourth was pur- chased for the Grand Duke of Tuscany, whose a^ent having orders to procure one, and meeting with this in the hands of a female relation of the Protector, ofiered to purchase it, but being refused, and continuing his solicitation, to put him off, she walk] PAINTERS AND ENGRAVERS. [WAN8 asked five hundred pounds, and was paid it. Walker had for some time an apartment in Arundel House, and died a little before the Restoration. His own portrait is in the picture gallery at Oxford. "WALKER, Anthony, an EngUsh engraver, who flourished about the year 1760. He was instructed in the principles of engraving by John Tinney, an artist of little note. He was for some time chiefly employed in engraving frontispieces and vignettes, from his own designs, for the booksellers, some of which are not destitute of merit, though heavy and dark in the execution. He also engraved several plates for the collection of Mr. Boydell. The fol- lowing are his best prints : Curius Dentatus refusing the presents of the Samnites ; after P. da Cortona. The Village Lawyer and his Clients ; after Holbein. The Angel departing from the House of Tobit ; after Rembrandt. A View of the City of Worcester ; after J. B. Chatelain. A View of Lord Harrington's Park ; after the same. WALKER, William, was the brother of the artist mentioned in the preceding article, and was also much employed for the collection of Boydell. Among others, we have the following prints by him : The Family of Sir Balthazar Gerbier ; after Vandyck. Diana and Calisto ; after F. Le Maine. The Power of Beauty ; after Fil. Lauri. Christ appearing to Mary Magdalene ; after P. da Cortona. The Young Bird-catchers ; after Netscher. f he Girl and Chickens ; after Amoroso. The Boy and Bird's-nest ; after the same. A Flemish Entertainment ; after Van Harp. Jacob watering Eachei's Flocks; after Trevisani. Isaac blessing Jacob ; {fter tjie aatne. Lions at play ; tzfter Rubens. [WALL, WiLLEM RuTGAART Vander, bom at Utrecht in 1756, was an excellent painter of land- scapes and animals; he also designed the figure with anatomical correctness. He was the instructor of the celebrated Jan Kobel. He died at his native city in 1813.] WALMSLEY, John. This ingenious landscape painter was descended from a highly respectable family of Rochdale, in Lancashire, and was born in Ireland in 1763, at which time his father (who was a major in the army) weis with his regiment in that country. Having had some serious dispute with his Mends he left them, and came to London, to procure a hvelihood by his exertions. He had aheady made some progress in landscape painting, arid was engaged as a scene painter at the King's Theatre, after which he was employed in the same capacity in that of Covent Garden. This branch of the art not agreeing with his health, he left the metropolis, and went to Bath, where he practised landscape painting with considerable reputation for the last ten years of his life. He died in 1805. WALRAVEN, Isaac, a Dutch painter, who re- sided at Amsterdam about the year 1740. Accord- ing to Basan, he etched several small plates from his own designs. [Isaac- Walraven was born at Amsterdam in 1686, and died there in 1765. He was an amateur artist, . but studied under Gerard Rademaker, after whose death he went tb Dusseldorf to copy pictures in the gallery there. He had a talent for composition, and understood colouring and chiaro-scuro, but was defective in drawing, and his pencil wanted pre- cision and firmness. Notwithstanding some of his pictures are esteemed and obtain good prices ; two of Children Sporting, of small dimensions, sold for 800 florins, and another, an historical subject, for 1500, at the sale of his collection shortly after his death. His etchings are in the manner of Stephen Delia Bella.] ^ [WALRAVEN VAN HAEFTEN, Nicolas, an engi-aver in mezzotinto and aquafortis, and pro- bably a painter also, flourished from 1677 to 1709, according to the dates on his prints. Nothing of his history is accurately known, but it is supposed that he was a native of Gorcum. His subjects are of a low kind, chiefly of smokers and tipplers of both sexes. Bartsch has described nine prints by him, all that he was acquainted with; three of which are in mezzotinto, the rest etched with aqua- fortis and finished with the burin. He commends his execution of the first, but condemns him for the latter, observing that he had no taste in the point, nor talent for handling the burin ; he adds that his prints are diflicult to find. Weigel, however, in his Supplement to Bartsch, has increased the number to thirty-nine, consisting of engravings in both man- ners. Several of these are in the collection of the Archduke Charles, at Vienna, and some are men- tioned in the catalogues of the Count Rigal, and Robert Dumesnil. This is no doubt the same artist mentioned in a foi'mer article under the name of Nicolas can Haeften ; but as he is also called Wal- raven, it is deemed advisable to place him under both heads. The editor has seen some excellent portraits in oil with the name of van Haeften, but they appear to him to be of an earlier date, probably twenty years, than the first quoted.] [WALSCAPELLE, or WALTSKAPELLE, Ja- cob, a painter of fruit and flower-pieces, of whom there is nothing recorded. His pictures, however, are very beautiful in every respect. In colouring and transparency they resemble the brilliancy of J. D. De Heem, with the same fresh look of nature. His groups of flowers placed in globular water- bottles are tastefully arranged, and have additional interest from the butterflies, moths, and other in- sects on the leaves, represented with great accuracy ; the sparkling dew-drops, the reflections on the body of the bottle, and the flower stalks seen in the water. It is probable that he was contemporary with the De Heems, if not a scholar of John David. His pictures are found in some of the very best collec- tions in Holland, which makes it the more sur-' prising that so little of the jiaintei-'s history should be known. There are several fine specimens in Eng- land that have passed through the editor's hands.] WANDELAAR, John, a Dutch designer and engraver, born at Amsterdam in 1692. He was in- structed in design and engraving by the elder Fol- kema, and became very eminent in the art. He engraved several portraits and other book orna- ments for the publishers, but his best productions were the thirty-four plates he executed for the great anatomical work by Albinus, entitled Tabulee sceleti et musculorum corporis liumani. The drawings were made from the subjects by himself, under the direction of that celebrated anatomist. There is an Enghsh translation of this capital work, in which the figures are copied in the same size as the origipals, engraved by Grignion, Ravenet, Scotin, and others. [He died at Leyden in 1759. It is said that he also painted portraits, some of which were engraved by Houbraken.] [WANS, or WAMPS, , surnamed the " Captain," was a Flemish painter, who lived during thefirsthalf of the 17th century, and was accounted a good landscape painter. He also made copies of the works of van Dyck. There are no other par- ticulars of him recorded.] 893 ward] A DICTIONARY OP [WATE [WARD, William, a very eminent engraver in mezzotinto, flourished during the latter part of the last century and in the early part of the present. He was the brother of James Ward, the celebrated animal painter, and father of W. J. Ward mentioned in the next article. He engraved many of the pic- tures, of his brother-in-law, George Morland, which had an extensive sale. He also engi-aved numerous portraits after Reynolds and others, and a few his- torical pictures, in which he displayed great talent. He was an Associate of the Royal Academy.] [WARD, William James, mezzotinto engraver, was the son of the preceding. Having family con- nexion with several eminent artists, he exhibited a talent for drawing at a very early age, and in his twelfth year obtained the silver medal of the Society of Arts for an elaborate drawing of the Madonna della Seggiola of Raphael. He combined an ex- traordinary depth and richness of colour with true artistic feeling in his portraits, which rendered them exceedingly effective. His style was more adapted for transferring the manly portraits of Sir Joshua Reynolds and John Jackson than the airs of fashion in those of Sir Thomas Lawrence. He indulged in the imprudent habit of plunging into a cold bath every morning during summer or winter, which produced insanity, and he died on the first of March, 1840, in his fortieth year. He engraved, Admiral Sir P. Durham ; after F. Grtmt. Prince George of Cambridge ; after Lvcas. Lady Vernon Harcourt ; after Jackson. The Infant Hercules (the single figure) ; after Sir J. Reynolds. Earl Grey, K. G. ; after Jackson. And many others, chiefly after his relation, Jackson.'] WARNIR, John. This artist was a native of Germany, and flourished about the year 1636. He is chiefly known as a copier of some of the prints by Albert Durer, and other old German masters. His plates are neatly executed, but have all the servility of imitation. He copied the print by Al- bert Durer, representing St. Jerome seated before a Crucifix, with a city in the back-ground, which is inscribed Jh. Warnir, M. 16, 1636, and the follow- ing year, when he was seventeen, he copied the Twelve Apostles, after the same master, which he marked Jh. W., .M. 17. He is supposed to have died very young. [WARREN, Charles, an eminent engraver, whose talent was chiefly employed on small plates for book-illustrations, especially of the poetry and novels published by Bell, Harrison, Cfadell, and other enterprising booksellers of the day. Recorded particulars of his life are very scanty ; but it is said that he was the first that attempted the difiicult pro- cess of engraving on steel, of which he produced specimens that were exhibited at the Society of Arts in the Adelphi. His plates are numerous, and of greater excellence than those of most of his con- temporaries of the~same class ; two of high merit are the portrait of Alexander Pope, and The Broken China Jar, after a small picture by Wilkie. He also engraved several of the beautiful illustrations to Don Quixote, after Smirhe. He died in 1823.] WASSEMBERG, John Abel. This painter was born at Groeninguen in 1689. He was the son of an advocate, who, intending him to follow the same profession, gave him the incipient rudiments of a classical education ; but finding that his son paid more attention to drawing than to his studies, he yielded to the bent of his inclination, and placed him under the tuition of John van Dieren, an artist 894 of some eminence, with whom he remained until he was twenty-three years of age, when he went to Rotterdam, where he formed an intimacy with Adrian Vander Werf. That distinguished painter aided him with his assistance and advice, and the instruction he received from him enabled him to return to Groeninguen with the reputation of one of the most promising young artists of his time. He gave proof of his talents by painting several sa- loons and ceilings in the principal mansions of his native city, and was much employed in portraiture, in which he particularly excelled. His celebrity in that branch recommended him to the patronage of the Prince of Orange, whose portrait he painted, with that of the princess, and those of the most dis- tinguished personages of the court. He was not less celebrated for his pictures of a cabinet size, re- presenting subjects from sacred history, finished in the polished style of Vander Werf, which were esteemed little inferior to those of that admired painter. He died in 1750. [His daughter, Eliza- beth Gertrude, painted in a similar manner, and sometimes approached closely to Gerard Dow. She died in 1782.] WASSER, Anna. This ingenious lady was a native of Switzerland; she was the daughter of Rudolf Wasser, a member of the council of Zurich, where she was born in 1679. She discovered early marks of a quick and lively genius, and when she was not more than twelve years of age, had acquired acompetent acquaintance with the Latin and French languages, and had made considerable progress in the Belles Lettres. She now began to take lessons in design, for which she evinced so decided a dis- position, that her father was induced to procure her the instruction of Joseph Werner, of Berne, one of the most eminent artists of Switzerland. By the instruction of so able a master, she made a surpris- ing progi'ess in drawing, and attempted some pic- tures in oil, which she soon abandoned for minia- ture, in which she arrived at a perfection little short of that of Werner himself. Her reputation spread throughout all Germany, and there was scarcely a court in the empire from which she did not receive commissions. The Duke of Wurtemburg, and the Margrave of Baden-Durlach, were among her most distinguished patrons. Her talents were not con- fined to portraits, she excelled in painting pastoral and rural subjects, which she composed with great ingenuity, and finished with uncommon delicacy. She died in 1713. WASTMAN, C. A. According to Mr. Strutt, this artist resided in Russia about the year 1736, where he engraved several portraits, but in so in- different a style, that they are not worth specifying. WATELET, Claude Henry. This distinguished amateur, and writer on art, was bom at Paris in 1718. His father was receiver-general of the finances, to which honourable situation he succeed- ed. In his youth he united the study of the arts with that of the Belles Lettres, and having finished his education, he travelled through Germany to Italy, and passed some time at Rome, where he formed an intimacy with M. Pierre, an eminent French artist, with whom he contemplated the most remarkable works of art in that capital. Some time after his return to Paris he pubUshed, in 1761, his poem on the Art of Painting, embel- lished with plates, from the designs of M. Pierre, etched by himself, and finished with the graver by Lempereur. He was the principal author of a very laborious and ingenious work, which was published wate] PAINTERS AND ENGRAVERS. [wate in 1792, [four years] after his death, with additions by M. Levesqne, entitled DicUomiaire des Arts de Peinfure, Sculpture, et Oravure. As an engraver, M. Watelet may be ranked among the most zealous and the most successful amateurs who have prac- tised the art. His plates amount to upwards of a hundred, among which are the following : PORTRAITS AFTER COCHIN. Claude Heniy Watelet; engraved in 1753. John le Rond d' Alembert, of the French Academy. P. Joliot de CrebiUon, of the French Academy. J. P. M. Pierre, Painter. Louis de Silvestre, Painter. The Count de Vence. A. B. J. Turgot. SUBJECTS AFTER VARIOUS MASTERS. Venus nursing the Loves ; after Ri^ena. A Corps de Garde of Monkeys ; after Teniers. A Landscape, with Figures ; after K. du, Jcerdin. A large Landscape ; o/lter J. Both, A pair of Views of Buins ; after Panini, WATERLOO, [orWATERLO,] Anthony. The place of nativity of this admirable painter and en- graver is not precisely ascertained, but he is gener- ally believed to have been born at Utrecht, about the year 1618. It is certain that he resided there the greater part of his life, and the scenery of his pictures is usually taken from the environs of that city. His landscapes are characterized by the most interesting simplicity, sometimes representing the entrance into a forest ; a broken road, with a few trunks of trees ; a solitary cottage, or a water-mill ; but these domestic views are treated with so much truth and nature, that they are evidently the unso- phisticated transcripts of what he saw. His skies are light and floating, his colouring is chaste and natural, and the foliage of his trees and plants is touched with great spirit, as well as with a marked attention to their different species. The genuine pictures of this charming artist are very rarely to be met with, as much of his time was occupied in engraving, and as he was unfortunately addicted to habits of intemperance, to which he fell a victim in the prime of life. As an engraver, his works have long been the admiration of the intelligent, and continue to be a source of instruction to the artist, and amusement to the collector. His plates, accord- ing to the descriptive catalogue of them by Adam Bartsch, amount to one hundred and fifty-five, and consist of various sets of landscapes and views, from his own designs. They are etched with gi-eat spirit and facility, in a very masterly style, and are usually retouched with the graver, to harmonize the lights, and invigorate the shadows. He sometimes marked his plates vidth the initials A. W. /., and sometimes with the cipher ■/\y . Of his numerous prints, all of which are picturesque and interesting, the following are particularly esteemed : A set of six upright Landscapes, among which is his cele- brated print of The Water-mill. A set of six Landscapes, with subjects £rom the Fable, representing Alpheus and Arethusa ; Apollo and Daphne ; Mercury and Argus ; Pan and Syrinx ; the Farting of Venus and Adonis; and the Death of Adonis. A set of six Landscapes, with subjects from the Old Testament. [The etchings of Anthony Waterlo, or Waterloo, are so interesting, and so much esteemed by collect- ors, that Adam Bartsch has scrupulously described one hundred and thirty-six; and of these he has selected eleven of the rarest impressions, and mi- nutely pointed out their variations from those of more frequent occurrence. Rudolph Weigel, in his Supplement to Bartsch, has followed that eminent' connoisseur step by step through his laborious ex- amination, and noted the varieties that have come under his observation throughout the whole of the catalogue. He has also described an etching that had escaped the vigilance of Bartsch, which Mon- sieur Duchesne, keeper of the prints in the Biblio- theque at Paris, and author of the " Essai sur les Nielles," had discovered in the collection of M. F. Verachter, at Antwerp. Of this etching another impression is described in the Duke of Bucking- ham's catalogue, which is now in the British Mu- seum. It is entitled L' Homme au bord de la Riviere, (a man on the bank of a river,) and represents a landscape with a stream running from the right to the left through the middle ; at the end is seen a half-ruined tower on a hollowed rock ; on the right of the foreground two large trees, one having the branches extended to the distance, near to which is seen a man turned towards the river and resting on a stick. At the bottom, on the left, A. Waterlo fee. H. bp., L. 4p., with a margin of two Unes. It will be adding something to the information communi- cated by these eminent critics in art, to make known to curious amateurs the further disoveries made by the well-known dealers in ancient prints, Messrs. Smith, brothers, of Lisle, Street, London, and which , they have kindly permitted the editor to transcribe from their private notes, for the general benefit. Variations noted hy Messrs. W. and G. Smith, in addition to those hy R. Weigel, in the etchings hy Anthony Waterlo, described by Bartsch. In No. 1. The j^s<, aquafortis before the initials ; second, additional work, sky added, and has the initials ; third, has No. 8 at top on the right. In No. 2. The second has the sky and letters added ; the third has No. 7 at top on, the right. In No. 70. The _first, before the trunk of a second tree beyond the large one in the middle; foliage is also different at top ; at Munich : second, trunk added.- In No. 83. Only three trees in the middle oijirst, also before a tall dry branch out of some branches on the left side; Archduke Charles, at Vienna: second, as in Bartsch. In No. 84. The first, foreground generally less worked, before several additional branches of trees, and previous to one dropping from a large tree down to the ground; in the same collection: second, as described by Bartsch. In No. 85. First, before some bushes more dis- tant towards the middle ; beyond what appears to be water remains of the monogram A. W. at bottom on left : second, as described. In No. 86. First, a tree on the right is dry at top; Archduke Charles: second, as above with a branch added. In No. 87- First, two figures are seated on the edge of a bank on the right, before some dry branches proceeding from trunks of two trees on the left; same collection : second, as described. In No. 88. IHrst, before branch growing out of a stump in front on the right ; trees on the left dry at top ; same collection : second, as described. In No. 90. First, before dark etchings in fore- ground. In No. 91. First, before dark etchings on bank. In No. 92. First, before the name. In No. 93. First, less worked. In No. 98. First, before the bushes on the edge 895 watm] A DICTIONARY OP [WATf of the hill were continued from the castle to the bottom ! difference in the trunk of a tree on the left, the first being lighter : the second, as described. In No. 99. First, before additional dry branches on the right of the distance ; second, as described. In No. 104. First, three trunks of trees only on the right of the cascade, beyond three pollard trees, termination of foliage lighter; Archduke Charles: second, as described. In No. 106. First, top of'the large tree light and before two dry branches growing out of the bottom of the trunk on the left side ; second, as described. In No. 107- F^rst, has a small number 2 before a small tuft of rushes in the water on the left of a large Duck ; Archdulte Charles. In No. 108. First, before a second shorter dry branch, an inch above a longer one, at the end of the large trees on the right; it is about one inch and three quarters from the top ; formerly in Mr. Wilson's collection. In No. 111. First, before down trunk of a pollard tree in the middle, &c. ; Archduke Charles. In No. 114. First, w\\h No. 1. Having given these variations, not noticed by any other writer, it is only necessary to recommend the inquirer to consult' Bartsch, Peintre Graveur, torn, ii. ; Weigel's Supplement to Bartsch ; and Mrj^il- son's " Catalogue raisonne of the Select ColTection of Engravings of an Amateur," privately printed, London, 1828, for the fullest information, at pre- sent attainable, respecting the etchings of Anthony Waterlo. He will then discover the importance of the above remarks to a collector. The drawings of Waterlo are also in high estimation ; they are ge- nerally executed in black chalk and in-Iridian iiik : in the late Baron Ve'rstolk's collection there were several. With regard to his paintings, they are of extreme rarity, and consequently seldom met with in commerce. The pictures of Waterlo and Naiwjncx bear so close a resemblance to each other that they are frequently mistaken, and the figures and ani- mals in the landscapes of both are generally by some contemporary artist, perhaps by Jan Asselyn, or J. B. Weenix. There is no certainty respecting the time of Waterlo's death ; some writers place it in 1660, others in 1679 : one circumstance is perhaps too true, that he died poor in the hospital of St. Job, near to Utrecht. That eminent connoisseur, Mr. C. J. Nieuwenhuys, assures the editor that he has never met With a genuine picture by Waterlo inscribed with his name.] WATMAN, Henry. This artist is mentioned by Professor Christ as itn engraver of landscapes, and is said to have marked his'prints with an H and a W joined together. WATSON, Cakoline. This eminent engraver was born in London about the year 1760. She was instructed in the art by her father, and has engraved several subjects and portraits, both in mezzotinto and in the dotted manner, which possess great merit. Among many others we have the following prints by her : PORTRAITS. Prince William of Gloucester ; after Reynolds. Lord Malmsbury'; after the same. Mrs. Stanhope ; after tJie same. Sir Joshua Reynolds ; after Reynolds. Earl of Bute ; after Gamsboroxigh. Ozias Humphry, Painter ; after the same. Mrs. Drummond and Children ; after Shelley. Mrs. Siddons, as the Grecian Daughter ; after Shirrif. Miss Bover ; after Hoppner. Benjamin West, Esq., P. E. A.; after Stuart. 896 William WooUett ; after the same. Sir Robert Boyd, GoTemor of Gibraltar; after Smart. WATSON, Thomas, an eminent English en- graver in mezzotinto. He was born in London in 1750, and may be ranked amon^ our ablest artists in that particular branch of engravmg, although he died at the premature age of 31, in 1781. Of his numerous prints, the following are among the most esteemed: PORTRAITS. Six, of the Windsor Beauties ; after LeJy. Lord Apsley and his Brother ; after N. Dance. Frances, Countess of Jersey ; after Ga/rd/ner. Alderman Sawbridge, in the -character of a Roman senator ; after West. PORTRAITS AFTER SIR JOSHUA REYNOLDS. Henry Frederick, Duke of Cumberland. Lady Bamfyide. Lady Melbourne. James Hay, Earl of EitoI. Lady Broughton. Dr. Newton, Bishop of Bristol. Warren Hastings. Mrs, Sheridan, as St. Cecilia. Georgina, Countess Spencer. Lady Townshend, and her two Sisters. Mrs. Crewe. SUBJECTS after VARIOUS MASTERS. Jupiter and Mercury, with Philemon and Baucis ; after hemhrandt. The Virgin, with the infant Jesus and St. John ; afleir Coreggio. The J)eath of Mark Anthony ; after N. Dance. WATSON, James. This artist was of the same family, with the engraver mentioned in the preceding article, and distinguished himself not less than his relative as a scraper in mezzotinto. We have by him a great number of interesting plates, among which are several from the portraits of Sir Joshua Reynolds, which are particularly deserving of notice. Among his most admired prints are the following : PORTRAITS AFTER SIR JOSHUA REYNOLDS. Anne, Duchess of Cumberland. Elizabeth, Duchess of Buocleugh, with her daughter. The Duchess of Manchester, with her son, as Diana and Cupid. The Countess of Carlisle. Sir Jeffery Amherst, Commander-in-chief in America. Jemima, Countess Cornwallis. Robert Drummond, Archbishop of Yorji. Barbara, Countess of Coventry. Sir John Cust, Speaker of the House of Commons. John, Marquis of Granby. John Hely Hutchinson, Secretary of State in Ireland. Doctor Samuel Johnson. Lord and Lady Pembroke, with their Son. Vice-Admiral Sir George JSridges Rodney. Lady Scarsdale, with her. Son. Isabella, Countess of Sefton. Frances, Marchioness of Tavistock. ' Miss Price. Henry Woodward, Comedian. Mrs. Abington, as Thalia. PORTRAITS AFTER VARIOUS MASTERS. Paul Pontius, Engraver ; after Vandyck. Doctor Busby ; after Riley. Charles, Duke of Richmond ; after Romney. The Duchess of Leinster ; after the same. John, Duke of Argyle ; after Gainsborough. Miss Lascelles, with a Greyhound ; after Cotes. SUBJECTS AFTER VARIOUS MASTERS. A Madonna ; after Reynolds. The Children in the Wood ; after the same. Rubens and his Family ; after J. Jordaens. WATTEAU, Anthony. This eminent painter was born at Valenciennes in 1684. His parents were in indigent circumstances, and were unable to cultivate his genius as it deserved. He was, how- watt] PAINTERS AND ENGRAVERS. [WEBB ever, placed with an obscure artist in his native city, with whom he remained, until he discovered the incapacity of his preceptor to render him fur- ther assistance. In 1702 he connected himself with a scene-painter, who was on his way to Paris, and, on his arrival in that city, for some time as- sisted his associate in painting theatrical decora- tions ^r the Opera-house. This resource was not of .long duration ; his companion having accom- plished his commission quitted Paris, and Watteau was left in a situation of embarrassment and ob- scurity, which rendered it difficult for him to subsist. In this state of destitution he became acquainted with Claude Gillot, an artist who had acquired some celebrity as a painter of gi-otesques, and subjects from the Table ; a similarity of style, and in their disposi- tion, increased the esteem Gillot had conceived of his talents ; he received him into his house, instruct- ed him in all he knew, and it was not long before "Watteau surpassed his master. He further improved his style, by studying the splendid works of Ru- bens, in the Luxembourg Gallery, and acquired an admir.able system of colouring, in which he may be said to have excelled every painter of his country. His success as a colourist induced him to turn his thoughts to historic painting, and, with that inten- tion, ne was assiduous in designing from the model, and even obtained the first prize at the Academy, for a subject of history. Fortunately for his fame, he did not persist in tibat career, in which, it is pro- bable, he must have contented himself with a rank in the herd of mediocrity ; he discovered a new path to celebrity ; he painted balls, masquerades, gallant and pastoral subjects, in a style vmich has given rise to a host of imitators, without producing a rival. His figures are designed with finesse, and have the suppleness and ease of nature.- His colour- ing fresh and splendid, is equally admired in the tenderness of his carnations, the brilliancy of his habiliments, and in the verdure of his landscapes. The national taste of his country prevails, however, in his most esteemed productions ; and Lord Orford justly observes, that " he painted imaginary nymphs and swains, and described a kind of impossible pas- toral, a rural life, led by those opposites of rural simplicity, people of rank and fashion. Watteau's shepherdesses, nay, his very sheep are coquettes, yet he avoided the glare and clinquant of -his country- men, and though he fell short of the dignified grace of the Italians, there is an easy air in his figures, and that more familiar species of the graceful, which we call genteel.' His nymphs are as much below the forbidding majesty of goddesses, as they are above the hoyden awkwardness of country girls. In his halts and marches of cavalry, the careless slouch of his soldiers still retain the air of a nation that aspires to be agreeable eis well as victorious." Watteau visited England in the reign of George I., but the indifierent state of his health did not permit him to remain here longer than a year. He returned to France, where he died in 1721. This ingenious artist etched a few plates in a slight, spirited style, among which are the following : A set of twelve plates of Habits a-la-mode. Soldiers fatigued with their March. [According to Dumesnil, the whole of Watteau's etchings consist of eight only ; seven of those en- titled Figures de Modes, and one called La Troupe Italienne. Five of Figures de Modes are by Thom- assin, De Place, and Jeaurat ; Soldiers Marching is by Boucher. See Dumesnil, tom. ii. But there are other etchings by Watteau, particularly an oblong 3 M landscape with figures, which is very scarce. To speak of Watteau's paintings as they deserve would require a long dissertation, which must be deferred 5 at present all that can be said is that they are very beautiful of their class, and very, wry rare in com- merce.] [WATTS, William, a very industrious and excel- lent landscape engraver, who flourished during the last quarter of the I8th century. He published, in 1779, " Views of the Seats of the English No- bility and Gentry," and was engaged in many other similar works, in conjunction with Paul Sandby, Ingleby, Middiman, Fittler, Angus, Milton, &c. By the lovers of picturesque scenery, the works of all these engravers, as well as of the contemporary designers, will always be held in estimation for their beautiful selection, truth, and simplicity, and fine artistic execution. The editor is informed that Watts is still living ; if so, he must be a centena- rian : his artistic career is at all events terminated.] WAUMANS, CoNBADE, a Flemish engraver, born at Antwerp about the year 1630. He was a pupil of Peter Bailliu, whose style he imitated, and his plates are little inferior to those of his instructor. His drawing is not more correct than that of his master. We have by him several portraits and his- torical subjects, after the painters of his country, of which the following are the most worthy of notice : PORTRAITS. Frederick Henry, Prince of Orange ; after Vandyok. Emilia de Solms, Princess of Orange ; after the same. Don Antonio de Zuniga ; after the same. John Both, Landscape painter ; after Willaerts. Herman Zachtleyen, Painter ; after a picture by himself, David Bailli, Painter ; the same. Cornelius Jansen, Painter ; the same. SUBJECTS AFTER VARIOUS MASTERS. The Descent from the Cross ; afier Rubens. The Assumption of the Virgin ; after the same. The Virgin and infant Jesus ; after Vandyck. Mars and Venus ; after the same. [It is probable that this artist was born earlier than 1630, as he operated in 1642, but the editor can find no particulars of his life.] WEBBER, John. This artist was born in Lon- don in 1752. His father, who was a sculptor, was,, a native of Berne, in Switzerland, and sent his son to Paris. when he was young, where he received part of his instruction as an artist ; and on his re- turn to Xondon frequented the Royal Academy. Having acquired considerable reputation as a de- signer of landscape, he was appointed draughtsman to accompany Captain Cook, in the last voyage he made to the South Seas, for the purpose of design- ing whatever was remarkable in the diflFerent coun- tries they might explore. From this voyage he returned in 1780, when he was employed by the Lords of the Admiralty to superintend the engrav- ing of the prints executed from the drawings which he had made. When this work was concluded, he published, on his own account, a set of views of the principal places he had visited. They were etched and aquatinted by himself, afterwards coloured, and Eroduced a very pleasing efiect. He then devoted is attention to landscape painting. His pictures produce a pleasing effect, and are carefully finished, though perhaps with too much attention to the mi- nutise, and occasionally somewhat gaudy in the colouring. Mr. Webber was elected an Associate in 1785, and Royal Academician in 1791. He died in 1793. WEBBERS, J., a Dutch engraver, who flour- 897 weel] A DICTIONARY OF [ween ished about the year 1656. He engraved several views of the churches and public bufldings at Am- sterdam, which were published in 1656, with a description in Dutch and French. They are very indifferently executed. WEELING, Anselm. This artist was born at Bois le Due in 1675. His father was an officer in the service of the States General, and intended him for the profession of arms, but he yielded to the de- cided disposition his son discovered for the art, and placed him under the care of an obscure painter, named Delang, from whom he learned the rudiments of design. Finding that he could profit but little by the instruction of such a preceptor, he left Bois le Due and went to Middleburg, where he became acquainted with Jacob Bart, who possessed a col- lection of the works of the most eminent masters of the Dutch school, who permitted him, for two years, to study and copy the pictures of the most cele- brated painters. He was particularly attached to the productions of Godfrey Schalcken and Adrian Van- derwerf, whose style he followed with great success. His most esteemed pictures are those he painted in imitation of the former of those artists, representing subjects by candle-hght, some of which have been mistaken for the works of Schalcken. He was a competent master of the principles of light and shadow, his colouring is rich and glowing, and his design is tolerably correct. In the latter part of his life he is said to have become a slave to intemper- ance and debauchery, and his earlier performances are infinitely superior to those of a later date. He died in 1749. WEENINX, [or WEENIX,] John Baptist. This painter was born at Amsterdam in 1621. He was the son of John Weeninx, an architect of con- siderable celebrity, who dying when he was very young, he was placed by his .mother with a book- seller, with the intention of bringing him up to that business ; but such was his inclination for drawing, that he was permitted to follow the bent of his genius, and he first became a scholar of John Mick- er, a painter little known ; but he afterwards had the advantage of being instructed by Abraham Bloe- maert. Under so able a master, his progress was uncommon, and in a short time he surprised his preceptor, by the facility and precision with which he designed the principal buildings, castles, and ruins in the vicinity of Amsterdam. He drew with equal spirit and acciu-acy all kinds of animals and huntings, and the applauses he received encouraged him to attempt the same subjects in oil. On leav- ing the school of Bloemaert, he passed two years under Nicholas Moojaert, to whose style he was much attached. When he was eighteen years of age he found himself sufficiently grounded in the art to dispense with further assistance, and he painted several pictures, which were favourably re- ceived by the public. This flattering encourage- ment only served to render him more desirous of improvement, and he formed the project of visiting Italy. On his, arrival at Rome he was particularly struck with the magnificence of every object -by which he was surrounded ; but, above all, by the sublime monuments of ancient grandeur, which re- main in the architectural ruins in the environs of that capital. His talents recommended him to the notice of many of the principal personages at Ronie. The Cardinal PamphiU was amongst his most dis- tinguished protectors, who not only favoured him with many commissions, but settled on him a pen- sion, besides the remuneration he received for his 898 pictures. That prelate was desirous of retaining weeninx at Rome, but the soUcitations of his family, and his desire of exhibiting the ability which had fained him such celebrity in Italy, to the notice of is countrymen, induced him to return to Holland, after an absence of four years. The curiosity of his fellow citizens produced him extensive employ- ment, and he had acquired the reputation of one of the most distinguished artists of his country, when he died, in the vigour of his life, in 1660, aged 39. It is difficult to form an idea of the various and extensive powers of this artist ; he painted history, portraits, landscapes, sea-ports, animals, and dead game ; and in all these different branches acquired the reputation of uncommon ability ; but his par- ticular excellence was in painting Italian searports, enriched with noble architecture, and decorated with figures representing embarkations, or the ac- tivity of commercial industry. In these subjects he has perhaps only been surpassed by Nicholas Berghem, whom he has the cre^t of ranking among his numerous disciples. [Bartsch attributes two etchings to J.' B. Weenix ; The Bull, and The Man seated ; the first he says was engraved in his youth, and is signed Batta Weenix ; the second is not finished, but is designed in very good taste, and engraved with a dexterous point, showing the master to be well exercised in the art. He observes, previously, that there is such a difier- ence between them, both in the taste of the drawing and the management of the point, that it may be believed that they are not by the same hand, whence he infers that Weenix engraved them at two very distant periods of his life. Rudolph Weigel, in his Supplement to Bartsch, describes five others : A Bull standing in a mountainous landscape, in which there are a tower and an aqueduct ; signed J. B. Weeninx, the J and B interlaced. A Cow standing in a landscape signed above Oio. Batta Weenin A. D.