THE 
 GENTLEMAN'S and CONNOISSEUR'S 
 
 DICTIONARY 
 
 O F 
 
 PAINTERS. 
 
 CONTAINING 
 
 A complete Collection, and Account, of the moft diftinguiflied 
 Artists, who have flourifhed in the Art of Painting, at Rome, Venice, 
 Naples, Florence, and other Cities of Italy* in Holland, 
 Flanders, England, Germany, or France; from the Year 
 1250, when the Art of P a i n t i n g was revived by Cimabue, to 
 the Year 1767 j including above Five hundred Years, and the Number of 
 Artifts amounting to near One thoufand Four hundred. 
 
 EXTRACTED 
 
 From the molt authentic Writers who have treated on the Subject of 
 Painting, in Latin, Italian, Spanifh, Englifh, French, and Low Dutch. 
 
 To which are added, 
 
 TWO CATALOGUES; 
 
 The One, a Catalogue of the Disciples of the moft famous Masters-, 
 for the Ufe of thofe, who defire to obtain a critical Knowledge of the different Hands, 
 and Manners, of the different Schools. — The other, a Catalogue of thofe 
 Painters, who imitated the Works of the eminent Mafters fo exactly, as to have 
 their Copies frequently miftaken for Originals. 
 
 the whole 
 
 Being digefted in a more eafy and inftru&ive Method, than hath hitherto appeared j and 
 calculated for general Entertainment and Inftruction, as well as for the particular Ufe 
 of the Admirers and Profeffors of the Art of Painting. 
 
 By the Rev. M. P I L K I N G T O N, A. M. 
 
 Vicar of Don a bate and Portraine, in the Diocefe of Dublin. 
 
 Reperire, apta atque reperta docendum 
 
 Digerere, atque fuo quseque ordine rite locare, 
 
 Durus uterque Labor. Vida, Lib. 2. Poetic. 
 
 Ut Plurimis profimus, enitimur. Cicero. 
 
 LONDON: 
 
 Printed for T. Cadell, (SuccefTor to Mr. M 1 l l a r) in the Strand. 
 
 M.DCC.LXX. 
 
Digitized by the Internet Archive 
 
 in 2011 with funding from 
 
 Research Library, The Getty Research Institute 
 
 http://www.archive.org/details/gentlemansconnoiOOpilk 
 
T O T HE 
 
 PRESIDENT 
 
 AND 
 
 COUNCIL 
 
 O F T H E 
 
 Royal Academy of Painting 
 
 In LONDON. 
 
 Gentlemen, 
 
 AS you have been placed in a diftinguifhed point of 
 light, by the inftitution of your Academy ; I 
 think, that the fame merit, which hath procured 
 for you the favour of our mod amiable Monarch, defervedly 
 intitles you to every mark of refpeft from the publick, as 
 well as from every individual, who profefles to have a love 
 for the polite artifts. 
 
 It has always been my opinion, that Dedications ought 
 only to be dictated, by an impartial regard to real merit, 
 
 equally 
 
DEDICATION. 
 
 equally as remote from any venal consideration, as from 
 fervile or mercenary flattery ; for which reafon, I 
 determined to infcribethe following work to you, whofe 
 deferts have juflly recommended you, to the patronage of 
 the moft munificent of Kings, to the favour of the Nation 
 
 in general, and to the particular efteem of, 
 
 J A 
 
 O 
 
 Gentlemen, 
 i [ 1 
 
 Your iincere Well-wifher, 
 
 Dublin, and humble Servant, 
 
 Dec. 2, 1769. 
 
 Matt. Pilkington, 
 
THE 
 
 PREFACE, 
 
 AN early admiration of the Art of Painting, and an eager incli- 
 nation to improve myfelf in the knowledge of it ; were my 
 inducements to fearch for inftruclion, among the writers on 
 that fubjecl. Thofe writers I foon found to be extremely numerous, and 
 very few of them in our native language ; yet every author I con- 
 fulted, infpired me with an impatience to proceed ; and I extracted 
 from each, what appeared tome mod likely to prove either inftruttive,. 
 or entertaining. 
 
 However, I obferved in moft of thofe authors, a tedious account of 
 the artifts, in refpect of their Angularities in publick or domeftick 
 life ; their morals, or manner of living ; their families, or the reposi- 
 tories of their works ; but, I obferved alfo,. that the defcription of 
 their particular excellencies or defects in the execution of their art y 
 in their ftyle of painting ; in their colouring, or penciling ; were fo 
 blended with other unimportant circumftances, as rendered it exceed- 
 ingly difficult, to felect what might prove inftructive. For, the life 
 of each artift appeared encumbered with a load of defcriptions, 
 which could neither improve the tafte or judgement of a lover of the 
 Art, nor fcarcely keep the attention of a judicious inquirer awake. 
 
 Whoever has carefully read. Vafari, Vanmander, Ridolfi, Sandrart, 
 and fbme other writers on the fubjedr, will, I believe, recollect, that 
 they were compelled to contend with abundance of unimproving and 
 untertaining narrative, to acquire fuch a degree of information, in. 
 regard to any artift, as perhaps they ardently fought after, 
 
 2 I 
 
VI 
 
 PREFACE. 
 
 I will not impute the tedioufnefs which I experienced, in the 
 original authors who wrote the lives of the Painters, to any deficiency 
 of judgement or genius ; for, it probably might arife from their foli- 
 citude to collect every incident that could be procured, relative to the 
 artifts of whom they wrote. 
 
 However, although fome writers on the fubjecl: appeared too 
 prolix, I experienced in others too much of the concife and fuperficial, 
 in their account of many of the artifts, and particularly in Sandrart ; 
 yet, even that defect might have been occafioned, by the want of fuf- 
 ficient intelligence and materials, at the periods when they wrote. 
 But, by examining with attention the works of feveral authors, what 
 appeared to be defective in one, was frequently enlarged by another ; 
 fo that it leemed neceflary, from the whole body of the writers on the 
 fubject, to collect the moft material obfervations, relative to each 
 particular artift. 
 
 As I had, with fome pains and patience, for my own private amufc- 
 ment, and to obtain a more extenfive knowledge of the eminent 
 mafters, made many extracts from authors of the firft rank, who 
 treated of the fubject of Painting in different languages ; it appeared 
 to me probable, that a complete collection of the Lives of the 
 Painters, in our native language, might prove not only an acceptable, 
 but alio a beneficial prefent to the publick. 
 
 For, although it qaay be juftly fuppofed, that to perfons of high 
 rank and education, all the languages of Europe may be familiar j 
 yet are there numbers of all ranks and ftations, who may feel the 
 utmoft fondnefs for the imitative arts, and yet be totally unacquainted 
 with feveral of thofe languages, from which the knowledge of the 
 moft memorable artifts can be acquired. 
 
 Belides, if we confider, how large an expence muft inevitably 
 attend the purchafing of fo great a variety of volumes, as are requifite 
 for a ftudious and inquifitive lover of the art; the works of fome 
 authors being exceedingly fcarce, and the works of others fo pom- 
 poufly printed, as to be purchafeable only by very few ; it mould 
 leem to be no inconsiderable advantage to the publick, to enable every 
 individual to have an eafy accefs to that knowledge of the artifts, 
 from which he might have been excluded, either by the want of a 
 competent degree of polite literature, or by the want of a competent 
 fortune. 
 
 Thefe have been my motives, to undertake the work which is now 
 offered to the publick. I have not adhered to any one author, fo as 
 to be either a literal tranflator or tranfcriber ; but have collected what 
 feemed to me moft material from each, and endeavoured, with the 
 
 2 utmoft 
 
PREFACE* vii 
 
 utmoft exadtnefs I could exert, to rectify their chronological miftakes ; 
 to illuftrate what appeared obfcure ; and to digeft the whole, fo as to 
 be at once inftructive and concife. 
 
 How far my beft endeavours have correfponded with my intention,, 
 the candour of the publick will, I hope, favourably determine. 
 
 I perfuade myfelf, that an endeavour to acquire a tafte for the 
 polite arts ; a defire to obtain a thorough knowledge of them ; and a 
 zeal to diffufe that knowledge more extenfively through thefe king- 
 doms ; cannot appear an improper employment for the leifure hours 
 of an Ecclefiaftick ; particularly of one, who being wholly un- 
 ambitious, and pleafed with his profeflion and retirement, has been 
 always more ftudious to improve his mind, than his fortune. 
 
 Befides, it cannot but be remembered, that Painting (the moft 
 pleafing among the polite arts) revived, and was principally nurtured, 
 by the tafte and inceflant liberality of Ecclefiafticks, till it grew to its 
 utmoft perfection under Raphael. Moft of the Popes, efpecially 
 Leo X, and Urban VIII, and a number of Cardinals and Archbifhops, 
 were proud of diftinguifhing themfelves as it's patrons ,• nor were the 
 Monarchs and Princes of thofe times, lefs enchanted w T ith the beauties 
 of the Art, nor lefs munificent to its profeflbrs. Happy times for 
 artifts and men of genius ! when merit was rarely unnoticed, and 
 more rarely unrewarded. 
 
 Indeed, it ought to afford a fingular fatisfadtion to the prefent age, 
 to obferve the hand of liberality ftretched forth, to raife up the polite 
 arts in thefe kingdoms, from the torpid ftate in which they have 
 languished. 
 
 The countenance afforded to the art of Painting in particular, by his 
 Majefty, the moft amiable of Monarchs ; the zeal of the Nobility and 
 Gentry of Great-Britain and Ireland, who conftitute the Societies of 
 London and Dublin ; and the impartial diftribution of rewards to the 
 candidates for fame; muft inevitably fo far animate every artift, as to 
 make him ftudious to arrive at excellence; till, in fucceeding times, 
 our own natives may be as much the admiration of other kingdoms, 
 as the artifts of Italy have been the admiration of the world. 
 
 No nation has ever been more productive of men of genius than 
 Britain ; and where genius is careffed by the Great, and elevated by 
 Royal munificence and honours, as it is at prefent; what approaches 
 to perfection may we not fanguinely expect from the rifing ge- 
 neration ? 
 
 It were, however, to be wifhed, that our artifts, as well as our no- 
 bility and gentry, who either travel abroad for the improvement of 
 their tafte, or infpect the capital collections of paintings in England, 
 
 could 
 
vii« PREFACE. 
 
 •could prevail on themfelves to be more accurate in the obfervations 
 they make, while they entertain themfelves by contemplating the 
 works of the celebrated mafters; foas, not only to be ftruck with ad- 
 miration while they behold them, but alfo to penetrate the caufe of fo 
 powerful an effect on the pafiions of their minds. 
 
 To fee, and to admire, on fuch an occafion, is not fufficient ; for, 
 even thofe of the meaneft capacity, the illiterate and the unfkilful, 
 can readily arrive at fuch a degree of tafte. But, a refined tafte can 
 only be formed, by ftudioufly examining the whole, and every part of 
 a composition ; by exploring the grandeur of the ideas; the fubli- 
 mity in the exprefiion ; the truth and elegance of the defign ; the 
 grace difFufed through the objects ; the refemblance of nature in the 
 colouring; and the magick touch of the pencil. 
 
 The true knowledge of the Art of Painting, is not fo eafy an ac- 
 ■quilition, as too frequently it is accounted; nor are all thofe, who can 
 plauiibly defcant on the perfections and defects of a piece of painting, 
 to be confidered as folid or profound judges of the intrinfick merit of 
 a performance. 
 