=1649, adi 19 Ottre, the letters reversed, and at bottom J. Weenix. A Bull and an Ass in water, on the right a dog swimming, and on the left a man and some ruins, no signature. A Fountain, near to which are a cavalier, another figure, and a dog, in front of a magnificent building, signed J. Weenix ; and a View in Italy, in which are introduced a monastery, ruins, pilgrims, &c., not signed. Weigel expresses a doubt whether the second piece men- tioned by Bartsch, and the Fountain, described by himself, are not by the younger Weenix. In the Duke of Sutherland's gallery there is a landscape by J. B. Weenix, in which there is a tomb inscribed vrith the following riddle : Cy git le p&e, cy git la m^re, Cy git la soDur, cy git le fr&e, Cy git la femme, et le mari, Et U n'ya que deux corps ici. 1651. Giovan Battista Weenix,^ WEENINX, [or WEENIX,] John, was the son of the artist mentioned in the preceding article, born at Amsterdam in 1644, and was instructed in the art by his father until he was sixteen years of age, when he had the misfortune of being deprived of the assistance of that eminent artist, by his pre- mature death. He had, however, made sufficient progress in the art to prosecute his studies without further assistance, and he found that the best sys- tem to follow was an attentive observance of nature. Though less universal than his father, he painted vrith great reputation landscapes, animals, flowers, and fruit. But he particularly excelled in the repre- s.entation of dead game and huntings, in which he ween] PAINTERS AND ENGRAVERS. [WEIG may be said to have surpassed every artist of his country. His celebrity in that branch of the art induced the Elector, John WiUiam, to invite him to his court, and many of his most considerable works are in the gallery at Dusseldorp, and in the chateau of Bensberg, a hunting seat of the Elector Palatine, which he decorated with a series of hunting pieces of the Boar and Stag, in which the animals are de- signed and painted with a correctness and spirit, which cannot be too much admired. His land- scapes are very inferior to those of his father, and it is evident that he considered them as merely acces- sories to his principal subject. In his large pictures, his compositions are ingenious and picturesque, his touch is bold and animated, his colouring clear and biilliant, and he always exhibits a perfect acquaint- ance with the principles of the chiaro-scuro. His works of a cabinet size are exquisitely finished, with- out impoverishing the spirit of his touch, or diminish- ing the breadth of his light and shadow. His works are deservedly held in the highest estimation, and are placed in the choicest collections. He died in 1719. [It would be an idle question to discuss whether John Weenix, in his representations of animals, ex- hibits more talent in painting one species than an- other, he is really so excellent in all. The objects, however, that rivet the attention most are, perhaps, the birds. The soft down of the duck, the glossy plumage of the pigeon, the splendour of the pea- cock, the magnificent spread of an inanimate swan, producing a flood of hght, and serving as a contrast to all around it, are each so attractive that it is im- possible to see and examine them without feeling delight at their truth, and expressing admiration of the skill of the painter, in rivalling nature without apparent labour. But his living hounds and other dogs and dead hares are not less true ; and the ob- jects of stiU-life, such as sporting instruments, orna- mented vases, fruits and flowers, and other accesso- ries with which he embelUshes the principal sub- ject, are all represented with the same fidelity and beauty, and claim from the observer their meed of applause. It has been said that his landscapes do not equal those by his father ; they are such as ac- cord vrith his subjects, and no more need be re- quired. There are many of the master's works in England, to be found only in the collections of tastefiil and opulent amateurs, as they are con- stantly progressing in value. Among those that have come under the editor's notice, are a large pic- ture of a dead Swan and a Peacock, of the natural size, tied to a tree, in a garden richly embellished with accessories, and in which a lady and gentle- man, attended by a page, are passing near a foun- tain. This was in the late Sir Charles Bagot's col- lection. Another, from the Brentano collection, is now at Raynham Hall, the seat of Lord Charles Townsend; it is somewhat larger than the pre- ceding, and exhibits a beautiful landscape, in the foreground of which are a large hound and two dead ducks ; on the right, near a superb vase, are two hares, a pheasant, a brace of partridges, a wood- cock, a gun, and other accessories, and is a very im- portant picture of the master. A very tasteful picture of a Dead Peacock and a Dead white Duck, with other birds, most ad- mirably painted, in a landscape with elegant archi- tectural back-ground, is in the possession of Mr. C. J. Nieuwenhuys. The late William Beckford had an exquisite specimen, consisting of a group of game, a hare, a pheasant, partridges, &c. Those specified are tjrpes of the master, and may 3 M 2 serve as examples to test the truth of others that are sometimes falsely attributed to his inimitable pencil. Though John Weenix lived to the advanced age of 75, there is no diminution in the beauty and finish of his latest pictures ; one in the king of Holland's private collection, signed J. Weenix,/. 1718, the year previous to his death, ranks as a chef (^oeuvre.] WEERDT, Adrian de. According to Descamps, this painter was born at Brussels in 1510, and studied at Antwerp, under Christian Queburgh, [Queborn,] a landscape painter little known. He afterwards visited Italy, where he passed some years, and applied himself particularly to study the works of Parmigiano. On his return to Flanders, he exe- cuted several pictures in the graceful style of that distinguished master, particularly a series of the Life of the Virgin, by which he had acquired great re- putation, when the troubles of the Low Countries obliged him to quit Brussels, in 1566, and take refuge at Cologne, where he died soon afterwards. [All Qie notices of this artist are unsatisfactory ; they contradict each other when they are not borrow- ed. By some he is called Abraham, by others Andrea ; Brulliot conjectures that Abraham De Weerdt was an engraver on wood, but gives no dates, nor other particulars to justify applying it to the painter. Zani marks Adrian as a landscape paiilter, engraver, and author, B B., says he operated in 1566, and died very young. FiissU places his death in 1570, at Cologne ; Immerzeel in 1566 ; and Balkema says he died at Bologne in 1552. It may be noted that his family name was Hoste.'] WEERT, J. DE. This artist, who flourished about the year 1605, was probably a native of the Low Countries, though he chiefly resided at Paris. He was principally employed by the booksellers, and engraved several frontispieces and other book ornaments in a neat, though tasteless style. They are executed entirely with the graver, and his draw- ing is heavy and incorrect. We have also by him a set of prints from his own designs, representing the Life and Pcission of Christ, pubhshed by John Le Clerc, with French verses to each print. WEESOP. In the Anecdotes of Painting in England, this artist is said to have arrived here in 1641, a little before the death of Vandyck, of whose manner he was so successful an imitator, that several of his pictures have passed for those of that master. He left England in 1649, saying, "he would never live in a country where they cut oflF their king's head, and were not ashamed of the ac- tion." The noble author observes, that it had been more sensible in an artist to say, he would not stay where they cut ofi"the head of a king who rewarded painters, and defaced and sold his collection. WEIGEL, John. This artist was a native of Germany, and is said to have been an engraver on wood. He is mentioned by Mr. Strutt, but his works are not specified. [Hans, or Jan, Weigel, was a designer, engraver in wood, and printer at Nuremberg; he operated in 1535, and died in, or about, 1590. He marked his cuts HW. These letters are found on portraits, and on a wood cut representing two unruly horses, one of which appears to have just thrown his rider, the other is galloping to the right, where a man is at- tempting to catch his bridle; near to a Uttle dog, on the same side, is the artist's mark. Hans Weigel is also known by his book of costumes, and by orna- mental book-titles, some of which have his initials. ' Gedruekt zu Nurriberger bey Hans Weygel Form- schneyder, bey dem Sonnenbad."'\ 899 weig] A DICTIONARY OF [WELB WEIGEIj, Christopher, a German engraver, who flourished about the year 1690. He engraved a set of prints of subjects taken from the Old and New Testaments. Each plate contains four prints, and the number of the plates amount to one hundred for the Old Testament, and one hundred and ten for the New. The title of this collection is Saera Scriptura loquens in imaginihus, 8fc. They appear to be all engraved by himself, and from his own de- signs. According to M. Heineken this artist also engraved in mezzotinto. [Christopher Weigel was born at Redwitz in Bohemia, in 1654; from 1666 to 1678 he went suc- cessively to the cities of Hof, Jena, and Augsbourg, to study the different branches of engraving. In 1682 he went to Vienna f in 1683 to Fradtfort; returned to Vienna in 1688, to Augsbourg in 1691, and finally settled at Nuremberg, where he establish- ed himself as a dealer in prints on an extensive scale. He died in 1725. There is a mediocre mezzotinto by him, inscribed " Carolus V Dei gratia Lotharingise Bam, &c. Dux. C. Weigel f. etex. 1688."] [WBINHER, Hans or Jan, a painter and en- graver, of Weilheim, in Bavaria, was in the service of the Duchess Maximilienne in quality of valet de chambre. He studied engraving under Frederic Sustris, and published his first print on the 12th of January, 1610. He afterwards studied under Chris- topher Schwartz, and engraved several pieces after his pictures. On an etching in aquafortis, repre- senting Christ seated on a stone, and surrounded by soldiers holding lances and flags, is the mark at- tributed to him Jpp^with a bunch of grapes. Oc- casionally his etchings are found with the grapes only. There is no account of how long he flour- ished, or of his works as a painter.] [WEINHER, Peter, a designer and engi'aver, and also assayer of the Mint to the Duke of Bavaria, hved at Munich in 1580. Bartsch, Peintre Graveur, tom.ix., has described twelve prints by him.; but Brulliot cites many others. They are generally in- scribed Petrus Weinher Bavarus fecit, or Petrus Weinher Varadinus Bavarus, or Bavaria ; to which he occasionally adds Monachij and the date.] WEIROTTER, Francis Edmund. This in- genious artist was born at Inspruck in 1730. After learning the rudiments of design in his native city, he went to Paris, where he became a pupil of J. G. Wille, and became an able designer of landscapes. He afterwards travelled to Italy, wher&he remained some time, and returned to Paris with a copious collection of drawings from the most picturesque views of that delightful country. In 1767 he was invited to the court of Vienna, where he was ap- pointed Professor of the Academy of design. We have a great number of charming etchings by this artist, which are executed in a free, spirited style. They consist of landscapes, views of ruins, bridges, churches, cottages, &c., and are formed into sets, and numbered. The following are among the most esteemed of his numerous prints : A set of twelve Views in Normandy, with a Dedication. Twelve Views in Italy ; dedicated to the Prince of Kau- nitz. A ^et of twelve Views in Italy ; dedicated to the Prince of Staremberg. , Twelve Views in Italy ; dedicated to the Duke Albert of Saxe-Teschen. A set of twelve Views in Italy ; dedicated to the Arch- duchess of Austiia. [Weirotter died at Vienna in 1773. A collection 900 of several series of his etchings, consisting of 186 pieces, was pubhshed in 1760 and following years. His works are generally found in the cabmets of collectors of taste, and are prized for the beautiful figures and elegant buildings with which they are enriched, and for the harmonious distribution of the light and shade.] WEISBROD, Charles, a modern German en- graver, born at Hamburg in 1754. He was a pu- pil of J. G. Wille at Paris, and has engraved a great number of plates of landscapes, in a neat, clear style. He executed, several of the plates for the cabinets of Poullain, Choiseul, and Praslin. We have also some prints by him after Pynaker, A. Vande Velde, Ruysdael, and other masters. WEISHUN, Samuel, a German engraver, who resided at Dresden about the year 1630. He en- graved a considerable number of portraits, which are executed with the graver in a neat, but formal style. Among them is a head inscribed Daniel Senuestus, Wittenb. Profess. 1627. According to Professor Christ, he engraved a set of portraits of the Princes of Saxony, which he sometimes marked with the initials S. W., and sometimes with those letters joined together. [According to Zani, he was a goldsmith, as well as a designer and engraver. He operated as late as 1650.] WEISSE, GoTTHELP William. This artist was boi-n at Dresden about the year 1750, and was in- structed in engraving by Giuseppe Canale. He had given proof of considerable ability, when he was invited to the court of Hesse Cassel, where the Landgrave appointed him his principal engraver. Among others, we have the following prints by him : portraits. The Landgrave of Hesse-Cassel ; afier Graff. The Landgravine of Hesse-Cassel ; after Tischbein. SUBJECTS AFTER VARIOUS MASTERS. Apollo playing on the Lyre ; after Tischbein. A Landscape, with a Waterfall ; after Everdingen. A Landscape, moonlight ; after Dietricy. WELBRONNER, Nicholas. Mr. Strutt attri- butes to this artist the engravings on copper, mark- ed with an N and a W, and dated from 1530 to 1536, representing ornamental foliage and small figures, in imitation of Sebald Beham, among which are the following: A figure of Adam; a small upright plate ; dated 1534. Eve, with the Serpent; the companion. A small frieze, representing Children fighting. 1633. [The real name of this engraver is Nicolas WiLBORN ; the error of calling him Welbi-onner be- longs to Professor Christ. Brulliot, with apparent good reason, attributes to him the eighteen etchings described by Bartsch, Peintre Graveur, tom. viii. page 543, under the letters N. NW. (No. 265 of the monograms). These consist of, 1. A Portrait of Bernard Knipperdolling, the chief of the Anabaptists of Munster, dated 1536 ; copied from the print by H. Aldegrever, No. 183 reversed. 2. Victory and Fame ; copied from No. 18 of the master of the Cadwceus. 3. A Sacrifice to Priapus ; copied, with some variations, from No. 19 of the same master. 4. A Triton making love to a Siren ; copied in reverse from No. 24 of the same master, with some amendment in regard to decency. 5. A wmged Horse, above his head is written El Tempo. The monogram in a tablet. 6. A Frieze, in which is represented the triumph of Paris and Helen, with other figures. The mark in a tablet, and the date 1633. 7. Saturn in a Car drawn by a Frog and a Dragon, and other symbols : the mark at bottom, on the right. It is siipposed that he engraved the other six planets. well] PAINTERS AND ENGRAVERS. [WERD 8. Infants smiiising themselves with warlike sports, on a frieze ; a tablet with the letter N and the date 1533 is suspended from the branch of a tree. The other ten consist of vignettes and ornaments, among which are the two of Adam and Eve, men- tioned in the text ; they, properly form but one, be- ing the two sides designed for the sheath of a poniard, and go together. Brulliot says he is acquainted with fourteen more by the artist, one of which has his name in full, Nicolas "Wilborn, and the date 1536. This is also the design for the sheath of a poniard, orna- mented with foliage, among which are seen above, a lord and a lady, and a human skeleton ; and be- low, Adam and Eve at the tree of life. Above the lord and lady are crowns j in that on the left is the name of the artist, and in that on the right the date, the figures reversed. Brulliot remarks that Professor Christ has not only misnamed this artist, but falsely explained the monogram, as signifying Nicolas Manuel Deutsch.] [WELL, Arnold van, born at Dort in 1772, a scholar of Andiies Vermeulen, painted cabinet pic- tures in the manner of the Van Strys, and also winter scenes, and landscapes by moonlight. His pictures are admitted into good collections. He died in 1818.] WENCESLAUS,0F Olmutz. The name of this old German engraver is inscribed on a copy of a print, representing the Death of the Virgin, origi- nally engraved by Martin Schoen. The name is written at length, with the date 1481. This cir- cumstance, together with a resemblance in the style, though inferior, has given rise to a conjecture that he was a disciple of Martin Schoen. We have, how- ever, some pther plates by the same artist, in which he has attempted to imitate the style of Israel van Mecheln ; and it has been asserted by Mr. Strutt, that the ancient German engravings marked with a W only, which have usually been, attributed to Mi- chael Wolgemut, are evidently the productions of the same artist, and are copied from the works of Martin Schoen and Israel van Mecheln. He men- tions the following as such, which are marked with the W only. COPIES FROM THE PRINTS OF MARTIN SCHOEN. The Annunciation, with a Flower-pot in the front, the Deity appears above. A Genueman and Lady walking. Death appears behind a tree in the background. The Last Supper. The Crucifixion of St. Andrew. A set of small upright prints representing the Life and Passion of Chnst. COPIES FROM THOSE OF ISRAEL VAN MECHELN. Four naked Women, with a Globe hanging from the ceiling ; dated 1494. Albert Durer has engraved this subject so exactly, that it appears that he had rather taken his copy &om that of Wenceslaus than from the original. An old Man leading a little Boy, with a Woman having a Girl on her back, following him. A Lover entertaining his Mistress. [The whole of the matters relating to JVencelas ly Olmutz and Michael Wohlgemuth, as engravers, is involved in mysterious confusion, from which much effort has been made to extricate them, and to give to one or the other the laurel of victory ; each name has its champions pretty equally matched in strength, in skill, and the active use of the only weapon allowed in such combats. The spectator can applaud both sides for courage and dexterity, but liiids it difficult to decide which has the best of the battle ; neither party will submit to be con- quered. The stouter champions on both sides main- tain their good humour, and exchange courtesies, like true knights of the golden age of chivalry ; some of their squires, however, who feel bound to support their masters a I'outrance, occasionally lose their temper, and use hard words. There is no ne- cessity for it, especially if the combatant is not a native of Olmutz or Nuremberg ; and hard words, though they may anger an opponent, will not en- lighten his understanding, nor cause him to ac- knowledge himself convinced. The duty of the editor does not compel him to mingle in the fray, so as to take part vrith one side or the other : he who wishes to know the grounds and merits of the con- tests may consult Bartsch, Peintre Graveur, tom. vi., and Ottley's " Inquiry into the History of early Engraving," being principals, not to mention nu- merous others who are partisans : Zani seems fairly bewildered for once ; he is hors de combat, and cries out for assistance. See notes to the letters O and W in vols. xiv. and xix., parte prima, of Enciclo- pedia Metodica delle belle- Arti. Strutt and Heineken both mistook, and have misstated, the inscription on the print of the Death of the Virgin. The inscription is 1481. Wences- laus DE Olomucz Ibidem. Strutt gives a fac simile of the characters in plate ix.. No. 194 of the monograms, but substitutes the English particle of fordej and, speaking of the inscription in his account of Wenceslaus, seems to be at a loss about the word ibidem ; for he says, " underneath the print is writ- ten with the pen Wenceslaus of Olmutz in Bohemia. But I hardly think the letters will bear that inter- pretation. I have therefore, for the satisfaction of my readers, copied the whole inscription, at length, upon the plate at the end of the volume." Heineken, who mentions the print twice, trans- forms the words Olomucz Ibidem into Olohucz. J. biofh. It is hoped that an etymologist will some day arise, and, taking the hint from Heineken, by a little trans- position of letters, and interpretation of meanings, according to the process usual in such cases, recon- cile all the differences respecting W. Hf Olomucz and Wohlgemuth, and prove to his own satisfaction, at least, if not of others, that they are identical. Bartsch has described 57 prints which he at- tributes to Wencelas D'Olmutz, and one which he considers doubtful. Brulliot says the list is not complete, as he is acquainted with more than a dozen pieces that are not inserted. See note to Wohlgemuth.] V7ENG, [or WENIG,] J. G. The name of this artist is affixed to a print representing Minerva vi- siting the Muses. It is etched in the manner of De Hooghe, in a neat style. It is dated 1630, and appears to have been the work of a painter. WENGH, . Mr. Strutt mentions a print with this name affixed to it, dated 1509, represent- ing a male and female figure almost naked. Over the head of the man, who is attended by a dog, is written Paris, and over the woman, Egenoe, pro- bably by mistake for Oenone, the nymph of Mount Ida, whom Paris forsook for Helen. The print, he observes, has nothing, but its scarcity, to recommend it, and appears to be the work of a German, imitat- ing the style of the early Italian engravers. [The name is variously written, Wenig, Wening, or Weng, but nothing certain is known of,him,] ' WERDL ER, . This artist engraved a portrait' of Charles, Lord Cathcart, in armour. WERDMULLER, Rudolf. This artist was born at Zurich in Switzerland, in 1639, and was a 901 were] A DICTIONARY OF [WERN disciple of Conrad Meyer. He had given promise of uncommon ability as a painter of history and portraits, when he was unfortunately drowned, in 1668, in the twenty-ninth year of his age. WERENFELS, Rudolf. According to Fuessli, this artist was born at Basle, in Switzerland, in 1629. He received his first instruction in the art at Am- sterdam, but he afterwards travelled to Italy, where he studied some time. He chiefly distinguished himself in portraiture, and was much employed at several of the courts of Germany. His portraits are frequently accompanied with appropriate acces- sories, which were ingeniously composed, but his colouring was cold and feeble. He died in 1673. WERF, Adrian Vander. This admired painter was bom at Krahnger-Ambacht, near Rotterdam, in 1659. Having discovered an early disposition for the art, he was placed under the care of Cornelius Picolett, a portrait painter of no great ability, under whom he remained two years, when he became a scholar of Eglon Vander Neer. He had made con- siderable progress under that painter, when a pic- ture by Francis Mieris was brought to his master to be copied. Vander Neer thinking that none of his disciples were so capable of succeeding in so delicate an undertaking as Vander Werf, intrusted him with the commission, which he executed in so perfect a manner, that it deceived the most intelligent judges. When he was eighteen years of age he left the school of Vander Neer, and established himself at Rotterdam, where he met with the most flattering encouragement. He became intimately acquainted with M. Flink, who possessed an extensive collec- tion of drawings, by the best Italian masters, to which he had at all times access, and it was from these models, and by drawing after the best casts from the antique, that he formed a more correct and elevated taste of design than any painter of his country. In 1696, the Elector Palatine visited Holland, and, in passing through Rotterdam, was particular- ly struck with the works of Vander Werf. He com- missioned him to paint a picture of the Judgment of Solomon, and his own portrait, which he intended to send to the Grand Duke of Tuscany, to be placed among those of the most distinguished painters in the Florentine Gallery, and invited him to bring the two pictures, when finished, to Dusseldorp. The following year he undertook the journey, and de- livered his pictures, which were greatly admired by the Elector and all his court. That prince was de- sirous of his remaining in his service at Dusseldorp, but Vander Werf excused himself, urging the ne- cessity he was under of returning to his family and friends at Rotterdam. He engaged to devote six months in the year to the service of the Elector, for which he received a liberal pension. He continued to be employed by that prince until the death of the Elector, in 1717; and several of his most capital pictures are in the gallery at Dusseldorp. Ten of his pictures were purchased by Sir Gregory Page, a few years before the death of Vander W erf, which happened in 1722. No painter has carried finishing to so high a pitch as Vander Werf, yet his pictures produce a less pleasing effect than those of Gerard Douw and Francis Mieris. Sir Joshua Reynolds gives the Jbllowing critique on the. pictures in the Dusseldorp Gallery. " The most distinguished pictures in this room are the Vander Werfs, which are twenty-four in number. Three of them are as large as life ; a Magdalene, whole-length, and two portraits. The 902 Magdalene was painted as a companion to the St. John of RafTaelle, but it was not thought, even by his friends and admirers, that he had succeeded; however, he has certainly spared no pains; it is as smooth and as highly finished as his small pictures, but his defects are here magnified, and consequent- ly more apparent. His pictures, whether great or small, certainly aflford but little pleasure. Of their want of effect it is worth a painter's while to inquire the cause. One of the principal causes appears to me, his having entertained an opinion that the hght of a picture ought to be thrown solely on the figures, and little or none on the ground or sky. This gives great coldness to the effect, and is so contrary to na- ture and the practice of those painters with whose works he was surrounded, that we cannot help won- dering how he fell into this mistake. " His naked figures appear to be of a much hard- er substance than flesh, though his outline is far from cutting, or the light not united with the shade, which are the most common causes of hardness; but it appears to me that in the present instance the hardness of manner proceeds from the softness and union being too general; the light being every where equally lost in the ground or its shadow. " In describing Vander Werfs manner, were I to say that all the parts every where melt into each other, it might naturally be supposed that the effect would be a high degree of softness ; but it is noto- riously the contrary, and I think for the reason that has been given ; his flesh has the appearance of ivory or plaster, or some other hard substance. What contributes likewise to give this hardness, is a want of transparency in his colouring, from his ad- mitting little or no reflexions of light. He had also the defect which is frequently found in Rembrandt, that of making his light only a single spot. How- ever, to do him justice, his figures and his heads are generally well drawn, and his drapery is excellent ; perhaps there are in his pictures as perfect examples of drapery as are to be found in any other painter's works whatever." [In Smith's Catalogue raisonne of the works of the most eminent Dutch and Flemish Painters, vol. iv., and Supplement, there are about one hundred and fifty pictures by this master described.] WERF, Peter Vander, was the younger brother of Adrian Vander Werf, born [at Kraunger-Am- bacht,] near Rotterdam, in 1665, and was instruct- ed in the art by his brother. He for some time confined himself to copying the works of Adrian ; but he afterwards painted pictures of his own com- position, some of which were retouched by his bro- ther. 'Though he occasionally painted history, his pictures more frequently represent domestic sub- jects and small portraits, in which he was much employed. One of his principal productions is a picture in the hotel of the East India Company, re- presenting the portraits of the Directors at that time. Without equalling his brother in the extreme polish of his finishing, the pictures of Peter Vander Werf are very highly wrought up, and have sometimes been mistaken for the works of Adrian. He died in 1718. WERNER, Joseph. This artist was born at Berne, in Switzerland, in 1637. He was the son of a painter of little celebrity, by whom he was in- structed in the first rudiments of the art; but he afterwards was sent to Frankfort, where he became a scholar of Matthew Merian the younger. Aided by the instruction of that able master, his progress was so unusual, that it even surprised his preceptor, who, desirous of procuring for so promising a talent wese] PAINTERS AND ENGRAVERS. [west the best means of improvement, recommended him to travel to Italy, and introduced his pupil to the patronage of M. MuUer, an amateur of-fortune and taste, who was going to Rome, by whom he was in- vited to accompany nim in his journey. So advan- tageous an offer was particularly agreeable to our young artist, who, by his amiable manners and in- genuous conversation, conciliated the favour and esteem of his protector. During his residence at Rome, Werner was inde- fatigable in designing from every object which could conduce to his advancement. He for some time painted in oil and in fresco, but his predilec- tion for high finishing induced him to prefer minia- ture, which he carried to a perfection which has perhaps never been surpassed. His historical sub- jects are ingeniously composed, and designed with a correctness and taste very unusual in that confined branch of the art. His colouring is clear and for- cible, and his heads have a fine expression.- He was also much employed in portraiture, in which he particularly excelled. In returning from Italy he passed through France, where his talents recom- mended him to the notice of Louis XIV. He was invited to Versailles, where he painted the portrait of the king, and those of several of the principal personages of the court ; and was also much em- ployed in historical and emblematical subjects, which were so much admired, that the most flatter- ing proposals were made to him to induce him to establish himself in France, but he had already ac- cepted an invitation he had received from the court of Inspruck, where he painted the portrait of the Archduchess, and was recompensed with a liberal remuneration, and presented with a gold medal and chain. In 1696, Frederick,Elector of Brandenburg, and first king of Prussia, appointed him director of the Academy at BerUn, with a liberal salary. He died in 1710. WESEL, Telman van. This artist was pro- bably a native of Germany. It appears, by an in- scription on one of his plates, that ne was a gold- smith as well as an engraver. His prints are chiefiy copies from the works of Albert Durer, and other German masters, and are very indifferently executed. Among others are the following : Adam and Eve ; after the print by Albert Dvrer. Upon the tablet, on which the name of A. Durer appears in the original plate, is inscribed, Telman van "Wesel, GOLDSMIT. Several Soldiers conversing ; after the same ; marked T. M. W. St. Christopher; after one of the old German masters ; marked T. W. [V7EST, Benjamin, an Anglo-American histori- cal painter, was born at Springfield, province of Pennsylvania, in North America, October 10th, 1738. From his earliest infancy he evinced a great incUnation for drawing, and made many untaught efforts to arrive at a knowledge of it. His biogi-a- phers dwell largely on his chUdish endeavours, and would persuade the world that he was a prodigy in art from his cradle. At eight years old he received some lessons in colouring from a party of wander- ing Cherokee Indians, who were pleased with his rude drawings of birds, fruits, and flowers. Give honour where honour is due ; West's first instructors in colouring were the wild children of the woods ; the future president of the Royal Academy of Great Britain took his earliest lessons in painting from a tribe of Cherokees ! The Indians perceived that he had talent, and being unwilling to leave such a boy in ignorance, they taught him archery also. His knowledge of drawing the bow was useful to him in after life ; he availed himself of it on his first visit to Rome, in giving his opinion of the Belvidere Apollo. From this time he groped his way as well as he could, availing himself of every circumstance that tended to enlarge his knowledge of the me- chanical part of painting, without the assistance of any competent instructor on scientific principles. On the death of his mother he removed, in the eighteenth year of his age, to Philadelphia, and established himself as a portrait painter. Having painted the portraits of as many Philadelphians as desired it, he repaired to New York and continued his practice. He found it a profitable trade, and was enabled to amass, money : but he yearned to be acquainted with the higher grades of painting, and for that purpose planned a journey to Rome. This shows the aspiring disposition of the man, and that he possessed an innate propensity for art ; he knew his deficiencies, he felt the want of instruction ; he calculated that among the works of the Itahan masters, of whom he had heard, all his wants would be supplied. Fortunately for him, a merchant of the name of Kelly, of New York, was sitting to him for his portrait, and to him West expressed his desire of visiting Italy for the purpose of improving himself in art. This noble-minded merchant heard his story, paid him ten guineas for his portrait, gave him a letter to his agents at Philadelphia to facili- tate his passage to Leghorn, shook him by the hand, and wished him a good journey. On presenting the letter to the agents it was found to contain an order for fifty guineas, "a present to aid in his equipment for Italy." Allen, a merchant of Phila- delphia, was then sending a cargo to Leghorn, and offered the artist a free passage. Thus assisted he took his departure, and arrived at Rome in July, 1760. An American in search of art was a novelty in Rome, and of course caused a sensation. Having a letter of introduction to Lord Grantham, he was at once introduced to the best- society. The artists and others were curious to observe the effect of a sight of the Apollo Belvidere, the Venus, and the paintings of Raphael, on one whom they supposed was only a half-cultivated savage. With this view it was arranged that the first object of great art on which his feeling should be tried, should be the Apollo. The figure was enclosed in a case, and when the keeper threw open the doors West ex- claimed, "My God — a young Mohawk warrior!" The Italians did not relish the comparison of their noblest statue to a wild savage ; but when West de- scribed the admirable symmetry of their persons, the elasticity of their hmbs, and their unconstrained motions, and added, " I have seen Mohawks often standing in the very attitude of this Apollo, watch- ing with an intent eye the arrow just discharged from the bow," they admitted the justness of his exclamation, and no longer considered him a semi- barbarian. West continued in Italy for about three years. After seeing the treasures of Rome, he visited Flo- rence, Bologna, Venice, Parma, and other states, made copies of certain celebrated pictures, and painted some originals. The funds with which he started would have been but a poor supply for his protracted stay; but his friends, Allen and Kelly, the merchants of Philadelphia, Governor Hamilton, and other of his admirers, were determined that his studies should not be frustrated for want of means. " I regard this young man," said the generous mer- 903 west] A DICTIONARY OF [west chant, "as an honour to his country; he is the first that America has sent forth to cultivate the fine arts ; he shall not be frustrated in his studies ; for I shall send him whatever money he may require." " I think with you," said Hamilton, " but you must not have all the honour to yourself, allow me to unite with you in the responsibility of the credit." Thus nobly supported, West was enabled to devote his mind untroubled to the study of the great objects of art around him. In the middle of the year 1763 West arrived at London, with no intention of re- maining in England; hut his reception there de- cided his future course. Patronized by church dig- nitaries and noblemen, introduced to royalty, and favourably received by artists and literary men, a return to America was no longer his desire; he sent for the lady of his early attachment, married, and settled for life in old England. For nearly sixty years he held a prominent position among the painters of the country ; he produced numerous pictures both from sacred and profane history, and probably his works had some effect, at the time, in inciting others to attempt this higher order of paint- ing ; but he did not create a school, nor has his style survived him. The subjects of his first historical compositions he selected, or rather they were se- lected for him, fi-om ancient history or' biography. Agrippina landing with the Ashes of Germanicus, the Departure of Regulus from Eome, the Death of Epaminondas, Cyrus liberating the Family of the King of Armenia, Segestus and his Daughter brought before Germanicus, and other incidents to be found in Greek and Roman history, and in Plutarch's Lives. But he deserves more credit for having been the first to paint modern history divested of Grecian and Roman costume. His Death of Wolfe was an astonishing innovation ; it alarmed existing prejudices ; it struck a heavy blow at, and was a great discouragement to, artistic conventionalities. The ample paludamentum, the helmet, spear, and shield, were to be abandoned, and their places supplied, if the subject was European, by the military regula- tion coat, the cocked hat, and the musket with the bayonet. The bases, which covered the nether parts of the Greek and Roman soldiers, but per- mitted the painter to exhibit his knowledge of ana- tomy, were to be removed for the less picturesque ob- jects^eathern breeches, and the ornamental gi-eaves and sandals, for well blacked and polished boots. West's picture was successful with the public; and having received the approbation of the king, the prejudices of Reynolds and the opposing artists were overcome. Perhaps no English picture ever had so great a. degree of popularity as the Death of Wolfe. West painted many pictures for George III., and projected many more which circumstances prevented being carried into execution. Those for St. George's Hall, at Windsor, are among his best, and are with great propriety taken from English history. On the death of Sir Joshua Reynolds he was ap- pointed to the president's chair, and took his place on the 24th March, 1792. He delivered an in- augural address, which was much applauded, but, says his biographer, it must have cost him little thought, as it dwelt but on two topics — -the excel- lence of British art, and the gracious benevolence of his Majesty. It is scarcely necessary to speak of more than three or four of his larger works, as there is such an equahty of merit in them all. Next to his Death of Wolfe, and Battle of La Hogue, per- haps he obtaified the greatest share of reputation 904 for the painting of Death on the pale Horse, in which certainly he displayed more of poetic imagin- ation than in any other of his compositions. Christ Rejected has much merit; in general interest it surpasses the others. Christ healing in the Temple, now in the National Gallery, supersedes the neces- sity of saying any thing respecting his manner of treating a subject, nor of his style in painting it. Foreign nations are acquainted with his works through the admirable engravings of WooUett, Sharpe, and Hall; his Death of Nelson was en- graved by James Heath. He died on the 11th of March, 1820, and was buried in St. Paul's cathedral. It is said that he painted and sketched in oil up- wards of four hundred pictures, many of them of large dimensions; yet his pictures are rarely met with in collections : his sketches are the most esteemed. Many of his figures are quite original, they are not to be traced to any other master ; and as he was careful not to imitate the older masters, so succeeding painters have religiously avoided imi- tating him.] [WESTALL, Richard, an English historical and poetical painter and designer, was born about the year 1765. He was placed as an apprentice with an engraver of heraldry on silver and other materials, who lived in Gutter Lane, Cheapside. Towards the end of his apprenticeship he was per- mitted by his master to attend at the Royal Academy in the evenings to practise drawing, where he formed an acquaintance with Mr. Lawrence, afterwards Sir Thomas. At the conclusion of his servitude he and Mr. Lawrence took a house, jointly, at the corner of Greek Street, Soho Square, having two entrances ; on the door in Greek Street was placed the name of Westall, on that in the Square the name of Lawrence. It is not necessary to follow Mr. Westall in his progress; the subjects he chose, and the style in which he represented them, were suitable to the time ; he became a favourite with the public, to whom his manner was new, and his affectations ap- peared elegant. Episodes of Love seemed best suited to his gentle mind and pencil; he painted pictures of Sappho in the Lesbian shades, the Boar that killed Adonis brought to Venus, Calypso enter- taining Telemachus in her Grotto, the Marriage Pro- cession as described on the Shield of Achilles, Ve- nus recumbent attended by Cupids, and numerous others of the amatory kind, all suificiently Platonic and modemly classical. But he did more : he was employed by Alderman Boydell to embelUsh Milton and Shakspeare ; in his illustrations of the first there is grace, and sometimes an approach to grandeur ; in the other he is genteel and pretty. He painted subjects taken from the History of England for Bowyer, and was equally successful. His repre- sentations of the church of England services and ceremonies were favourites with the serious part of the pubhc, and there is a propriety in them that is much more impressive than the real proceedings on many occasions. His style of book-illustrating was so popula,r that publishers found it their interest to employ his pencil, especially on second editions, to give additional sweetness to the light romantic or sentimental poetry so interesting to young ladies, and so serviceable to their admirers in furnishing appropriate quotations in the ball-room. One pre- vailing fault, however, is, that his armed knights all appear to be of the feminine gender ; they are too delicate for the rough usages of war ; they might do for the stage; they might figure in a maJie-belief west] PAINTERS AND ENGRAVERS. [WEYD modem tournament ; but for a real meUe with men at arms in the olden time, such as some of the afore- said poems describe, alas! the ponderous mace or battle-axe, nay, the very sound of the brazen trum- pets, clarions we should say, would shiver such heroes and their panoply instantly into atoms. Still we must not entirely lay the blame to Westall, he administered to the taste as he found it ; the public, that is to say the readers of such works, were de- lighted, the publisher was satisfied, and the artist well paid. Mr. Westall was elected an acadejmician in 1794, in the same year that Mr. Lawrence and Thomas Stothard arrived at the like honour. In 1808 he published a volume of poems, with the title "A Day in Spring," which he ornamented with plates engraved by J. and C. Heath from his own designs. By his exertions he accumulated a sum of money that would have been a handsome competence, but he unfortunately engaged in the speculation of pic- ture dealing with works of the old masters ; a trade particularly dangerous to a modem painter. Like some others, he made a few successful hits, which only tended to accelerate his ruin ; these successful hits were more owing to the ignorance of the buyers than the knowledge of Westall of the works in which he dealt. Giorgione, Titian, Tintoretto, Paolo Veronese, and Schiavone, were favourites with him ; they had been so time out of mind with others, and consequently their works were copied or imitated to a great extent ; the artist picture dealer could not discern the difference between them, and his lay brothers of the craft supplied him abundantly with what they called and he believed to be genuine speci- mens, though in an injured state. The expense of repairing, and restoring in the true Venetian man- ner of coloiuing, and the addition of splendid carved and gilt frames, so necessary for a picture of esti- mated great value, and also some improvident part- nership engagements, produced pecuniary embarrass- ment, and reduced the artist to the necessity of re- ceiving the allowance which, it is said, the Academy assigns to its poor members to save them from ab- solute want. Westall gave lessons in drawing to the Princess Victoria, now her most gracious Majesty ; and how effective those lessons have been, the beautiful drawings of his royal pupil abundantly prove.' His works are fast falling in public estimation ; a new and better style of illustration has arisen, which has superseded his, and others of his contemporaries ; and which would be still better if there were less of conventionality, and fewer artistic conversazioni, the bane of young artists of talent. Mr. Westall died on the fourth of December, 1836.] [WESTERBABN, J , a portrait painter, eminent in his time, was living in 1659 at the Hague. He painted the portraits of Geestranus, and other learned men, which were engraved by H. Barry. The date of his decease is not mentioned.] WESTERHOUT, Arnold van, a Flemish en- graver, bom at Antwerp in 1666. After having re- ceived some instruction in design and engraving in his native city he went to Italy, and established himself at Rome, where he engraved several plates from' his own designs, and after the works of the Italian painters. His style of engraving re'sembles that of his countryman, Robert van Audenaerde. We have several portraits and historical subjects by him, executed with the graver, in a neat, clear style, but without producing a powerful effect. Among others are the following : PORTRAITS. Cardinal Giacomo Antonio Moriga ; after L. David. Prince Rospoli ; after Ant. David. Michele Augelo Tamburini, General of the Jesuits ; after Ant. Odati. SUBJECTS AFTER VARIOUS MASTERS. A Female Figure, with a Unicom ; after An. Caracci. The Descent from the Cross ; after Dan. di Volterra. St. Paul preaching at Athens ; after Gio. Bat. Lermrdi. The Muses protecting the Monuments of Art from the Destruction of Time ; after the same. [He also engraved some portraits in mezzotinto. He died about 1725.] [WET, Gerard de, bom at Amsterdam in 1616, and died there in 1679, was a scholar of Rembrandt, whose manner he imitated ; he also painted land- scapes, and was accounted a good colourist.] [WET, or WETH, John de, and Jacob de WET, or WETH. It is uncertain whether these names belong to one or two painters, as there are pictures so signed of different kinds. Those with the name of Jacob are imitations of the manner of Rembrandt, and the- subjects are taken from Scrip- ture. John De Wet was not only a painter but a picture dealer ; he resided at Haerlem, and is pro- bably the same that is mentioned in the note to Wouwerman, as drawing the attention of amateurs to the superiority of that artist's works over those of Bamboccio. Nothing, however, is known of the pictures by De Wet out of Holland; perhaps they are some of the coarse imitations of Rembrandt which occasionally appear in sales under that mas- ter's name.] WET, P. F. This artist etched some plates of ornamental foliage for goldsmiths and jewellers. They are executed in a slight style. , WEYDE, Roger VanIjer. In a note to this article in Mr. Pilkington's Dictionary of PainterSj M. Descamps is accused of inaccuracy, for having mentioned this painter as a different artist from Roger of Bruges; and it is attempted, in a very unsatisfactory manner, to prove that they were " one and the same persoii." The accusation is proved to be totally groundless, by the original authority of Karel van Mander, the most authentic biographer of the Flemish artists of that early period, who dis- tinctly states them to be two different artists. Roger of Bruges was a native of that city, and a disciple of John van Eyck, consequently a much older artist than Vander Weyde, as will be seen by reference to that article. Roger Vander Weyde was bom at Brussels about the year 1480. It is not known by whom he was instructed, but he is mentioned by Van Mander in very favourable terms, and as one of the first paint- ers of his country who introduced a graceful _ style of designing, and a characteristic expression in bis heads. Among his principal works were four pic- tures in the council-chamber of the Town-house at Brussels, representing subjects connected with the administration of justice. He painted a picture of the taking down from the Cross, for the church of St. 'Gerti-ude, at Louvaine, which was greatly ad- mired. It was afterwards sent to the king of Spain, and a copy of it, by Michael Coxcis, was put m its place. He died in 1529. [The identity or duality of jRoger de Bruges and Roffer Vander Weyde has been long a vexatious question. Recent researches go very far to show mat both names apply to one painter. The naming of artists by writers after the place of their birth, the school in which they studied, or the dty which had 905 weyd] A DICTIONARY OF [weyd been their principal residence, has given rise to much ambiguity ; and unfortunately the earlier writers on art and artists have used tlie names, too often, indiscriminately. It now appears that Roger Vander Weyden was bom at Brussels about the year 1401, and that he was sent early to Bruges to study painting under the celebrated brothers, Hubert and Jan Van Eyck; that he remained there till the death of Jan, and his long residence obtained for him as a painter the'cognomen of Roger de Bruges. It was not, however, forgotten by the citizens of Brussels that he was a native of their growing city, when his talent marked him as an object worthy of attention. He was employed by them to decorate their newly-erected Town-hall, and afterwards ap- pointed painter to the city. This appears in the archives of the city of Brussels, where there is an entry of a resolution with the date 1436: "that after the death of Master Roger, salaried painter to the city, there shall be no other artist officially ap- pointed. This resolution it seems was in conse- quence of the great expenditure in the erection of the Hotel de Ville, and the necessity felt of being more economical in future. In 1449 he is men- tioned again in the archives as Roger Vander Wey- den, painter to the city of Brussels. "Meester Ro- GiEREN Vander Weyden, portrateur der stad tan BrusseV In 1450, the year of the jubilee, he went to Rome to contemplate the works of the painters there, and was delighted with the productions of Gentile da Fabriano. But his own works had pre- ceded him; for, previous to 1431, he had painted for Pope Martin V. the famous chapel, which after- wards passed into the hands of the Emperor Charles v., and is now in the possession of the king of Hol- land. This, however, was not the only work he had executed for Italy, previous to his visiting that country ; for in 1449 Cyriac of Ancona saw m the palace of Lionel d'Este a picture of the Descent from the Cross painted by Roger. Some of the Italian painters had also imitated his manner and that of his master, Jan Van Eyck; among them was Angelo Parrasio, a Sienese, who painted the nine Muses in the palazzo Belfiore, and in colouring them adopted their style as his model. It is pro- bable that he remained some years in Italy, and painted many pictures there ; those attributed to the name of Roger de Bruges are also attributed to Roger Vander Weyden. History is silent with re- gard to both names for a series of about twelve years from the year of the jubilee, and it is only by the discovery of pictures executed during that period that it is made apparent Roger de Bruges, or Roger Vander Weyden, must have continued for a con- siderable time painting in Italy. A portrait of Roger, painted by himself, was in the possession of a Spanish gentleman of the name of Zuanne Ram, at Venice, in 1531, and is said to have borne the in- scription Rugerio da Bruxelles, and the date 1462. From writing his name in Italian it is inferred that he was at that time in Italy, and used the language that would be best understood by those with whom the picture was to remain. Whether he paid an in- termediate visit to his own country is not clear ; but it is recorded that he painted an altar-piece for the cathedral church of Middelbourg, a city founded by Chevalier Peter Bladelin in 1444, and completed, as to essentials, in 1464. This picture, which repre- sents the Adoration of the Shepherds, and the Wise Men returning thanks for having arrived at the ter- mination of their journey, in which is also the por- trait of Peter Bladelin, and a view of the Castle and 906 Church of Middelbourg, is now at BerUn. It is ascertained that Roger Vander Weyden died at Brussels the 16th of June, 1464, and was buried in the church of St. Gudule ; the following is the entry in the burial registry: " Magister Rooerus Van- der Wyden excellens picfor cum uxore, liggen voor Ste. Catelynen autaer, onder eenen hlauwen steen." This entry must have been made at a later date, as his wife, Elisabeth Goffaerts, smrvived to the year 1477. The date of Roger's death is corroborated by a document in the archives at Brussels, by which it appears that on the 5th day of October, 1464, his widow paid to the prevot of the cloister of Couden- berg, at Brussels, the sum of twenty golden peeters to purchase an income, on condition that he and his successors should celebrate the anniversary of the late Roger Vander Weyden, painter, and of his widow, Elisabeth Goffaerts, when she deceased. Roger Vander Weyden had a son named Gnsivin, who was dean of the confraternity of St. Luke in the years 1514 and 1530, and painted so late as 1535. The Museum at Brussels contains eleven pictures by him. The handling is more rude, the execution less finished than that of Roger, but viewed at a distance they have a resemblance to the manner of pictures attributed to him. Little, however, is known of Goswin or his works. Van Mander is accused of having caused the confusion of names by calling the father Roger de Bruges, and the son Roger Vander Weyden ; and not knowing the true date of the death of either, he places that of his supposed Roger in 1529, and says that he died of the Eng- lish malady, the sweating sickness, in that year; now it happened that Quintin Metsys died of the malady that same year, and it is possible that Van Mander, who wrote hastily, applied the circum- stances to Vander Weyden. The error, however, has continued, and writer after writer has copied the statement, and hence we have a Roger de Bruges, and a Roger Vander Weyden. That Roger Vander Weyden was recognised as the principal scholar of the Van Eycks long before Van Mander wrote, is clear from his name being quoted by Vasari, Opmeer, and Giucciardini, and always in conjunction with, or in allusion to. Van Eyck. Lampsonius, who praises so highly Roger of Brussels, says nothing of Roger of'Bruges, whence an advocate for their dual- ity infers that the latter had abandoned his native place and adopted the other ; what is this but ad- mitting their identity ? — Roger, by whatever other name he is distinguished, is the link between the Van Eycks and Hans Hemling; but with regard to his authentic works it is feared that there is no cer- tainty, except that of the celebrated portable ora- tory of Charles V., now belonging to the king of Holland, which is supported by the authority of Albert Durer. There is no picture known with the painter's family name ; how, then, is the question to be decided ? One affirm^ that a picture is by Roger de Bruges, another asserts it is by Roger de Bruxelles, or Roger Vander Weyden, neither party disputing the excellence of the work. Some distinguish be- tween the finer and the coarser execution ; the first they apportion to Roger de Bruges, the second to Roger Vander Weyden, on the false ground that the latter lived at a later period, and painted the pic- tures now ascertained to be by his son Goswin. The accounts of Roger de Bruges and Roger of Bruxelles are parallel in dates and circumstances, except that no mention is made of the place where, or the time when, Roger de Bruges died ; the last notice of him is the portrait dated 1462, which weyd] PAINTERS AND ENGRAVERS. [WHEA equally applies to Roger of Bruxelles. The place and time of Vander Weyden's death are certain, and in his epitaph Brussels is made to mourn for him, as an artist never equalled, and whose loss can never be supplied. This of itself completes the parallel,- and almost establishes the identity. The editor, however, does not presume to decide the question ; he only places before the inquirer the facts that have presented themselves in the course of his researches, as on all occasions he msikes very light of names, but attaches much importance to merits. In the note to Roger ^of Bruges the name Schabol is introduced as being that of his family ; the au- thority on which the editor reUed fails in estabhsh- ing that fact; it belongs to another painter of a much later period.— ^See the note to Roger op Bruges.] WEYDMANS, N. This artist is mentioned by Mr. Strutt as the engraver of a small print repre- senting a country surgeon performing an operation on the forehead of a woman. She is supported by a man, who stands behind her. It is executed in a slight, scratchy style, so as to resemble an etching. It is from a design of his own, and appears to be the production of a painter, though very indiflferent- ly engraved. [There were two port^'ait painters of the name of Weydemanj Frederic William, who was bom in 1668, and died in 1750 ; and Charles Emilius, his cousin, or nephew, bom in 1685, and died in 1735. The latter engraved, but in what manner does not appear. Of N. Weydmans there is no ac- count.] WEYER, Gabriel, a German painter and en- graver, who resided at Nuremberg about the year 1610, where he painted several pictures, and made many designs for the engravers. He also executed several wooden cuts in a spirited style, which are marked with a monogram composed of a G. and W. thus, Q^. [He died in 1640.] WEYER, Hans, , or John. This artist, who flomished about the year 1610, was a native of Co- bourg, and a painter. According to Professor Christ, he engraved several plates in an excellent style, which are marked with the letters H. E. W. and dated 1610, and 1612. [He was an admirable de- signer, but there is some difficulty in apportioning the engravings that really belong to him.] WEYER, Nicholas. Professor Christ attributes to this artist the engravings marked and dated thus, N. 1567 W. He has not, however, specified any of the subjects. [WEYERMAN, John, painted fruit and flower- pieces. He was bom in Holland in 1636; travelled into Italy; probably returned to his own country, and died in 1681. J WEYERMANS, James Campo. This artist was born at Amsterdam in 1679, and was a scholar of Ferdinand van Kessell. He painted flowers, fruit, and still-life, but his productions are not above me- diocrity. He published the Lives of the Dutch Painters, in three volumes, which is a compilation from Houbraken, disfigured by gross falsehoods and absurdities. He died'in 1747. WEYNERS, Johanssen, a German engraver, who flourished about the year 1611. According to Professor Christ, he marked his plates with a bunch of grapes, which in German bears some allusion to his name. He engraved some plates from the de- signs of Christopher Schwaartz. [See Weinher, Hans.] WHEATLEY, Francis. Mr. Wheatley was born in London in 1747, and received his first in- struction as an artist in Shipley's drawing school. When young, he obtained several premiums from the Society for the Encouragement of Arts. By the strength of his natural abilities he acquired a con- siderable portion of talent as a painter, and, having formed a friendship with Mr. Mortimej, he increased his knowledge in the art, and assisted that gentle- man in painting the ceiling at Brocket Hall, the seat of Lord Viscount Melbourne. He had formerly been employed in the decorations at Vauxhall. His inclination appeared to lead him equally to figures and landscapes, but, in the early part of his life, he met with considerable employment in paint- ing small whole-length portraits, which induced him for some time to make that his particular pur- suit. After practising some years in London, he visited Ireland, and was much employed in Dublin, where he painted a large picture, representing the Irish House of Commons, in which he introduced the portraits of the most remarkable political cha- racters, and it gained him gi-eat reputation. On his return to London, he painted a picture of the Riots which took place in 1780, from which Mr. Heath engraved an excellent print for BoydelL He now became a very popular painter of rural and domes- tic subjects, for which he had a peculiar talent, and his productions of that description were greatly ad- mired. When Boydell projected his great under- taking of the illustration of Shakspeare, with prints engraved from pictures painted by the most eminent English artists, he was engaged to contribute his talents to the accomplishment of that Splendid work, for which he painted twelve pictures, by which his merit, as a composer and a colourist, may be best estimated. Mr. Whfatley was elected an Associate of the Royal Academy in 1790, and Royal Academician in 1791. He was for several years afflicted with long and severe paroxysms of the gout, and died in 1801. WHITE, Robert. This artist was born in Lon- don in 1645, and was a pupil of David Loggan, for whom he designed and engraved several architec- tural views. He was much employed in drawing portraits with black lead, upon vellum, in which he excelled, and has engraved plates from several of them. The heads of Sir Godfrey Kneller and his brother, in Sandraart's Lives of the Painters, were engraved from drawings by White, whose portrait Sir Godfrey painted in return. In 1674 he en- graved the first Oxford Almanack, and the title plate to the History and Antiquities to that uni- versity. Few artists have exceeded Robert White in the multiplicity of English portraits he has left us. They are frequently disfigured by large, tasteless borders, by no means ornamental. Most of his plates are executed with the graver. He scraped a few heads in mezzotinto, but they are very inferior to his other prints. He died at his house in Blooms- bury in 1704. Of his numerous portraits, the fol- lowing are among the most esteemed : James I. ; after C, Jansen. George, Earl of Ciunberland, hatited for a tournament ; fine. Charles I. ; after Vandyek. Another of Charles I. ; after Van Vorat. Prince Rupert ; after Kneller. Charles II. ; after the same. 1679. Another of Charles II., whole length, in the robes of the Garter. James II. under a canopy, with Archbishop Sancroft and the Chancellor Jefferies. * 907 whit] A DICTIONARY OF [WIER James II. -when Duke of York, in the rotes of the Garter. Maria Beatrix of Este, his consort ; after Kneller. 1686. Henry, Duke of Gloucester. Lady Mary Joliffe ; scarce. ' Heneage, Barl of Nottingham. Thomas, Duke of Leeds. ■ Sir Edward Ward, Chief Baron. 1702. Sir George Treby, Chief Justice of the Common Pleas. 1694. Samuel Pepys, Secretary to the Admiralty ; after Kneller. George, Earl of Melvil ; after Sir John Medina. James, Earl of Perth ; after Kneller. Another Portrait of the same ; tMer RiUy ; &ae. Bishop Burnet ; after Mrs. Beale. Sir Alexander Temple. Lady Susanna Temple. Lady Anne Chfford. ' Thomas Flatman ; after HayU. Sir John Fenwick ; after Wissing. The Seven Bishops ; seven small ovals in one plate. The Pive Bishops who suffered Martyrdom ; five ovals in one plate. [Duke of Norfolk, mezzotinto ; after Kneller. John, Earl of Radnor, ditto; ditto.] WHITE, George, was the son of the preceding artist, and flourished about the year 1720. He was instructed by his father in the principles of design- ing and engraving, and is said to have occasionally painted both in oil and in miniature. After the death of his father he finished the plates left imper- fect by him, and also engraved some portraits in the same style, which are executed in a neat, clear man- ner, particularly those of the Duke of Ormond and Lord Clarendon, prefixed to the " Rebellion in Ire- land." But his best prints are in mezzotinto, in which he frequently etched the outline before the ground was laid upon the plate, which sometimes adds to the firmness of the effect. The year of his death is not known, but he worked as late as 1731, as appears from the date of his portrait of Bishop Weston. The following are his most esteemed works : PORTRAITS IN MEZZOTINTO. Sir Richard Blackmore, M. D. ; after J. Vander Bank. Sylvester Petyt, Principal of Bernard's Inn ; fine. Nicholas Sanderson, Professor of Mathematics, of Cam- bridge. John Baptist Monnoyer, Painter ; after Kneller. John Dryden ; after the same. Alexander Pope ; after the same. Thomas Bradbu^ ; after Gibson. George Hooper, Bishop of St. Asaph ; after Hill, Colonel Blood, who stole the Crown. "William Dobson, Painter ; ftom a picture by himself. [A Man playing on the Violin ; after Frank Hals. 1732. Henry Purcell; after Frank Hah? 1732.] PORTRAITS IN THE STYLE OP HIS FATHER. James Gardiner, Bishop of Lincoln ; after Dahl. Charles II., King of Spain; begun by Robert White, and finished by George White, whose name is affixed. The Duke of Ormond. Lord Clarendon. WHITE, Charles, was born in London in 1751, and was a pupil of Franker. On leaving that mas- ter he quitted the manner of stroke engraving, and worked chiefly, if not entirely, in the chalk style. He was for some time engaged on trifling subjects from designs by ladies, but in the latter part of his life he was employed in works of more importance, which he unfortunately did not live to see com- pleted. He died of a fever in 1785. WHITE, Thomas. This artist was a native of London, and flourished about the year 1760. He was for some time employed by Mr. Ryland to as- sist him in the back-grounds of his plates, and af- terwards engraved the greater part of the architec- 908 tural prints for the continuation of the " Vitruvius Britannicus," by Wolf and Gandon. His name is also affixed to a print of a landscape, after Breughel. The plate was etched by T. Saunders, and White was assisted by Ryland in the finishing of it. He died in London about the year 1776. WIBERT, . See Vuybert. "WICHMAN, J., a German engraver, who flour- ished about the year 1683. His name is affixed to a large print, representing the Besieging and talcing of Stadtwien by the Troops of the Emperor of Oer- many. The portraits of the German and Turkish generals are represented at the top, and those of the Emperor of Germany and the Grand Sultan at the bottom. It is a coarse, slight etching, very in- differently executed. WICKSTEAD, Philip.' This artist was a na- tive of London, and was a disciple of Mr. Zoffani. He distinguished himself chiefly by painting small whole-length portraits. He studied some time at Rome, where he became acquainted with Mr. Wil- liam Beckford, and accompanied that gentleman to Jamaica. He practised there some time as a paint- er, but afterwards became a planter, in which un- dertaking he was not successful. This disappoint- ment brought on a depression of spirits, for which he sought relief in intemperance, which hastened his death, about the year 1790. WIDEMAN, Elias. This artist was a native of Germany, and resided at Augsbourg, about the year 1648. He was chiefly employed by the booksellers, for whom he engraved a great number of portraits, frontispieces, and other book-plates, from nis own designs. They are executed in a stiff, formal style. His most considerable work is a set of plates of il- lustrious personages, published at Augsbourg in 1648, entitled, Comitium Gloria centum qua Sanguine qua Virtute illustrium Heroum Iconihus instructum, Src E. Wideman, del. et sculp. WIDITZ, . Professor Christ mentions this ancient engraver on the authority of Bernard Jobin. He does not specify any of his prints, but he is said to have been a native of Strasburg. [He was an engraver in wood, and operated about 1570 ; but there are no particulars respecting him that can be relied on.] WIELANT, or WILLANT. The name of this engraver is affixed to some portraits, among which are the foUovring : John Colerus ; after Bodecker. John Claubergius. [The name Wielant is probably a corruption of Vaillant.'] [WIELING, Nicolas, an historical and portrait painter, is supposed to have been a native of Hol- land, but neither the year, nor the place of his birth, is recorded. He was much employed by Frederic William, the Elector of Brandenbourg, who ap- pointed him painter to the court in 1671. He died at Berlin in 1689. His manner of painting is more in accordance with the Flemish than the Dutch masters ; and some of his pictures have a resem- blance to those of Van Dyck. He had a son of the same name, who. was also a painter, but there is no further account of him.] WIENBROUCK,M. V. The name of this art- ist is affixed to some slight, incorrect etchings, exe- cuted in the style of a painter, among which is one representing an old man seated, to whom a youth is relating a message. WIERENGEN, Cornelius. This artist was born at Haerlera about the year 1600. He excelled wier] PAINTERS AND ENGRAVERS. [wier in painting sea-pieces and storms, which he repre- sented with great truth and precision. "We have several etchings by this painter, representing land- scapes and sea-views, which are executed in a neat, spirited style. [He was called Cornelius Nicolas, or Claas, Van Wierengen ; he was not only a good marine painter, but excelled in landscape, as ap- pears by a series of fourteen pieces engraved by Nicolas Jan Visscher. He was living in 1635. Balkema says he died at Haerlem in 1658, but his dates are not to be relied on.] [WIERIN6A, Gerard, born at Groningen, was the son and scholar of his father, Jan, a painter of ornaments. After learning the principles of the art, he went to Dusseldorf to study the pictures in the gallery there. In 1790 he returned to his na- tive place, and gave lessons in drawing, and painted landscapes, sun-sets, and winter scenes, for one of which he obtained the gold medal given by the Academy at Leyden. He died in 1817.] WIERIX, or WIERX, or WIERINX, John, an eminent Dutch designer and engraver, born at Am- sterdam in 1550. It is not known by whom he was instructed, but he appears to have formed his style by an attentive study of the works of Albert Durer, and has copied several of the prints of that master with a precision bordering on servility. Though he engraved several plates from his own designs, he appears to have possessed little genius for invention. His plates are executed with the graver, in a very neat, finished style, and his drawing is usually cor- rect. The prints of this artist are held in consider- able estimation by the curious collector. The following are among his best works : PORTRAITS. Eodolphus II., Emperor of Germany. Philip William, Prince of Orange. Eleanora de 'Bourbon, Princess of Orange. James I., King of England, and his Queen ; scarce. Philip II., King of Spain. Catherine de Medicis, Queen of Henry II. of France. Henry III., King of France. The Coimtess de Vemeuil. SUBJECTS FROM HIS OWN DESIGNS. The Resurrection ; inscribed Insanus Miles. Mary Magdalene seated at the entrance of a Grot ; J. Wier, mv. etfec. An allegorical subject, representing the Redemption of Manfind. The Four Elements ; Wierix. 1601. SUBJECTS AFTER VARIOUS MASTERS. The little Satyr ; copied from the print o{ Albert Durer, when he was only twelve years of age. Adam receiving the forbidden fruit &om Eve ; copied from the celebrated print of the same subject by Awert Durer ; upon a tablet is inscribed Albert Durer, inven- tor, Johanes Wierix, fee. mt. 16. St. Hubert kneeling before the Stag, with a Crucifix on its forehead; a copy, reversed, from the print by jlWert Durer, marked with the cipher of that artist. St. Jerome in meditation ; copied from Albert Durer. The Marriage of St. Catherine; after D. Calvart. The Sacrifice of Abraham ; after M. de Vos. Christ taken down from the Cross ; after Otho Venius. The Last Judgment ; finely copied from the print of that subject by Martin Rota, after M. Angela Suonaroti. Christ taken down from the Cross ; after Bern. Paaseri. The prints of this artist are usually marked with the initials I. W. F., and sometimes I. H. W. P., to which he occasionally added his age, and the date of the year in which the plate was engraved. WIERIX, or WIERINX, Hieronimus, or Je- rome, was the younger brother of the artist men- tioned in the preceding article, bom at Amsterdam in 1552. He is supposed to have learned the art of engraving from John Wierix, whose style he imi- tated so exactly, that it would be difficult to distin- guish their works, if they were not differently marked. The prints by Jerome are executed in as neat and finished a style as those of his brother, and are characterized by the same stiffness and for- mality. His prints are more numerous than those of John Wierix, and chiefly consist of devout and allegorical subjects, saints, and fathers of the church, many of which are from his own designs. They are sometimes marked with the initials of his name, thus, HI. W., or HI. W. F., or J. Hieroni- mus W. Fe., and sometimes with a monogram com- posed of an H, an 1, and an E, joined together, and foUowed by a W, thus, f^"W* '^^^ following are his principal works : PORTRAITS. The Emperor Charlemagne. Henry of Bourbon, King of Navarre. Queen Elizabeth. Sigismund III., King of Poland. Alessander Famese, Duke of Pai-ma. Sir Francis Drake. SUBJECTS FROM HIS OWN DESIGNS. St. Cecilia. The Temptation of St. Anthony. St. Bruno, the founder of the Carthusians. St. Charles Borromeus. The Virgin and infant Christ, with St. Francis and St. Anthony. The Virgin and Infant, with a Glory of Angels. The Crucifixion. The Death of Lucretia. SUBJECTS AFTER VARIOUS MASTERS. Christ dead, supported on the knees of the Virgin ; after J. Mabuse. Christ calling to him the little Children; after C. van de Broeok. The Death of the Virgin ; after Otho Venius. Christ at Table, in the house of Simon the Pharisee ; af- ter the same, Christ crowned with Thorns ; after G. Mostaert. The Four Doctors of the Church ; after M. Lucas Eo- manus. The Scourging of Christ ; after tlie same. One of his best prints. The Baptism of Christ by St. John ; after }I. Hondius. fine. The Vision^of Daniel; after Van Haecht. Jupiter and Danae ; after the same. [Christ expiring on the Cross ; after P. Aquila, considered his best piece for purity of engraving. The Resurrection of Christ ; after L. Romanus ; a large and capital print.] WIERIX, or WIERINX, Anthony, was the youngest of the family of the Wierixes, born at Am- sterdam about the year 1554. His small plates are executed in the neat, finished style of his brothers, but his larger prints exhibit more freedom and faci- lity. He engraved similar subjects, and frequently worked in conjunction with John and Jerome Wie- rix. His prints are usually signed with his name. The following are his most esteemed works : PORTRAITS. Pope Clement VII. ; Ant. Wierix. Philip Emanuel of Lorraine, Duke de Mercoeur. Isabella of Austria, Daughter of Philij) II. of Spain. Margaret, Queen of Philip III. of Spain. Cardinal Bellarmin. Albert of Austria, Archbishop of Toledo, Governor of the Low Countries. 