 As Painting is the reprefentation of nature, every fpeclator, whether 
 judicious or otherwife, will derive a certain degree of pleafure, from 
 feeing nature happily and beautifully imitated; but, where tafte and 
 judgement are combined in a Spectator, who examines a defign con- 
 ceived by the genius of a Raphael, and touched into life by his hand ; 
 fuch a Spectator feels a fuperior, an enthufiaftic, a fublime pleafure, 
 whilrt he minutely traces the merits of the work ; and the eye of 
 fuch a connoifleur wanders from beauty to beauty, till he feels himfelf 
 riling gradually from admiration to extafy. 
 
 To acquire a well-founded tafte for painting, there are many ef- 
 fential requifites, without which, it is fcarce pofiible to difcern the 
 real perfections of a performance. 
 
 One requilite is, to be familiarly converfant with hiftorv, particu- 
 larly the facred, from which many of the Subjects that animated the 
 pencils of Raphael, and the beft artifts, were competed. It may 
 indeed appear lingular, that a ftudious perufal of the Bible, (hould be 
 recommended to any perlbns of tafte, who ought to be fuppoled to 
 have had an early acquaintance with that book, in the courfe of their 
 education. Yet it cannot but be obvious to every one, that (to the 
 difgrace of modern politeness) the facred volume is rather held in 
 contempt by many of the great ones of this age; becaufe, that purity 
 of morals which it demands, is incompatible with the vices which they 
 praclile. However, if gentlemen, even in purfuit of their favourite 
 art, could find an inducement to read it; they might perhaps at the 
 
 fame 
 
PREFACE. ix 
 
 i. 
 
 fame time imbibe a knowledge of a fuperior kind to what they 
 fought, and perceive that among all their accomplishments, they 
 wanted a principal accomplishment, that of Religion. 
 
 I have been led into this remark, by an incident which not long 
 fince happened, at a public fale of pictures ; where a few profeffed 
 connoiffeurs were bulily examining the Paintings, and were very 
 loudly profufe of their obfervations. Two pieces of Scripture Hiftory, 
 extremely well executed, attracted their particular attention ; one, de- 
 fcribed S. Peter's payment of the tribute-money, the other, his 
 walking on the water. No commendation of the Paintings was 
 fpared by the connoiffeurs ; but, after confulting with each other 
 what the Subjects might be, and none of them being able to determine 
 that point, one of them openly declared, that if they knew but the 
 hiftory, the pictures would appear excellent. Yet thofe gentlemen 
 were perfons of confiderable fortune, and well bred ; and had not 
 their ignorance of the facred hiftory, fo fhamefully difhonoured their 
 education, and expofed their infidelity, none, but their intimates, 
 would have fufpected them to be totally unacquainted with religion. 
 
 Another requifite is, the ftudy of profane hiftory, particularly that 
 of Greece and Rome; and of Italy alfo from the declenfion of the 
 Roman empire. By fuch a courfe of ftudy, an admirer of Painting 
 may qualify himfelf, to fix on the particular action reprefented by any 
 artift, even at the firft view, (fuppofing that action to be defcribed in 
 a fuitable and mafterly manner) and be enabled to judge whether the 
 Paffion and Expreffion be juft; whether the Coftume be properly oh- 
 ferved j whether the Characters are marked agreeable to hifforical 
 truth; and the Incidents judicioufly introduced. 
 
 Another requifite is, to have a competent fkill in Drawing, and a 
 knowledge of Anatomy ; that the connoiffeur may form a fteady 
 judgement, of the fwell or the depreffion of the mufcles in different 
 actions, and attitudes ; of the true proportion of the limbs and ex- 
 tremities of the figures ; of the elegance of the contours ; and 
 whether the figures appear juftly balanced,- in whatfoever attitude 
 they are placed ; fo that he will readily difcern, where the artift has 
 happily fucceeded in his imitation of nature, and in what refpect his 
 execution is defective. 
 
 Another requifite is, to have ftudied Nature, fo as to have imprefied 
 on the memory, beautiful and exact images of every object that can 
 enter into a composition; and to have accuftomed the eye to dif- 
 tinguifh what is gracefully natural, not only in the human form, but 
 in trees, rocks, rivers, animals, as well as'thofe momentary incidents 
 of light, which agreeably diverfify the face of nature. 
 
 a Another 
 
X 
 
 PREFACE. 
 
 Another requifite (and that not the leafl difficult) is, the ftudy of 
 the Works of the mod famous Artifts. To obferve them with fo 
 piercing an attention, as to difcover their manner of penciling, the 
 force or the delicacy of their touch, as well as their ftyle of invention 
 or compofition ; for, every eminent artift has his peculiarities in com- 
 pofition, expreffion, and defign, as well as colouring, which when cri- 
 tically noticed, will diftinguiih him from others, whether they be his 
 equals, or his fuperiors in merit. 
 
 It is only by a frequent and ftudious infpection into the excellencies 
 of the artifts of the firft rank, that a true tafte can be eftablithed ; for, 
 by being attentively converfant with the elevated ideas of others, our 
 own ideas imperceptibly become refined. We gradually feel a 
 diiguft at what is mean, or vulgar; and learn to admire, what only is 
 juftly intitled to our commendation. It is fcarcely poffible, that a ju- 
 dicious reader, who has improvingly ftudied the beauties of Milton, 
 Shakefpear, and the beft writers, can deicend to be delighted with 
 compositions that are comparatively indifferent, although luch com- 
 pofitions may have, in particular parts, a certain degree of merit. A 
 polifhed pebble may be efteemed as a diamond, by one who has never 
 fufficiently attended to the native luftre of that gem ; but a critical eye 
 will readily determine, between the glitter of the one, and the lovely 
 vivid beam of the other. Till, therefore, a lover of the Art of Painting 
 arrives at fuch a degree of judgement and tafte, as renders him inca- 
 pable of being pleafed with what is indifferent ; he may conclude 
 that his tafte and judgement are ftill but imperfect. 
 
 Befides, by being familiarly converfant with the works of the beft 
 mafters, not only the tafte of an admirer of the art will be effectually 
 eftablilhed, but his judgement will proportionably be enlarged, and 
 confirmed. He will learn, fteadily to diftinguilh the ideas peculiar to 
 each mafter, whether in refpect of the invention, or the difpolition ; 
 he will be inftruded to know one mafter, by the airs of the head or 
 the attitudes ; another, by the dignity or grace of his figures ; another, 
 by a remarkable mufcular ftrength ; and others, by their elegance, 
 fimplicity, or aftonilhing management of the chiaro-fcuro. 
 
 By examining the colouring, and the penciling of different artifts, 
 who were excellent, he will difcover what conftitutes the manner pecu- 
 liar to each, and qualify him fell" to judge with preciiion. He will per- 
 ceive, that almoft every artift is remarkable for fome one predominant 
 tint of colouring; he will obferve, that in fome the yellow predomi- 
 nates, in others the brown, the violet, and the green. In fome the 
 black, as in Caravaggio, Spagnoletto, Manfredi, and Valentino ; in 
 fome a palencfs, as in Vouet, and Nicolo Pouflin ; the purple, in the 
 
 BalTans; 
 
PREFACE. xi 
 
 Baffans ; and in Teniers, the grey. And by a nice obfervation of 
 thefe particulars, confirmed by a competent fkill in the ftyle of each 
 matter's compofition ; a judicious perfon will, without much diffi- 
 culty, qualify himfelf to judge with accuracy, of the hands, as well as 
 of the merits of the different maftcrs. 
 
 But I perceive myfelf extending this Preface, beyond its proper 
 bounds. I am confcious, that the fubjedl of which I have been treat- 
 ing, deferves the attention of the polite, and the ingenious ; but, I 
 am alfo confcious of my own inability, to treat of it as it deferves. 
 Britain, I am confident, pofTefles many of her own natives, who have 
 the proper combination of fkill, genius, and judgement, equal to fuch 
 an undertaking ; and my earned wifh is, to fee it executed, to the 
 nation's and the author's honour. 
 
 For fome years I waited, in expectation, that an author fo qualified, 
 would have fchemed fuch a work, as this which I prefent to the 
 publick ; but, as men of fuperior abilities have either declined, or 
 never thought of fuch a performance ; the tafk has devolved upon 
 one, whofe talents may indeed juftly be accounted unequal to the un- 
 dertaking, but whofe zeal for the improving of others is ardent. He 
 therefore ventures to rely on the accuftomed candour of men of real 
 genius ; and confides, that the goodnefs of his intention, will be ad- 
 mitted as fome apology, for any errors or imperfections difcernible in 
 the execution of the work. 
 
 Cf^r 
 
 HZ THE 
 
T H E 
 
 NAMES of the principal AUTHORS, 
 Whofe Works have been consulted. 
 
 ABecedario Pittorico, dal Anc. Or- 
 landi. 
 Mufeum Florentinum. 
 
 Acadcmia Artis Pictoriae, Sec. Jo. 
 
 Sandrart. 
 Le Maraviglie dell' Arte, Sec. dal Carlo 
 
 RMoie. 
 
 Le vite dei Pittori, Sec. di Raf. Soprani. 
 Finezze dei Penelli, da Luigi Scara- 
 
 muccia. 
 Le vice di Piu Eccelenti Pittori, di 
 
 Vafari. 
 Het Schilder Boeck, &c. door Van- 
 
 mander. 
 Apparato degli Vomini Illuftri della 
 
 Ferrara, di Agoftino Soprani. 
 
 Le Pitture di Bologna, &c. di Zanotti. 
 Dialogo della Pittura, Sec. c!i Lud. 
 
 Dolce. 
 Trattato della Pittura, Sec. di L. da 
 
 Vinci. 
 Verona Illuftrata. 
 iEdes Barberinas. 
 
 Della nobiliflima Pittura, Scc.diBiondi. 
 Monumens de Rome, par Raguenet. 
 Indice del ParnafTb dei Pittori, del S. 
 
 Refta. 
 Trattato della nobilta' del Pittura, dal 
 
 Alberti. 
 
 Pompe Senefi, dal Padre Azzolini. 
 
 Dialogue fur coloris, par de Piles. 
 
 Converlatiorvs fur la Connoifiance, &c. 
 par De Piles. 
 
 Raccolta dei Pittori Modenefi, di Vid- 
 riani. 
 
 De Levens - Befchrivingen de Konft 
 Schilders, door J. Campo Weyer- 
 roan. 
 
 PafTagio per Italia, &c. del Fed. 
 Zucchero. 
 
 Algarotti on Painting. 
 
 Anecdotes of Paining, by Verrue. 
 
 Abrege de la Vie des fani. x Pe:n:res, 
 Sec. 
 
 Montefquieu. 
 Letters from th° _ 
 
 Le vite di Ca. Ricci. 
 
 Le vite de' Pit- 
 Webb on Paintim 
 Le vite dei Pittori, . . Jiov. L 
 
 Notizie dei Profeflbri del difegno, Sec. 
 di Baldinucci. 
 
 Vite di Pittori Antichi, &c. da Carlo 
 Dati. 
 
 Vite di M. Ang. Buonaroti, &c. da 
 Afcanio Condini. 
 
 Richardfon on Painting. 
 
 Vite de' Pittori, &c. da Lione Pafcoli. 
 
 El Mufeo Pittorico, &c. del Don Ant. 
 
 Palomino. 
 Cours de Peinture, par De Piles. 
 