909 wigm] A DICTIONARY OF [WILH SUBJECTS FROM HIS OWN DESIGNS. St. Theresa. St. Sebastian. St. Dominick receiving the Rosaiy from the Virgin. The Marriage of St. Catherine. The Entombing of Christ. St. Jerome praying, accompanied by two Angels ; dated 1584: ; fine. SUBJECTS AFTER VARIOUS MASTERS. The Adoration of the Magi ; after M. de Vos. The History of the Prophet Jonas ; in four plates ; after the same. The Holy Family reposing in Egypt; after Cam. Fro- caccini. The Death of St. Francis ; after the same. A set of sixty-nine plates, representing the Life and Passion of Christ, with the Death and Assumption 'of the Virgin; in which he was -assisted by his two brothers. [The time of the death of the three Wierixes is not recorded; they all flourished in the early part of the seventeenth century. Their united works in the collection of M. de MaroUes amounted to twelve hundred pieces.] WIGMANA, Gerard. This painter was, born at Workum, in Friesland, in 1673. It is not ascer- tained by whom he was instructed, but he went to Italy when he was young, where he is said to have studied the works of Bafiaelle and Giulio Romano. On his returji to Holland he acquired some reputa- tion as a painter of historical subjects, of a cabinet size, which are as remarkable for their patient and laborious finishing, and the gaudiness of^his colour, as for the vulgarity of his characters, and the incor- rectness of his design. His studies in Italy, in- stead of purifying his taste, and elevating his style, appear to have only served to render his affectation of the sublime more clumsy and preposterous. He selected, for the subjects of his pictures, the most interesting events of sacred and profane history, which he disfigured by a burlesque perversion of characteristic expression, and a total inattention to the propriety of costume. With all these defects, he had the vanity to assume the title of the Raf- faelle of Friesland, and was so satisfied with his own performances, that he was induced to demand exorbitant prices for his pictures, which he was surprised to find the public were not disposed to pay. Disappointed at the unfavourable reception his works met with in his own country, it is said by Descamps that he visited England, where he met with no better success. He returned to Holland, and settled at Amsterdam, where he died, in 1741. WILBORN, Nicholas. See [note to] Wel- BRONNER. WILDE, Francis de, a Dutch engraver, who flourished about the year 1705. He resided at Am- sterdam, where he etched a few very small plates, which are executed with great neatness and spirit, apparently from his own designs. Among others are the following : The Angel appearing to Abraham ; Fr. de Wilde, fee. 1705. , Venus rising from the Sea. The Fable of the Wolf and the Dog ; circular; 1704. A View of the City of Chalons. A View of a Sea-port. A Landscape, with figures. WILDE, Maria de. This lady was probably a relation of the artist mentioned in the preceding article. She engraved a set of fifty plates from an- tique gems, which were published at Amsterdam in 1703. WILDENS, John. This artist was bom at 910 Antwei-p in 1584. It is not known by whom he was instructed in the art, and it is generally sup- posed that he was more indebted to his diligent studies from nature, than to the precepts of a mas- ter. He was constantly occupied in the fields and forests, in designing every object that appeared to him to be picturesque or remarkable. He had ac- quired a distinguished reputation as a landscape painter, when his talents attracted the attention of Rubens, who employed him to assist in the exten- sive commissions in which he was engaged, by painting the landscapes in the back-grounds of his pictures ; and perhaps no coadjutor of that illus- trious artist surpassed Wildens in imitating the free- dom of his touch, and the harmony of his colouring. Such was the congeniality of their operation, that the whole appeared to be the produce of the same hand. There are several of his landscapes in the public edifices at Antwerp, embellished with figures by the ablest of his contemporaries, of which the most esteemed are two pictures in the chapel of St. Joseph, with figures by John Bockhorst, called Lan- gen Jan, representing the Holy Family, and the Re- pose in Egypt. He died in 1644. [Zani and Brul- liot say that John Wildens was an engraver as well as a landscape painlftr. Brulliot, who says he was born in 1580, attributes to him the following views of chateaux in Holland : Teylingen, Egmont op de Hoeff, T'Clooster tot Rynsburch, T'huys te Cleef by Harlem, Werdenburch, and Rossum. They are marked in the margin J. W.fedt. Rohhertm de bau- dous excvdit Amstelodami, 1616. The same letters, accompanied by the syllable inv., are found on prints engraved after him by Peter Nolpe, consisting of six allegorical subjects relating to the house of Orange, and its connexion with Great Britain by marriage. The name Joan. Wild, and J. Wild, in- vent, is found on two prints, in a series of twelve representing country occupations during the months of the year; that of June engraved by Andrew Stock, and that of December by J. Matham. Van Dyck painted his portrait.] [WILHELM VON COELN, or Meister Wit- HELM, a painter of Cologne, of whose works nothing certain is known. It is supposed that he was born at the httle village of Herle, and it is ascertained that he was settled at Cologne in 1370, and several pictures preserved in that city are attributed to, him. He is noticed in the Annals of the Dominican Monks of Frankfort, wherein is said: "In that time, 1380, there was at Cologne a most excellent painter, to whom there was not the like in his art ; his name was Wilhelm, and he made pictures of men which almost appeared to be alive." — This seems to be the extent of our knowledge of him; all besides is conjectural. To him are attributed several pictures, still preserved, painted at the latter part of the fourteenth and early part of the fifteenth centuries; among them, one in the St. Castors- Kirche, at Cologne, painted in 1388, a large altar- piece for the church of St. Clara, in the same city, now in a chapel of the cathedral ; the Sancta Vero- nica in the collection at Munich ; a Madonna and Infant, and a Crucifixion, in the Wallraf Museum at Cologne. The most important work, however, which has been ascribed to him is the " Dom-bild," the altar-piece in the cathedral at Cologne, painted in 1410; this is disputed by others, and given to Meister Stephan, who, it is said, was a pupil of Meister Wilhelm. After much research by several competent persons, there has been little or nothing discovered to put the question of the authorship wilk] PAINTERS AND ENGRAVERS. [wilk of this or the others beyond a doubt. There had been, before the time allotted to Meister Wilhelm and Meister Stephan, several good artists, for the period, at Cologne, and, certainly, others contempo- rary with them, whose names are not recorded. It is not surprising, after a lapse of more than four centuries, that all pictures of merit discovered in that city should be attributed to the two artists whose names alone are preserved as connected with the place. An investigation of their just claims belongs to the history of the art, and till they are decided by further discoveries it is useless to hazard conjecture on the subject. The inquirer who is desirous of knowing more of these masters and of the pictures attributed to them, and of many others, their contemporaries or immediate predecessors and successors, real or conjectural, will find much de- tail relating thereto in the German writers on the ancient schools of Cologne, Bruges, Nuremberg, and Antwerp ; particularly in Kiigler, Nagler, Rac- zinski, Rathgeber, &c. ; and he may consult with advantage the notices of Lord Lindsay in his His- tory of Christian Art ; Sir Edmund Head's Notes to Kiigler ; and the account of Wilhelm von Coeln, by Ralph Wornum, in the Supplement to the Penny Cyclopeedia. The lithographic prints by Strixner and others, after the pictures by these old masters of the school of Cologne, and its offsets, are the best expositors of their style, and will be found more satisfactory than the most labom-ed critical or poeti- cal descriptions.] [WILKIE, David, an artist whose works are so universally known, and the circumstances of whose life, both as a painter and a member of so- ciety, have been so fully detailed by Allan Cunning- ham, that it is only necessary to commemorate him in this Dictionary by a few dates and facts, and a short enumeration of his works. He was the son of the Rev. David Wilkie, pastor of Cults, county of Fife, where he was born in 1785. At the age of fifteen he entered the Trustees' Academy at Edin- burgh, then under the direction of Mr. John Gra- ham, where he remained four years. In 1805 he came to London, and in the following year exhi- bited his Village PoKticians, having in the mean time supported himself by the produce of some small pictures exposed for sale in the shop window of a dealer. In 1807 he exhibited the BUnd Fid- dler, painted for Sir George Beaumont at the price of fifty pounds : it is now in the National Gallery. This picture at once established his reputation. The year following he exhibited the Card Players ; and in 1809, the Cut Finger and the Rent Day : in this year he was elected an Associate of the Royal Academy. In 181 1 he was made a Royal Acade- mician, and gave, as his diploma picture. Boys digging for Rats. From this time until 1825 he regularly produced, and as regularly sold at in- creased prices, year by year, his well-known works. In 1811, a Game-keeper, and a Humorous Scene; in I8I2, the sketch of Bhndman's Buflf, and the Village Festival, sold to Mr. Angerstein, and now in the National Gallery : for the latter picture he received 800 guineas j in I8I3, the finished picture of Blindman's BuflTj in 1814, The Letter of Intro- duction, and Duncan Gray; in I8I5, Distrain- ing for Rent; in 1816, The Rabbit on the Wall; in 1817* The Breakfast; in 1818, The Errand Boy; in 1819, The Penny Wedding; in 1820, The Reading of a Will, painted for the king of Bava- ria ; in 1821, Guess my Name, and Newsmongers ; in 1822, Chelsea Pensioners Reading the Gazette of the Battle of Waterloo, painted for the Duke of WeUington at the price of £1200; in 1823, The Parish Beadle ; in 1824, Smugglers offering run Goods for Sale, and The Cottage Toilet ; and in 1825, The Highland Family. These were the pictures exhibited by him, but there are others painted during the time by order, and which do not appear in the Exhibition Catalogues : among these are, Alfred- in the Neat-herd's Cottage, painted for Alexander Davison, for 150 guineas, and sold by the editor in the sale of that gentleman's collection for 500 guineas ; The Whisky Still ; The China Menders ; The Pedlar ; several portraits and small pictures of minor importance. About the year 1825 Wilkie lost a considerable sum of money in a speculation in which he was engaged, which had a visible eflfect on his constitution ; and serious ap- prehensions were entertained for the safety of his bodily and mental faculties. He was interdicted by his medical advisers from all professional labour, and advised to travel. He departed on a tour to Rome and Madrid, and remained out of England till 1828. — Notwithstanding the injunctions of his physicians he made a greSit number of studies, and nearly completed some pictures, both in Italy and Spain ; and on his return astounded the admirers of his talent by a total change in the style of his execution, the choice of his subjects, and the princi- ples of his chiaroscuro. Opinions are divided as to the gain or loss the world of art has sustained in this proceeding of David Wilkie. He certainly had the right to choose his subjects and the manner of painting them; he had established his reputation as the painter of character in common and humble life, and was probably ambitious of proving his power in more elevated scenes, and with persons allied to the historic. His treatment of these sub- jects did not meet with the same favour as his fa- miliar representations with the public in general, but they found their admirers, and it cannot be said that it was entirely owing to the influence of his name. On this head we must avoid criticism. On the death of Sir Thomas Lawrence in 1830, he was appointed principal painter in ordinary to George IVt, whose portrait he painted in Highland costume ; in 1836 he was knighted by William IV., and the royal favour continued; and on the acces- sion of her present Majesty he painted the picture of her first council, and had also a few sittings for her portrait. It had been considered the privilege of the court painter to paint the numerous resem- blances of the monarch usually called for on a new accession ; but Wilkie was not commanded to exe- cute any of these : this omission he considered as a slight on his reputation; but his royal mistress efiaced the impression, for it is understood that the mission of the artist to paint the portrait of the Sultan was wholly suggested by the Queen. The principal pictures painted by Wilkie in his second manner are the following: The Spanish Posada ; The Maid of Saragossa ; The Gueril- la's Departure and Return ; John Knox preach- ing ; Spanish Monks ; Columbus ; Peep-o-day Boys ; Mary Queen of Scots escaping from Loch- leven castle ; The Empress Josephine and the For- tuneteller ; The Discovery of the Body of Tip^oo Saib; Benvenuto Cellini and the Pope ; The Irish Whisky Still ; and several portraits. The School, an unfinished picture, which was sold in his sale after his death, and bought by Mr. Farrer for £756, participates of both styles ; it has been engraved by his friend John Burnet. The result of his ex- 911 will] A DICTIONARY OP [will pedition to Constantinople was the production of many interesting scenes of oriental life, character, and' costume, which have largely increased his re- putation. Having accomplished his mission, he was on his return to England when he was seized with sudden illness off Gibraltar, which in a few hours terminated his existence, on the 1st of June, 1841. His body was committed to the deep. A marble figure, not very like him either in stature or charac- teristic expression, has been placed, by public sub- scription, in the inner hall of the National Gallery.] WILLAERTS, Adam, was born at Antwerp in 1577, and distinguished himself as a painter of marines, sea-ports, and views of the coast, with a variety of shipping and boats. His pictures are generally embelUshed with groups of small figures, correctly drawn, and touched with neatness and spirit. He also painted conflagrations, represent- ing villages and ships on fire ; and his works of that description are well coloured, and produce a striking efiect. In the year 1600 he left Antwerp, and established himself at Utrecht, where his works were held in considerable estimation. He died in that city in 1640. [Balkema diflfers from all other Flemish or Dutch writers, in saying that Adam Willaerts was Regent of the hospital of St. Job, from 1639 to 1660 ; but Zani leaves the year of his death open by putting in the column the figures 166., thus raising the question of authority.] WILLAERTS, Abraham, was the son of the artist mentioned in the preceding article, and was born at Utrecht in 1613. For some time he was instructed by his father, but he afterwards stu- died under John Bylaert, a painter of little celebrity. On leaving that master he went to Paris, where he entered the school of Simon Vouet, and became a reputable painter of history. Returning from France to Holland he visited Brussels, where he was taken into the service of Prince Maurice, in whose employment he passed several years. He died at Utrecht in 1660. [That he was living in 1660 is certain ; Immerzeel and Balkema say he died in 1671. He painted the portrait of Jan Both.] WILLE, John George. This eminent engraver was born at Koningsberg in 1717- After learning the rudiments of design in his native country he went to Paris, when he was nineteen years of age, where he applied himself to stroke engraving, which he afterwards carried to a high pitch of perfection, and few artists have equalled him in the clearness and beauty of his execution. He particularly ex- celled in representing the brilliancy and softness of silk and satin draperies, and the delicacy of his graver was admirably adapted to express the polish- ed finishing of the most celebrated Dutch painters. He has engraved several charming plates from pic- tures by 6. Douw, Mieris, Metzu, Schalken, Net- scher, and others, which give a perfect idea of the style of the original paintings. We have also by him many excellent portraits, after the French art- ists, which are executed in a very beautiful style, particularly those of the Marquis de Marigny, the Count de St. Florentin, and J. B. Masse. Wille had a great number of pupils, several of whom have imitated his style with considerable success. The following are among his most esteemed prints : PORTRAITS. James Francis Edward Stuart, called the old Pretender. Charles James Edward Stuart, called the young Che- valier. Henry Benedick Stuart, Cardinal York. 912 Prospero, Cardinal Colonna ; after Fompeo Bottom. Frederick II., King of Prussia; after Pesne. Marshal Saxe ; after Rigaud. AVoldemar de Loevendael, Marshal of France ; after de la Tour, Louis Philipeaux, Count de St. Florentin ; after Tocgue. Abel Francis Poisson, Marquis de Marigny ; after the same. C. E. Briseux; Architect. Margaret Elizabeth de Largilliere ; after N. de Largil- liere. Elizabeth de Gouy, wife of H. Rigaud ; after Rigaud. Joseph Parrocel, Painter ; after the same. John de Boullogne, Comptroller-general of Finance; after the same. SUBJECTS AFTER VARIOUS MASTERS. The Death of Cleopatra ; after Netscher. The Death of Mark Anthony ; after Pomp. Battoni. Le Mar^chal-des-Logis ; after P. A. Wille. Les bons Amis ; (^er Ostage. Le Menagere Hollaridoise j after G. Douw. La Liseuse ; after the same. L' Instruction Patemelle ; after Terburg. La Gazettiere Hollandoise ; after the same. La Tricoteuse ; after Mieris. L' Observateur Distrait ; after the same. , La Cuisiniere Hollandoise ; after Metzu. Le Concert de Famille ; after Schalken. Les Musiciens Ambulans ; after Dietricy. The first im- pressions of this plate are before the letter e, in the word electorale in the dedication. Les Offres Reciproques ; after the same. La Petite Ecoliere ; after J. E. Sehenau. La Maitresse d'Ecole ; after P. A. Wille. Les Soins Matemels ; after the same. Les Delices Maternelles ; after the same. [Monsieur Charles Le Blanc, in his valuable work entitled " Le Graveur en Taille douce," now in the course of publication, has given a detailed account of one hundred and seventy-five engravings by John George Wille, and of the variations that appear in the difierent impressions. To this account his pub- lisher, the celebrated Rudolph Weigel of Leipsic, has added many important notes. It is, therefore, unnecessary to increase the list above given, as the amateur will have greater satisfaction in referring to a work of such undoubted authority. The dates on his prints range from 1738 to 1790. His talent was duly appreciated during his life, and accordingly he was a member of the Academy at Paris, and also of the Academies of Rouen, Augs- bourg, Vienna, Berlin, and Dresden. He was ap- pointed engraver to the king of France, the emperor of Germany, and the king of Denmark. Several sovereigns sent young men to him to be instructed in the art. Among his most distinguished pupils may be named Scnultze, Schmutzer, J. G. Miiller, Bervic, Chevillet, the brothers Guttenberg, Halm, and Dennel. Heineken and Huber say he was born at Grossenlinden, near to Giessen, in 1715 : Fnessli agrees in the place, and Zani in the date. He died in 1807.] WILLE, Peter Alexander, was the son of John George Wille, and was born at Paris in 1748. After receiving some instruction in design from his father, he frequented the Academy at Paris, and afterwards was a scholar of Vien and Greuze. He distinguished himself as a painter of domestic and other subjects, and was made a member of the Academy at Paris. Some idea may be formed of his abilities as a painter, from the prints ejngraved from his pictures by his father. He amused himself occasionally with the point, and etched a few prints, among which is one called Le Petit Vauxhall, from his own design. WILLEBORTS, Thomas, sometimes called BosscijAERT, This painter was bom at Bergen- will] PAINTERS AND ENGRAVERS. [was op-Zoom in 1613. After having learned the rudi- ments of the art in his native city he was sent to Antwerp, where he became a disciple of Gerard Se- gers, under whom he studied four years, when he was advised by his preceptor to visit Italy. During his stay at Rome he assiduously studied the works of the best masters, and returned to Antwerp a cor- rect and graceful designer. Although that city was then the residence of the greatest artists of the Flemish school, the talents of Willeborts were not eclipsed by their ablest productions. He was com- missioned to paint several altar-pieces for the churches at Antwerp, and the other cities in Flan- ders and Brabant, which are not disgraced by a comparison with the works of Rubens and Vandyck. In portraiture he approached the truth and suavity of the latter, and several of his heads have been mistaken for those of that admirable artist. He was much employed by the Prince of Orange, for whom he painted several considerable works, par- ticularly a large allegorical picture of War and Peace, which is ingeniously composed, and admir- ably coloured. Two of his most esteemed pictures are, the Marriage of St. Catherine, in the church of the CarmeUtes, at Antwerp ; and the Martyrdom of St. Basil, at the Capuchins, at Brussels. In 1649 he was made director of the Academy at Antwerp, and died in that city in 1656. [Some of his por- traits were engraved by Paul Pontius, and Theodore Van Kessel. His pictures are not confined to his own country ; they are to be found in some of the best foreign collections.] WILLEMANS, Michael. This artist was bom at Lubeck in 1630. Desirous of procuring better instruction in the art than he comd, obtain in the place of his nativity, he went to Amsterdam, where he first became a scholar of Jacob Backer, but he afterwards entered the school of Rembrandt, under whom he studied several years, and became a reput- able painter of history. On his return to Germany, he was much patronized by the Elector of Branden- burg, for whom he executed several considerable works, particularly a large picture of Vulcan forging the Arms of Mars, which is spoken of as a very, able performance ; he was also employed at several other courts in Germany, where nis pictures are highly esteemed. He died in 1697. [He was also an engraver ; for some cause, not , stated, he retired to a monastery, where he died. His proper name was Michael WDlmann.] WILLEMS, Mark. This artist was bom at MechUn about the year 1527, and was a scholar of Michael Coxcie. He was a very eminent painter, he composed with facility, and his figures are well drawn. In the cathedral at Mechlin is a fine pic- ture by this master, of the Decollation of St. John. When Philip, King of Spain, made his public entry into Mechlin, this artist was employed to paint a triumphal arch on the occasion, which gained him great credit, though he was then only twenty-two years of age. He died in 1561. WILLIAMS, Robert. This artist was a native of Wales, and flourished about the year 1715. He distinguished himself as an engraver in mezzotinto, and we have by him a number of portraits, some of which are finely executed, and many of them are interesting in the illustration of English history ; among which are the following : Charles I. ; after Vandyck. Edward, Lord Littleton, Lord Keeper ; after the same. Charles II. ; two plates ; after Lely and Kneller. James II., when Duke of York; cfier Cooper. 3n '' ■ Mary Beatrix, his Queen ; after Wissitig. William III., when Prince of Orange ; after the same. Mary, Princess of Orange ; after the same. Henry Somerset, Duke of Beaufort ; after the same. "William Russell, Duke of Bedford; after the same. James Fitzroy, Duke of Monmouth. James Butler, Duke of Ormond; after the same. Charles Somerset, Marquis of Worcester ; after the same. The Countess of Derby. Sir Charles Cotton ; after Riley. Theophilus, Earl of Btuntingdon ; after Kneller. George, Priiuje of Denmark ; after Wissing. Anne, Princess of Denmark ; after the same. Lord Cutis, when Mr. Cutts ; after the sam£. George Fitzroy, Duke of Northumberland ; after tlie same. Charles Lennox, Duke of Kichmond ; after the same. Sir George Book ; after Dahl. Sir John Houblon, Alderman of London ; after Closter- man ; scarce. Sir Edmund King, M. D. ; after Lely. Barbara Villiers, Duthess of Cleveland ; after Kneller. Ann Scott, Duchess of Monmouth ; after Wissing. Catherine Sedley, Countess of Dorchester ; inscribed Mrs. Sidley ; after the same. Dorothy Cressy ; after Kneller ; scarce. Thomas Betterton, Actor ; after the sam£. John Campbell, Duke of Argyle ; after Closterman. Sir Eichard Bladanore, M. D. and Poet ; after the same; fine and scarce. [William, Earl of Portland ; after Simon de Bois.] WILLIAMS, William. The name of this artist is affixed to two views of the town of Halifax. They are slight etchings, and are probably the pro- ductions of an amateur of that place. WILLIAMS, John, an English portrait painter, who is said to have been a scholar of Richardson. He painted a half-length portrait of Mr. Beard, the celebrated singer, from which there is a mezzotinto print by M^Ardell. Mr. WiUiams was an artist of considerable abiUty, and his portraits were much and deservedly admired. The time of his death is not precisely ascertained, but it is supposed to have happened about the year 1780. WILLIAMSON, P., an English engraver, who flourished about the year 1660. He resided in Lon- don, and was apparently a publisher, as well as an engraver. We have by him some portraits, among which is that of Mildmay, Earl of Westmoreland. He also engraved some small plates of subjects relative to the concealment of Charles II., dated 1667.. WILLINGEN, Peter Vandeb, was born at Bergen-op-Zoom in 1607. His pictures represent subjects of stUl-life ; vases of gold and silver, books, and musical instruments, which are very highly finished, and produce a very natural effect. [The time of his death is not authenticated; Balkema says 1665. An artist of the same name and time painted interiors of churches. [WILS, or WILTS, Jan, a landscape painter, of Haerlem. He was the father-in-law of Berehem, who married his daughter, and has the credit of having improved that master in his style of land- scape painting. Berehem frequently embellished his landscapes with cattle and figures, and such are now attributed entirely to the Tatter. They may, however, be distinguished by a peculiar green in the vegetation, and less of freedom in the handling than the real works of Berehem. Wils also imitated Jan Both with considerable success. Particulars of his Ufe are wanting.] . WILSON, Richard. This distinguished land- scape painter was bom in Montgomeryshire in I7I4. He was the son of a clergyman, who possessed a small benefice in that county, but, soon after the 913 WILS] A DICTIONARY OF [WHS birth of our artist, he was collated to the living of Mould, in Flintshire. At an early period ofc'his life young Wilson discovered a marked dispbsition for drawing, and was sent to London, where he was placed under the tuition of Thomas Wright, an ob- scure painter of portraits. To this britich of the art Wilson for several years devoted himself, and it appears that he had acquired considerable reputa- tion in that department, as, about the year 1749* he painted a large picture of George III., then about ten years of age, with his brother, the late Duke of York, for Dr. Hayter, Bishop of Norwich, at that time tutor to the princes. After having practised some years in London, he went to Italy, where he continued the study of portrait painting, being still unacquainted with the genuine bias of his genius, and probably might have remained long ignorant of the peculiar bent of his talents, but for the follow- ing circumstance. In his moments of relaxation from his ordinary pursuits, Wilson had painted a landscape, which having been accidentally seen by Zuccherelii, that artist was so struck with the merit of the performance, that he strongly recommended him to apply himself to landscape painting., An- other occurrence, which happened nearly at the same time, tended to confirm him in his determina- tion to follow that pursuit. The celebrated French Eainter, Vernet, was at that time at Rome, where is works were held in the highest estimation ; and happening to visit Wilson's painting room, was so struck wiui a landscape he had painted, that he re- quested to become the possessor, offering in ex- change one of his best pictures ; the proposal was readily accepted, and the picture delivered to Ver- net, who, with a liberality as commendable as it is unusual, placed it in his exhibition-room, and re- commended the painter of it to the particular atten- tion of the cognoscenti. His progress in landscape painting must have been rapid, as he had some pupils in that line of art whilst at Rome, and his works were so much admired, that Mengs painted his portrait, and received in return a landscape by Wilson. It is not known at what time he returned to England, but he was in London in 1758 ; and his picture of Niobe was in the first exhibition of the Society of Artists, in 1760, by Which he ac- quired great reputation. The talents of Wilson did not, however, secure him that encouragement and distinction which his abilities deserved. He was doomed to encounter the galUng indifference of a tasteless public, which was probably aggravated by the jealousy and in- trigues of some of the most distinguished of his con- temporaries, with whom he did not live on very amicable terms. This has also been said to have partly resulted from his own conduct, which was by no ipeans distinguished by a conciliatory dispo- sition, or gi-eat suavity of manners. Conscious of his own powers, and disdaining to sue for protec- tion, his transcendent abilities were suffered to ex- ert themselves under the oppression of indigence and obscurity, and, participating the destiny of many illustrious artists who had preceded him, the beauty and Value of his works were not discovered until death had rendered him equally insensible of admiration or neglect. At the institution of the Royal Academy, Mr. Wilson was chosen one of the founders, and after the death of Hayman he solicited the situation of the librarian, which he retained until his decayed health obliged him to retire to his brother's in Wales, where he died in May, 1782. 914 In the Supplement to Pilkingtbn's Dictionary, published la 1798, a prejudiced and an absurd pa- rallel is drawn between the works of Claude Lor- raine and those of Wilson, whilst it is, at the same time, admitted, that their styles were so different, that no cornparison of them can be justly made. The slightest inspection of his works will convince us of the originahty of his style. In his studies in Italy, he wisely avoided aU imitation of the artists of that country who had preceded him, and he adopted a manner peculiarly his own, which was not less original than varied and interesting. His views in Italy are selected with judgment and taste, and it has been justly observed, " that in his pic- tures the waving line of mountains, which bound the distance in every point of view, the dreary and inhospitable plains, rendered solemnly interesting by the mouldering fragments of temples, tombs, and aqueducts, are all indicated in a masterly manner, exhibiting that local character which cannot but be considered as peculiarly grand and classical." In his English pictures he is particularly successful in the fresh and dewy brightness he has given to his verdure ; and though, being sometimes employed to paint particular views, which were less picturesque than he would have selected, and consequently par- took of the formality of portraiture, they are always treated with taste and ingenuity. For the satisfac- tion of collectors, it may not be improper to notice his frequent repetition of the same subject or view, as there are several of his pictures which he has re- peated three or four times; with Uttle or no varia- tion, a circumstance which has sometimes given rise to a suspicion of the originality of some of his WoAs, which are really the productions of his pencil. WILSON, Benjamin. This artist was a native of Leeds, in Yorkshire^ Having shown some talent for drawing, he was sent to London When young, and was recommended to Dr. Berdmore, master of the Charter-house, who took him under his protec- tion. It is uncertain whether he was regularly educated in the art, but by his natural disposition, and assiduous application, he became a Very reput- able painter of portraits. He was among the first of the portrait painters of his time who endeavoured to introduce a better style of relief and of the chiaro-scuro into his pictures, and his heads are coloured with more warmth and nature than those of the generality of his contemporaries. About the year 1773 he was appointed master painte* to the Board of Ordnance, which he retained till a few years before his death. He died at his house in Gteat Rwssell Street, in 1788. We have several etchings by this artist, among which are the following : An old Man's Head, with a hat and feather, and a ttiff ; in imitation of Rembrandt. A small Landscape, lengthways ; in imitation of the same master. His own Portrait, in aw%, with very little drapery. A coarse etching, entitled The jRepecU. It was published upon the repeal of the American stamp act, and con- tains the portraits of the leading men of the ministerial party. [There are several mezzotint engravings after him, two of which are Garrick in the characters of Hamlet and King LearJ WILSON, W., a:n English engraver in mezzo- tmto, by whom we have some portraits, among which is that of the Countess of Newburgh ; after Dahl, WILSON, William, This artist engraved se- wilt] PAINTERS AND ENGRAVERS. [wmz veral landscapes, after Claude Lorraine, Poussin, and other masters. They are executed with the graver, in a neat style. WILT, Vander, a Dutch mezzotinto engraver, who flourished about the year 1680. He scraped several plates from the pictures of Brower, Scnal- ken, and other masters. [Zani names the mezzo- tinto engraver Ferdinand, and Laborde says, F. Vander Wilt, and quotes his account from BruUiot. But Brulliot calls nim Thomas, a painter of por- traits and familiar subjects, born at Piershil the 29th of October, 1659, who was a scholar of Jan Ver- kolje, and exercised his profession as a painter and mezzotinto engraver at Delft, and was living in 1729. Zani mentions Thomas as a portrait painter and engraver, (he does not say in mezzotinto,) who operated from 1687 to 1699. The monogram given by BrulUot would indicate Thomas ; that 1^ Laborde being in relief, on a very dark tablet, is not so decisive. Portraits with the name of Vander Wilt have passed through the hands of the editor ; they are painted somewhat in the man- ner of Constantine Netscher, well drawn, all the parts carefully finished, the colours brilliant, but rather too florid in the draperies, and defective in chiaro-scuro.] WILTON, , an English engraver, who flourished about the, year 1670. He engraved se- veral plates, representing various subjects, which are executed in a style resembUng that of Romeyn de Hooghe, though very inferior. [WINDLER, or WINDTER, J. W., an en- graver, who lived at Nuremberg in the middle of the eighteenth century. Portrait of Johannes Carolus Scheurl a Defiersdorf, J. W. Windier del. et sculps. Norib. 1754. Piissli calls him Windier, and says he operated in 1735. Brulliot, who names him John William Windter, says he operated between the years 1730 and 1760, and that his mark, J. W. W., is found on portraits for the most part afte}- Paul Decker, Kernel, and other painters of Nuremberg. He died in 1765.] WINGANDORP, F. This artist was a native of Germany, and flourished about the year 1672. He engraved several frontispieces and other book- plates, which are very indifferently executed. [WINGHEN, JoDOcns, or Josse, Van, an his- torical painter, was born at Brussels in 1544. He went young to Italy, and after four years' study at Rome returned to Brussels, and was appointed prin- cipal painter to the Prince of Parma. His love of change induced him to quit the service of the prince, and establish himself at Frankfort, where he paint- ed an allegorical picture of Germany alarmed, un- der the form of a naked woman chained to a rock, with the figure of Time flying above, coming to de- liver her. Two others are recorded; The Last Supper, and Apelles and Campaspe. His known pictures are very few, though he was a distinguished painter in his. day, and hved to a good age. He died at Frankfort, Zani says in 1613, but according to Fiissli and Brulliot in 1603 ; the two last say in his sixty-first year, but according to that date he would have been only fifty-nine. His son, Jere- miah, born in 1578, was also a painter of history and portraits ; some of his pictures are in the gal- lery at Dusseldorf ; the subjects and the marks re- semble those of his father, and probably have caused some confusion in the accounts of both. Jeremiah died in 1648.] 3n2 WINSTANLEY, Henry, was the projector and builder of the Eddystone Lighthouse, and perished in the ruins when it was destroyed by a violent storm. In 1694, he was clerk of the works at the palace of Audley-end, of which he designed and etched a series of pretty views, which he dedicated to James II., and added an inscription in honour of Sir Christopher Wren. They are now become very scarce. [They are generally included in the five- volume edition of liip's Views, in which is also found a very large view of the lighthouse in which he perished. The inscription" beneath it is, " This Draught was made and engraven by Henry Win- stanley of Littlebury, Gent, and is sold at his Water- works ; where also is to be seen at any time y? modle of y! said Building, and principal Rooms for six- pence a peice."] WINSTANLEY, Hamlet, was the son of Hen- ry Winstanley, and was designed by his father for a painter. With that intention he was placed under the tuition of Sir Godftey Kneller, by whom he was instructed in the principles of design. On leaving that master he went to Italy, where he resided some years, and after his return to England applied him- self entirely to engraving. He etched a set of twenty plates from pictures in the collection of the Earl of Derby, by Titian, Tintoretto, P. Veronese, Bassano, G.uido, CastigUone, Spagnoletto, C. Ma- ratti, Rubens, Vandyck, Rembrandt, &c. He also engraved a set of prints from the paintings by Sir James Thomhill, in the cupola of St. Paul's. He died about the year 1760. WINTER, Giles de. This painter was bom at Leewarden in 1650, and was a scholar of Renier Brakenburg, whose style he imitated with consider- able success. He painted similar subjects to those of his master, representing Dutch boors regaUng, and the recreations of the cabaret. His pictures are ingeniously composed, and his colouring is brilUant and clear, but his design is even more in- correct than that of his instructor, and, like him, he neglected the study of nature, to adopt the negU- gence and despatch of a mannerist. His pictures are little known, except in Holland, and there they are not held in much estimation. [He died in 1 720.] [WINTTER, Joseph George, a designer and engraver of animals, flourished in 1787. He was a native of Germany. He published a number of pieces after his own designs and those of Melchior Roos, Teniers, Peter van Laar, Berchem, Wouwer- man, and other masters. Fifty-three of these were in the Rigal collection. He is not mentioned else- where, unless he be the same as Gio-GugUelmo, in- dicated by Zani as a painter of animals, and an engraver, who operated in 1764. There were se- veral others of the name JTmfer, painters and en- gravers, but their works have not come under the editor's notice.] WIRZ, John. This artist was born at Zurich in 1640, and was a scholar of Conrad Meyer. He practised portrait painting with considerable suc- cess, but he is more deserving of notice as the en- graver of a set of forty-two plates, from his own de- signs, for a book written by himself, entitled Johan- nis WirziiMomee Animale Exemplvwm, Src, published ia 1677- They are etched in a neat, spirited style, resembling that of John William Baur. He also etched two plates after Holbein, one representing a female, with a naked child holding an arrow, and the other a woman with two children. We have also by him a small whole-length portrait of Theo- dore Meienus, after Meyer. [He died in 1 710.] 