 Frefnoy, & Graham's Lives of the 
 Painters. 
 
 Abrege de la Vie des Peintres, par De 
 Piles. 
 
 Reflexions critiques, &c. par Du Bos. 
 
 Ravenna ricerata, &x. da Girol. Fabri. 
 
 Entretiens fur la Vies des Peintres, par 
 Felibien. 
 
 Ritratti di Alcuni celebri Pittori, da 
 Lioni. 
 
 De Groote Schouburgh del Konft 
 Schilders, &c. door Ar. Houbraken. 
 
 Lamberti Lombardi Vita, ab Ub. 
 Golczio. -. 
 
 Felfina 
 
[ 
 
 Xlll 
 
 ] 
 
 Felfina Pittrice, ice. dal Carlo Mal- 
 rafio. 
 
 Le vite dei piu Infigni Pittori, &c. dal 
 Girolamo Baruffaldi. 
 
 Riftretto delle Cofe Notabili, &c. di 
 Jac. Carlieri. 
 
 Viaggio Pittorefco, &c. di Giac. Barri. 
 
 Bologna Illuftrata, di Ant. Maflini. 
 
 Le vite dei Pittori, da Bellori. 
 
 Het Gulden Cabinet, &c. door De Bie. 
 
 Vite dei Pittori Pefarefi, di Montani. 
 
 Trattato della Pittura, da Domen. 
 Bikgna. 
 
 Pitture della Citta di Perugia, da Giov. 
 Morelli. 
 
 Libro de la Pintura, del Franc. Pa- 
 checo. 
 
 Academie des Sciences, &c. parBullart. 
 Bellezze della Citta di Firenze, &c. di 
 Cinelli. 
 
 Lives of the Painters, in Low Dutch, 
 by Van Gool. 
 
 Lives of the Spanifh Painters. 
 
 Cabinet des Singularites, &c. par Lc 
 Compte. 
 
 A N 
 
[ xir ] 
 
 A N 
 
 ^Explanation of the Technical Terms, 
 
 Ufed either by Artists or Authors, on the Subject of 
 
 PAINTING. 
 
 AERIAL PERSPECTIVE, is a degradation of the tones of colours, which 
 throws off the diftances of grounds and objects •, and which the judicious 
 artifts practice, by diffufing a kind of thin vapour over them, which 
 deceives the eye agreeably. It fhews the diminution of the colours of 
 objects, in proportion as they recede from the eye, by the interpofition 
 of the air between the eye and the object, as if the object was feen through 
 a column of air. 
 
 ANTIQUE. By this term is implied and underftood, fuch paintings and 
 fculptures, as were made at that period of time, when thoi'e arts were in 
 their greateft perfection, among the antient Greeks and Romans ; from 
 the acre of Alexander the Great, to the irruption of the Goths into Italy 
 under Alaric in 400. The term Antique^ is more particularly applied to 
 the fculptures of the period before mentioned ■, fuch as ftatnes, baffo- 
 relievo's, medals, intaglio's, or engraved ftones. However, all thofe 
 remains of antiquity, are not equally excellent, or good •, but even in thofe 
 that are indifferent, there is a certain degree of beauty, which diftinguifhes 
 them from the works of the moderns. But, it is the molt perfect of the 
 works of the antient great mailers, which are to be the objects of our tafte 
 and imitation, as they continue ftill to be the objects of our wonder and 
 aftonilhment. 
 
 ATTITUDE in painting, is the pofture or difpofition of the limbs and 
 members of a figure, by which we difcover the action in which it is 
 engaged, and the very fentiment fuppofed to be in the mind of the perfon 
 reprefented. It comprehends all the motions of the body, and requires a 
 perfect knowledge of ponderation, and whatever refers to the centre of 
 gravity ; but whatfoever attitude be given to any figure, that attitude mull 
 mew the beautiful parts, as much as the fubject will permit, let the fubject 
 be what it will. It muft, befides, have fuch a turn, as, without departing 
 from probability, or from the character of the figure, may diffufe a 
 beauty over the action. It is allowed, that the choice of. fine attitudes, 
 conftitutes the greateft part of the beauties of grouping. 
 
 * The authors whofe works have been particularly ufed in this Explanation, are Baptifla 
 Albeili, Montefquieu, Felibien, De Piles, Richardfon, Houbraken, and Chambers. 
 
 BENT- 
 
C " ] 
 
 BENTVOGEL SOCIETY. The Flemifh Painters who refided at Rome, 
 formed themfelves into a fociety, into which they received all thole of 
 their own nation, who, after their arrival at Rome, defired to be admitted 
 as members. The introduction was appointed to be at a tavern in the city, 
 at the expence of the perfon introduced •, and after fome whimfical and 
 droll ceremonies, a name was given to the new brother, which expreffed 
 either the perfections, or the defects, in the form or countenance of the 
 perfon ; any remarkable peculiarity in the ftyle of his colouring, or 
 composition ; or any thing very Angular in his character, conduct, or 
 manner of living. That ceremony was continued for one intire night ; and 
 the next morning, they walked in proceffion to a place fome diftance from 
 Rome, called the Tomb of Bacchus, where the whole ceremony concluded. 
 By this fociety Peter van Laer was named Bamboccio, from the form of 
 his body ; Philip Roos, Roia da Tivoli ; Herman Swanefeld, the Hermit 
 of Italy •, Francis van Bloemen, Horizonti ; Peter van Lint, Studio ; and 
 fo, of many others. This fociety has been diffolved intirely, for fome 
 years paft ; though it is reported, that Raphael himfelf gave the firft hint 
 of it. 
 
 CASTING of DRAPERIES. By this term is implied, the diftribution of 
 the folds ; and draperies are laid to be well caft, when the folds are 
 diftributed in fuch a manner, as to appear rather the refult of mere chance, 
 than of art, ftudy, or labour. In that manner or ftyle of painting, which 
 is called the Grand, the folds of the draperies mould be great, and as few 
 as pofiible •, becaufe their rich fimplicity is more fufceptible of great lights. 
 But, it is an error, to defign draperies that are too heavy and cumberfome ; 
 for, they ought to be fuitable to the figures, with a combination of eafe 
 and grandeur. Order, contraft, and variety of fluffs and folds, conftitute 
 the elegance of draperies •, and diverfity of colours in thole fluffs, contri- 
 butes extremely to the harmony of the whole, in hiftorical compofkions. 
 
 CHARGE, or CHARGED, is a term ufed by artifts, to fignify any thing 
 that exceeds ; fuch as exaggerating the outlines, in order to fhew a 
 fuperior degree of (kill, and by that means exceeding the bounds of a 
 regular fimplicity. Yet, (De Piles obferves) there are charged outlines 
 that pleafe •, becaufe, they are above the lowlinefs of ordinary nature, and 
 carry with them an air of freedom, with an idea of a great tafle, which 
 deceives mofl painters, who call fuch exceffes the grand manner. And 
 although, to fuch perfons who have a true idea of correctnefs, fimplicity, 
 and elegance of nature, thefe exceffes may feem fuperfluous, as they only 
 adulterate the truth •, yet, one cannot forbear to commend fome things that 
 are overcharged, in great works, when the diftance from whence they are 
 to be viewed, ibftens them to the eye •, or when they are ufed with fuch 
 difcretion, as makes the character of truth more apparent. It is worthy of 
 being remarked, that in the antique ftatues, which are allowed to be the 
 rule of beauty, nothing appears charged, nothing affected ; nor is there 
 any thing of that kind, in the works of thofe who have always imitated 
 them •, as Raphael, Domenichino, Nicolo Pouffin, and fome others. 
 
 CHIARO- 
 
[ xvi ] 
 
 CHIARO-SCURO, is the art of advantageoufiy diftributing the lights and 
 lhadows, which ought to appear in a picture ; as well for the repofe, and 
 fatisfaction of the eye, as for the effect of the whole together. As to the 
 meaning of the word Chiaro, (trandated clear or tranfparent,) it implies 
 not only any thing expoied to a direct light, but alfo, all fuch colours as 
 are in their nature luminous. Scuro, (tranllated dark or darknefs) not 
 only implies all the lhadows directly caufed by the privation of light, but 
 likewife all the colours which are naturally brown •, fuch as, even when 
 they areexpofed to the light, maintain an obicurity, and are capable of 
 grouping with the fhades of other objects. Of which kind, for inftance, 
 are deep velvets, brown fluffs, polifhed armour, and the like ; which 
 preferve their natural or apparent obfcurity in any light whatever. By the 
 Chiaro-Scuro, objects receive more relief, truth, and roundneis •, and it 
 particularly fignifies, the great lights, and great (hades, which are collected 
 with fuch induftry and judgment, as conceals the artifice. The diftribu- 
 tion of the objects forms the maffes of the Chiaro-Scuro, when, by an 
 artful management, they are lb difpofed, that all their lights are together 
 on one fide, and their darknefs on the other. 
 
 CONTOUR, or OUTLINE, is that which terminates and defines a figure ;, 
 and a great part of the fkill of a painter, confifts in managing the contours 
 judicioufiy. 
 
 CONTRAST, is an oppofition or difference in the pofition of two or more 
 figures, contrived to make a variety in painting. Thus, in a group of 
 three figures, when one appears in front, another fhews his back, and a 
 third is placed fideways, there is faid to be a contraft. A well-conducted 
 cohtraft, is one of the greateft beauties of a painting. It is not only to 
 be obferved in the pofition of the feveral figures, but alfo in that of the 
 feveral members of the fame figure. If nature requires the painters, and 
 fculptors, to proportion the parts of their figures ; it requires alfo, that 
 they contraft their limbs, and their different attitudes. One foot placed 
 like another, or one member extended or depreffed like another, excites 
 ourdifguft; becaufe, thatfymmetiy deprives us of the pleafures arifing 
 from variety, and makes the attitudes appear too frequently the fame. 
 As we may obferve in Gothic figures, which, by want of that judicious 
 contraft, always referable each other. 
 
 CORRECTNESS, is a term which implies a defign, that is without a defect 
 in its meafures, and proportions. 
 
 COSTUME, is an Italian word, which fignifies cuftom or ufage •, and the 
 term implies, that a painter, in repreienting fome hiftorical paffage, 
 action, or event, muft not only be exact in defcribing the particular fact, 
 but he muft alfo reprefent the fcene of action •, the country where the 
 action has paffed ■, whether it was at Rome, or Athens •, whether at a 
 river, or on the fea-fhore •, in a palace, or a field •, in a fruitful or defart 
 country ; obferving to diftinguifh, by the dreffes, cuftoms, and manners 
 2 peculiar 
 
[ xvii ] 
 
 peculiar to each people, whether they are of one country or the other ; 
 whether Greeks, Romans, Jews, or Barbarians. 
 
 DESIGN, implies the reprefentation of one or more human figures or animals; 
 or fome parts or members of either •, or a fcene taken from nature ; a 
 plant, fruit, flower, infect, or piece of drapery, all taken from the life ; 
 in order to be inferted in fome part of a picture ; and in this fenfe it is 
 called a ftudy. It is alio taken for the outline of objects •, for the 
 meafures and proportions of exterior forms. Defign confifts of feveral 
 parts; of which the principal are, correctnefs, good tafte, elegance, 
 character, variety, and perfpective. 
 
 DISTEMPER, is a preparation of colours, without oil, only mixed with fize, 
 whites of eggs, or any fuch proper, glutinous, or unctuous fubftance ; 
 with which kind of colour, all the antient pictures, before the year 1410, 
 were painted, as alfo are the celebrated cartons of Raphael. 
 
 DRYNESS, is a term, by which artifts exprefs the common defect of the early 
 painters in oil, who had but little knowledge of the flowing contours, 
 which fo elegantly fhew the delicate forms of the limbs, and the infertion 
 of the mufcles ; the fielh in ih?ir colouring appearing hard and ftiff, inftead 
 of exprefiing foftnefs and pliancy. The draperies of thofe early painters, 
 and particularly of the Germans, concealed the limbs of the fitnires, 
 without truth, or elegance of choice ; and even in their beft matters, the 
 draperies very frequently either demeaned, or encumbered the figures. 
 
 ELEGANCE in a defign, is a manner which embelliflies and heightens 
 objects, either as to their form, or colour, or both, without deftroyino-, or 
 perverting truth. It appears moil: eminently in the antiques, and next, in 
 thofe painters who have imitated them beft ; the principal of which is 
 Raphael. De Piles obferves, that elegance is not always founded on 
 correctnefs, as may be evident from the works of Raphael, and Correggio ; 
 in the latter of whom, notwithstanding his incorrectnefs of defign, his 
 elegance in the tafte of it, and in the turn which he has given to his 
 actions, muft needs be admired ; for, he rarely departs from elegance. 
 
 EXPRESSION principally confifts, in reprefenting the human body, and all 
 its parts, in the action fuitable to it ; in exhibiting in the face the feveral 
 paffions proper to the figures, and marking the motions they imprefs on 
 the other external parts'. Frequently, the term Exprefiion. is confounded 
 with that of Pafiion ; but the former implies, a reprefentation of an object 
 agreeably to its nature and character ; and the ufe or office it is intended to 
 have in the work and paffion, in painting, denotes a motion of the body, 
 accompanied with certain airs of the face, which mark an agitation of foul. 
 So that every paffion is an exprefiion ; but, not every exprefiion a paffion. 
 
 FRESCO, is a kind of painting performed on frefli plaifter, or on a v/all 
 covered with moi tar not quite drv, and with water colours. The plaifter 
 
 b is 
 
[ xviii 
 
 is only to be laid on, as the painting proceeds ; no more being to be done 
 at once, than the painter can difpatch in a day. The colours being prepared 
 with water, and applied over plaitler quite frefh, become incorporated with 
 the plaifter, and retain their beauty for a great length of time. 
 
 GRACE, principally confifts, in the turn that a painter gives to his objects, to 
 render them agreeable, even thofe that are inanimate. It is more feldom 
 found in the face, than in the manner ; for our manner is produced every 
 moment, and can create furprize. In a word, a woman can be beautiful 
 but one way, yet fhe can be graceful a thoufand. Grace is neither found in 
 conftrained, nor in affected manners, but in a certain freedom and eafe 
 between the two extremes. 
 
 GROTESQUE. This term, which is now familiar among all the lovers of the 
 art of painting, Was by the Italians appropriated to that peculiar manner 
 of compofition and invention, obferved among the antique monumental 
 paintings, which were difcovered in the fubterraneous chambers, that had 
 been decorated in the times of the antient Romans. And as the Italians, 
 apply the word Grottt, to exprefs every kind of cave or grot ; all paintings 
 which were in imitation of the antique defigns, difcovered in thofe fubter- 
 raneous chambers which for ages had been covered with ruins, are now 
 called grcttefca, or grotefque ; implying a ftyle, in which the imagination, 
 and the wildnefs of inventive fancy are principally exerted, without any 
 Uriel: adherence to nature, truth, or probability. 
 
 GROUPE, is the combination or joining of objects in a picture, for the 
 fatisfaction of the eye, and alfo for its repofe. And although a picture 
 may confifl: of different groupes •, yet, thofe groupes of objects, managed 
 by the Chiaro-Scuro, fhould all tend to unity, and one only ought to 
 predominate. That iubordination of groupes, creates that union and 
 harmony, which is called the Tout Enfemble, or, the whole together. By 
 a predominant groupe the eye is agreeably fixed-, and by means of the 
 repofes caufed by a ipread of lights and fhades, neither the effect of the 
 other grovipes, nor the effect of the iubordinate objects are hindered. 
 
 LOCAL COLOURS are fuch as faithfully imitate thofe of a- particular object, 
 or iuch as are natural and proper for each particular object in a picture. 
 And colour is diftinguifhed by the term Local •, becaule the place it fills, re- 
 quires that particular colour, in order to give a greater character of truth 
 to the feveral colours around it. 
 
 LINEAR PERSPECTIVE, is that which defcribes, or reprefents, the pofition, 
 magnitude, form, &c. of the feveral lines or contours of objects; and 
 exprelles their diminution, in proportion to their diftance from the eye. 
 
 MANNER, is that habitude which painters have acquired, not only in the 
 
 management of the pencil, but alfo in the principal parts of painting, 
 
 4. ioventioOj 
 
[ xix ] 
 
 invention, defign, and colouring. It is by the manner in painting, that 
 a picture is judged to be by the hand of Titian, Tintoret, Guido, the 
 Caracci, and others. Some matters have had a variety in their manners, 
 at different periods of life ; and others have (o conftantly adhered to one 
 manner, that thofe who have feen even a few of them, will immediately 
 know them, and judge of them without any rifque of a miftake. The 
 variety obfervable among artifts, in their manner and tafte, arifes from the 
 manners of the different fchools, in which they have received their inftruc- 
 tion •, or of the artifts under whom they have ftudied ; for, young painters, 
 feeling a partiality in their own choice and judgement, to thofe mafters 
 which they have imitated, it prevails with them to prefer, what they 
 have long accuftomed themfelves to admire. Yet there are many in- 
 ftances, among the great artifts, of painters who have diverted them- 
 felves, of that early partiality to a particular manner, and have altered 
 it fo effectually, as to fix on one abundantly more refined, and better 
 adapted to their particular genius ; by which means they have arrived at 
 excellence. Thus, for inftance, Raphael proceeded, and acquired a much 
 more elevated manner, after he had quitted the fchool of Perugino. 
 
 ORDONNANCE, is the placing regularly the figures, in refpect of the whole 
 compofition-, or the particular difpofition of figures as to the different 
 groupes, maffes, contrafts, decorum and fituation. 
 
 OUTLINE, is that which traces the circumferences of objects in a picture. The 
 outline is to be drawn as thin and fine as poffible, fo as fcarcely to be 
 difcerned by the eye ; and it ought to be obferved, that a correct outline 
 may excite pleafure, even without any colouring, but no colouring can 
 afford equal fatisfaction to a judicious eye, if the outline be incorrect; for, 
 no compofition, no colouring can merit praife, where the outline is 
 defective. 
 
 PASSION, in painting, implies an emotion of the body, attended with certain 
 expreffive lines in the face, denoting an agitation of foul. 
 
 PASTICI, is a term, by which the Italians diftinguifh thofe pictures, which 
 cannot be called either originals or copies ; being the works of fome artifts, 
 who have had the (kill to imitate the manner of defign, and colouring, of 
 other eminent mafters, fometimes borrowing parts of their pictures ; 
 fometimes imitating their touch, their ftyle of invention, their colouring, 
 and their exprefiion. Several painters, of confiderable reputation for their 
 own original performances, have made themfelves remarkable in this way. 
 But none of them more than David Teniers •, who hath fo fuccefsfully 
 counterfeited Giacomo BalTan, as to deceive the moft judicious, in many 
 inftances, at the firft fight •, though, upon a clofer infpection, his light and 
 eafy pencil, and a predominant grey tint, which is obfervable in the 
 colouring; of that mafter, will Ihew a perceptible difference, between his 
 pencil and colouring, when they are carefully examined, and compared 
 
 b 2 with 
 
[ xx 3 
 
 with Baton's. For, although Teniers underftood the union of colours 
 extremely well •, yet, Bafian was fuperior to him, in the fweetnefs and 
 vigour of his tints. De Piles recommends it to all perfons, who would 
 not wilh to be deceived by the Paftici, to examine their tafte of defign, 
 their colouring, and the character of their pencils, with the original matters 
 from whom they were taken. Teniers, Luca, Giordano, and Bon 
 Boullongne, are thole who have appeared with the greatelt reputation, for 
 imitating other great mailers •, and befide thefe, many other artifts have 
 employed themfelves in painting the Paftici. 
 
 SITE, in landfcape, fignifies the view, profpect, or opening of a country,, 
 derived from the Italian word Sito, fituation ; and it is in ufe among the 
 artifts in painting, as being more expreftive.. 
 
 THE 
 
T H [E 
 
 NAMES of the PAINTERS 
 
 CONTAINED IN 
 
 
 THIS DICTIONARY. 
 
 
 A 
 
 L Ndrea 
 Nicolo 
 Filippo 
 John van 
 Alexander 
 Evert van 
 William van 
 Peter 
 Livio 
 Francefco 
 Giovanni Battifta 
 Cherubino 
 Giovanni 
 Albert 
 John van 
 Antonio 
 Baldaffare 
 Aleflandro 
 Chriftofano 
 Chriftopher 
 Jacopo 
 Odtavio 
 Giovanni 
 Michael 
 Michael 
 Michael 
 Michael 
 Michael 
 Fiiippo D' 
 Sophonifba 
 Lucia 
 Europa 
 Peter van 
 John 
 
 Jacob 
 Barent 
 Caefaro 
 
 James Anthony 
 
 Abate. 
 
 Abbate. 
 
 Abbiati. 
 
 Ach. 
 
 Adrianfen. 
 
 Aelft. 
 
 A el ft. 
 
 Aertfen. 
 
 Agrefti. 
 
 Albano. 
 
 Albano. 
 
 Alberti. 
 
 Alberti, 
 
 Aldegraef. 
 
 Alen. 
 
 Alienfe. 
 
 Alloifi.. 
 
 Allori. 
 
 Allori. 
 
 Amberger. 
 
 Amiconi. 
 
 Amigoni. 
 
 Angelico. 
 
 Angelo, Buonaroti. 
 
 Angelo, da Caravaggio. 
 
 Angelo, di Campidoglio. 
 
 Angelo, di Battaglia. 
 
 Angelo, Colonna. 
 
 Angeli. 
 
 Angufciola. 
 
 Angufciola. 
 
 Angufciola. 
 
 Anraat. 
 
 Antiquus. 
 
 Antiveduto. 
 
 Antonello, da Meffina. 
 
 Appel. 
 
 Appelman. 
 
 Arethufi. 
 
 Aretino. 
 
 Arlaud. 
 
 GiufeppeD' Arpino* 
 Jacques D' Artois. 
 Edmund Aftifield. 
 John Afper. 
 Amico Afpertino. 
 John Aftelyn. 
 
 B 
 
 John de Baan. 
 Jacob de Baan. 
 Theodore Babeur. 
 . . . Baccicr. 
 Bartolomeo Baccio. 
 Jacques Backer; 
 Jacob Backer. 
 William Backereel. 
 Ludolph Backhuyfen. 
 Francis Badens. 
 Antonio Badile. 
 