915 wiss] A DICTIONARY OF [WITB WISSING, William. This painter was born at Amsterdam in 1656, but was instructed in the art by William Doudyns, a painter of history, at the Hague. Op leaving that master . he went to Paris, where he' did not remain long, and afterwards visit- ed England, about the year 1680. He was for some time employed to assist Sir Peter Lely in his nu- merous works, and, after the death of that eminent artist, he became a favourite painter. He drew all the Royal Family, and particularly the Duke of Monmouth, whose portrait he painted several times, which ingratiated him with the king and the ladies of the- court. Although he found a formidable rival in Sir Godfrey Kneller, he still was extensively em- ployed; and after the death of Charles II. was ap- pointed principaljiainter to his successor, by whom he was sent into Holland to paint the portraits of William and Mary. He did not long survive his return to England, and died at Burleigh, the seat of the Earl of Exeter, in 1687. We have a mezzotinto portrait of Wissing, inscribed Gulielmus Wissingus inter jrictores sui sceculi celeberrimos, nuUi secundus, artis suce non exiguum deans et ornamentum, immodi- ds hrevis est cetas. WIT, or WITTE, Peter de, called Pietbo Can- dido. This painter was born at Bruges in 1548. It is not known under whom he studied, but he tra- velled to Italy when he was young, where he formed an intimacy with Giorgio Vasari, and assisted that master in the works he was employed on in the Va- tican. He painted with equal success in oil and in fresco, and was employed by the Grand Duke of Tuscany in several considerable works in the palace at Florence, and designed some cartoons for tapes- try. Maximilian, Elector of Bavaria, invited him to Munich, where he passed the remainder of his life. John Sadeler has engraved several prints from the works of this master, among which are the An- nunciation, Christ with the Disciples at Emmaus, the Holy Women at the Tomb of our Saviour, and the Last Supper, [The time of his death is uncer- tain; some place it in 1599, others after 1620. His brother, Cornelius, was very eminent as a landscape painter, but the accounts respecting him are strange- ly confused.] WIT, or WITTE, Gaspar de, was born at Ant- werp in 1621. He visited Italy, where he remained several years, and on his return acquired consider- able reputation in painting small landscapes, very highly finished, in which he generally introduced architectural ruins, of which he had made designs during his residence in Italy. [He died in 16/3, His brother, Peter de Witte, junior, was also a land- scape painter ; he was born in 1620, and died about 1669.] WIT, or WITTE, Ei^anuel de, was born at Alk- maer in 1607, and was a scholar of Evert van Aelst, a painter of still-life. He did not, however, adopt the style of his instructor, but for some time applied himself to portrait paititing. Not meeting with the encouragement he expected, he studied perspective and architecture, and became one of the most emi- nent artists of his country, in painting interior views of churches and temples, which he embelUshed with figures correctly drawn, and touched with great spi- rit. He gave a striking and picturesque appearance to his pictures, by frequently representing the sun shining through the windows, on part of the build- ing, which is finely contrasted with that which is in shadow, and produces a natural and pleasing effect. The different ornaments of the buildings are de- signed with the utmost precision, and every object 916 js touched with a masterly aiid bold pencil. His best pictures represent the insides of the churches at Amsterdam, with groups . of figures, habited in the dresses of the times. He died in 1692. [It is to be regretted that a man of his superior talents as an artist should have been of a morose disposition, and apt to depreciate the works of others. This bad temper brought him at last to contempt and po- verty, and he was found drowned in a canal at Haerlem, with a cord round his neck. It is said that he destroyed the best picture he ever painted in a fit of passion, or indignation, on being refused the full stipulated payment by the representatives of the son of Admiral De Ruyter, who had ordered it] WIT, Jacob de. This painter was born at Am- sterdam in 1695, and, having shown an early inclin- ation for the art, when he was fourteen years of age he was placed under the tuition of Albert van Spiers, a painter of history of some eminence, under whom he studied three years. The desire of con- templating the admirable productions of Rubens and Vandyck, and the other distinguished masters of the Flemish school, which embellished the public edifices at Antwerp, induced him to visit that city, where one of his uncles resided, and possessed a phoice collection of valuable pictures. At Antwerp he became a scholar of Jacob van Halen, a painter of little celebrity, under whom he did not continue longer than two years, when he devoted himself en- tirely to the study of the works of Rubens and Van- dyck. In 1712 and 1713 he made designs from the paintings by Rubens in the four ceilings of the Je- suits' church, in thirty-six compartments, which were destroyed by lightning in 1718, and we are indebted to De Wit for the preservation of these admirable compositions, which were afterwards en- graved, from nis designs, by John Punt. He was principally employed m painting ceiUngs, and the decorations of splendid apartments, consisting of emblematical and allegorical subjects, which he pomposed with great ingenuity, and his colouring is clear and agreeable. He was particularly success- ful in the design of children, which he was fond of introducing into his pictures. In 1736 tie was employed by the magistrates of Amsterdam in the embellishment of their great Council-chamber with several subjects from the Old Testament, which is his most considerable work, in which he has discovered an inventive genius, and great facility of execution. He also painted several altar-pieces for the catholic churches in Holland, which are very creditable performances. His sketches, or models for his large works, are touched with neatness and spirit, and are very well coloured. They are held in considerable estimation. He was living in 1744. [His decorative pictures of children sporting, painted in chiaro-scuro, are remarkably fine, and are held in the highest estimation.] [WIT, De. There are several other artists of the name ; such as Francis, Anthony, E. and B., paint- ers; and others who were engravers: but the ac- counts are so mingled and confused that it would require a long examination to, disentangle them, and after all, to no very good purpose.] WITDOECK, Hans, or John, an eminent Flem- ish engraver, born at Antwerp about the year 1600. His name is differently inscribed on his plates ; it is sometimes written Witdoeck, sometimes Withouc, and occasionally Witdouck. The talents of this artist were employed under the immediate inspection with] PAINTERS AND ENGRAVERS. [WOLF^ of Rubens, and he engraved several plates from the pictures of that distinguished painter, which, though less correct in the drawing, and less admirable in the mechanical part of the execution, than those of Vorsterman, Bokwert, or Pontius, are still estimable for a vigorous and powerful effect, and as they are, in several instances, the only prints we have of the capital pictures from which they are engraved. He also executed some plates from the works of other eminent artists of the Flemish school. The follow- ing are his best prints : SUBJECTS AFTER RUBENS. Melchizedeck presenting Bread and "Wine to Abraham. [1638. Proofs before the letters are very rare.] The Nativity. This plate has undergone several altera- tions, chiefly to add to the effect. The first impressions are without the address of Com. Coebercha; the second are with that address. The plate afterwards came into the possession of S. Bolswert, who retouched it, by which it was greatly improved. He also effaced the name of Coeberchs, and inserted his own. The Adoration of the Magi ; engraved in 1683. There are also different impressions of this plate. [The date is probably a mistake. See the other dates.] The Elevation of the Cross, in three sheets. His most capital print. [1638.] Christ with- the two Disciples at Emmans. There are some impressions of this plate printed in chiaro-scuro, under the direction of Kubens, which are very scarce. [1638.] The Assumption of the Virgin. The impressions of this plate with the address of Com. van Merlen, are re- touched. [1639.] The Holy Family, with St. John. The first impressions of this plate are before the address of Moermains. Another Holy Family, with St. Elisabeth and St. John. The best impressions have the address of R. J. de Bert. St. Cecilia. This plate was retouched and improved by Bolswert. He also engraved several plates from the works of Cornelius Schut,' and other masters. [The time of his decease is not ascertained.] WITHOOS, Matthew. This painter was born at Ainersfort in 1627, and was a scholar of Jacob van Kampen, a painter of history and an architect.' On leaving that master he travelled to Italy, in company with Otho Marcelhs, where, instead of pursuing the Une of art in which he was educated, he adopted that of his travelling companion, and distinguished himself as a painter of curious plants, reptiles, and insects. He represented these exotic objects with surprising truth and precision, and his pictures were very highly finished. ' During a residence of two years at Rome, he was much em- ployed by Cardinal de Medici, for whom he painted a great variety of subjects of that description, for which he was liberally rewarded. On his return to Holland, in 1650, his works were not less admired than they had been' in Italy ; and they were readily purchased at considerable prices. The approach of the French army, in 1672, induced him to retire into North Holland, and he settled at Hoom, where he died, in 1703. WITHOOS, John, was the son of the artist mentipned in the preceding article, born at Amers- fort in 1648, and was instructed by his father, until he had acquired sufficient ability to undertake a journey to Italy on the produce of his talents. During a residence of several years at Rome, he was employed in designing the most picturesque views in the vicinity of that capital, which he painted, in water-colours, in a neat, finished style, and his pic- tures of that description were much admired. Though he met with very flattering encouragement at Rome, the sohcitations of his friends induced him to return to Holland, where his works were not less admired. He was invited to the court of the Duke of -Saxe Lawenburg, in whose service he re- mained until his death, in 1695. WITHOOS, Peter. This artist was the younger brother of John Withoos, and received his first in- struction in the art from his father. He excelled in painting flowers, plants, and insects, in water- colours, on vellum, which he finished in a very deh- cate style, and they were accurately, designed, and coloured from nature. His works are highly esteemed in Holland, where they are purchased at considerable prices. He died at Amsterdam in 1693. WITHOOS, Francis, was the youngest son and scholar of Matthias Withoos, and pamted plants and insects in water-colours, in the style of Ms bro- ther, but was very inferior to him. He died at Hoorn in 1705. . [WITSEN, Nicolas, a landscape engraver, flour- ished about 1659.] WITTIG, Bartholomew. This artist was a na- tive of Oels, in Silesia, and flourished about the year 1640. He excelled in painting festivals and concerts of music. In the gallery of the Louvre is a picture by him, representing a sumptuous ban- quet,- which possesses considerable merit. He died in 1684. WOLFGANG, George Andrew, a German en- graver, born at Chemnitz, in Saxony, in 1631. He followed the profession of a goldsmith, and engraved a few historical subjects and portraits, which are executed in a stiff, dry style, and possess little merit. Among others, we have the foUovring prints by him r portraits. George Frederick, Margrave of Brandenburg ; after C. Zierl. Feter Muller, Jurisconsult. SUBJECTS. A Sacrifice to Diana ; after J. H. ScJtoenfeld. Saul consulting the Shade of Samuel ; after J. Werner. A set of ten subjects'from the Old and New Testament ; after lo. Umbach. [Laborde quotes the following mezzotinto prints by G. A. Wolfgang: Johannes Koch, a medallion ; very good, well ea^essed. A young Warrior in armour, with flowing hair ; pretty plate. An old Man seated at a table, an old Womanbehind his chair; mediocre. A yoimg Man with long curled hair, and an old Man with a beard ; very pretty plate. Susanna washing her Feet ; after Holbein; a good imita- tion of the original picture. He died in 1716.] WOLFGANG, Andrew Matthew, was the son of the preceding artist, born at Augsburg in 1662, and learned the principles of design and engraving from his father. We have by him several portraits of distinguished personages of Germany, of which the most esteemed is tnat of the Margrave of Anspach, of that time. [He died in 1736.] WOLFGANG, John George. This artist was the younger son of George Andrew Wolfgang, born at Augsburg in 1664, and received his instruction from his father. He had acquired considerable re- putation as an engraver, when he was invited to the court of Berlin, in 1704, and was appointed en- graver to the king. . We have a considerable num- ber of portraits by him, which are executed in a much neater style than those of his father and bro- ther. He also engraved a set of prints for a work in folio, entitled Nbtitia Universitaiis Francofurtanee^ 91?. wolf] A DICTIONARY OF [WOLQ published in 1707. The following are among his most esteemed portraits : Frederick ■VViUiam, Elector of Brandenburg ; from the equestrian statue by Jaeobi. Augustus William, Duke of Brunswick and Lunenburg ; after Franek. John Melohior Dinglinger j after A. Feme. [He died in 1743.] WOLFGANG, Gustavus Andrew. This artist was the son of Andrew Matthew Wolfgang, and was born at Augsburg in 1692. He was instructed in design and engraving by his uncle, John George, and executed several plates of portraits in the same neat style. [He died in 1774.] WOLGEMUT, , Michael, an ancient German painter and engraver, born at Nuremberg in 1434. Of his works as a painter little is known ; a picture by him is preserved in the gallery of the Louvre at Pans, representing Christ brought before Pilate, which exhibits the dry, Gothic style, which charac- terized the German school previous to the peiiod of Albert Durer. Wolgemut flourished soon after the commence- ment of engraving in Germany, and has been sup- posed to have been instructed in that art by Jacob walch. This supposition is, however, extremely questionable, as will be found by a reference to the article Jacob Walch. As Mr. Strutt appears to have given the most clear and satisfactory account of these two artists, we shall quote that author at length on the present occasion. " Wolgemut was a man of genius. He engraved both on wood and on copper; but his works on wood are far more numerous, and more generally known, than those on copper. It is said that his mark was the letter W- only, and it is true that we have a great number of prints marked with a simple W ; but it is equally certain that they do not all, if any of them, belong to Wolgemut. I have already informed the reader, in the account of Wenceslaus, an ancient engraver on copper, and contemporary with Martin Schoen, that he used the W alone as a mark, and the greater part of his works consist of copies from the engravings of other masters ; and the same hand is easily traced in all or the far greater part of the prints so marked ; for which reason one may fairly conclude that they are all the produc- tions of one and the same person. Besides, judging from the boldness and merit which appear in the engravings on wood "by Wolgemut, together with the originality of the designs, we cannot easily be led to conceive that there should be that servility and laboured style of execution (all of which fails of producing a clear effect) in his works on copper only, for the prints, marked with the W, are every way inferior to what might justly have been expect- pd from Wolgemut, the engraver of the Nuremberg Chronicle. "We have some few excellent engravings on copper executed about this time ; these have much of that spirited style in them which appears in the wooden cuts of Wolgemut, and they are marked ' o with a W surmounted by a small o, thus, W, and these prints, I verily believe, are the productions of his graver. For this reason, I shall describe the one following very particularly, and this may serve as a Specimen for all the rest. In the collection of Dr. Monro, I found a very iine impression. It is ten inches and a half high, by seven inches and a half in width, and represents an old Man seated in a praying posture ; he has a standard or flag resting 918 upon his left shoulder, and a book before him ; be- hind him is an armorial shield, with three different bearings, and at the bottom a cave with a gate be- fore it. Above the figure is a scroll, upon which is written, Sce Wilhelme Dux Aquitani^ et Comes PiCTAViENSis. The head of this figure is well drawn, the hands are marked in a spirited manner, the folds of the drapery are broad, and boldly ex- pressed, and the whole is composed in a style which does much honour to the artist. With respect to the mechanical part, it is executed with the graver only, in a dark, clear style, so as to have the efiect of a neat etching." In conjunction with William Pleydenwurff, he designed and executed the wooden cuts for the large folio worii, compiled by Herman Schedel, and printed at Nuremberg, in 1493, usually known by the appellation of the iVar-emJejy Chronicle. Michael Wolgemut has the honour of counting among his disciples the celebrated Albert Durer. The follow- ing prints are generally attributed to him : Christ crowned with Thorns, with the Virgin and St. John, The Crucifixion, with St. John and the Holy Women. The Entombing of Christ. The Eesurrectiou. St. Sebastian. St. Christopher. A Cavalier and a Ladjr walking in a garden, Death hold- ing an HoiuNglass is seen behind a tree. , The same . subject, with some Tariation, was engraved by Albert Durer. A Sea-monster carrying off a Nymph. Three Women, or Witches, with a Globe over ■their heads, with the letters 0. G. H. and an appearance of Hell in the back-ground ; dated 1494. The same subject Tvas also engraved by Albert Durer. A set of thirteen plates of Christ and the Twelve Aposl^es. Huber mentions a wooden cut by Michael Wol- gemut, printed in chiaro-sciirD, representing Christ at table with his Disciples, which is said to be ex- tremely scarce. [With regard to Michael Wohlgemuth as an en- graver, there is nothing conclusive: the greatest connoisseurs are at issue on that point. Bartsch expresses strong doubt on the subject, and thinks that the prints marked with the letter W belong rather to Weneelas d^Olmutz, and accordingly places them to his account. Zani, on the other side, ex- presses great surprise that Bartsch should deprive Wohlgemuth of the honour of engi-aving with the burin ; but at the same time stoutly afiirms that he never engraved in wood : " JVon ha mai inciso in legno ; e questa e una notizia immutahile." It is as- serted that he engraved some of the wood cuts for the Nuremberg Chronicle ; but Ottley goes only so far as to say he furnished the designs, and superintend- ed the execution, and that it is " more than proba- ble" that he proved with his own hand, to the sub- ordinate artists employed, the practicability of "that style of workmanship which he required. But he does not give an instance of the " more than proba- ble." The style of workmanship required was the cross-hatchings, and Ottley would lead his reader to believe that Wohlgemuth was the first to introduce that, improvement in wood engraving. He says, "Wohlgemuth perceived that, though difficult, it was not impossible,"— and "to him belongs the praise of having been the first who duly appreciated the powers of the art;" then follows the "more than probable." On this passage John Jackson, in his "Treatise on Wood Engraving," remarks: " Although it is true that cross-hatchings are not to be found in the earliest wood engravings, yet Mr. wolg] PAINTERS AND ENGRAVERS. [Wool Ottley is wrong in assigning this material improve- ment in the art to Michael Wohlgemuth ; for cross- hatching is introduced in the beautiful cut forming the frontispiece to the Latin editioq of Breyden- bach's Travels, folio, first printed at Mentz, by Er- hard Reuwich, in 1486, seven years before the Nu- remberg Chronicle appeared. The cut is not only the finest wood engraving which had appeared up to that date, but is in point of design and execution as superior to the best cuts in the Nuremberg Chronicle, as the designs of Albert Durer are to the cuts in the oldest editions of the Poor Preachers' Bible." Mr. Jackson further remarks : " Wohlgemuth, as associated with wood engraving, has too long been decked out with borrowed plumes ; and persons who know little or nothing either of the history or practice of the art, and who are misled by writers on whose authority they rely, believe that Michael Wohlgemuth was not only one of the best wood en- gravers of his day, but that he was the first who ia- troduced a material improvement into the practice of the art. This error becomes more firmly rooted when such persons come to be informed that he was the master of Albert Durer, who is generally, but erroneously, supposed to have been the best wood engraver of his day. Albert Durer studied under Michael Wohlgemuth a§ a painter, and not as a wood engraver, and I consider it as extremely ques- tionable if either of them ever engraved a single block." Many other writers on the subject might be quoted for and against, but those above named are generally considered the best authorities : connois- seurs need not be told who are the belligerents. It is admitted that Michael Wohlgemuth was a painter, and, for the period in which he lived, a good one. But there is a great deal of uncertainty respecting the authenticity of pictures attributed to him. What by one writer is considered his work, is by another ascribed to Jlugo Vander Goes, and by a third to Justus of Ghent, and possibly is by neither. It may be readily believed that his earlier picr tures are sufficiently uncouth iii many particu- lars, but they are interesting in the histpry of the art. There are five of these in the gallery at Munich, representing the Nativity, the Agony in the Garden, the Crucifixion, the Deposition, and Resurrection. Commenting on t^ese pictures. Lord Lindsay remarks, that though inferior and uncouth as regards expression, attitude, design, drapery, and landscape, the poweriful and deeply seated piety of the artist has printed itself on his work, and ani- mated the Saviour's head, especially, although common-featured, with a lUvine expression attained by few of his compeers. But, his Lordship adds, simpUcity and sincerity are the guides to truth, and Wohlgemuth's career was one of improvement to the last. In a note his Lordship gives a list of pic- tures ascribed to Wohlgemuth, of different dates, existing in Germany. But the most important of his WOKS, on which there is scarcely any difference of opinion among connoisseurs, is one in the Im- perial Gallery at Vienna. It was painted in 1511, and represents St. Jerome seated on a throne, with the donors, a man and a woman, kneeling at his side. There are incidents of his history depicted in the back-ground in small groups ; the female figures are particularly sweet and pleasing, and the portraits of the donors excellent. This is consider- ed his chef ^ceuvre. He survived this triumph of his old age eight years, dying in 1519 at the age of eighty-five. Three years previous to his death Al- bert Durer painted his portrait, which is preserved at Munich. See note to Wencelas D'Olmutz.] WOLTE R S, Henrietta. This celebrated paint- ress in miniature was bom at Amsterdam in 1692. She was the daughter of Theodore van Pee, an art- ist of little celebrity, by whom she was taught the first rudiments of design. She was afterwards in- structed in miniature by James Christopher Le Blond, and it was not long before she surpassed her preceptor in the delicacy of her touch and the beaur ty of her colouring. The portraits of Vandyck were the models she most consulted, she copied some of them in miniature with surprising accuracy, and though on so small a scale, her copies preserved all the suavity of tint, and truth of character, which distinguish the works of that admirable portrait painter. Her extraordinary talents soon attracted public admiration, and she was employed to paint the portraits of the principal families at Amsterdam. When Peter the Great was in that city, he hon^ oured our artist with a visit, and was so much pleased with the beauty and delicacy of her performances, that he made her the most flattering offers of his favour and protection, to induce her to visit Peters- burg, which her attachment to her own country prevented her from accepting. Her , reputation reached the court of Berlin, whither she was invited by Frederick William, king of Prussia, but her constant employment, and her partiality for the city of Amsterdam, where her husband carried on an extensive commerce in works of art, induced her to decline the invitation. She continued to exercise her talents with great respectability, until the year 1741, when she died at Amsterdam. WOOD, John, an English engraver, who flour- ished in London about the year 1745. He engi-aved several plates for the set of landscapes published by Mr. Boydell in 1747. They are executed in a clear, neat style, and possess considerable merit. Among others, we have the following prints by him : A Mountainous Landscape ; after Sal. Rosa. Two Landscapes ; after Gaspar Pouasin. Two Italian Landscapes ; after Clattde Lorraine. A Fire-light ; after Rembrandt. The Lake of Nemi ; qfter Wilson. A View of London from Greenwich ; after Tillemans. WOODCOCK, Robert. According to Lord Orford, this artist was of a gentleman's family, and became a painter by genius and inchnation. He had a place under the government, which he quitted to devote himself to his art, which he prac- tised solely on sea-pieces. He designed those sub- jects from his childhood, and studied the technical part of ships with so much attention, that he could cut out a ship with all the rigging, to the utmost exactness. In 1723 he began to practise in oil, and in two years he copied above forty pictures of Van- develde. With so good a foundation he openly professed the art, and his talent became so respect- able, that the Duke of Chandos gave him thirty guineas for one of his pictures. He died of the gout, in 1728, in the thirty-seventh year of his age. WOOLASTON, J. This artist is mentioned by the noble author of the Anecdotes. He was born in London about the year 1672, and painted por- traits, which had the merit of strong resemblance, though perhaps not otherwise excellent, as his prices were very low. Besides painting, he performed on the violin and flute, and played at the concert of that extraordinary person, Thomas Britton, the small-coal man, whose picture he drew twice, one 919 wool] A DICTIONARY OF [WOOT of which portraits was purchased by. Sir Hans Sloane, and is now in the British Museum. WOOLLETT, William. This eminent English engraver was born at Maidstone, in Kent, in 1735. He was instructed in engraving by an obscure art- ist named Tinney, but he was indebted for the ad- mirable and original style, for which his works are distinguished, to the resources of his own genius. By an intelligent union of the point and the burin, he carried landscape engraving to a degree of beauty and perfection which was Unknown before him, and which perhaps stiU remains unequalled. The fore- grounds of his plates are as admirable for depth and vigour as his distances for tenderness and delicacy ; and in his exquisite prints from the pictures of our inimitable Wilson, he appears to have impressed on the copper the very mind and feeling of that classic painter. The talents of Woollett were not, however, confined to landscapes, he engraved, with equal success, historical subjects and portraits. The ex- tent of his abilities, and his extraordinary, merit, are so universally acknowledged, that any further com- ment on them is unnecessary. His character as an artist and as a man, has been drawn up by one of his friends with so much truth and simplicity, that it is here inserted. " To say that he was the first artist in his profession would be giving him his least praise, for he was a good man. Naturally modest and amiable in his disposition, he never censured the works of others, or omitted pointing out their merit.. His patience under the continual torments of a most dreadful disorder, upwards of nine months, was truly exemplary, and he died, as he had lived, at peace with all the world, in which he never had an enemy. He left his family incon- solable for his death, and the public to lament the loss of a man, whose works (of which his unassum- ing temper never boasted) are an honour to his country.*' He died the 23rd of May, 1785. The following is an ample list of his principal prints : PORTRAITS. George III., King of Great Britain ; after Ramsay. Peter Paul Rubens ; after Vand/yck. LANDSCAPES AND SUBJECTS AFTER VARIOUS MASTERS. A View of the Hermitage of Warlcworth ; after Heame. The Merry Villagers ; after Jones. A Landscape, with .ffineas and Dido ; o/itej- Jones and Mortimer. A Landscape, with Buildings ; after John Smith. Another Landscape ; aftejr George Smith ; the first pre- mium print. The Hay-makers ; after the same. The Apple-gatherers ; after the same. The Rural Cot ; after the same. The Spanish Pointer ; after Stubbs. A View of Snowdeu ; after Wilson. Celadon and Amelia ; after the same. Ceyx and Alcyone ; after the same. Cicero at his v ilia ; after the same. Solitude ; after the same : by Woollett and Ellis. Niobe ; after the same. Phaeton ; after the same. Mele^e"r and Atalanta ; after the same. The Jocund Peasants and Merry Cottagers ; after C. Dusart ; a pair. The Fisheiy ; after Wright. , The Boar-hunt ; after Pillement. Diana and Acteon ; after Fil. Lauri. A pair, Morning and Evening ; after Swanevelt. A Landscape, with figures and a WaterfeU ; after An. Caracei, Macbeth and the "Witches ; after Zuceherelli. The Enchanted Castle ; after Claude, by Woollett and Vivares. The Temple of Apollo; after the same. 920 Koman Edifices in ruins ; after the same, A Landscape, with the Meeting of Jacob and Labaa ; after the same. The Death of General Wolfe ; after West. The Battle of La Hogue ; after the same. [Woollett stands at the headof the first class of landscape engravers; no other artist's works were more exclusively his own, or embraced a wider field of subject, or a more rich and varied character of execution.. Since his time some of the most eminent have availed themselves of the talent of others in forwarding, their plates, and, according to present practice, it would be difficult to find a large engrav- ing entirely the work of one hand. Others may have represented the softness of flesh more perfectly ; it is only in this particular, perhaps, that he will be found wanting, and that merely as relates to forms and figiires where flesh is the principal object. The advance which the art of engraving made in his hands was immense. He was the first who con- ceived and embodied in practice the happy idea of uniting in one plate the three methods of engraving ; namely, by aquafortis, the burin, and the dry point. By this union, and a jiist distribution of light and shadow, he rivalled the colours of the painter and produced the optic illusion of the picture. Longhi, who was liot very prodigal of praise on engravers in his own line, remarks, that " Woollett in his works exhibited so much artistic mastery, so much vivacity and boldness of touch, so much force and harmony of chiaro-scuro, so much variety of tiht, so much intelligence in aerial perspective, so much truth, in fact, and so much pictorial illusion, that he was, for all contemporary engravers, and is for those of the present time, the marvel and the example." The two plates by Woollett which have received from -foreign amateurs the highest admiration, are The Death of General Wolfe, and The Battle of La Hogue; of these their praise is unbounded. In a manuscript catalogue, written by the late Al- derman Boydell, mention is made of two proofs of the Niobe before the letters ; if such are in existence they are invaluable. When the Alderman's selected prints were sold by the editor, they were not amongst them. It should be recorded that Woollett, during his Ufe, superintended the taking impressions from his important plates, and it was his custom to de- stroy such as exhibited any imperfection in the printing. The credit of some modern engravers would not suflfer by following the example, instead of identifying themselves with publishers, and put- ting forth, as they frequently do, impressions from overworked or retouched plates, and calling them proofs. From artists they degenerate into mere traders, preferring present emolument to enduring reputation. In the Biblioteca Italiana, torn, xxi., is a very eloquent and discriminating eulogy on WooUett's artistic merits.] WOOTTON, John, an eminent English painter of landscapes and animals, who flourished about the year 1720. He was a scholar of John Wyck, and became a distinguished artist in the branch which he principally pursued. He particularly excelled in designing the sports of the turf and the field, and his horses and dogs were drawn with surprising spirit and accuracy. He was employed by the prin- cipal frequenters of Newmarket in painting the portraits of their favourite racers ; and he was not less eminent in subjects of the chase, of which the most esteemed were seven pictures of fox-hunting, wore] PAINTERS AND ENGRAVERS. [WORS which were engraved by Canot. He painted a pic- ture of William, Duke of Cumberland, with a view of the routed rebel army near CuUoden, of which we have a print by Baron. His talents were not, however, confined to these subjects, he painted landscapes with considerable success, in which he sometimes imitated the style of Claude Lorraine and Gaspar Poussin. He died in 1765. WORBRIOT, or VOEIRIOT, Peter. This artist was born at Bar-le-Duc, in Lorrainei about the year 1525. He chiefly resided at Lyons, where he followed the profession of a goldsmith and an engraver. We have several prints by him, from his own designs, executed in a neat style ; his drawing, as was usual with the artists of his time, is not very correct, and there is not much effect in his prints, from the lights being scattered, and a want of depth in the shadows. They are, notwithstanding, held in considerable estimation. He usually marked his copper-plates with a complicated monogram, com- posed of several letters, which appear to be the ini- tials of his name, and the place of his nativity, thus, Among others, he engraved a set of plates for a book published at Lyons in 1556, entitled Pinax Iconicus antiquorum, ac variorum in sepulturis rituum. According to Papillon, he also engraved on wood, and his cuts are said to be very numerous, and executed with great neatness and delicacy. His wooden cuts are marked with a double cross, called the cross of Lorraine zf. . COPPER-PLATES MARKED WITH HIS MONOGRAM. The Sacrifice of Abraham. Moses saved from the Nile. Fhalaris put into the Brazen Bull. A Woman with two Children in her arms, throwing her- self on a funeral pile. Two small Landscapes, with a great number of figiures. The Battle betwixt Constantine and Maxentius; after Raffaelle. [Of this short account it is only necessary to cor- rect the spelling of the name of the artist, the date of his birth, and explain the intricate monogram with which his prints are ' marked. His name is Pierre Woeiriot ; he was born in 1532, as ap- pears by the inscription to his portrait, engraved by himself in 1556; " Petrus Woeiriot Lotharingris has faeiehat eiconas evivs effigies haec est anno suae aetatis. 