 Sifto Badolocchi. 
 . . . Baerftrat. 
 David Bailii. 
 Mario Balafli. 
 Hendrick van Balen. 
 John van Balen. 
 Lazaro Baldi. 
 Antonio Baleftra. 
 Peter Balton. 
 . . . Bamboccio. 
 Baccio Bandinelli. 
 John. Baptift, Monnoyerv 
 John Baptift, Gafpars. 
 Anthony Baptift. 
 Bernardino Barbatelli. 
 Giovan. Francefco Barbieri. 
 Paolo Antonio Barbieri. 
 Dieterick Barent. 
 Francis Barlow. 
 Federigo Baroccio. 
 . .. . Bartelena di S. Marco 
 . . . Bartolet. 
 Bartolomeo da Bagnacavallo 
 
 Bartolamec* 
 
[ xxii ] 
 
 . . . Bartolomeo. 
 Giacomo Bafl'an. 
 Francefco Baflan. 
 Leandro Baflan. 
 Giovanni Battifta Baffan. 
 Girolamo Baffan. 
 William Baur. 
 Mary Beal. 
 Domenico Beccafiumi. 
 
 David Beck. 
 Cornelius Bega. 
 Abraham Begeyn. 
 Giovanni Battifta Beinafchi. 
 Joachim Francis Beifch. 
 
 . . . Bellevois. 
 Giacomo Bellini. 
 Gentile Bellini. 
 Giovanni Bellini. 
 Pietro Bellotti. 
 Antonio Bellucci. 
 William van Bemmel. 
 
 . . . Benedetto* 
 John vander Bent. 
 Nicholas Berchem. 
 Peter Berchet. 
 Mathys vander Berg., 
 y Dirk vanden Bergen. 
 
 Job Berkheyden. 
 Gerard Berkheyden. 
 Nicafius Bernaert. 
 . . . Bernard, of Bruflels. 
 . . . Bernazano. 
 Nicolo Beretoni. 
 Pietro Berretini. 
 Nicholas Bertin. 
 Domenico Bettini. 
 . . . Bevihqua. 
 William Beurs. 
 Francefco Bianchi. 
 Ferdinand Galli Bibiena. 
 Adrian de Bie. 
 Chriftian Jans van Biezelingen. 
 Bartolomeo Bifcaino. 
 John de Bifchop. 
 Cornelius Bifchop. 
 Abraham Bifchop. 
 Charles Emanuel Bifet. 
 Bonaventure Bifi. 
 Giovanni Bizzelli. 
 Jacques Blanchard. 
 Thomas Blanchet. 
 John Teunifz Blanchof. 
 . . . Blekers. 
 Henry Blefs. 
 Anth. de Montfort Blockland. 
 Daniel Block. 
 Jacob Roger Block. 
 
 Benjamin 
 
 Abraham 
 
 Henry 
 
 Adrian 
 
 Peter van 
 
 Francis van 
 
 Norbert van 
 
 Chriftopherle 
 
 Peter 
 
 Camillo 
 
 Clemen te 
 
 John van 
 
 Peter 
 
 James 
 
 Ferdinand 
 
 John 
 
 John 
 
 Francifco 
 
 Alexander 
 
 Giovanni Battifta 
 
 Sebaftian 
 
 Venetiano 
 
 Aleflandro 
 
 Daniel 
 
 Arnold 
 
 Henry vander 
 
 • ■ • 
 
 Paris 
 
 Orazio 
 
 Luciano 
 
 Giovanni Battifta 
 
 Carlo 
 
 Francifco Maria 
 
 Jerom 
 
 Lewis Janllen de 
 
 Cafpar vander 
 
 Balthafar vander 
 
 Tho. Willeborts 
 
 Jacob vanden 
 
 Andrea 
 
 John 
 
 Andrew 
 
 Aleflandro 
 
 Louis 
 
 Louis 
 
 Bon 
 
 • Sebaftian 
 
 • i 
 
 Francis 
 
 John William 
 
 Reinier 
 
 Leonard 
 
 Peter 
 
 Giacinto 
 
 Block. 
 
 Blocmart. 
 
 Bloemart. 
 
 Bloemart. 
 
 Bloemen. 
 
 Bloemen. 
 
 Bloemen. 
 
 Blond. 
 
 Bloot. 
 
 BoccaccL 
 
 Bocciardi. 
 
 Bockhorft. 
 
 Bodekker. 
 
 Bodewyns, 
 
 Boel. 
 
 Bogdane. 
 
 Bol. 
 
 Bol. 
 
 Bolanger. 
 
 Bolognefe. 
 
 Bolognefe. 
 
 Bolognini. 
 
 Bombelli. 
 
 Bonifacio. 
 
 Bonvincino. 
 
 Boon. 
 
 Boonen. 
 
 Borcht. 
 
 Bordier. 
 
 Bordone. 
 
 Borgianni. 
 
 Borzoni. 
 
 Borzoni. 
 
 Borzoni. 
 
 Borzoni. 
 
 Bos. 
 
 Bos. 
 
 Bofs. 
 
 Bofch. 
 
 Bofchaert. 
 
 Bofch. 
 
 Bofcoli. 
 
 Both, of Italy. 
 
 Both. 
 
 Boticello. 
 
 Boullongne, the Old. 
 
 Boullongne, the Young. 
 
 Boullongne. 
 
 Bourdon. 
 
 Bourgognone. 
 
 Bout. 
 
 Bouwer. 
 
 Br.'.ckinburg. 
 
 B airier. 
 
 B.andil. 
 
 Braniii. 
 
 Gregory 
 
[ 
 
 XX111 
 
 ] 
 
 Gregory Brandmuller. 
 Solomon de Bray. 
 Jacob de Bray. 
 
 . . . Breck.be rg. 
 Peter van Breda. 
 John van Breda. 
 Peter van BredaeJ. 
 Bartholomew Breenberg. 
 Charles Breydel. 
 Francis Breydel. 
 Matthew Bril. 
 K Paul Bril. 
 Cornelius Brize. 
 Francefco Brizio. 
 Elias vanden Broek. 
 . . . Broers. 
 Peter Bronchorft. 
 John Bronchorft. 
 ■ Bronzino. 
 Agnolo Bronzino. 
 Adrian Brouwer. 
 Peter Brueghel. 
 . Peter Peterfz Brueghel. 
 John Brueghel. 
 Abraham Brueghel. 
 Charles le Brun. 
 . • . Brufaforci. 
 Roger of BrufTels. 
 Buonamico Buffalmacco. 
 Giuliano Bugiardini. 
 
 Jacob Bunel. 
 John van Bunnik. 
 Jacob Bunnik. 
 Bernardo Buontalenti, 
 . . . Buonaccorfi. 
 
 Adrian vander 
 
 Paolo 
 
 Carletto 
 
 Gabriel 
 
 Benedetto 
 
 Guido 
 
 Francefco 
 
 Giacinto 
 
 Luca 
 
 John 
 
 Denis 
 
 Antonio 
 
 Andrea 
 
 Galeazzo 
 
 Bernardo 
 
 Dirk Raphael 
 
 Ludovico 
 
 C. 
 
 Cabel. 
 
 Cagliari. 
 
 Cagliari. 
 
 Cagliari. 
 
 Cagliari. 
 
 Cagnacci. 
 
 Cairo. 
 
 Calabrefe. 
 
 Calandrucci. 
 
 Cali'avari. 
 
 Calkar. 
 
 Calvart. 
 
 Calza. 
 
 Camaflei. 
 
 Campi. 
 
 Campi. 
 
 Camphuyfen. 
 
 Cangiagio. 
 
 Peter Candito. 
 Domenico Maria Canuti. 
 
 . . . Cappuccino. 
 
 Annibal Caracci. 
 
 Ludovico Caracci. 
 
 •Agoftino Caracci. 
 
 Antonio Caracci. 
 
 Francefco Caracci. 
 
 . . . Caravaggio. 
 Ludovico Cardi. 
 Henry Carre. 
 Michael Carre. 
 Giovan. Francefco Caroto. 
 Giovanni Caroto. 
 Ugo da Carpi. 
 Girolamo da Carpi. 
 
 Julio Carpione. 
 Giacomo Carucci. 
 Nicolo Caflana. 
 Giovan. Agoftino Caflana. 
 
 Jacopodi Caflentino. 
 Andrea del Caftagno. 
 Bernardo Caftel~li. 
 Valerio Caftelli. 
 Benedetto Caftiglione. 
 Francefco Caftiglione. 
 Peter de Caftro. 
 
 Pietro Cavallino. 
 Jacomo Cavedone. 
 Andrea Celefti. 
 Giov. Domenico Cerini. 
 Giovan. Paolo Cervetto. 
 Philip de Champagne. 
 John Baptift Champagne. 
 . . . Chardin. 
 Francis du Chatel. 
 Louis Cheron. 
 Elizabetha Sophia Cheron. 
 Giufeppe Chiari. 
 
 Jacopo Chiaviftelli.. 
 Agoftino Ciampelli. 
 Scipio Cignaroli. 
 Carlo Cignani. 
 Giovanni Cimabue. 
 Andrea di done. 
 Nicolo Circignano. 
 Antonio Circignano. 
 
 • • K Claude, Lorraine, 
 Jofeph van Cleef. 
 
 John van Cleef. 
 
 Henry van Cleef. 
 
 Martin van Cleef. 
 
 • • • Clementone. 
 John le Clerc. 
 
 Francis de Cleyn. 
 
 N. Clofterman. 
 
 Giorgio 
 
[ xxiv ] 
 
 Gior>io Giulio Clovio. 
 
 , . . Codazxo. 
 Giles Coignet. 
 
 De Colombieru 
 Adam Coloni. 
 Adrian Coloni. 
 
 . Colonna. 
 Andrea Commodi. 
 Sebaftian Concha. 
 
 Egidius Coningfloo. 
 Gio°anni Contaiini. 
 Tacopino dal Conte. 
 Samuel. Cooper. 
 Alexander Cooper. 
 Cavalier Coppa. 
 Gonzalo Coques. 
 . . . . Coriario. 
 Lucas Cornelii. 
 Jacques Cornelifz. 
 Cornelius Cornelifz. 
 Octavio Corradi. 
 Antonio da Correggio. 
 Giacomc- Cortefi. 
 Gio. Marmocchini Cortefi. 
 Pietro da Cortona. 
 Pietro Paolo Cortonefe. 
 John Cofiers. 
 Pietro da Cofimo. 
 
 . . Couwenberch. 
 William Courtois. 
 Reiner Covyn. 
 Ifrael Covyn. 
 Michael Coxis. 
 Anthony Coypel. 
 Noel Nicholas Coypel. 
 Francefco Cozza. 
 
 . . Crabbetje. 
 Dirk Crabeth. 
 Wouter Crabeth. 
 N. Cramer. 
 Luca Cranius, the Old. 
 Luca Cranius, the Young. 
 Jofephvan Craafbeck. 
 
 Cafparde Crayer. 
 Lorenzo di Credi. 
 . . . Crepu. 
 Daniello Crefpi. 
 Giufeppe Maria Crefpi. 
 Domenico Crefti. 
 Mr. Crofs. 
 Francefco Curradi. 
 
 . Cuylenburg. 
 
 Albert Cuyp. 
 
 D. 
 
 Jacopo D'Agar. 
 Dirk Dalcns. 
 
 Pietro Dandini. 
 
 O&avio Dandini. 
 
 Csfare Dandini. 
 
 Cavaliere Daniello. 
 
 Henry Dankers, or Dankaerts. 
 John Dankers. 
 Dirk van Delen. 
 Jacob Delft. 
 Deodato Delmont. 
 Balthafar Dcnner. 
 Jacques Denys. 
 Peter Cornelius Deryck. 
 William Deryck. 
 Alexander Defportes. 
 Jacques De Witt. 
 John Baptift van Deynum. 
 J Lewis Deyfter. 
 