24. — 1556." At the age of thirty he assumed, for some reason not clearly explained, the surname De Bonzey, and the letters P. W. D. B., worked into the monogramj signify Pierre Woeiriot De Bonzey. Robert Dumesnil, Peintre Graveur Pran9ais, tom. vii., has given a long and very interesting account of the artist, and minute descriptions of his nu- merous works to the number of 401 pieces. This elaborate and entertaining account is recommended to the inquirer's perusal; he will there find that Pierre Woeiriot was no common man ; and that it is a fortunate circumstance for his memory to be re- corded by such an able biographer, and his works described by so consummate a critic, as Robert Du- mesnU.] . WORLIDGE, Thomas, an English painter and engraver, who flourished about the year 1760. He practised miniature painting for some time, and afterwards attempted portraits in oil ; but not meet- ing with the encouragement he expected, he appUed himself entirely, to engraving. Worlidge adopted a style resembUng that of Rembrandt, and finished Ws plates . with the point of the graver, or the scratchings of a dry point. His prints are very numerous, and possess considerable merit. They chiefly consist of neads in the manner of Rembrandt and portraits. He engraved a considerable number of antique gems, a complete set of which, in the first state of the plates, and printed on satin, is now of much mercantile value. We have also the fol- lowing prints by him : Marcus Tullius Cicero ; after the marble at Oxford. The Installation of the Earl of Westmoreland as Chancel- lor of the University of Oxford. His drawings on vellum in Indian ink and black lead are highly esteemed. He died at Hammer- smith in- 1/66, aged about 65. [Neither the year nor the place of his birth is ascertained. He first practised as a painter at Bath ; afterwards in King Street, Covent Garden, where he painted portraits in crayons and oil; among these are Mary Squires, Elizabeth Canning, and Kitty Fisher. He designed and engraved " TJhe Theatre at Oxford as it appear- ed on the Installation of the Earl of Westmoreland ;" a work of considerable labour, containing a multi- tude of heads and figures, most of them portraits, among which is that of the artist. His death is said to have occurred in 1768.] WORMS, Anthony von, a German engraver on wood, who flourished about the year 1530. He was a native of Worms, in the palatinate of the Rhine, from which city he derives his name. Plorent le Comte miscalls him Vuormace. He executed seve- ral cuts, which, though in a Gothic style, are not devoid of merit. His prints are usually marked with an A and a W intersected, thus jPwL " [Bartsch describes eleven wood-cuts by him, se- veral of which have the date 1529, and one has the inscription Cofom'oe, per Anthonium de Vormacia Pictorem. Brulliot says there are several others, and also two on copper; one represents a naked Man sitting in a Cavern and Death standing near to him, it has the date 1522 above the monogram ; the other represents St. Andrew holding his cross in one hand and a book in the other, a young man is kneeling near the saint. Some of the marks given by Brulliot differ from that in the text ; one IS surmounted by the date 1526, another is in a shield, and a third has a figure above like an un- shelled snail.] WORNER, T. W. The name of this artist is afiixed to an etching, representing an Emperor crowned with laurel by Hercules and Minerva. It is neatly, though slightly, executed, and is apparently the production of a painter, and from his own de- sign, as he adds the word /ecii to his name. WORSDALE, James, an English portrait paint- er, who was a scholar of Sir Godfrey Kneller, but was dismissed by his master, for marrying his wife's niece without his consent. He never arrived at great excellence in the art, but, being possessed of a talent for humour, and of a convivial disposition, he acquired friends and considerable custom, and was appointed master painter to the Board of Ord- nance. He published several poetical pieces, songs, &c., besides the following dramatic productions ; a Cure for a Scold, a ballad opera, from Shakspeare's Taming of a Shrew; the Assembly, a farce, in which Mr. Worsdale himself played the part of Old Lady Scandal admirably well ; the Queen of Spain ; and fhe Extravagant Justice. He died in 1767. [WORST, Jan, a landscape painter, born in 1625, passed some time in Italy making drawings of the 921 wort] A DICTIONARY OF {wovw scenery which he afterwards painted. He died in Holland in 1680.] WOBTMAN, Christian Albert. According to Ruber, this artist was a pative of Pomerania, and flourished about the year 1730. He was instructed in engraving by Wolfgang, and at the age of twenty- five was invited to the court of Hesse Cassel, where he was appointed engraver to the Landgrave. In 1727 he went to Petersburg, where he engraved the portraits of several of the principal personages of the court. Among others, we have the following portraits by him : Anna, Empress of Russia ; after L. Caravac. Alexis, sou of Peter I. ; after Lmndden. Ernest Louis, Landgrave of Hesse Darmstadt. WOUTERS, Francis. This painter was born at Liere, in Brabant, in 1614. After receiving some instruction in the rudiments of the art, he was sent to Antwerp, where he entered the school of Rubens. He applied himself to the study of landscape paint- ing, m which he became one of the most eminent artists of his time. His pictures generally repre- sent the most picturesque views in the Forest of Soignes, near Brussels, which he embellished with figures, representing historical or fabulous subjects, which were correctly drawn, and ingeniously group- ed. His pencil is bold and free, resembling the style of his celebrated instructor, and his colouring is clear and Ijrilliant. He occasionally painted history, and there are some altar-pieces by him in the churches in the Netherlands, particularly Christ giving the Keys to St. Peter, in the church of St. Peter, at Louvaine ; and the Visitation, in the church of the Augustines, at Antwerp ; but he is less successful in his large pictures than in those of a smaller size. He was much in favour with the Emperor Ferdi- nand II., but coming to England with the ambas- sador of the imperial court, in 1637, his pictures pleased at court, and he was appointed chief paint- er to the Prince of Wales, afterwards Charles II. On the misfortunes, of the royal family he return- ed to Antwerp, and was appointed director of the Academy in that city, where, in 1659, he was killed by the accidental discharge of a gun. We have a set of four landscapes etched by Francis Wouters in a slight, but masterly style. They are dated 1649. WOUTERS, G. By this artist we have some large prints, representing views in and near Rome, with figures. They are executed in a spirited and masterly style, resembUng that of Callot; they are inscribed G. Wouters, Cavalier, del. et sculp. [This is probably Oomar Wouters, an historical and land- scape painter. He was a native of Flanders, but practised chiefly at Rome. He flourished towards the end of the 17th century.] [WOUTERS, James, called also Vosmeer, bom at Delft in 1584, was an excellent painter of land- scapes, but quitted that department for fruit and flower painting, in which he showed equal talent. He went to Italy, but returned to the place of his nativity, where he died in 1641 J WOWERMANS, Philip. This admired paint- er was born at Haei-lem in 1620 ; he was the son of Paul Wowermans, a painter of history, of little cele- brity, fi'om whom he received the first lessons in de- sign; but his genius leading him to a different branch of the art, he became a disciple of John Wy- nants, and by the instruction of that excellent land- scape painter, his progress was so uncommon, that it suiprised his preceptor. He ftequently deco- rated the landscapes of his master with his adimirable 922 figures and animals. On leaving the school of Wy- nants, he applied himself to an attentive study of nature, of which his taste enabled him to make a judicious selection. It does not appear that he vi- sited Italy, or that he ever quitted the city of Haer- lem. The little that is known of his private life it is painful to relate. Although his works possess all the excellencies we can wish, high finishing, cor- rectness, agreeable compositions, and a charming taste for colouring, they scarcely afforded him the pittance of a miserable subsistence, and he languish- ed long in indigence and obscurity. To supply the wants of a numerous family, he was obliged to work without relaxation ; but such was his love for his art, that the most urgent necessity could never in- duce him to leave any of his works in a neglected or unfinished state. The pictures of Peter de Laer, called Bamboccio, at that time engrossed the ad- miration of the Dutch collectors, and the charming productions of Wowermans were suffered to remain unnoticed and unknown. The disappointment and chagrin at finding his works so much neglepted, is supposed to have im- paired his health, and he died in 1668, in the forty- eighth year of his age. To prevent any of his chil- dren from following the profession of a painter, a short time before his death he ordered all his stu- dies and drawings to be burnt, declaring > that his exertions had been so ill recompensed, that his son should not, by the possession of them, be induced to follow a pursuit from which he had derived no- thing but poverty and wretchedness. The pictures of this charming painter are nqw justly held in the highest estimation ; they usually represent hunting and hawking parties, horse-fairs, encampments, halts of travellers, farriers' shops, and other subjects into which he could introduce horses, which he designed with a correctness and spirit which has never been equalled. Some of his land- scapes are simply composed; others are enriched with architecture, and his scenery, always pictu- resque, is- constantly diversified with a charming va- riety. His figures, as well as his horses, are admir- ably drawn, and are grouped with uncommon taste and ingenuity. His touch, though firm, is exqui- site, and though his pictures have the appearance of the most precious finishing, he must have painted with extraordinary facility, as few artists have left behind them such a number or such a variety of in- teresting productions. He was perfectly acquainted with the best principles of the chiaro-scuro ; and the distribution of his masses is masterly and intelligent. His skies and distances, his trees and plants, are the genuine representations of nature. We have only one etching by this celebrated painter, which is extremely scarce: it represents a horse standing, turned to the right, and tied by the bridle to the stump of a tree. Near the top of the plate, on the left, are inscribed the letters W. Fee. 1643, in a reversed way. The size of the print is seven inches by four inches seven-tenths, and it is executed in so masterly a style, that we regret it is his only effort. There is a copy of it. [The name is Wouwerman. Mr. C. J. Nieu- wenhuys prefaces his account of the painter with the remailc, "that the anecdotes of the hfe of Wouwerman, which Houbraken undertook to com- municate about half a century after the painter's death, are very vague and contradictory, and en- tirely founded on hearsay. This, indeed, Houbraken admits, and gives us to understand that he merely details reports as he received them. Houbraken wouw] PAINTERS AND ENGRAVERS. [wouw states that from his commencement Wouwerman ap- pears to have been fortunate in meeting with many admirers ; and his remarkable talent deserved their patronage, for he surpassed all competitors in his line. He was assured that Wouwerman by his industry had accumulated enough to give his daughter 20,000 guilders (nearly £200) as a marriage portion. Some, continues Houbraken, have declared that he had a son who followed his profession ; and that previous to his death he burnt his drawings, from the appre- hension that his son, if left in possession of them, might become too indolent to study from nature ; while others have reported that, not being on friend- ly terms with his brother Peter, and unwilling that he should derive any advantage from them, he deter- mined on their destruction. Again, he says, others had informed him that the drawings thus consigned to destruction were not his own, but designed by other masters. After several contradictions of this kind, he relates the anecdote of John de Wet, the painter and picture-dealer, drawing the attention of the connoisseurs to the comparative merits of Wouwerman and Bamboccio, whose pictures were at one time more esteemed than those of Wouwer- man. ' All our connoisseurs,' said de Wet, ' ap- pear to prefer the works of those who have been at Rome j' ne then produced two pictures of the same size and description, the one painted by Bamboccio, the other by Wouwerman, of whom he had ordered it for the purpose; and having expatiated on its superior merits, though the artist had never been at Rome, desired their opinion. They all agreed in giving that of Wouwerman the preference. This (Hoiibraken imagines) affected the mind of Bam- boccio to such a degree as to contribute to his un- timely death. The mortification must have been a long time operating ; for Wouwerman had been in his grave five years -when Bamboccio committed suicide. In relating this anecdote Houbraken contradicts himself, as he previously states that Bamboccio was bom in 1 6 1 3, and that he H ved to his 60th year." Mr, Nieuwenhuys remarks that, " the Dutch language being little known throughout Europe, and conse- quently its writers not generally read, foreign authors have been guilty of propagating misstatements and asserting them as facts, by which their readers have been misled. D'Argenville, a French writer, has related circumstances without giving any other au- thority for his assertions than that of his having obtained them on a journey into Holland. This is not sufficient to prove that his statements are more deserving of credit than the former Dutch writer, who appears to have been, on many points, mis- understood by D'Argenville. D'Argenville takes credit to himself for the discovery that Wouwerman died in indigence, and comes to this conclusion from the circumstance of Wouwerman burning his draw- ings to prevent his son from embracing so uncer- tain a profession; but D'Argenville's authority is no better than Houbraken's, from whose book he obtained his information : and after all, the fact of the destruction of these drawings is no more to be depended on than Houbraken's conflicting reports about Bamboccio. Descamps, whose writing is but a varied repetition of D'Argenville, makes the ridi- culous addition that Wouwerman never quitted Haerlem; but his mountainous landscapes are suffi- cient evidence to prove that this must be erroneous, and that he actually visited other countries. By referring to Houbraken we may judge how far later biographers, who have treated on the same subject, are to be depended upon; particularly as nothing positive has been discovered concerning the history of Wouwerman's life since that writer." Referripg to the different manners that appear in the pictures by Wouwerman, Mr. Nieflwenhuys remarks, " We are enabled to trace his progress in several of his pictures ; for it is easy to observe, in some of his works, that he had studied Peter van Laar and Wynants. It has therefore been conjectured, and with reason, that he must have been a disciple of the latter master; but the particulars as to what time he may have studied in that school, ai'e entire- ly unknown, and have never been stated by any writer on whom we can depend. "Those specimens, however, of Wouwerman in which he has shown that he at one time imitated Wynants, are certainly not his earliest works, as they were produced when he had already made considerable progress, and, conse- quently, the style of painting rustic landscapes with sandy roads engaged his pencil even in his most flourishing days. His first style (called his Bam- boccio manner) was entirely that of Peter van Laar, and is very inferior indeed when compared with his finer works." Mr. Nieuwenhuys concludes his re- marks by saying, " I have before observed that all the information we possess regarding the life of Wouwerman is very contradictory ; and the more I reflect the more I am convinced that such is the fact." In these remarks, particularly the last, the editor concurs; but there is a difficulty respecting his having been a pupil of Wynants. For what pur- pose did he enter the school of that master ? Cec- tainly not to learn to paint animals and figures; and Mr. Nieuwenhuys has shown that the landscapes in which he has, in some measure, imitated Wynants, are not his earliest works. The frequency of his painting figures and animals in that master's land- scapes would naturally induce an occasional imi- tation, especially when the subject required sandy hillocks and broken roads ; but this is no proof that he was evra- the pupil of Wyjiants. There is more likelihood that he was instructed both in landscape and animal painting by Peter Verbeek of Haerlem, to whose landscapes and hunting-pieces his earlier pictures bear a resemblance ; and that his connexion with Wynants was rather that of a coadjutor than as a pupil. As to his merits being overlooked and his pictures neglected or undervalued during his life, the asser- tion can hardly require refutation. Would all the most eminent landscape painters of his country and time solicit an artist wliose abilities were not esteem- ed to embelUsh their works? Would an artist whose productions were neglected or undervalued continue to paint picture after picture, bestowing the greatest care and diligence in perfecting the beauty of all, to the number of nearly eight hun- dred known, independent of his illustrations of the works of others ? — it may rather be concluded that the good payment he received was a stimulus to ex- ertion. But if he did not sell his pictures, how comes it so many hundreds are so carefully preserved in all parts of Europe ? and that they have been found in collections and in families where they have been from so early a period that the record of the acquisition is lost. 'The tradition that says he de- stroyed his drawings before he died, does not say that he had a house full of unsold pictures at the time ; certainly, had that been the case, it would have been an excusable act of resentment if he had destroyed them too ; but they had gone forth to the world, and we may rather suppose that the artist 923 wouw] A BICTIONABY OF [WEIG shortened his life by over-exertion, than that he died of vexation and in poverty, from his works being unappreciated and from a lack of patronage. Examine the subjects Of his pictures ; do they in any way betray poverty of circumstances on the part of the painter? — Gentlemen arid ladies of rank going out hawking or hunting, or returning from their sports ; gallantly attired and attended, all joy- ous as the day ; no incident omitted that could add interest to the scene ; all indicating that the artist himself was a frequent partaker of such sports, and fully conversant with the polished manners of the higher orders of society. See his acquaintance with the Manege; his thorough knowledge of all the rules of horsemanship and the deportment of cava- liers. Accompany him to the field of battle f he sets his squadrons in the field, and makes his divi- sions with the skill of an accomplished general. The attack, the melee, the combat, the individual displays of skill in the management of arms, are such as could only be depicted by one who had been an eye-witness of such scenes, and was himself an ac- complished master of the use of warlike weapons. Poor artists, in any sense, are rarely so accom- plished : but should there be one with the acquire- ments of a gentleman, yet so reduced in circum- stances as to be obliged to work for a maintenance, would he repeat the same glorious representations if he found his skill and labour unappreciated and un- rewarded ? Artists do not work solely with a desire for posthumous fame. If Wouwerman had not found a purchaser for one of his grand battle-pieces, he would hardly have painted a second ; but he painted many. So with - his sporting-pieces ; they abound. If we observe the care with which every part of almost all his pictures is finished, particu- larly when of larger dimensions and full of subject, we must conclude that the painter was not pressed by want ; he took time to perfect his works. Did he, as a necessitous artist would do, repeat the com- position? A repetition by him of the same com- position is not known. But he lived in the most glorious era of the art in Holland, when good paint- ers and good judges of their works, so necessary to each other, co-existed, and it is not reasonable to suppose that those who prized more highly the landscapes of Ruisdael and Wynants when embel- lished with the figures and animals of Wouwerman, were insensible to the merits of a picture painted entirely by his hand. His finished drawings are certainly very rare. This does not, however, justify the statement that he destroyed all those that he ossessed. Prom the wonderful facility with which e must have painted it may be concluded that he seldom iriade more than a slight sketch of his com- position, perhaps mere indications of the ordon- nance, and, like many other great painters, (Wilkie for instance,) set no value on them when his picture was accomplished. The few on which he bestowed care, and which still exist, are highly esteemed by connoisseurs, and consequently command large prices when they occur in sales. A small example of this class was sold by the editor in the collection of Richard Cosway for fifty guineas, and purchased by Messrs. Woodburn. One in the collection of M. De Vos, of Amsterdam, sold in 1834 for 1030 fiorins, which, with the additional charge of 7i per cent, on sales in Holland, is about £88 sterling, and w&s bought for Baron Verstolk. In the Baron Verstolk's sale, which occurred at Amsterdam in 1847, the same drawing, lot 69, named Le Cheval qui pisse, sold for 1341 guilders, which, with the sale charges, 924 e; make about £120 sterling. In the same sale, lot 206, Ze Manege sold for 1002 guilders, which with the opgelt is about £90. An Interior of a Stable, lot 300, a shght drawing which, according to a written memorandum on it by the artist, had served merely for the ordonnance of a picture, sold for about £30. This memorandum mentioned also the price of the picture for which it had served as the bdsis. For a copious account of the works of this wonderful painter, who died at the early age of forty- eight, consisting of between seven and eight hun- dred pictures, the inquirer should consult "Smith's Catawgue raisonne of the works of the Dutch and Flemish Painters," part the first and Supplement; and for the ijooefcAmfi-sattributedtohim, seeBartsch, P. G. torn, i., WeigePs Supplement to Bartsch, and Brulliot's Dictionnaire des Monogrammes, part first. No. 2024.] WOUWERMAN, Peter, was the younger bro- ther of the preceding artist, and was born at Haer- lem about the year 1625. He was first a scholar of Roland Bogman, but afterwards studied under his brother, whose style he followed with so much suc- cess, that some of his best pictures have sometimes been mistaken for the early productions of Philip. He painted similar subjects to those of his brother, representing huntings, fairs, &c. His figures and horses are not so correctly drawn as those of Philip Wowerman, his pencil is neither so spirited nor so delicate, and his colouring is less clear and trans- parent. Although his works possess considerable merit, the judicious collector will easily distinguish between them and the inimitable productions of Philip. WOUWERMAN, John. This artist was the youngest brother and the scholar of Philip Wower- man, and was born at Haerlem aboutthe year 1628. His pictures represent landscapes, with figures and buildings, and are painted in a more pleasing tone of colour than those of Peter Wowerman, and his touch is more spirited and masterly. He died in 1666, in the prime of life. WRIGHT, Inigo, an English mezzotinto en- graver, who flourished about the year 1770. We have, among others, the following prints by him : The Family of Van Gtoyen ; after J. Van Goyen. St. John preaching in the Wilderness ; after F. Lauri. WRIGHT, Joseph. This artist is distinguished by the name of Wright of Derby, at which mace he was born in 1734. He was a scholar of Thomas Hudson, at the same time with Mortimer, and on leaving that master returned to Derby, where he established himself as a portrait painter, and met with very flattering encouragement. In 1765 he sent two pictures to the Exhibition, which were much admired, and the following year exhibited three pic- tures of subjects by candle-light and fire-pieces, which established his reputation in that particular branch of the art. In 1773 he visited Rome, and other parts of Italy, and returned to England in 1775. Mr. Wright was elected an Associate of the Royal Academy in 1782, but having taken offence at Mr. Garvey's being chosen Royal Academician before him, he resigned his Associate's diploma in disgust, though he continued to exhibit occasionally with the Academy. In 1785 he made an exhibition of twenty-four of his own works, at the great room in the Piazza, Covent Garden, of which the principal picture re- presented the Destruction of the Floating Batteries before Gibraltar. He died in 1797. [Joseph Wright was excellent in painting his- wrig]- PAINTERS AND ENGRAVERS. [WYNA tory, portraits, and landscape. His conflagrations and eflFects of fire-light are capital. The public are acquainted with but few of his works, such as have been engraved. Of these, some are in mezzotinto, the Blacksmith's Forge, the Air-Pump, and the Gladiator; others, in the line manner, as the Dead Soldier, engraved by Heath, and a Scene from " A Winter's Tale," by Middiman, in which the painter and engraver may be said to rival Wilson and Wool- lett. Other pictures by him of the historic kind are. The Destruction of the Floating Batteries at Gibraltar, Edwin at the Tomb of his Ancestor, Bel- shazzar's Feast, Hero and Leander, and the Lady in Milton's " Comus." His Eruption of Vesuvius, and View of Ulswater, are powerful examples of skill in representing landscape under totally different aspects. His works . seem to have been preserved with due care by his townsmen, who purchased them from the easel, and also by their descendants, for they are seldom to be seen in public sales.] WRIGHT, Richard. , This artist was bom at Liverpool about the year 1735. Without the ad- vantage of a technical education, he acquired a re- spectable talent, as a painter 'of sea-pieces, by his own genius and itadustry, having been bred to the humble occupation of a house and ship-painter. In 1764, the Society for the Encouragement of Arts, &c., offered a premium for the best picture of a sea- view, when Mr. Wright became a candidate, and obtained the prize. In 1766 he gained the first pre- mium, of fifty guineas, by a sea-piece, from which W ooUett engraved his celebrated print of the Fishery. He was a member of the chartered Society of Art- ists, and died about the year 1775. [There was a French copy made of Woollett's engraving of the Fishery to which the name of Vernet was affixed as the painter : this must have been done without Vernef s knowledge, as he was too just a man to assume what did not belong to him, or to counte- nance a fraud detiimental to the reputation of a brother artist. His conduct towards R. Wilson when in Italy was a proof of his liberal spirit] [WULFHAGEN,. Francis, born at Bremen in 1620, was a scholar of Rembrandt, and painted after the manner of his master, and obtained con- siderable reputation. He died in 1678.] WULFRAET, [or WULFRAAT,] Matthias. This artist was born at Arnheim in 1648. He was the son of an eminent physician, who purposed bringing him up to the same profession; but he attended more to drawing than to his studies, and his father, yielding to Ijiis decided disposition for the art, placed him under the care of Abraham Diepra^ am, a painter of drolleries and drunken frolics. He did not, however, adopt the some subjects as his master, but painted, with considerable success, con- versations, and assemblies of persons in higher life, which were composed with taste, and delicately finished. He also painted small portraits and do- mestic and historical subjects, , which were held in great. estimation in Amsterdam, where he chiefly re- sided, and where he died in 1727. WtJST, Charles Louis, a German engraver, who flourished about the year 1760. Among other prints, he engraved a plate representing the Martyr- dom of St. Bartholomew, after Mattia Preti, called II Calabreee. It is neatly executed, but in a la- boured, heavy style ; and the. drawing is incorrect. WYCK, Thomas. This, painter was born at Haerlemin 161 6. He excelled in painting sea-ports, shipping, and small figures, and, from the subjects of his pictures, which frequently represent the ports in the Mediterranean, he appears to have resided some time in Italy, "rhey are usually embellished with a gi-eat number of small figures, representing the inhabitants of different nations dressed in the habits of their respective countries, coiTectly design- ed, and touched with great spirit, in a style resem- bhng that of Peter de Laer. He also painted fairs and public markets ; and was not less successful in representing the interiors of chemists' laboratories, with their utensils. He came to England about the time of the Restoration, and was much employ- ed. In Burlington-house is a view of the Parade in St. James's Park, with Charles II., his tourtiers, and women in masks,, walking. The statue of the Gladiator is at the head of the Canal. He also painted a View of London, before the fire, and the Thames, taken from Southwark, and exhibiting the great mansions of the nobility then on the Strand, of which there is a print. He also painted the Fire of London more than once. His pictures are well composed, his colouring warm and transparent, and his pencil is bold and free. He died in 1686. We have a few small etchings by Thomas Wyck of landscapes, with figures, executed with neatness and spirit. They are now become scarce. WYCK, John, was the son of the artist men- tioned in the preceding article, born at Haerlem about the year 1640, and was instructed by his father, whom he accompanied to England. John Wyck distinguished himself as a painter of battles and sieges ; nor was he less successful in painting huntings and processions. He appears to have imitated the style of Philip Wowermans, but on a larger scale ; and though inferior to his model in the neatness and delicacy of his finishing, his horses and figures are correctly drawn, and, are touched with great spirit and animation. His pictures are well composed, and his landscapes represent very agreeable scenery. He sometimes painted large Eictnres, such as the Battle of the Boyne, and the ieges of the Naarden and Namur, but they are in- ferior to his small pictures. In the portraits of the Duke of Schomberg on horseback, by Eneller, the horse, and the battle in the back-ground, were finely painted by John Wyck, He painted several views in Scotland, and in the Isle of Jersey, and made the designs for a book of hunting and hawking. He died at Mortlake in 1702. [Bartsch, P. G. torn, iv., describes twenty-one etchings by J. Wyck ; and Weigel, in his Supple- ment to Bartsch, adds four, and also points out the variations that occur in all. Bartsch remarks that the prints of J. Wyck are so rare that but few col- lections contain a complete set, Balkema says he died in 1677, and Walpole says in 1682, but neither of them is supported by any writer of credit.] WYNANTS, John. This eminent landscape painter was bom at Haerlem in 1600. It is not known by whom he was instructed, but he was one of the most distinguished artists of his time, and established an academy, which has produced some of the ablest painters of the Dutch school. {le has the credit of ranking among his disciples Adiian Vandevelde, Philip Wbwermans, and other eminent masters, who occasionally contributed to the embeU lishment of his landscapes,; by the addition of their admirable figures and animal^. The pictures of Wynants are faithful transcripts of the scenery of his country, and, though the views are generally flat and confined, he has represented, with such truth and simplicity, the broken grounds and winding sandy roads, the plants and stunted 925 wtna] A DICTIONARY OF [WYTM trees, the cottage and the hovel, that he always pre- sents us with a perfect representation of nature. From the facility with whicn he painted, his works are by no means uncommon, though their merit se- cures them a place in the choicest collections, and they are very valuable. He died in 1670. [It is surprising that so little is recorded of the life of John Wynants ; not even the name of his master is known ; his works therefore, like those of Philip Wouwerman, must form his history. As there is no resemblance to the style or colouring of any previous Dutch painter to be observed in his landscapes, it may be inferred that he acquired the art of painting by his own observation of nature and sedulous study. It may also be inferred that much of his time had been devoted to instructing others in landscape painting, though but small traces are to be found of his manner in the produc- tions of those said to have been his pupils. Among others, who became eminent as figure-painters, tra- dition has given him Philip Wouwerman and Adrian Vandevelde as scholars, as his landscapes are so frequently embellished with their figures and cattle. For the same reason Lingelbach, Schel- lings, Wyntranck, Barent Gaal, and Soolemaker, may be included. But none of their landscapes par- tdie of his style. What then did he teach them ? The earliest dated picture of Wynants with figures by Lingelbach is 1651, when the latter was in his 26th year, and after his return from Italy ; those em- beUished by Wouwerman and Adrian Vandevelde, as well as the rest, are of a later period. The first dated picture with figures by Wouwerman is 1659; that with figures by Adrian Vandevelde is 1660. Wouwerman continued his assistance to 1668, the year of his death, and Lingelbach to 1671. As most of the landscapes by Wynants, in which other artists painted the accessories, are not dated, it can only be conjectured by the skill displayed that they were no longer pupils of any master. It is clear, however, that they were all attached friends of Wy- nants, and admirers of his ability as a landscape painter, and perhaps proud of having their reputa- tion connected with his. In the notice of John Wynants, introductory to an account of his works, in " Smith's Catalogue rai- sonne," the following discriminating observations as to his different manners of painting'occur. " His early works usually represent the picturesque habitation of the peasant, or the ruins of some ancient mansion, an adjacent road, and the surrounding country. These are always painted in a neat and careful manner, in a tone of cwour tending to brown or blackish hues. In his second period he becomes more excursive, breaks into an open country, and encounters a wide expanse of landscape, composed of hill and dale, woods and rivers, embellishing the lovely scene with a rich variety of objects, such as sandy banks, winding roads, withered trees, and wild plants. Occasionally his views are more confined, and the eye is entertained with a faithful picture composed of a clayey bank, a rugged road, an old tree, wild flowers, herbage, and a sedgy; pool. Such, with few deviations, compose the views of the whole of his productions ; but, notwithstanding the similarity of the scenes represented, there is great disparity in their quality, those of his middle time being clear and luminous in effect, and delightfully delical:e in the execution. No artist furnished more luxuriant- ly the fore-grounds of his pictures, or gave greater variety of form and tint to the soil in which the dock, the thistle, and the bramble seem to be indi- 926 genous. In the latter years of his life his execution is frequently coarse, and his colouring brown and heavy ; defects by no means compensated by the great practical knowledge and masterly handling which such pictures at all times exhibit." Then follows, in vol. vi. and Supplement, vol. ix., a descrip- tive account of more than 200 pictures by the mas- ter ; a record of their migrations, and of their loca- tions at the time the Catalogue was written, the prices they have obtained at public sales, and the writer's estimate of the value of many that are to be found in public galleries, or collections from which there is no probability of their removal. The year in which Wynants died is not ascer- tained. Several of his pictures have the date 1671 ! and in the collection of Farquhar Fraser, Esq., (Smith's Catalogue, 159,) is a landscape by him signed and dated 1673. In the Dictionary of Paint- ers by MM. Van Ejfnden and Vander Willegan, published in 1816, it is stated that he died in 1677 ; but this date is not adopted by subsequent writers.] WYNGAERDE, Francis Vanden, a Flemish engraver, who resided at Antwerp about the year 1640. We have by this artist several spirited etch- ings, principally after Rubens, which possess great merit, though the drawing is frequently incorrect ; among which are the following : Sionson lulling the Lion ; after Riibens. Christ appearing to Mary Magdalene ; after the same. The Nuptials of Peleus and Thetis ; after the same. A Bacchanal, in which Bacchus is represented drii^ng out of a Cup, into which a Bacchante is pressing the juice of the Grape ; after the same. A dead Christ, supported by the Marys ; ^fier Vamdyck. Achilles discovered amidst the Daughters of Lycomedes ; after the same. The Ketum from Egypt ; after John Thomas. Flemish Feasants regaling at the Door of an Alehouse; after Teniera. [The Temptation of St, Anthony ; after the sam,e. Portrait of Lucas Yosterman ; after Lyviiis.'] [Vanden Wyngaerde was a print publisher as well as a designer and engraver.] [WYNTRANCK, , a Dutch painter of landscapes and water-fowl. He flourished during the time of Wynants, Ruisdael, and other eminent landscape painters, whose pictures he enriched with wild ducks and other aquatic birds, which he paint- ed in the most exquisite manner. His own land- scapes represent marshy grounds with pools backed by alders and willows, serving merely as the scene in which to display his masterly skill in ornithology. The birds are full of life and activity, their plumage soft and flexible as in nature, and the colours equal- ly true. Pew, if any, surpassed him in this depart- ment. Pictures painted entirely by himself are rare ; but the great contemporary landscape painters availed themselves of his ability to give aMitional beauty and value to their compositions ; hence his works are generally found m conjunction with others. Nothing of his history is recorded; the very short notice of him by Immerzeel shows that he was unacquainted even with his name, which he writes Wyntrack, and Balkema has copied it, without ad- ditional information.] WYTMAN, Matthew. This painter was bom at Gorcumin 1650, and studied for some time under Henry Verschuring. His first pursuit was land- scape painting : but he afterwards became a scholar of John Bylaert, and applied himself to painting conversations, and domestic subjects, in which he imitated the style of Gaspard Netscher vidth success. He also painted flowers and fruit, and his pictures xave] PAINTERS AND ENGRAVERS. [XIME of that deBcription were not without great merit. He had acquired considerable reputation, and had met with very flattering encouragement, when he died, in the prime of life, in 1689. X [XAVERY, Jacob, a painter of historical sub- jects, portraits, landscapes, sea-ports, fruits, flowers, and bas-reliefs, was born at the Hague in 1736. He was the son of Jacob Xavery the sculptor, and was instructed in painting by Jacob de Wit. He prac- tised at Amsterdam, Breda, the Hague, and passed some time at Paris. Occasionally he imitated the manner of Berchem in his landscapes, and ap- proached closely to his master, Jacob de Wit, in his representations of bas-reliefs in chiaro-scuro. He pamted portraits of several distinguished persons, among which were those of M. Braamcamp, and the sculptor Cressant. Of his private history there is- but little recorded ; his pictures are found in good collections in Holland ; and the time "in which he flourished was from about the middle to the latter part of the 18th century^ Though the foregoing particulars, as regards the difierent classes of pic tures painted by Xavery, are applied by Dutch writers to Jacob, there is some uncertainty in the matter ; as there was a contemporary artist, proba- bly his brother, whose names were Gerard Joseph Xavery, to whom works of the same kind are at- tributed.] XAVIN, Paul. This artist, with his brother, Hubert Xavin, are mentioned by Papillon as na- tives of Paris, and engravers on wood. He has not, however, specified any of their works. [They flour- ished about 1540.] XIMENES, or ZIMENES, Juan Fernandez. See MuDo. [XIMENEZ ANGEL, Josep, a scholar of An- tonio Rubio, of Toledo, succeeded Claudlo Coello as painter to the cathedral of that city, in 1695. He painted part of the frescoes of the hermitage of Fonseca, in which he represented incidents in the life of the Virgin, and the Vork was considered creditable ; he also painted a St. Anthony for the parish of St. Bartholomew at Toledo, and other pic- tures from sacred history, the subjects of which are not specified.] [XIMENEZ DE ILLESCAS, Bernab^, a Spanish historical painter, was born at Lucena in 1613, and from his infancy showed a disposition for the art by copying prints. It does not appear that he was educated in any school of painting, but was rather intended for the military profession. In the latter capacity he went to Italy, when his fondness for drawing and painting revived, and during six years while he was stationed there he studied the works of the great masters, and becanie a tolerable, if not a Very good, painter. On his return to Spain he painted for private persons, and was occupied on his first public work at Andujar in 1671, when he died. Leonard de Castro and Miguel Parrilla were his scholars. Count R^zynski notices a picture by him. The Battle of Santiago, in which there are numerous figures, in the collection of the Count di [XIMENEZ DONOSO, Juan, a Spanish his- torical painter and architect, was bom at Consuegra in 1628. His father Antonio taught him the ele- ments of painting, and he received further instruc- tion in the school of Francisco Fernandez, at Ma- drid. At the death of Fernandez he went to Rome, where he remained studying for seven years. He applied himself particularly to fresco painting and perspective, not caring for the antique, or the works of the great masters of painting in Italy. He re- turned to Madrid with more presumption than ta- lent, and practised for some time in the school of Carreiio. He formed an intimacy with Claudio Coello, and they painted conjointly several works in fresco, particularly a grand subject in the vestry of the cathedral at Toledo. He, however, executed some pieces without the assistance of Coello ; among them a respectable picture of St. Peter of Alcantara. He painted the grand altar-piece of St. Philip Neri, which was destroyed by fire in 1720. He succeeded Francisco Rizi as painter to the Chapter of Toledo, and he restored, that is to say repainted, the grand altar-piece by Rizi in the church of St. Gines, which excited the in^gnation of all his professional bre- thren. He painted several pictures for the Bene- dictines of San Martin, representing incidents in the life of their patron saint : and Palomino speaks of a Virgin of the Conception for the church of San Nicolas, which he considered his best work. He was much employed in the practice of architecture ; in which he exhibited consummate bad taste that accorded well with the knowledge of his patrons, and insured his success. An enumeration of his works in this department of art does not belong to this Dictionary, but may be found in Bermudez. His chief merit was in his colouring and the relief he gave to his figures ; and with more care and less vanity he would have been a good painter. He died of apoplexy in 1690, and was buried in the church of Saint Gines.]. [XIMENEZ, Francisco, a Spanish historical pamter, was bom at Tarazonain 1598. He studied Eainting in that city, but went to Rome to improve imself, and remained there some years. Having obtained the character of a good colourist, he return- ed to his own country, and was employed to paint two large pictures for the cathedral of the Seu at Saragossa. He pEiinted also for the chapter of the cathedral of Teruel an Adoration of the Kings, which it seems he borrowed from a picture by Ru- bens, or from a print after that in the palace at Madrid. He was a better colourist than designer ; the greater part Of his works being painted in fresco, or distemper, have perished. He died in 1666, from over-exertion in completing a large picture within a specified time. He left his property to form a fund for the support in their studies of the sons and for marriage portions of the orphan daughters of painters.] [XIMENO, Josef, a Spanish designer and en- graver, made the designs for the sumptuous edition of Solis's History of the Conquest of Mexico, pub- lished at Madrid in 1783, and also for the edition of the Galatea of Cervantes, published in 1784." He made vignette designs for other works, which are not remarkable for original invention, and have more of French common-place illustration of poetry than of Spanish ingenuity in devices. He was living and operated in 1791.] [XIMENO, Matias, a painter of old Castille, nourished about the middle of the 17th century. He painted the four pictures of the lateral altars of the Jeronymites of Siguenza, representing the In- carnation, the Nativity, the Epiphany, and the Presentation in the Temple. They are good both in design and colouriiig. He also painted the Con- version of St. Paul, which is considered his best work : it is dated 1652.] 927 tane] A DICTIONARY OF [ZACC YANES, Hernando. This Spanish painter was a native of Almedina. He flourished about the year 1531, and is said to have studied at Rome, under RaflFaelle. His principal works are in the churches at Cuenca, of which the most esteemed are the Adoration of the Magi, and Christ dead in the lap of the Virgin. [The pictures which Hernando Yanes painted about the year 15.31 were executed for a prothono- tary, canon, and treasurer of the cathedral of Cuen- ca, named Don Gomez Carillo de Albomoz, a man of considerable taste and judgment in works of art, who had visited Rome and Bologna. Don Gomez mentions these pictures in his will, and attests that they were all painted solely by the hand of Yanes ; a proof that he was of high reputation. The sub- jects of the pictures were, The Nativity, a Pope and a Bishop, Prophets, Saints, Apostles, and the Resurrection of Christ; and Bermudez praises them for drawing, colouring, attitude, expression, and elaborate execution, and likens them to many Ita- lian pictures of the time at which they were painted. The Pieta and the Adoration of the Kings, in com- position and drawing, are said to resemble the style of Lionardo da Vinci, and induce a belief that he studied in that school. Don Gomez in all his trans-r actions with Yanes found him a strictly honourable man ; and on several occasions he speaks of him as an extraordinary painter. It is not ascertained when he died, but it is supposed between 1550 and 1560.] YANUS, . Papillon mentions this art- tist as an engraver on wood, and speaks of his works as very delicately executed, but does not describe any of his cuts. YEATES, Nicholas, an English engraver, who flourished about the year 16S0. He executed a few plates of portraits, in a very indiflferent style, among which is that of Sir William Waller, General for the Parliament. YEPES, Thomas db. This artist was a native of Valencia, and excelled in painting flowers, fruit, fish, and still-Ufe. There are many of his works in the private collections at Madrid, Seville, and in his native city, where they are highly esteemed. He l^ied in 1674. [YOUNG, John, a mezzotinto en^aver and de-. signer, but better known for his outlmes of various celebrated Galleries of Pictures in England, which he published with descriptions. They were con- sidered good at the time, and supplied the place of catalogues. Among them are the Staflbrd, Anger- stein, Grosvenor, Leicester, and Miles collections ; historically considered, they will always be useful. His best mezzotinto print is after a picture by Mor- timer, Representing the memorable pugilistic con- test between Brpughton, the prize-fighter, and Ste- venson, coachman to Sir William Wyndham. John Young held the. ofllce of Keeper of the British In- stitution in Pall Mall, and was an active promoter of the Artists' Benevolent Fund. He died in 1825.] [YPEREN, or YPRES, Kabel van, was bom at Ypres in 1510; he studied in Italy and became a good historical painter in the manner of Tinto- retto. He returned to the place of his nativity, and died there about 1563 or 4,] YVER, Peter, a Dutch engraver, v^ho flour- 928 ished at Amsterdam about the year 1747. Among other plates he engraved a few portraits. YUSO, Fray Matias Antonio Traia. This Spanish painter was born at Valencia in 1680. He became a monk of the order of St. Francis, and was principally employed in painting pictures of the Virgin and Holy Families, for the church of his monastery, which are said to have possessed con- siderable merit. He died in 1753. ZAAGMOOLEN, Martin. This artist was a native of Holland, but neither the place of his nati- vity, nor the master under whom he studied, are men- tioned. Houbraken notices him as a painter of his- tory, and describes a picture of the Last Judgment by him, in which were introduced a great number of figures, very incorrectly drawn, and feebly colour- ed. [He operated from 1640 to 1660. He was the master of John Luyken, and Michael Musscher j so, if he was not a good painter himself, he formed good scholars.] ZAAL, J., a Flemish engraver, by whom we have a large etching, representing a Boar-hunt, after Snyders. It is executed in a bold, masterly style, and the masses are broad and powerful, but the drawing is not very correct. [It is uncertain whether his name was Isaac or Jan : he operated in 1673.] ZABELLI, or ZABAGLIO, Antonio. This artist was born at Florence about the year 1740. He engraved several portraits for the collection pub- lished by AUegrini, at Florence ; and some plated after the principal pictures at Naples : among which are the following : Mary Magdalene ; after Guercino. The Flight into Egypt ,■ after Guido. The Meeting of Christ and St. John ; after the same. The Three Marys at the Tomb of Cliristi after An.. Caracci. ZABELLO, Giovanni Francesco. This ItaUan engraver, according to Orlandi, was a native of Ber- gamo, and flourished about the year 1546. He marked his prints with a die, to which he added the date. ZACCHETTI, Bernardino. This painter was a native of Reggio, and flourished about the year 1523. He is supposed, by Tiraboschi, to have been a disciple of Raffaelle; but Lanzi considers this conjecture not well founded. His picture in the church of S. Prospero, designed and coloured in the style of Garofalo, and others of his works, of a simi- lar character, have probably given birth to such an opinion. ZACCHIA, Paolo, il Vecchio. This painter was a native of Lucca, and flourished about the year 1527. He is supposed by Lanzi to have studied at Florence, and painted, history with considerable reputation. There are several altar-pieces painted by him in the public edifices at Lucca, which prove him to have been an artist of great ability, particu- larly the Assumption of the Virgin, in the church of S. Agostino ; and the Ascension, in S. Salvatore, In the latter he evinces an acquaintance with fore- shortening, superior to the artists of his time. [Ro- sini has given an etching of the Marriage of the Virgin in the church of the Au^ustines at Lucca; the composition resembles the antique in simplicity.} ZACCOLINI, Padre Matted. According to Baglione, this artist was born at Cesena, in the Roman states, in 1590, and distinguished himself as zach] PAINTERS AND ENGRAVERS. [ZAOE a painter of perspective, in which he is said to have instructed Domenichino and Nicholas Poussin. He became a monk of the order of the Theatines, and his principal works are^in their church of S. Silves- tro, on Monte Cavallo. He wrote some treatises on perspective, the manuscripts of which are preserved in the Barberini library. He died in 1630. ZACHTLEVEN, [or SAFTLEVEN,] Corne- lius. This painter was bom at Rotterdam in 1606. It is not known from whom he received his first instruction in the art, but he settled at Ant- werp, where he acquired considerable reputation as a painter of drolls and drunken frolics, in which he imitated the style of Adrian Brower. He also painted the interiors of farm-houses and kitchens, with the recreations of the villagers, in which he appears to have made the works of David Teniers his model. Some of his best pictures represent corps de gardes, with soldiers playing at cards and amusing themselves, embellished with armour, helm- ets, and warlike implements, which are drawn with precision, and touched with great spirit. His works of that description are well composed, and his de- sign is bold and free. Though his pencil is less de- licate and spirited, and his colouring less clear and harmonious, than in the productions of the two eminent artists whose style ne followed, his pictures possess considerable merit, and are thought deserv- ing of a place in the best collections. We have a few etchings by Cornelius Zachtleven, executed in a spirited style, from his own designs ; among which are the following : A set of five grotesque subjects, representing the Five Senses. Twelve small plates of Dogs, Cats, Fowls, &o. A Landscape, with Goats and a Goatherd ; etched in a bold, masterly style. [Writers differ with respect to the date of his birth; some place it in I6I2, in which case he would be the younger brother of Herman, who was certainly born in 1609. The time of his death is not ascertained, but he was living in 1661.] ZACHTLEVEN, [or SAFTLEVEN,] Herman, was the younger brother of Cornelius Zachtleven, bom at Rotterdam in 1609, and is said to have been a scholar of John van Goyen. He did not, however, follow the style of that master, but applied himself to designing the most picturescjue views on the borders of the Rhine and Meuse, which he painted in a neat, highly finished style, and introduced an infinite number of figures and boats, which are correctly drawn, and touched with neatness and spirit. His skies are light and fioating, and his perfect acquaint- ance with aerial perspective, enabled him to give to his distances a pleasing and natural degradation. His colouring is clear and transparent, and nis pencil light and firm. It has been asserted that he travel- led to Italy, but it is proved by the Dutch biogra- phers, that he never went further from his native country than to visit Guelderland, and the Duchy of Cleves, for the purpose of making designs of the most interesting views in that neighbourhood. His drawings of that description enrich the portfolios of the curious ; and his pictures are found in the choicest collections. He resided the greater part of his life at Utrecht, where he died, in 1685. Herman Zachtleven 'kched a few plates of land- scapes, from his own designs. They are executed in a neat, spirited style; among others are the fol- lowing : A Landscape, with Cottages, and some Cows in the fore- ground. ' A Mountainous Landscape, with figures. A set of six Landscapes, numbered. A Landscape, with two Elephants. [Bartsch- has described 36 etchings by Herman Saftleven, to which Weigel adds two, and in Rigal's Catalogue five more are attributed to him ; but the last are disputed. For interesting particulars, the curious inquirer is recommended to consult Bartsch, Weigel, BruUiot, and Delalande's notes to the Rigal Catalogue.] ' ZAECHjBernard, a German engraver, by whom we have a set of ruins, after Jonas, UmbacJi. They are etched, and finished with the graver in a very neat style. [There are no satisfactory accounts of this engraver. In addition to the five etchings by him after Jonas Umha^h, there is a small square print of a landscape with figures, animals and ruins, of his own composition, showing that he was a design- er as well as an engraver. Daniel Zaeeh, a painter, goldsmith, and engraver, operated in 1613. Brul- liot mentions twelve pieces, designs for goldsmiths' work, consisting of Vases and Goblets, marked B. Z. 1581 ; he is doubtful whether they are by Ber- nard Zaech.] ZAGANELLI. See Cotignola. ZAGEL, Matthias. This ancient German en- f-aver is named by different authors Zatzinger, asinger, and Zinck. He flourished about the year 1500, and, from the style of his engraving, was probably a goldsmith. His plates are executed wit^i the graver, in a neat manner, but without the least taste, and his compositions and drawings are very indifferent, and in so stiff and Gothic a style, that if his prints were not dated, they would be judged to be anterior to those of Martin Schoen. It has been observed, that as he used the graver with great delicacy and timidity, his plates could not resist many impressions, and that after they were retouch- ed, the prints were very bad. It is therefore neces- sary to see the early impressions of them to form a proper judgment of the merit of his works. He usually mai'ked his plates with the letters M Z, in a Gothic character, thus, j^'Xt or '^Q^, The following are his principal plates : Solomon's Idolatry ; dated 1501. The Virgin and infajit Christ, in which she is represented holding a Cup to catch the Water icom. a Foimtain. 1501. St. Catherine, with the Instrument of her Martyrdlom. St. Ursula. St. Christopher carrying the infant Christ on his shoulder. The Martyrdom of St. Sebastian. Socrates and [Xantippe; or a man subjugated by his wife.] A Cavalier seated, in a Landscape, entertaining his Mis- tress. A March of Soldiers, preceded by a Drummer and a Fifer. A LoTer and his Mistress, embracing. 1505. An Assembly of Courtiers, some dancing, called Tlie Great Ball. A Tournament in the Streets of Munich, caHed The Great Tournament, All these prints are very scarce. [In addition to the prints mentioned above, Bartsch, Peintre Graveur, tom. vi.-page 371) et seq., describes nine under the following titles : The Decollation of John the Baptist. St. Sebastien pierced with Arrows. St. George encountering the Dragon. The Martyrdom of St. Barbe. St. Katharine reading. St. Margaret holding a Cross. Meditation on DeaQi, represented by a naked Woman standing on a skull, and holding a sun-dial. 929 2AGE] A DICTIONARY OF [ZANE A Cavalier with a Lady en croupe, galloping, in a land- Light and Obscurity, represented by a woman holding part of her dress before an Owl, &c. The various guesses that have been made at the •name of the artist who used the mark given in the text, show pretty clearly that there is no certainty, at present, of the true one. In addition to those quoted, he is also called Mathias Zmgler and Matthew Zeyssir^er ; but with the same uncertainty. What- ever his name, there can be but little doubt that he worked as a goldsmith, and the dates on several of the prints establishes the time in which he operated, it is supposed at Munich. But he was also a paint- er, and as such he is called Martin Zagel, and ranked with Wohlgemuth ; a picture of the Cruci- fixion, said to be by him, is in the gallery at Vienna, and is commended as a simple and excellent work. It would be tedious, and perhaps unsatisfactory, to quote the various speculations respecting this old artist ; the inquirer who may be desirous of knowing the various opinions of those who have endeavoured to explicate the subject, will find some amusement in consulting Zani, Enciclopedia delle Belle Arti ; Bartsch, Peintre Graveur; Brulliot, Dictionnaire des Monogrammes ; and the various German and other writers to whom in the course of their remarks they refer.] ZAGEL, or ZAGHEL, Theodore. This artist is mentioned by Orlandi in the Abecedario, as the ,engraver of a print representing a Woman with her back towards the spectator. It is marked with the cipher Sj • ZAGO, Santo. This painter was a native of "Venice, and was brought up in the school of Titian. He was not an unsuccessful follower of the style of that great master, and painted some pictures for the churches at Venice, which were highly esteemed, particularly an altar-piece, in the church of S. Ca- terina, representing Tobit and the Angel. [He was a superior painter in fresco, and operated about 1550.] ZAIS, Giuseppe. This painter was a native of Venice, and studied under Francesco Zuccherelli, during his residence in that city. He painted land- scapes with considerable success. He possessed a genius more inventive and original than his instruct- or, but was inferior to him in the facility of his touch, and the suavity of his colouring. He also painted battle-pieces, which possessed great merit. He died at an advanced age, in 1-784. ZAMBONI, Matteo. According to Crespi, this artist was a native of Bologna, and flourished about the year 1700. He was one of the ablest disciples of Carlo Cignani, and painted history with consider- able reputation. He had given proof of very pro- mising talents, in two altar-pieces in the church of S. Niccolo, at Rimini, representing the Life of S. Pietro Celestino, and of S. Benedetto; when he died in the bloom of hfe. ZAMBRANO, Juan Luis, a Spanish painter, bom at Cordova in 1599. He was a disciple of Pablo de Cespedes, and was a successful follower of the style of that master. His principal works are in the cathedral at Cordova, and in the church of the convent of Los Martyros, where he painted two altar-pieces, representing the Stoning of Stephen, and the Martyrdom of S. Acisclo and S. Victoria. In the colegio de Santa Catalina, is a fine picture by him of the Guardian Angel, and a St. Christo- »her, which Palomino describes as designed in the 930 great style of Michael Angelo. He passed the lat- ter part of his life at Seville, where he painted seve- ral altar-pieces for the church of St. Basil, and died in that city in 1639. [It is agreed that Zambrano was a scholar of Cespedes, and at that master's death he established himself at Seville. Cespedes died in 1608; it fol- lows that Zambrano was born earlier than 1599. His manner of painting was correct and spirited, and his colouring brilliant. His easel pictures were highly esteemed, and were purchased chiefly by the amateurs of Andalusia. His best public works were three large pictures of subjects taken from the life of St. Basil, which he painted for the convent of that Saint.] ZAMORA, Juan de. This artist was a native of Seville, and flourished about the year 1650. He distinguished himself as a painter of landscapes, embellished with historical figures, in which he ap- pears to have imitated the style of the best masters of the Flemish school. Some of his most consider- able works are preserved in the episcopal palace at Seville. [Juan de Zamora was living in 1671. He painted several historical works from Scripture for the Cardinal Spinola, but his landscape back- grounds were consid,ered the best parts. There was also a Diego Zamora, who painted at the latter part of the sixteenth century in the cathedral of Se- ville, but nothing further is mentioned of him.] ZAMPEZZO, Giovanni Batista. This painter was born at Cittadella, near Bassano, in 1620, and studied at Venice, under Jacopo ApoUonio. He was a successful imitator of the style of his instruct- or, and painted some altar-pieces for the churches at Bassano, which were esteemed little inferior to the works of his master. He died in 1700. ZAMPIERI, . See Domenichino. ZAN, Bernard, an engraver mentioned in the Abecedario, who is said to nave flourished about the year 1571. He marked his prints with the initials B. Z., with the date ; but ms works are not spe- cified. ZANARDI, Gentile. According to the Padre Orlandi, this paintress was a native of Bologna, and was instructed in the art by Marc Antonio Prances- chini. She possessed an extraordinary talent of copying the works of the principal masters with a softness and amenity of colour that surprised the artists of her time ; and also painted historical sub- jects of her own composition. ZANCARLI, PoLiPHiLos. This artist is men- tioned by Florent le Comte as the engraver of twelve plates of antique foliage for friezes. [He was an ornamental designer, and operated about 1624 Many of his designs were engraved by Odoardo Fialetti, of which an account may be found among that master's works in Bartsch, torn. xvii. It may be noted, that he is also called GiANCARLi,Gian and Zan being synonymous, according to dialects.] ZANCHI, Antonio, was born at Venice in 1639, and was a scholar of Francesco Rusca. According to Lanzi, he is more noted for the number of his works, in the public edifices at Venice, than for their merit. In the scuola di S. Rocco, is his most considerable performance, representing the plague which afilicted Venice in 1630. In the church of S. Girolamo there are several of his works, particu- larly the Good Samaritan, and the Prodigal Son. He died in 1722. ZANETTI, Count Antonio Maria, aVenetian nobleman, who was not only celebrated for the cu- rious collection of works of art which he possessed, zake] PAINTERS AND ENGRAVERS. [ZEEM but also for his own ingenious productions. He was born at Venice in 1680, and was taught drawing as an accomplishment, for which he conceived so strong an attachment, that at the age of fourteen he etched a set of twelve plates, from his own designs, repre- senting studies of heads and figures, which he dedi- cated to Dr. Mead. Assisted by Antonio Maria Za- netti, his relation, and others, he executed and pub- lished a great number of etchings and engravings on wood, in chiaro-scuro, from the drawings of Raf- faelle, Parmigiano, and other celebrated painters, many of which he had purchased at the sale of the Arundelian collection. They are divided into two sets, and together consist of ninety-nine prints on copper and wood, with the portrait of Zanetti, en- graved by Faldoni, from a painting by Rosalba, in the front of the work. He marked his prints with a monogram, composed of an A, an M, and a Z, thus, _^\j- We have also by him, A set of twelve etchings of Figures and Animals ; after B. Castiglione. A set of eighty prints of Antique Gems. [A collection of Statues in tiie palace of St. Mark, and other puhlic places, at Venice, which are praised by Ciffonara.'] He died at Venice in 1757. ZANETTI, Antonio Maria, the younger, was the nephew of the amateur mentioned in the pre- ceding article, and was born at Venice about the year 1720. He was librarian of St. Mark, and was not less distinguished than his uncle for his zealous attachment to the arts. In 1760 he published a set of eighty plates, designed and etched by himself, from the works of the Venetian painters, entitled Varie Pitture a fresco de prindpali Maestri Venezi- ani, Sfc. [He published other artistically learned works respecting the Venetian painters. Zani says he was born in 1716, and died in 1778.] ZANGRIUM, John Baptist, a Flemish en- graver, who resided at Lou vain about the year 1600. He pubhshed in 1602 a book of dresses, with the title Album Amicorum habitihus Mulierum. omnium nationum Europce. By the side of each figure is an ornamental mantle, with a helmet, and a blank left for a coat of arms. They are neatly executed, but without much taste. In the beginning of the work are introduced the portraits of the Duke of Brabant ; Isabella Clara, his duchess ; and Justus Lipsius. ZANI, Giovanni Batista. This artist was a native of Bologna, and a scholar of Giovanni An- drea Sirani. He intended to form a collection of etchings from the works of the most eminent Bo- lognese painters, and for that purpose had completed the drawings from the cloisters of S. Michele in Bosco, but died young before the etchings were finished. [He operated in 1640, according to Zani, but Bartsch says "he flourished in 1660. There is but one print known by him, which is of great rarity; it is a " Glory," after L. Caraeci.] ZANIMBERTI, Filippo. This painter was born at Brescia in 1585, and was brought up in the school of Santa Peranda. He painted history in the style of his instructor, and there are several pic- tures by him in the churches at Brescia and at Ve- nice, which establish his reputation as an artist of considerable ability, particularly a large picture of the Miracle of the Manna, so much commended by Bidolfi and Zanotti. He also excelled in painting easel pictures for private collections, representing historical or fabulous subjects, into which he intro- duced- a great number of small figures, well compos- 3 o 2 ed, and touched with great spirit. He died in 1636. ZANOTTI, Giovanni, Pietro. This artist, though of Italian origin, was born at Paris in 1674. He was sent when young to Bologna, where he be- came a scholar of Lorenzo Pasinelli. Under that master he acquired an agreeable tone of colouring, a mellow pencil, and an intelhgent acquaintance with the principles of the chiaro-scuro. He painted several altar-pieces for the churches at Bologna, of which the most esteemed are, the IncreduUty of St. Thomas, in the church of S. Tommaso dal Merca- to ; the Resurrection, in S. Pietro ; the Nativity, in La Purita; and a large picture in the Palazzo Pub- hco, representing the Ambassadors from Rome swearing fidelity to the Bolognese. He resided great part of his life at Cortona, where he also dis- tinguished himself by several pictures he painted for the churches, particularly Christ appearing to Magdalene ; Christ bearing his Cross ; and the Murder of the Innocents. Zanotti was a laborious and intelligent writer on art; of his numerous publications, the most con- siderable is his Storia dell Accademia Clementina di Bologna, published in two volumes, quarto, in 1739. He ffied in 1765. ZARINENA, Francisco. According to Palo- mino, this painter was born at Valencia about the year 1550. He went to Italy when he was young, where he is said to have had the advantage of study- ing in the school of Titian. His principal works are in the monastery of San Miguel de los Reyes, without the walls of Valencia. In composition and colouring they are worthy of the school in which he was educated. He died in 1624. Francisco Zarin- ena had two sons, Cristobal and Juan, who were his disciples, and painted history in the style of their father. There are several of their works in the pubhc edifices at Valencia. [Francisco Zariii- ena was a scholar of the elder Ribalta; Cean Ber- mudez says nothing of his studying in the school of Titian.] ZARLATTI, GiosEFFO, an Italian engraver, bom at Modena about the year 1635. "We have a few etchings by him, of historical and fancy sub- jects, from his own designs, executed in so spirited and pleasing a style, that his premature death, at a very early age, is deeply regretted. ZATZINGER, . See Zagel. ZE, De. The name of this artist is afiixed to a small print representing Christ dead in the Tomb, attended by an Angel. It is executed entirely with the graver, in a style resembling that of John Sa- deler, and is apparently from his own design. ZEEMANj Remt, or Reinier, a Dutch painter and engraver, born at Amsterdam in 1612. He ex- celled in painting sea-views and shipping, which he designed with great correctness and precision, and the figures he introduced into his pictures are well drawn, and touched with spirit. We have several etchings by this artist, from his own designs, which are executed in a bold, free style ; among which are the following : A set of eight plates of Shipping ; designed and engrav- ed by Remy Zeeman. 1632. A set of four views in Amsterdam. 1636. A set of four Sea-ports in Holland ; published at Amster- dam in 1656. The Four Elements ; in four plates; Reinier Veeman,fec. Two Views in Paris, one of the Faubourg St. Marceau, the other of the Gate of St. Bernard. A set of twelve Views of Shipping ; published in Londou by Ar. Tooker. 931 zeem] A DICTIONARY OF [ZETT [According to several authorities, the family name of this artist was Nooms, and it is supposed that he obtained the sobriquet of Zeeman from having been a sailor in his youth, and which was confirmed by his painting and etching scarcely any other than marine subjects. Bartsch describes upwards of one hundred and fifty etchings by him, and Weigel in his Supplement increases the number to one hundred and seventy-seven : of some, however, he expresses a doubt. The collector will do well to consult both these authorities. Neither the place nor the time of the artisf s birth is ascertained. The editor has seen pictures by him not much inferior to Van de Velde in the quality of the painting, but darker in the colouring, and over-crowded in the composition. It is said that he painted many pic- tures for Frederick William of Prussia ; and that he imitated Jan Both and Claude Lorraine in land- scape : the latter assertion requires confirmation. His works are esteemed in Holland, and are deserv- ing of consideration elsewhere.] ZEEMAN, Enoch. This artist is mentioned by the noble author of the Anecdotes. He resided Several years in London, where he met with con- siderable employment in painting portraits and heads, in the laboured style of Denner. He died in 1744, leaving a son, Paul Zeeman, who followed the same profession. Isaac Zeeman, brother of Enoch, also practised the art, and died in 1751, leaving a son, 1sho was also a painter. ZEGHERS, . See Seghers. [ZEITBLOOM, Bartholomew, an ancient Ger- man painter of the school of Ulm, to whom many pictures of an early period in private collections, and in some old chapels in Germany, are attributed. Nothing authentic of his history is recorded, but his pictures are described as being powerful and striking for the time in which they were painted. It is said that the forms are awkward, the arms and legs meagre and stiff, but the heads beautiful, with an expression of mild serenity and repose ; that the colouring is brilliant and powerful ; the carnations firm and vigorous in tone. Dr. Kugler, in his hand-book of the German and Flemish painters, mentions several pictures by the master, and others by painters who acted under his influence : the sub- jects are mostly figures of saints, or scenes from the life of Christ, and of John the Baptist. They are dispersed in various localities ; two ascribed to the master are in the Pinacothek at Munich.] ZELOTTI, Batista. This painter was born at Verona in 1532, and was brought up in the school of Antonio Badile, He was the fellow-student and friend of Paolo Veronese, with whom he co-operated in several important works in the public edifices at Venice. He is called by Vasari, Batista da Vero- na, and is numbered, by that author, among the disciples of Titian. His picture of the Holy Family, in the Carrara collection, is painted entirely in the style of that master, and it is to his studies in that school that he was indebted for that warmth and harmony of colouring, in which he surpassed Cag- liari. He particularly excelled in fresco painting, and his ability in that branch induced Paolo to court his assistance in many of the great works in which he was engaged ; and some of the frescoes by Zelotti have been attributed to that master. The great emblematical subjects, painted by Zelotti in the hall of the Council of Ten, in the Palazzo di S. Marco, at Venice, have been engraved by Valentine le Febre, as the works of Paolo Veronese. He was Jnore successful in fresco than in oil-painting, al- 932 though some of his works in the latter are deserv- edly admired, particularly his two pictm'es repre- senting the Conversion of St. Paul, and Christ with his Disciples in the Fishing-bark, in the cathedral at Vicenza. He possessed great fecundity of inven- tion ; his compositions are learned and judicious, and his touch is bold and animated | but he is inferior to II Veronese in the graceful turn of his figures and the beauty of his heads. He died in 1592. [ZENALE, Bernardo, called also Bernardo da Triviglio, was a native of Triviglio, in the Milanese territory. He was a painter of history and archi- tecture ; he excelled in the latter. In his old age, in 1524, he composed a work on perspective, where- in he treated the question, whether objects repre- sented small and in the distance ought to be less dis- tinct, in order to imitate nature, than those that are larger and more near ? This he explained in the negative ; contending that distant objects should be as highly finished and well-proportioned as those more fully before the eye. The greater part of his works, as a painter, have ceased to exist ; but Bosi- ni, Storia della Pittura Italiana, plate 93, has given one of his compositions of a votive picture, in which the Virgin with the Infant is enthroned, attended by the four Doctors of the church, and the donors with their two children kneeling and worshipping. Two angels hold a crown over the head of the Vir- gin. It is presumed that he practised with Lionar- do da Vinci, for they were intimate friends. It was this Bernardo Zenale who dissuaded Lionardo from attempting to carry the head of Christ, in his cele- brated Last Supper, to a higher degree of beauty and perfection than he had bestowed on it. Allud- ing to the beauty with which Lionardo had endued the heads of the two Saints James : " Leave the face of Christ as it is," said Zenale, " for you will never be able to make it worthy of Christ among those apostles." Lionardo adopted the advice ; a proof of his reliance on the judgment of Bernardo. Zani says he was bom in 1426, and died in 1526 ; if the first date be correct, he was ninety-eight years old when he published his work on perspective.] ZENCI, DoMENico, an Italian engraver, who flourished about the year 1570. He worked in a style resembling that of Marco da Ravenna, and he is supposed to have been a disciple of that master. His prints are, however, very inferior, and his draw- ing is incorrect. He engraved a set of portraits, to which he afiixed a frontispiece ornamented with figures. The work is entitled, Illustrium Jurecon- sultorum Imagines. [The name of this artist was Zenoi, or Zenoni, not Zenci. He engraved some pieces after Oiulio Clovio and Raphael.'] ZENOBIO, . See CarleVaeiis. ZENONI, Dl-ce. This artist appears from his name to have been a native of Italy. He was a goldsmith, and engraved a few plates of portraits, which are neatly executed with the graver, but in a stiff, formal style. Among others is a portrait of Henry III. of France, an oval plate, with an orna- mental border, from his own design ; it is inscribed, Duce Zenoni Oreficef. 