 Anna Deyfter. 
 Adrian van Dieft. 
 Abraham van Diepenbeke. 
 Abraham Diepraam. 
 William Dobfon. 
 Jacob vander Does, the Old. 
 Jacob vander Does, the Young. 
 Simon vander Does. 
 Carlo Dolce. 
 
 . Domenichino. 
 JoTin Domenique. 
 Peter Donker. 
 John Donker. 
 Lewis Dorigny. 
 William Doudyns, orDodocns* 
 John Francis Douven. 
 
 Gerhard Douw. 
 William van Drillenburg. 
 . . Drogfloot. 
 \ . . Droit. 
 Aart Janze Druiverftein. 
 Simon Dubois. 
 John le Due. 
 
 Ifaac Ducart. 
 Heyman Dullaert. 
 Albert Durer. 
 Cornelius Dufart. 
 Nicholas Duval. 
 Marc van DuvencJe. 
 
 E. 
 
 Gerbrant Vanden Eeckhout. 
 Anthony vander Eeckhout. 
 Gerard Edema. 
 Juftusvan Egmont. 
 Ottomar Elliger, the Old. 
 Oitomar Elliger, the Young. 
 Matthias Elias. 
 . Adam Elfheimer. 
 
 Jacop e 
 
[ xxv ] 
 
 Jacopo da Empoli. 
 Cornelius Enghelbrecht. 
 Cornelius Enghelrams. 
 
 . . . Eremita, di Monte Senarie. 
 Caefar van Everdingen. 
 Aldret van Everdingen. 
 John van Everdingen. 
 Hubert van Eyck. 
 John van Eyck. 
 Peter Eykens. 
 
 F. 
 
 Gentile da Fabriano. 
 Charles Fabricius. 
 Pietro Fachetti. 
 Pietro Facini. 
 Peter vander Faes. 
 
 Anthony Faiftenberger. 
 Jofeph Faiftenberger, 
 
 Paolo Farinato. 
 Orazio Farinato. 
 II Fattore. 
 Morto da Feltro. 
 Francis Paul Ferg, or Fergue. 
 William Fergufon. 
 Nuzio Ferrajuoli. 
 Giovanni Andrea Ferrari. 
 . . . Ferrata. 
 Ciro Ferri. 
 Domenico Fetti. 
 Roland le Fevre. 
 Claude le Fevre. 
 Domenico Fiafella. 
 Giovanni di Fiefole. 
 Ambrogio Figino. 
 . . . Fioravanti. 
 . Fiori. 
 Bertholet Flameel. 
 Govert Flink. 
 Stefano Florentine 
 Francis Floris. 
 Profpero Fohtana. 
 Lavinia Fontana. 
 John Baptift Fontenay. 
 Girolamo Forabofco. 
 John Baptift Foreft. 
 Charles de la Fofle. 
 
 James Fouquieres. 
 Bertram de Fouchier. 
 
 Antonio Franchi. 
 Pietro della Francefca. 
 Marc Antonio Francefchini. 
 Baldaffare Francefchini. 
 . Francefch no. 
 . . . Francefchiello, della Mura. 
 Francefco Francia. 
 
 . . . Francifque. 
 
 Francifcus Franken.call'd Old Franks. 
 
 Francifcus Franken, call'd Young 
 
 Franks. 
 
 Sebaftian Franks, or Vranx. 
 
 John Baptift Franks. 
 
 Battifta Franco. 
 
 Lucas Francois, the Old. 
 
 Peter Francois, the Young. 
 
 Simon Francois. 
 
 11 Frari, ofModena. 
 
 Lorenzo Maria Fratellini. 
 
 Giovanna Fratellini. 
 
 Martin Freminet. 
 
 Theodore Freres. 
 
 Cha. Alphonfedu Frefnoy. 
 
 Toinafo da San Friano. 
 
 Peter Frits. 
 
 Philip Fruytiers. 
 
 Ifaac Fuller. 
 
 Francefco Furini. 
 
 John Fytt, or Feyt. 
 
 G. 
 
 Barent Gaal. 
 
 Antonio Domenico Gabbiani. 
 
 William Gabron. 
 
 Gaddo Gaddi. 
 
 Taddeo Gaddi. 
 
 Agnolo Gaddi. 
 
 Alexander van Gaelen.' 
 
 Scipio Gaetano. 
 
 . Galanino. 
 
 Ippolito Galantini. 
 
 Filippo Maria Galetti. 
 
 . . . Galli. 
 
 Giofeffb Gambarini. 
 
 James Gandy. 
 
 Lorenzo Garbieri. 
 
 Raphaelino del Garbo. 
 
 Benvenuto Garofalo. 
 
 Ludovico Garzi. 
 
 Maria Garzi. 
 
 Hendrick Gaud. 
 
 . . . Gaudentio. 
 
 Giovan. Battifta Gauli. 
 
 Benozzo Gazzoli. 
 
 John van Geel. 
 
 Arent de Gelder. 
 
 . Geldorp. 
 
 Claude Gelee. 
 
 Jacob Gcllig. 
 
 Vincentio di San Gemignano. 
 
 Giacinto Gemignano. 
 
 Luigi Gemignano. 
 
 Girolamo 
 
xxvi 
 
 Girolamo Genga. 
 
 Bartolomeo Genga. 
 
 Benedetto Qerinari. 
 
 Caefare Gennari. 
 
 Abraham Genoels. 
 
 Ludovicus Gentile. 
 
 Orazio Gentilefchi. 
 Artemifia Gentilefchi. 
 Balthafar Gerbier. 
 Simon Germyn. 
 . . Gerard of Haerlem. 
 Chrifto'faro Gerardi. 
 Marc Gerards. 
 
 . Gerrards, van Zyl. 
 Pier Leone Ghezzi. 
 Domenico Ghirlandaio. 
 Ridolfo Ghirlandaio. 
 Giovanni Ghifolfi. 
 Richard Gibfon. 
 
 . Giliemans. 
 Luca Giordano. 
 . . Giorgione. 
 .' . Giofeppino. 
 . . Giotto. 
 Tomafo Giottino. 
 Giovanni da San Giovanni. 
 Antonio Giufti. 
 John Glauber. 
 John Gotlief Glauber. 
 Diana Glauber. 
 . Gobbo. 
 Andrea Gobbo. 
 Margerita Godewyck. 
 Hugo vander Goes. 
 
 Hubert Goitzius. 
 Henry Goitzius. 
 John van Goyen. 
 Doroth. Henrietta Graaf. 
 Barent Graat. 
 Henry Graauw. 
 Peter Grebber. 
 Maria Grebber. 
 John Greenhill. 
 Greghetto. 
 lohn Griffier,the01d. 
 Robert Griffier, the Young. 
 
 Grimaldi. 
 Hubert Grimani. 
 Jacques Grimmer. 
 . Guercino. 
 . Guido, Rheni. 
 . Guido, Cagnacci. 
 . Gulielmo. 
 
 H. 
 
 • 
 
 Peter Gyzen. 
 John van Haanibergcn. 
 John Hackaert. 
 Cornelius van Haerlem. 
 Theodore van Haerlem. 
 John van Hagen. 
 Francis Hals. 
 Dirk Hals. 
 John Hanneman. 
 Peter Hardime. 
 Lodowick Hartcamp. 
 John van Heck. 
 Nicholas vander Heck. 
 Martin vander Heck. 
 William van Heede. 
 Vigor van Heede. 
 David de Heem. 
 Cornelius de Heem. 
 Lucas de Heere. 
 Daniel van Heil. 
 John Baptift van Heil. 
 Leonard van Heil. 
 Matthew van Helmont. 
 Segers Jacques van Helmont. 
 
 Theodore Helmbreker. 
 Barthol. vander Helft. 
 
 Martin Hemikerck. 
 Egbert Hemfkerck, the Old. 
 Egbert Hemikerck, the Young. 
 Henry Herregouts. 
 . . . Herregouts. 
 William de Heufch. 
 Jacob de Heufch. 
 Abraham de Heufch. 
 John vander Heyden. 
 Nicholas Hilliard. 
 Laurence de la Hire. 
 Philip de la Hire. 
 Minderhout Hobbima. 
 
 John van Hoeck. 
 Robert van Hoeck. 
 Gerard Hoet. 
 Hans Holbein. 
 Cornelius Holftein. 
 Gilles Hondekoeter. 
 Gyfbert Hondekoeter. 
 Melchior Hondekoeter. 
 Abraham Hondius. 
 Gerard Honthorft. 
 William Honthorft. 
 Peter de Hooge. 
 Theodore van Hoogeftraeten. 
 
 Samuel 
 
[ xxvii ] 
 
 Samuel van 
 
 John 
 
 John 
 
 John Rudolph 
 
 • • • 
 
 John van 
 
 Jacques van 
 
 Peter vander 
 
 Cornelius 
 
 James 
 
 Juftus van 
 
 Juftus van 
 
 John van 
 
 Jacob van 
 
 Hoogeftraeten. 
 
 Hoogzaat. 
 
 Hofkins. 
 
 Huber. 
 
 Hugenfe. 
 
 Hugtenburgh. 
 
 Hugtenburgh. 
 
 Hulft. 
 
 Huyfum, or Houfeman. 
 
 Huyfman. 
 
 Huyfum, the Old. 
 
 Huyfum, the Young, 
 
 Huyfum. 
 
 Huyfum. 
 
 J- 
 
 Jurian Jacobfz. 
 Hubert Jacobfz. 
 Lang Jan. 
 Abraham Janffens. 
 Vi&or Honorius Janffens. 
 Cornelius Janflen. 
 Karel du Jardyn. 
 William van Inghen. 
 Ludolphde Jong. 
 Jacques Jordaens. 
 . . . Julio Romano. 
 John Juvenet, or Jouvenet. 
 
 Solomon Koningh. 
 Leonard vander Koogen. 
 Peter Kouc. 
 Chriftian van Kouwenburgh. 
 Francis Kraufe, 
 John van Kuick. 
 John Kupetzki. 
 Jacob Gerritze Kuyp. 
 
 Albert Kuyp, or Cuyp. 
 
 William 
 Barent van 
 Jacob van 
 
 William 
 
 Jofeph vanden 
 
 John van 
 
 Ferdinand van 
 
 N. van 
 
 Cornelius 
 
 Janfon van 
 
 Cornelius 
 
 Alexander 
 
 David 
 
 Sir Godfrey 
 
 N. 
 
 Nicholas 
 
 Matthew 
 
 Wenceflaus 
 
 Ifaac 
 
 Roelof 
 
 Joanna 
 
 David de 
 
 . Philip de 
 
 K. 
 
 Kalf. 
 
 Kalraat. 
 
 Kampen. 
 
 Kamphuyfen. 
 
 Kay. 
 
 Kerckhove. 
 
 Keffel. 
 
 Keffel. 
 
 Keffel. 
 
 Ketel. 
 
 Keulen. 
 
 Kick. 
 
 Kierings. 
 
 Klocker. 
 
 Kneller. 
 
 Kniberg, or Knipbergh, 
 
 Knupfer. 
 
 Kock. 
 
 Koeberger. 
 
 Koene. 
 
 Koets. 
 
 Koerten. 
 
 Koninck. 
 