1634. ZENTNER, J. L., a German engraver, who re- sided at Paris about the year I78O, and afterwards ' visited England. He engraved several plates re- presenting landscapes, animals, dead game, &c., which are etched, and finished with the graver in a neat, clear style. ZETTER, Paul de. This artist was a native of Hanover, and flourished about the year 1630. He ziar] PAINTERS AND ENGRAVERS. [ZOAN was chiefly employed in engraving portraits, from his own designs, which are executed with sufficient neatness, but in a stiff, tasteless style. He engraved several plates for Boissard's collection of portraits. His prints are sometimes marked with the initials P. D. Z. fee, and sometimes with a cipher composed of a P and a Z joined, ^ • ZIARUKO, John, was a native of Poland, and was probably a painter. We have by this artist a set of large etchings, fi-om his own designs, repre- senting the ceremonies used at the coronation of Louis XIII. of France. They are executed in a slight, spirited style. ZIPRONDI, Antonio. According to Tassi, this painter was born at Clusone, in the Bergamese state, in 1657. After being instructed in the rudi- ments of design he went to Bologna, where he en- tered the school of Marc Antonio Pranceschini, and by the instruction of that able artist became a re- putable painter of history. There are many of his works in the churches and private collections at Clusone, which prove him to have possessed a ready invention, and uncommon facility of execution. One of his most admired works is a picture of the An- nunciation, in the church of S. Spirito. He died in 1730. ZILOTTI, DoMENico Bernardo. This artist was born at Borso, near Bassano, about the year 1730. He painted landscapes in- the style of Fran- cesco Zuccherelli, which possess considerable merit. We have several etchings by Zilotti, some of which are from his own designs, and others from the works of Simonini, Marieski, and others, which are exe- cuted in a neat, spirited style. [ZINCK, Christian Frederic, a celebrated painter in enamel, was born in Sweden, or at Dres- den, in 1685. He came to England in 1706, and studied under Boit, whom he soon surpassed. He was patronized by George II. and other members of the royal family, for whom he executed numerous portraits in enamel. One of his finest works was a copy of Isaac Oliver's portrait of Mary Queen of ' Scots, which was in the possession of Dr. Mead. It has been said that he rivalled Petitot ; this is not exact, for he did not paint like him, nor approach that master's excellence by many degrees. He was, however, superior to most others of his time, and still continues to hold a high rank in the art. He was much employed, and his works are numerous, but many are attributed to him which he did not execute. In 1737 Zinck paid a visit to Germany; on his return to England, finding his sight injured by so much application, he retired from business. His reputation, however, was so great, that Madame Pompadour solicited him to copy in enamel a por- trait of the king of France, which she forwarded to England for the purpose. He died at South Lam- beth, near to London, in 1767. It is said that he etched in aquafortis ; if so, it was probably for his own amusement.] ZING, or ZINGG, Adrian, was a native of Swit- zerland, and was for some time instructed in engrav- ing by John Rudolf Holzhalb, of Zurich ,■ but he afterwards went to Berne, where he became a pupil of Louis Aberli, with whom he remained two years. He afterwards visited Paris, where he received some lessons from John George Wille, by which his style was gi'eatly improved. During a residence of seven years at Paris, he had acquired considerable reputa- tion, when he was invited to Dresden by the Elector of Saxony, where he was appointed engraver to the court, and was made a member of the Electoral Academy. We have a variety of landscapes and views by this ingenious artist, which are executed in a neat, clear style, and produce a very pleasing effect. Among many others we have the following prints by him : Two Marine Views ; after Vernet ; one entitled La Peche keureuse ; the other L'Ecueil dangerextx. A Landscape, with Nymphs hathing ; after Dietriey, A Moonlight ; after A. Vander Neer. Two Views on the Maine i after C, G. Schutz. A pair, representing the Port and the Gulf of Naples ; after P. Meitay. ZING, ■ See Zagel. ZINMERMAN, Michael. According to Papil- lon, this artist was a native of Vienna, and flourished about the year 1550. He is said to have been a painter, as well as an engraver on wood, and exe- cuted the cuts of a large geographical chart, con- sisting of ten parts, which join together. It repre- sents the kingdom of Hungary, with the arms of the provinces, from a design of Wolfgangus Lazius, Physician and Historiographer to the Emperor Ferdinand I. Papillon describes it as a very fine performance. [ZOAN ANDREA, the imaginary name of an engraver who flourished in the early part of the six- teenth century, and marked his plates with the letters Z. A. Zani was the first to explain these initials by Zoan Andrea, which he says is the same as Giovanni Andrea, Zoan being the v enetian pro- nunciation of Gian. It would follow that the artist was a Venetian ; but Ottley questions the accuracy of this, and asserts that " his manner of engraving re- sembles that practised by Mantegna, Bramante, and Gio. Antonio da Brescia. One of his plates, he says, appears to have been done from a design of Man- tegna ; another, representing a Lion vanquished by a Dragon, after Lionardo da Vinci ; an'd upon the whole there seems better reason to place him in the Lombard school than in the Venetian." Bartsch, Peintre Graveur, torn, xiii., has described thirty- three prints attributed to this engraver, the greater part having the mark, and on one, which is copied after Albert Durer, is the date 1516. Ottley, in his unpublished Catalogue of Engravers, which unhap- pily he did not live to complete, describes several others. The print of a Lion vanquished by a Dragon, after Lionardo da Vinci, is a diffei-ent com- position from that mentioned in the notice of Lio- nardo in this Dictionary, as being in the British Museum, and which Bartsch ascribes to John Du- vet. Ottley concludes his notice of Zoan Andrea by saying, " I shall make mention of certain wood- engravings bearing the initials z. a. and i. a. when I come to speak of Giovanniandrea Vavassore, an artist who resided at Venice at the close of the fif- teenth and the commencement of the sixteenth century, and with whose name Zani was unac- quainted." That part of his Dictionary has not been printed. The inquirer who is desirous of being more fully acquainted with what relates to this master and the works attributed to him, will do well to consult Ottley's " Inquiry into the Origin and early History of Engraving ;" Zani, " Materiali," and " Enciclo- pedia Metodica," vols. iv. and ix., parte seconda, in the notes. In the British Museum are four prints by Zoan Andrea which have not been noticed by any of the writers : A reversed copy of the Virgin and Infant, with a Monkey ; after Albert Durer : H. 6i in., W. 41 in. 933 ZOBO] A DICTIONARY OP [ZUBE St. Jerome sitting ■writing. Two upright plates of Ornaments. In Robert Dumesnil's Catalogue there is one de- scribed not noticed elsewhere : it is an ornamental piece. On the left is a satyr supporting a tablet on which are a horseman and three foot soldiers fight- ing ; on the right a child stands on a cornucopia j at bottom a medallion portrait with an inscription : H. 5p., L. 4p.] ZOBOLI, Jacopo, was a native of Modena, and flourished about the year 1740. He was first a dis- ciple of Francesco Stringa, but afterwards studied at Bologna, and from thence went to Rome, where he died, in 1761, with the reputation of a respectable painter of history. One of his principal works at Rome is a picture of S. Girolamo, in the church of S. Eustachio, which is finely composed, and exhibits a harmony of colouring superior to most of his con- temporaries. [Zani places his death in 1767.] ZOCCHI, Giuseppe. This artist was born at Florence in 1711. He was chiefly employed in em- bellishing the palaces of the nobility in that city and its vicinity with ceilings and other decorations, particularly those of Rinuccini and Gerini. He made drawings of the most remarkable views in Florence, and the villas in the environs, which he caused to be engraved and published in sets. The figures which he introduced into them were etched by himself, and two entire plates of the last set. He died at Florence in 1776. [Zani and Ticozzi place his death in 1767. He engraved several plates after Guido, Simone da Pesaro, P. da Cortona, Solimene, and others.] ZOCCHI, or ZuccHi, Gioseffo. See Zucchi. ZOFFANY, JoHAN. This able artist was born at Frankfort about the year 1735. He came to England when he was about thirty years of age, but for some time met with so little encouragement, that he was reduced to greit distress, until he at- tracted the public attention, by a portrait he painted of the Earl of Barrymore, which laid the founda- tion of his future reputation. He soon afterwards acquired considerable celebrity by the portraiture of the most celebrated dramatic performers in their favourite characters, which were designed and paint- ed with surprising truth of expression, and admira- bly coloured. Of these, the most successful were his pictures of Garrick in Abel Drugger, of which we nave an excellent print by Dixon ; Foote and Weston in Dr. Last, engraved by Finlayson ; and Foote in Major Sturgeon, engraved by Haid. Among his most distinguished works were the portraits of the royal family, with those of the members of the Royal Academy. Having expressed a desire of visiting Italy, his Majesty is said to have graciously interested himself so far on the occasion, as to give direction for his being recommended to the Grand Duke of Tuscany. Whilst he was at Florence, he painted his celebrated picture of the Florentine Gallery, now in the king's collection. A short time after ZoflFany's return to England, he obtained permission to go to the East Indies, where he acquired a competent fortune by the exercise of his talents. Although he continued to paint after his return from India, it was evident that his powers, as well as health, were considerably- debilitated, and the latter productions of his pencil exhibited little of the spirit and vigour which cha- racterized his earlier works. Zoffany was a member of the Royal Academy. [According to Zani, he was bom in 1733, and died in 1772.] 934 ZOLA, Giuseppe. This artist was bom at Bres- cia in 1675, and distinguished himself as a land- scape painter pf considerable ability. He resided the greater part of his hfe at Ferrara, where there are several of his works, in the pubUc edifices and private collections, which are painted in a bold, free style. He usually introduced into his pictures sub- jects of sacred history, in which the figures are not equcd to the landscape. Some of his best produc- tions are in the church of S. Lionardo, at Ferrara. He died in 1743. [In some of his carefully-painted pictures, the figures are remarkably elegant and highly finished; like many other painters, he be- came negligent as his business increased.] ZOPPO, Marco. This painter was bom at Bo- logna about the year 1445. He learned the rudi- ments of design in his native city, but he afterwards studied at Padua, under Francesco Squarcione. Educated in the same school with Andrea Man- tegna, he became a respectable competitor with that distinguished artist in several public works at Padua. He resided some time at Venice and Pesaro, and painted an altar-piece for the church of the Osser- vanti, in the latter city, representing the Virgin and infant Christ, seated on a throne, surrounded by several saints. It is inscribed with his name, and dated 1471. He died in 1517- [He was originally a scholar of Dalmasio Lippi. The picture mentioned in the text as having the dale 1471 is now in the Museum at Berlin. It is doubtful whether he lived so late as 1517 j some writers place his death in 1498.] ZORG, Henry Martin Rokes, called, This artist was born at Rotterdam in 1621. He was the son of Martin Rokes,' the master of the passage-boat from Rotterdam to Dort, who, on account of his extraordinary care and attention to passengers, and the commissions he received, acquired the appella- tion of Zorg, or Careful, and the name descended to our artist. Having shown an early disposition for the art, he was sent to Antwerp, where he was placed under the tuition of David Teniers the younger, and became an eminent painter of similar subjects to those in which his celebrated instructor had acquired so distinguished a reputation. His pictures represent the interiors of Dutch apart- ments, with figures regaling and amusing them- selves, in which he sometimes imitated the style of Adrian Brower ; and the general character of his works is a mixture of the difierent attributes of the above-mentioned eminent artists. He also painted conversations and domestic subjects, fairs, and fish- markets, which are ingeniously composed and cor- rectly drawn : his colouring is warm and mellow, and he had 3 competent knowledge of the principles of the chiaro-scuro. He died in 1682. [The pic- tures of Zorg are purely Dutch, not Flemish ; they have more resemblance to Ostade, Bega, and Brau- wer, than to Teniers. When they are found in a pure state, they are worthy of a place in any collec- tion of Dutch pictures. His first master was W. Buytenweg of Rotterdam.] ZOROTI, DoMENico, an Italian engraver, who, according to Florente le Comte, resided in Germany, where he engraved some portraits. ZOUST, . SeeSoEST. ZUBERLEIN, or Ziberlien, Jacob. This art- ist was a native of Tubingen, in Germany, and fiourished about the year 1590. He is said to have been a painter, but is more known as an engraver on wood, and executed a considerable number of wooden cuts, among which are the frontispieces for ZUBO] PAINTERS AND ENGRAVERS. [zucc the Annals of Crusius, printed at Frankfort in 1595. He usually marked his prints' with a monogram composed of an I and a Z, thus, 1^ y to which he sometimes added a small tub. [ZUBOZ, Alexis, a mezzotinto engraver, lived in the first half of the 18th century. He was a scholar of P. Picart, but went to Russia and prac- tised at St. Petersburg. He engraved a series of the emperors of Russia ; to the portrait of Peter the Great he put his name with the date 1729. His name is also found on the portraits of Anne Pe- trowna and Catharine Alexowna. The expression is sufficiently good, but there is nothing remarkable in the execution.] ZUCCARO, or ZUCCHERO, Taddeo. This painter was born at S. Angelo in Vado, in the duchy of Urbino, in 1529. He was the son of Ottaviano Zuccaro, a painter of little celebrity, by whom he was instructed in the elementary principles of de- sign ; but he afterwards became a disciple of Pom- peo da Pano. Desirous of improving himself by studying the works of the great masters at Rome, he ventured to visit that city when he was only fourteen years of age. Young, and unprotected in that great capital, he was obliged to follow thp hum- ble occupation of a colour-grinder. In that state of destitution, he had still the courage to devote a por- tion of his time to the prosecution of his studies ; and it frequently happened, that after passing the day in designing from the works of Raffaelle, in the Palazzo Chigi, he was compelled to sleep under the loggie of the palace, being without the means of providing himself with a lodging. In this miserable condition, he was noticed by Daniello de Por, a painter then in some estimation, who favoured him with his assistance and advice ; and in 1547, when he was eighteen years of age, he was employed to decorate the facade of the Palazzo Mattel, with some emblematical subjects in chiaro-scuro. By this, his first public work, he acquired considerable reputa- tion, and he was soon afterwards engaged by the Duke of Urbino to paint a series of frescoes, in a chapel of the cathedraL He also executed some Considerable works at Pesaro, and returned to Rome in the time of Julius III., where he was employed by that pontifi", and by his successor, Paul IV., in the embellishment of the Vatican, particularly in the apartments called II Torrione. In a chapel of the church of S. Maria della Consolazione, he painted in fresco several subjects of the Passion of our Sa- viour, which are considered among his best perform- ances. He was next employed by Cardinal Pai- nese to ornament the villa he had built at Caprarola ; and it was on this occasion, more than any other, that he discovered the talents of an able artist. He represented the most memorable actions of that illustrious family, particularly those of Paul III. and Alessandro Farnese, in a variety of compart- ments, in which he has evinced great powers of invention, and a judicious arrangement of his sub- jects. On the merit of these performances, Lanzi ob- serves, that the admirers of art who visit the palace of Caprarola, usually return from it with a much more favourable idea of the powers of Taddeo, than they had conceived before they went thither ; and adds, that he was assisted, in the execution of that great undertaking, by some young artists, who after- wards proved superior to himself. John Joseph Prenner has engraved this work in a set of forty- five plates, published in 1748. Taddeo Zuccaro died at Rome in 1566, in the thirty-seventh year of his age, worn out with con- tinual exertion, and some disposition to excess. He was buried in the church of La Rotonda, near the remains of Rafiaelle, and the following epitaph was afterwards inscribed on his tomb by his brother, Federigo : Fredericus m^rens posuit anno 1568, morihus, picturd, Haphaeli Urbinati simillimo. An unwarrantable flattery, which can only be palliated by the partiality of fraternal afi'ection. ZUCCARO, or ZUCCHERO, Federigo, was the younger brother of Taddeo, born at S. Angelo in Vado, in 1543, and was placed, when he was very young, under the tuition of his brother, at Rome, who paid the greatest attention to his education. In a few years he was sufficiently advanced in the art to be able to assist Taddeo in several of the con- siderable works in which he was engaged, and was employed by Pope Pius IV., in conjunction with Federigo Baroccio, in the Palazzo Belvidere, where he painted the History of Moses and Pharaoh ; the Marriage of Cana ; and the Transfiguration. These works gained him great reputation ; and Taddeo, far from being jealous of his rising fame, furnished him- with further opportunities of distinguishing himself, by making him his coadjutor in his great works in the Vatican, and the Villa Farnese, at Caprarolo. He was invited to Florence by the Grand Duke, to finish the cupola of S. Maria dei Fiori, which had been left imperfect by Giorgio Vasari, and he executed the commission to the entire satisfaction of his employer. Taddeo finding how great a re- source the talents of his brother had been to him, earnestly solicited him to return to Rome, and soon after his arrival, he [Federigo] had to lament the loss of his brother, in the prime of life. Gregory XIII., who had succeeded to the. papal throne, engaged him to paint the vault of the Capella Paolina. Whilst he was thus employed in the Va- tican, having some difierence with the officers of his Holiness, he painted an emblematical subject of Ca^ lumny, in which he represented the portraits of the individuals who had ofiended him, decorated with the ears of Midas, and exhibited the picture over the portico of the church of St. Luke, on the festi- val of that saint. Finding that this imprudent sally of his resentment had excited the displeasure of the Pope, he determined to fly from Rome, leaving his work in the Paolina tinfinished. He took refuge in France, where he was for some time employed in the service of the Cardinal of Lorraine. From thence he went to Flanders, where he painted seve- ral cartoons for tapestry. In 1574 he arrived in England, and was very fa- vourably received. He painted the portrait of Queen Elizabeth, and those of several of her courtiers, and it is affirmed by Lord Orford, that Mary, Queen of Scots, also sat to him, from which a print was en- graved by Vertue. It mSy, however, be reasonably presumed, that the portrait of Mary, said to have been painted by Zuccaro, was copied from some other picture of that unfortunate princess, as, at the period of Zuccaro's arrival in England, she was in close confinement, and had already passed several years of that rigid imprisonment, which was termin- ated by a mock trial and a brutal execution. What other pictures he painted here we have no certain account of, probably they were not numerous, as his stay was not long ; historic subjects were not at that time in fashion, and he had a bigoted attachment to his religion. He returned to Italy, and resided some time at 935 zuccj A DICTIONARY OF [zucc Venice, where the patriarch Grimani employed him to finish the fresco ornaments of his chapel, which had been begun by Batista Franco. He added, from his own compositions, the Resurrection of Lazarus, and the Repentance of Mary Magdalene. For the same place he painted a large picture of the Adora- tion of the Magi, which was much admired. In con- junction with the best Venetian masters of his time, he was employed in the embellishment of the hall of the Grand Council at Venice, and hie performances were so much admired, that the republic conferred on him the order of knighthood. He now ventured to return to Rome, and the Pope not only overlook- ed his indiscretion, but employed him to finish the work he had begun in the Capella Paolina. During the pontificate of Sixtus V. he was in- vited to the court of Madrid by Philip II., who em- ployed him to paint the frescoes in the lower cloister of the Escuricd. In this undertaking he did not succeed to the satisfaction of the king. Whether Philip's expectations were raised too high by the report his emissaries in Italy had made of Zuccaro's talents, or whether the vanity of the painter, for which he was remarkable, disgusted him, it is cer- tain, that of all the artists who were employed at the Escurial, he alone failed of success. At the same time that Philip dismissed him from his service, he compensated him, in the most liberal manner, for what he had done ; and, it is said, that the payments made to Zuocaro were larger than to any other painter who had visited Spam. After his departure, his works in the Escurial were expunged, and were replaced by others of Pellegrino Tibaldi. On his return to Rome he commenced the establishment of the Academy of St. Luke, for which he had received letters patent from Gregory XIII., and at his death, which happened in 1609, in the sixty-sixth year of his age, he bequeathed all his property to the Aca- demy. Federigo Zuccaro possessed a ready and inventive genius, but his compositions are frequently incon- gruous and extravagant ; his design is not incorrect, but an aiTectation of grandeur, a predilection for despatch, and a commanding facility, led him into the vices of a mannerist. His forms are by no means select, the characters of his heads are fre- quently repeated, and exhibit the formality of por- traiture. His colouring is clear and brilliant, but without mellowness or harmony. [There seems to be some uncertainty about the time of his birth and death; Zani says he was born in 1539, and died in 1619. Judging by the works he was employed on in conjunction with his brother Taddeo, 1539 is the probable date. The other of his death may be an error of the press.] ZUCCHERELLI, [or ZUCCARELLI,] Fran- cesco. According to Lanzi, this painter was born at Pitigliano, in Tuscany, in 1702. He was first a scholar of Paolo Anesi, but he afterwards studied successively under Gio Maria Morandi, and Pietro NelU. For some time he applied himself to historic painting, but his natural genius leading him to another branch of the art, he afterwards confined himself to landscapes, with small figures, in which he acquired a pleasing and elegant style, which was greatly admired, not Only in Italy, but throughout Europe. In 1752 he visited England, where he met with very flattering encouragement, and several of his pictures were engraved by Vivares, and other artists. At the foundation of the Royal Academy, Zucche- relli was chosen one of the original members. About 936 the year 1773 he returned to Italy, and settled at Florence, where he vested a considerable sum of money, the produce of his talents, in the security of one of the monasteries which were suppressed, a few years afterwards, by the Emperor Joseph II. By this unfortunate circumstance he was reduced to indigence, and at an advanced age was obliged to resume his pencil, which he had relinquished. He died at Florence in 1788. In the early part of his life Zuccherelli amused himself with the point ; among others, we have the following etchings by him : A set of varioTis studies ; from the designs of A . del Sarto. The Virgin and infant Christ, with St. John and S. Anne ; after the same. ■ The Wise and the Foohsh Virgins ; after Gio. Menozei. The Statue of Victory ; after the sc)ilpture of U. Angela Buonaroti. ZUCCHI, Jacopo. This painter was born at Florence about the year 1541. He was a disciple of Giorgio Vasari, and assisted that master in several of his works. According to Baglione, he visited Rome when young, in the pontificate of Gregory XIII., where he was favoured with the patronage of Car- dinal Ferdinando de Medici, who employed him in some considerable fresco works for his palace. There are also several altar-pieces by him in the public edifices at Rome, of which the most worthy of notice, are the Nativity of St. John, in the church of S. Giovanni DecoUato ; and the Descent of the Holy Ghost, in S. Spirito In Borgo. ZUCCHI, Andrea. This artist was born at Venice about the year 1675 [or 1678]. He engraved part of the plates for a collection of prints from the most celebrated paintings at Venice, consisting of fifty-seven plates, pubhshed by Lovisa. We have also by him a set of twelve prints of Venetian habi- liments. The following are among his best works : Tobit and the Angel ; after Titian. St. John the Evangelist ; after the same. St. John the Baptist ; after P. Veronese. The Martyrdom of Paolo Erizzo ; after P. Longhi. TheBirthof the Virgin; after Niccolo Bambini. The Miracle of the Manna ; after G. Porta. The Goddess Cybele in a Car, drawn hy Lions ; after Tintoretto^ Aurora and Tithon ; after the same. M-DBss saving Anchises from the Burning of Troy ; after Seb. Micci. [He died in 1740.] ZUCCHI, Francesco. This artist was bom at Venice in 1698. He was the son of Andrea Zucchi, and was instructed, by his father in the art of engraving. He was invited to Dresden, to en- grave some plates from the pictures in the Electoral Gallery. We have, among others, the following prints by him : The Portrait of a Spaniard ; after Rubens; in the Dres- den Gallery. The Portrait of a Lady, resembling one of Eubens's wives ; after the same ; in the same collection. St. Helena , worshipping the Cross; after Gio. Bettini Cignaroli. Two Allegorical Subjects ; after Antonio Balestra. [Some place his birth in 1692, others in 1695, and his death in 1764.] ZUCCHI, Lorenzo, was the younger brother of the artist mentioned in the preceding article, born at Venice iti 1704. He was instructed in de- sign and engraving by his father, Andrea Zucchi. In 1738 he was appointed engraver to the Elector of Saxony, and was employed to execute several plates for the collection of the Dresden Gallery. The following are among his best prints ; zucc] PAINTERS AND ENGRAVERS. [ZURB The Seven Sacraments ; after Spagnoletto. The Martyrdom of St. Peter and St. Paul ; after Nic. del Abati. The Crowning of St. Catherine; after Ripens. A Sacrifice to Venus ; after Ger. Lairesse. The Flaying of Marsyaa ; after Langetti. St. Michael combating the Dragon ; after Torelli. The Tribute-Money ; after Titian. David with the Head of Goliah ; after Imc. Giordano. [Zani says he died in 1779 ; Ticozzi says, 1783.] ZUCCO, Francesco. According to Tassi, this painter was a native of Bergamo, and flourished about the year 1605. He first studied at Cremona, in the school of the Campi, and was afterwards a disciple of Pietro Moroni. He painted history and portraits with considerable reputation, in which he sometimes imitated the style of Paolo Veronese with such success, that some of his works have been mis- taken for the productions of that master, particu- larly two pictures representing the Nativity, and the Adoration of the Magi, in the church of S. Got- tardo, at Bergamo. He died in 1627. ZUGNI, Francesco. This painter was bom at Brescia in 1594, and, according to Ridolfi, was a scholar of Palma. He was inferior to his instructor in the selection of his forms and the ease of his at- titudes ; but he surpassed him in the impasto and vigour of his coloimng. He particularly excelled in fresco, and frequently embellished with his figures the architectural and perspective views of Tommaso Sandrino. His works in oil also possess great merit; one of his most esteemed pictures is an altar- piece representing the Circumcision, in the church of S. Maria delle Grazie, at Venice. He died in 1636, aged 62. [This is palpably wrong; Zani's dates are, born in 1557, and died in 1621, which coincides with Ridolfi.] ZUPELLI, Giovanni Batista. This artist was a native of Cremona, and flourished about the end of the fifteenth century. He painted landscapes, which he usually embellished with figures, repre- senting subjects from sacred history. His style, though dry and Gothic, exhibits originality, and a graceful air, which distinguishes his figures beyond those of the generality of his contemporaries. In the church of the Eremitani, at Cremona, is a land- scape, with a Holy Family, by this master, which is mentioned by Lanzi in very favourable terms. He died in 1636, aged about 62. [Lanzi says he flour- ished at the close of the fifteenth century ; and Zani allows him to 1520 : the date in the text is clearly wrong. Perhaps it should be 1536, which is good latitude.] ZURBARAN, Francisco. According to Palo- mino, this Spanish painter was bom at Fuente de Cantos, in the vicipityof Seville, in 1596, and was a disciple of Pablo Roelas, under whose direction he appUed himself with such diligence and success, that he soon acquired the reputation of an eminent painter of history. Captivated by the bold eflfect and vigorous chiaro-scuro which distinguish the works of Michael Angelo Caravaggio, he adopted the style of that master, at the same time adhering closely to nature, which be faithfully followed, with- out extravagance or caprice. His first pubhc per- formance was the History of San Pedro Nolasco, painted for the cloister of La Merced Calzada, and it gained him great reputation. The monks are all habited in white draperies, which are managed with infinite art and dehcacy. There are many other works by him in the public edifices at Seville ; and at Cordova, particularly in the Coleeio de San Pablo. 3 p About the year 1630 he was invited to Madrid, was appointed painter to the king, and employed in the palace of Buenretiro, where he painted a series of pictures of the Labours of Hercules. In the Casa de Campo, and the other royal palaces, there are many other pictures by Zurbaran, as well as in the private collections. He was in great fa- vour with Philip IV., in whose sei-vice he died, in 1662. [Francisco Zurbaran was baptized on the 7th of November, 1598, which was probably the day of his birth. His father, being a husbandman, intended to bring his son up in the same employment ; but he showed so much aptitude for painting, that he was released from the plough, and placed under the tuition of Juan de Roelas. Under this able master, and by his own talents and application, he soon ac- quired both knowledge and reputation. He deter- mined to follow nature in all things, nor would he paint a piece of drapery even without the object before him.. His admiration of the works of Cara- vaggio led him to imitate that master's style, and he obtained the title of the Caravaggio of Spain. In 1625 he was employed by the Marquis of Mal- azon to paint some pictures for the chapel of St. Peter in the cathedral of Seville, consisting of inci- dents in the life of that apostle, and which he exe- cuted with great ability ; and nearly at the same period he painted his famous picture of St. Thomas Aquinas for the altar of the church of the college of that saint in Seville. This is considered as his finest work for correct imitation of nature, and for force of chiaro-scuro ; and as a whole, is perhaps not surpassed by any production of the Spanish school. After this he painted eleven pictures for the Hieronymite Friars at Guadaloupe, from the life of St. Jerome ; and other altar-pieces, all which he executed with applause. On his return to Seville, he painted three munificent pictures for the Car- thusians of Santa Maria de las Cuevas, in which his observance of nature, and his pictorial skill, are strikingly obvious. To these he added a great va- riety of works painted for monasteries and churches ; for the church of St. Paul, a Crucifixion, which he signed with his name, Franciscus de Zurbaran, and with the date 1627, remarkable for its boldness of relief, which in the figure produces the eflfect of carv- ing. It is not stated at what period he arrived at Madrid ; but in 1633 he painted several fine pictures for the Chartreuse of Xeres, and on one of these he inscribed his name as painter to the king j an hon- our which he shared with Velasquez, who was at that time in possession of the royal favour. It does not, however, appear that he was employed at the court till about 1650, when, by the desire of the king, he was sent for to paint the Labours of Her- cules in the palace of the Buenretiro. It is said that Philip, according to his usual custom with Velas- quez, often visited him during the progress of the work, and that one day he expressed his admiration of the performance by laying his hand on the paint- er's shoulder, and calling him " painter of the king, and king of painters." His pictures were numer- ous in the churches and monasteries of Seville, Guadalope, Madrid, and other pubhc places. Those in the Museum at Seville are considered his finest works ; in the gallery at Madrid is one of the infant Jesus asleep, equal in beauty and grace to those of the same subject by Guido and Murillo. In the collection of the Duke of Sutherland is one painted by him in 1653, representing the Virgin with the infant Christ and St. John, which is truly said by 937 zust] A DICTIONARY OF PAINTERS AND ENGRAVERS. [ZYNN an excellent judge to be " one of the most delicious creations of the Spanish pencil." Mr. Stirling, in summing up Zurbaran's character as a painter, places him in the first rank of the Spanish school. Though not equal to Velasquez and Murillo in several respects, in colouring he is not inferior to these gi-eat masters. He remarks, that though his tints are always sober and subdued, they have much of the brilliancy and depth of Rembrandt. He designates him " the peculiar painter of monks, as Raphael is of Madonnas, and Ribera of martyr- doms ; and says he studied the Spanish friar with as high a relish as Titian painted tne Venetian noble, or Van Dyck the gentleman of England." For ex- cellent descriptions of some of Zurbaran's finest works, see the " Annals of the Artists of Spain," by W^illiam Stiriing, M. A.] ZUSTRUS,^ [or SUSTRIS,] Lambert. This painter was a native of Germany, and flourished about the end of the sixteenth century. He was first instructed in the art by Christopher Schwartz, of Munich ; but he afterwards travelled to Italy, where he became a disciple of Titian, and was a successful imitator of the admirable colouring of that master, though he still retained the dry and Gothic style of design which characterized the pro- ductions of his country at that period. In the gallery of the Louvre is a picture by Zustrus, re- presenting Venus and Cupid, with Mars in the back-ground. [See the note to Suteeman.] ZWOLL, J. Ancker de, an old German engrav- er, who flourished about the year 1500. He has been supposed to have been a disciple of Israel van Mecheln, whose style he imitated, though very in- ferior to him. His compositions are crowded and confused, and his drawing of the figure meagre and incorrect. The works of this ancient artist are now very rarely to be met with, and their scarcity, rather than any merit in the execution, renders them in- teresting to the collector. Among others, we have the following prints by him : The Virgin Mary, with the infant Christ, who holds a Cross in his hand. The Virgin and Child, with St. Elisabeth and two Angels. St. Christopher on horseback, carrying the infant Christ. Christ praying in the Garden. Christ betrayed. The Crucifixion. The Entombing of Christ. [Whether the word on the prints, which serves to designate this engraver, is Zwoll or Ziuott is still a question. Ottley is of opinion that it indicates the place of his nativity or residence, and writes it ZwoLL. Zani, on the contrary, calls him /. Ancher de Zwot, non Zwoll, II maestro alia Navetta, o alia Spuola da Tessadri. Bartsch also distinguishes him as " Le Maitre a la Navette," and writes the word ZlMOtt. As it is in German characters on the prints Bartsch could hardly be deceived. The following are the titles of eighteen subjects so marked, de- scribed in " Le Peintre Graveur," tom. vi. 1. The Adoration of the Kings. 2. The Last Supper. 3. Christ at the Mount of Ohves. 4. Christ taken in the Garden. 5. Christ Crucified between two Thieves. 6. The same subject difierently treated. 7. The Entombment of Christ. 8. The Saviour standing holding an open Book in one hand, and giving benediction with the other. 9. The Virgin with the Infant holding a Cross. 10. The Virgin with the Infant, who is turning the leaves of a Book. 11. St. AiM^istine seated between Statues of S. S. Jerome and Lawrence. 12. St. Christopher on Horseback bearing the Saviour on his shoulders. 13. St. George encountering the Dragon. 14. St. Gregory celebrating Mass. 16. St. Anne with the Virgin, Infant, and figures of Angels. 16. A Youth in conversation with an aged Pilgrim. 17- A Skeleton in a vaulted Tomb. 18. A design of Gothic Architecture, resembling the upper part of an Altar, with statues and coats of arms.] ZYL, [or ZEYL,] Gerard Pietersz van. This artist was born at Amsterdam in 1606. He distin- guished himself as a portrait painter, and visited England in that capacity about the year 1635, when Vandyck was in full possession of the public fa- vour. He formed an intimate acquaintance with that distinguished artist, who occasionally employed him to assist in the draperies and back-grounds of his pictures. By the frequent opportunities he had of profiting by the example and instruction of Van- dyck, he became a successful imitator of his style ; and after a residence of a few years in London, he returned to Amsterdam, where he met with very ex- tensive employment, and acquired the appellation of the second Vandyck. Like that master, he par- ticularly excelled in painting hands, and his colour- ing is chaste and clear. He died in 1667. [He is also called Gherard Van Leyden. He painted con- versations, and other familiar subjects, but was principally employed on portraits.] ZYLVELT, Adam van, a Dutch engraver, bom at Amsterdam about the year 1635. He engraved a set of plates from the designs of John LingSbach, representing sea-ports, &c. We have also several portraits by him, some of which are from his own designs.. He imitated the style of John Visscher with some success. Among others, we have the following portraits by him : Dirk Volkhertz Coomhaert, or Cuemhaert, Engraver. Stei>hen le Moine, Doctor in Theology at Leyden. Christopher Wittichius, Professor of the University of Leyden. Herman Witsius, Professor of Theology at Franecker. John Hasius, Minister of the church of Haerlem. Cornelius Bosch. [ZYNNDT, or ZUNDT, Mathias, an engraver, who flourished during the latter half of the 16th century. Bartsch describes three prints- by him : Portrait of Louis III. de Bourbon-Conde. 1568. Portrait of John de Kaleta, Grand Master of Malta. 1566. View of the city of Grodno, in Lithuania. 1568. Each of the above is signed with his name, either Zynndt or Zundt. Brulliot mentions an etching with a mark sup- posed to be his ; it represents a Vase with figures of Tritons, standing on sea-horses' feet, and surmount- ed by a figure of Neptune.. He says that Bartsch's list is incomplete, as he knows of several others with the engraver's name, as above, or his mark, which have not been noticed in any of the catalogues.] THE END. JOHN CHILDS and SON, BUNGAY.