 Koningh. 
 
 Peter van 
 
 Roeland van 
 
 Gerard 
 
 Erneft 
 
 John 
 
 James 
 
 Nicholas 
 
 'John 
 
 Profper Henry 
 
 Andrea 
 
 Nicholas de 
 
 Marcellus 
 
 Peter 
 
 Jacob 
 
 Filippo 
 
 John Ant. vander 
 
 Gabriel vander 
 
 Peter vander 
 
 Stefano Maria 
 
 Giovanni Antonio 
 
 Sir Peter 
 
 Balthafar van 
 
 Arto 
 
 N. vander 
 
 Lucas van 
 
 N. 
 
 Pietro 
 
 Giovanni Antonio 
 
 Jan 
 
 Pirro 
 
 Jacopo 
 
 John 
 
 Jan 
 
 Peter van 
 
 Hendrick van 
 
 John Stephen 
 
 Filippo 
 
 Filippo 
 
 Lorenzo 
 
 John vander 
 
 John 
 
 Nicholas 
 
 C 2 
 
 L. 
 
 Laer. 
 
 Laer. 
 
 Lairefle; 
 
 Lairefle. 
 
 Lairefle. 
 
 Laireffe. 
 
 Lancret. 
 
 Lang Jan. 
 
 Lanfranc. 
 
 Lankrinck. 
 
 Lanzano. 
 
 Largilliere. < 
 
 Laroon. 
 
 Laftman. 
 
 Laveque. 
 
 Laura. 
 
 Leepe. 
 
 Leeuw. 
 
 Leeuw. 
 
 Legnano. 
 
 Leifman. 
 
 Lely. 
 Lemens. 
 Leone. 
 Leur. 
 
 Leyaen. 
 
 Leyffens. 
 
 Liberale Verone 
 
 Liberi. 
 
 Licinio. 
 
 Lievens. 
 
 Ligorio. 
 
 Ligozzi. 
 
 Linglebach. 
 
 Linfen. 
 
 Lint. 
 
 Lint. 
 
 Liotard. 
 
 Lippi, the Old 
 
 Lippi, the Young. 
 
 Lippi. 
 
 Lis, of Oldenburgh, 
 
 Lys, of Breda. 
 
 Loir. 
 
 Giovanni 
 
[ 
 
 xxvm 
 
 ] 
 
 Giovanni Paolo 
 
 Lambert 
 
 Aleffandro 
 
 Theodore van 
 
 Ambrogio 
 
 John 
 
 Carlo 
 
 Lorenzo 
 
 Theodore 
 
 Chriftopher 
 
 Jan 
 
 H. 
 
 Benedetto 
 
 Dirk 
 
 Arnold van 
 
 Nicholas 
 
 John de 
 
 Michael 
 
 Godfrey 
 
 Giovanni Battifta 
 
 Vincentio 
 
 Cornelius de 
 
 Silveftro 
 
 Rutilio 
 
 Bartolomeo. 
 
 Giovanni 
 
 Andrea 
 
 Tomafo 
 
 Giovrnni 
 
 Carlo 
 
 N. 
 
 Lomazzo. 
 
 Lombard. 
 
 Loni. 
 
 Loon. 
 
 Lorraine. 
 
 Lorenzetti. 
 
 Loten. 
 
 Loti, or Loth. 
 
 Lotto. 
 
 Lubienetzki. 
 
 Lubienetzki. 
 
 Luiken. 
 
 Lutterek 
 
 Luti. 
 
 M. 
 
 Maas. 
 
 Maas. 
 
 Maas. 
 
 Maat. 
 
 Mabufe, or Mabeuge. 
 
 Madderfteg. 
 
 Maes. 
 
 Maganza. 
 
 Maitre Roux. 
 
 Malo. 
 
 Maltefe. 
 
 Man. 
 
 Manaigo. 
 
 Manetti. 
 
 Manfredi. 
 
 Mannozzi. 
 
 Mantegna. 
 
 Mantuano. 
 
 Manzuoli. 
 
 Pier Francifco 
 Francefco 
 Jeronimo 
 Pietro 
 Giovanni Battifta 
 John vandcr 
 John vander 
 Livio 
 Giovanni Paolo 
 Gerard 
 Simone 
 Maria Sybilla 
 Agoftino 
 Gabriel 
 An. Fran, vander 
 Philip 
 Faelix 
 Albert 
 John 
 
 Onorio 
 
 Giovanni Stefano 
 
 Tomafo 
 
 Annibal 
 
 Otho 
 
 Paolo da 
 
 Quintin 
 
 John 
 
 Damiano 
 Paolo 
 
 Maracci. 
 
 Maratti. 
 
 Marcel. 
 
 Margaritone. 
 
 Marinari. 
 
 Maiio, da Fiori. 
 
 Marmocchini. 
 
 Martirelli. 
 
 Marucelli. 
 
 Mafaccio. 
 
 Maffaris. 
 
 A-Iaffaeus. 
 
 Maflblino. 
 
 Mattei. 
 
 Matfys. 
 
 Matfys. 
 
 Maturino. 
 
 Mayo. 
 
 Mazza. 
 
 Mazzochi. 
 
 Jan 
 
 Francis 
 
 John 
 
 William 
 
 Francis 
 
 Nicholas 
 Peter 
 Abraham 
 GiofefFo Maria 
 Francefco 
 
 Michael Janfen 
 
 Peter 
 
 Jacob 
 
 Pietro Francefco 
 
 Giovanni Battifta 
 
 Chev. Peter 
 
 Jodocus 
 
 Francefco 
 
 Del 
 
 II 
 
 Pietro 
 
 Andrea 
 
 Michael Angelo 
 
 Karel de 
 
 John 
 
 Giovanni Maria 
 
 Antonio 
 
 Paul 
 
 N. 
 
 Le 
 
 II 
 
 Giovanni Battifta 
 
 Mazzuccheli. 
 
 Mazzuoli. 
 
 Mazzuoli. 
 
 Medici. 
 
 Medina. 
 
 Meer. 
 
 Meeren. 
 
 Mehus, or Meus. 
 
 Melchiori. 
 
 Melder. 
 
 Memmi. 
 
 Merian. 
 
 Metelli. 
 
 Metzu. 
 
 Meulen. 
 
 Meufnier. 
 
 Meyer. 
 
 Meyering. 
 
 Meyffens. 
 
 Micarino. 
 
 Miel. 
 
 Mieris, the Old. 
 
 Mieris. 
 
 Mieris, called the Young. 
 
 Mieris, called Young 
 
 Francis. 
 Mignard. 
 Mignard. 
 Mignon. 
 Milani. 
 
 Milee, or Mile. 
 Minderhout. 
 Mirevelt. 
 Mirevelt. 
 Molaert. 
 Mola. 
 Mola. 
 Molyn. 
 Mompert. 
 Monnicks. 
 Monfignori. 
 Mont. 
 Montagna. 
 Montanini. 
 Monticelli. 
 Monticelli. 
 Moor. 
 Moortel. 
 Morandi. 
 Morazone. 
 More. 
 Moreelze. 
 Morel). 
 Moretto. 
 Moro. 
 Moroni. 
 
 Francefco. 
 
xxix 
 
 Francefco 
 
 Little 
 
 John 
 
 Frederick 
 
 Ifaac 
 
 Hernandez el 
 
 Emanuel 
 
 Bartolomeo 
 
 Thomas 
 
 Michael van 
 
 Girolamo 
 
 Herman vander 
 
 Arnold 
 
 Daniel 
 
 • • • 
 
 John 
 Martin 
 
 Battifta 
 Giovanni 
 
 Giufeppe Nicola 
 
 John van 
 
 Peter 
 
 Peter 
 
 Arnold vander 
 
 Eglon Hen. vander 
 
 John van 
 
 Gafpar 
 
 Theodore 
 
 Conftantine 
 
 Mathys 
 
 MefTer 
 
 William 
 
 John van 
 
 Tobias van 
 
 Elias van 
 
 Domenique 
 
 Mario 
 
 Moroni. 
 
 Morto da Feltro. 
 
 Mofes. 
 
 Moftaert. 
 
 Moucheron, 
 
 Moucheron, 
 
 Mudo. 
 
 Muranr. 
 
 Murillio. 
 
 Murray. 
 
 Mufcher. 
 
 Mutiano. 
 
 Myn. 
 
 Mytens. 
 
 Mytens. 
 
 Mytens- 
 
 Mytens. 
 
 Mytens.. 
 
 N.. 
 
 Nadalino,del Murano. 
 
 Naldini. 
 
 Nanni. 
 
 Napolitano. 
 
 Nafini. 
 
 Neck. 
 
 Neefs, the Old. 
 
 Neefs, the Young. 
 
 Neer. 
 
 Neer. 
 
 Nes. 
 
 Netfcher. 
 
 Netfcher. 
 
 Netfcher. 
 
 Neveu. 
 
 Niccoletto. 
 
 Nicolo. 
 
 Nieulant. 
 
 Nikkelen. 
 
 Nimeguen.. 
 
 Nimeguen. 
 
 Nolle:. 
 
 Nuzzi. 
 
 O. 
 
 Giovanni Odazzi. 
 Ifaac Oliver. 
 Peter Oliver. 
 John van Oolen. 
 Adam van Oort. 
 Jacques van Ooft, the Old. 
 Jacques van Ooft, the Young. 
 Gafp. Jacques van Opftal. 
 
 II 
 
 Andrea 
 
 Bernard van 
 
 Richard van 
 
 N. 
 
 Adrian van 
 
 Ifaac van 
 
 Maria van 
 
 Andrea 
 
 Jurian 
 
 Robert van 
 
 Albert 
 
 Orbetto» 
 
 Orgagna, 
 
 OrizontL 
 
 Orlay. 
 
 Orlay. 
 
 OfTenbeck. 
 
 Oftade. 
 
 Oftade. 
 
 Oftertwyck. 
 
 Otho van Veen, 
 
 Ouche. 
 
 Ovens. 
 
 Oudenarde.. 
 
 Ouwater. 
 
 F. 
 
 Paolo Antonio 
 
 Francefco 
 
 O&avio 
 
 Dario 
 
 Aleffandro 
 
 Paolo 
 
 Gregorio 
 
 Giovan. Battifta 
 
 Francefco 
 
 Archangela 
 
 Antonio 
 
 Pietro 
 
 Palamedes 
 
 Giacomo 
 
 Giacopo 
 
 ' Paolo 
 Maria Helena 
 
 John 
 
 Julius 
 
 Juan de 
 
 James 
 
 Francefco 
 
 Jeronimo 
 
 Domenico 
 
 Jofeph 
 
 Charles 
 
 Ignatius 
 
 Giufeppe 
 
 Bartolomeo 
 
 Tiburzio 
 
 Venturu 
 
 Lorenzo 
 
 Joachim. 
 
 Paderna. 
 
 Paduanino, 
 
 Paduanino. 
 
 Paduanino. 
 
 Paduanino. 
 
 Pagano. 
 
 Pagani. 
 
 Pagi, or Paggi. 
 
 Paglia. 
 
 Palladini. 
 
 Pallajuolo. 
 
 Pallajuolo. 
 
 Palamedefz. 
 
 Palma, the Old. 
 
 Palma, called the Young. 
 
 Pandolfo. 
 
 Panini. 
 
 Panzacchia. 
 
 Paoluccio. 
 
 Parcelles. 
 
 Parcelles. 
 
 Pareja. 
 
 Parmentier. 
 
 Parmigiano. 
 
 Parmiffiano. 
 
 Parodi-. 
 
 Parrocel, the Old'. 
 
 Parrocel, the Young.- 
 
 Parrocel. 
 
 Paflari. 
 
 Pafferotti. 
 
 Pafferotti. 
 
 Pafferotti. 
 
 Paffignnno. 
 
 Paffinelli. 
 
 Pafqualino. 
 
 Patel. 
 
 Pateniex.- 
 
 Johni 
 
XXX 
 
 John Baptift 
 
 Horatius 
 Ifaac 
 
 Antonio 
 
 Giovan. Francefco 
 
 Luca 
 
 Santo 
 
 Francis 
 
 Pietro 
 
 Petruccio 
 
 13 aid a flare 
 
 Pefello 
 
 Bonaventure 
 
 John 
 
 Gerard 
 
 Francis Lucafz 
 
 John 
 
 Peter 
 Chriftopher 
 
 Simon 
 
 John 
 
 Bernardino 
 
 Sebaftian del 
 
 David vander 
 
 Matthew van 
 
 Cornelius 
 Charles Francis 
 
 Antonio 
 
 Nicolo 
 
 Chriftofano 
 
 Rachel van 
 
 Juriaen 
 
 Giovan. Antonio 
 
 Giulio 
 
 Giufeppe 
 
 And tea 
 
 Francis 
 
 Paul 
 
 Peter 
 
 Francis 
 
 Francis 
 
 Nicolo 
 
 Gafpar 
 
 Mattia 
 
 Francefco 
 
 Pater, called Paterrc. 
 
 Paudits. 
 
 Paulyn. 
 
 Paulyn. 
 
 Pellegrino da Modena. 
 
 Pellegrino Tibaldi. 
 
 Pellegrino da San Daniello, 
 
 Pellegrini, of Padua. 
 
 Penni. . 
 
 Penni. 
 
 Peranda. 
 
 Perrier. 
 
 Perugino. 
 
 Perugino. 
 
 Peruzzi. 
 
 Pefelli. 
 
 Peters. 
 
 Peters. 
 
 Peters. 
 
 Peters. 
 
 Petitot, the Old. 
 
 Petitot, the Young. 
 
 Peuteman. 
 
 Pierfon. 
 
 Pietro, or Pierino del Vaga. 
 
 Pietro da Petri. 
 
 Pignoni. 
 
 Pinas. 
 
 Pinturiccio. 
 
 Piombo. 
 
 Plaas. 
 
 Platten. 
 
 Pochetti. 
 
 Poelemburg. 
 
 Poerfon. 
 
 Polidore. 
 
 "o'idoro da Caravaggio. 
 
 Pomerancio. 
 
 Pomerancio. 
 
 Pomerancio. 
 
 Pool. 
 
 Pool. 
 
 Pordenone, the Old. 
 
 Pordenone, thi Young. 
 
 Porta. 
 
 Pozzo. 
 
 Poft. 
 
 Potter. 
 
 Pourbus, the Old. 
 
 Pourbus, the Young. 
 
 Pourbus, the Sonof Francis. 
 
 Pouffin. 
 
 Pouflin. 
 
 Prcti. 
 
 Primaticcio. 
 
 Camillo 
 
 Julio Caefare 
 
 Carlo Antonio 
 
 Ercole 
 
 Marcello 
 
 Peter Paul 
 
 Domenico 
 
 Giacomo da 
 
 Adam Pynaker 
 
 Procaccini, the Old. 
 
 Procaccini. 
 
 Procaccini. 
 
 Procaccini, the Young. 
 
 Provenzale, da Cento. 
 
 Puget. 
 
 Puligo, orPuglio. 
 
 Puntormo. 
 
 Ludovico Qtiaini. 
 Erafmus Quellinus, the Old. 
 John Erafmus Quellinus, the Young. 
 
 Bernardo 
 
 Gerard 
 
 Abraham 
 
 Francefco 
 
 Padre Felice 
 
 John 
 
 John van 
 
 Hubert van 
 
 Nicholas van 
 
 Tommafo 
 
 Antonio 
 
 Wenccl. Laurent 
 
 Peter 
 
 Jan de 
 
 Giufeppe 
 
 > Sebaftian 
 
 > Marco 
 
 Daniel 
 
 Domenico 
 
 Claudio 
 
 John Klaafze 
 
 Henry 
 
 Hyacinth 
 
 John 
 
 Orazio 
 
 Anthony 
 
 Giacomo 
 
 Peter 
 
 Conrade 
 
 Martin 
 
 Roland 
 
 Giovan. Francefco 
 
 R. 
 
 Racchetti. 
 
 Rademaker. 
 
 Rademaker. 
 
 Raibolini. 
 
 Ramelli. 
 
 Raoux. 
 
 Raphael, D'Urbino, 
 
 Raphael da Rhegio. 
 
 Ravefteyn. 
 
 Ravefteyn. 
 
 Ravefteyn. 
 
 Redi. 
 
 Regillo. 
 
 Reiner. 
 
 Rembrant. 
 
 Refchi. 
 
 Reuven. 
 
 Reyn. 
 
 Ribera. 
 
 Ricci. 
 
 Ricci. 
 
 Ricciarelli. 
 
 Riccio. 
 
 Ridolfi. 
 
 Rietfchoof. 
 
 Rietfchoof. 
 
 Rigaud. 
 
 Riley. 
 
 Riminaldi. 
 
 Rivalz. 
 
 Robufti. 
 
 Roeftraeten. 
 
 Roepel. 
 
 Roger of Bruflels. 
 
 Rokes. 
 
 Roghman. 
 
 Romanelli. 
 
 Urbano 
 
xxxi ] 
 
 Urbano 
 Girolamo 
 
 ■ • • 
 
 Theodore 
 
 Chriftofano 
 
 N. 
 
 John Albertz 
 
 Jacques de 
 
 John Hendrick 
 
 Theodore 
 
 Philip 
 
 John Melchior 
 
 Salvator 
 
 • • • 
 
 Cofimo 
 Francefco 
 
 Pietro 
 
 John 
 
 James 
 
 Mademoifelle 
 
 Pet. Paul 
 
 George Philip 
 
 Rachel 
 
 x Jacob 
 
 Solomon 
 
 Martin 
 
 David 
 
 Peter 
 
 Nicholas 
 
 Romanelli. 
 
 Romanino. 
 
 Romano. 
 
 Rombouts. 
 
 Roncalli. 
 
 Rontbout. 
 
 Roodtfeus. 
 
 Roore. 
 
 Roos. 
 
 Roos. 
 
 Roos, called Rofa da Tivoli. 
 
 Roos. 
 
 Rofa. 
 
 Rofalba. 
 
 Rofelli. 
 
 Rom. 
 
 Rofli Vicentino. 
 
 Roffo. 
 
 Rotari. 
 
 Rothenamer. 
 
 RoufTeau. 
 
 Rozee. 
 
 Rubens. 
 
 Rugendas. 
 
 Ruifch. 
 
 Ruyfdaal. 
 
 Ruyfdaal. 
 
 Ryckaert, the Old. 
 
 Ryckaert, the Young. 
 
 Ryfbraeck. 
 
 Ryckx. 
 
 Andrea 
 
 Cornelius 
 
 Herman 
 
 Ventura 
 
 Van 
 
 Giovan. Battifta 
 
 Giufeppe 
 
 Francefco 
 
 Joachim 
 
 Simone 
 
 John Baptift 
 
 Andrea del 
 
 Roland 
 
 Gilles 
 
 Godfrey 
 
 William 
 
 Daniel 
 
 Andrea 
 
 Bartelemi 
 
 Sacchi. 
 
 Sachtleven. 
 
 Sachtleven. 
 
 Salimbeni. 
 
 Salm. 
 
 Salvi. 
 
 Salviati. 
 
 Salviati. 
 
 Sandrart. 
 
 Sanefe. 
 
 Santerre. 
 
 Santi di Tit'u 
 
 Sarezana. 
 
 Sarto. 
 
 Savery. 
 
 Schagen. 
 
 Schalcken, or Scalken. 
 
 Schellinks. 
 
 Schellinks. 
 
 Schiavone. 
 
 Schidone. 
 
 Anthony Schoonjans. 
 John Henry Schoonefeld. 
 John Schoorel. 
 Cornelius Schut. 
 Theodore van Schuur. 
 Chriftopher Schwarts. 
 Bernard Schyndal. 
 . . . Sebaftian Venetiano. 
 Gerard Segers. 
 Daniel Segers. 
 Hercules Segers. 
 Girolamo Sermoneta. 
 Caefare da Sefto. 
 
 John Sibrechts. 
 . . . Siciolante. 
 Luca Signorelli. 
 Giovan. Andrea Sirani. 
 Elizabetha Sirani. 
 Violante Beatrice Siries. 
 John Peter van Slingeland. 
 Jacques vander Sluys. 
 
 Gafpar Smitzs, call'dMagd. Smitfo, 
 Lodowick Smits. 
 Peter Snayers. 
 John Snellinck, 
 \Francis Snyders. 
 Gerard Soeft. 
 Giufeppe dal Sole. 
 Antonio Maria dal Sole. 
 
 Francefco Solimena. 
 Joris van Son. 
 John van Son. 
 
 • • Sophonifba. 
 Hendrick Martin Sorgh. 
 Pietro Sorri. 
 
 • . • Spagnoletto*- » 
 
 ■ Spagnuolo. 
 N. Spalthof. 
 H. Spierings. 
 Albert van Spiers. 
 John Spilberg. 
 Adriana Spilberg. 
 . . . Spinello, Aretino, 
 Paris Spinello. 
 Bartholomew Sprangher. 
 Francefco Squarcione. 
 
 Henry Staben. 
 Palamedes Staevarts. 
 Anth. Palamedes Staevarts. 
 Adrian Stalbemt. 
 Francis Stampart. 
 Gherardo Stamina. 
 Jan Steen. 
 . . . Stefano. 
 Giovan. Battilta Stefanefchi. 
 
 Jacques 
 
xxxii 
 
 Jacques 
 
 Francis 
 
 Henry 
 
 Henry 
 
 Nicholas de Helt 
 
 Abraham 
 
 John 
 Jurian van 
 Henry van 
 
 N. 
 Peter 
 
 Erneft 
 
 Lambert 
 
 Peter 
 
 Juftus 
 
 Herman 
 
 Euftachius le 
 
 Daniel 
 
 Andrea 
 
 Emilio 
 
 Agoftino 
 
 Lazaro 
 
 Anthony 
 
 Peter 
 
 David 
 
 David 
 
 Gerard 
 
 Auguftin 
 
 Matthew 
 
 Pietro 
 
 John Philip van 
 
 Maria Therefa van 
 
 Anna Maria van 
 
 Franifca Cath. van 
 
 Jacques Erneft 
 
 Sir James 
 
 Aleflandro 
 
 ' Philip 
 Egidius van 
 
 Tiberio 
 
 Marietta 
 Domenico 
 
 Tiberio 
 
 Stella. 
 
 Stella. 
 
 Stenwyck, the Old. 
 
 Stenwyck,the Young. 
 
 Stoccade. 
 
 Stork. 
 
 Stork. 
 
 Stradanus. 
 
 Streek. 
 
 Streek. 
 
 Streten. 
 
 Strudel. 
 
 Studio. 
 
 Stuven. 
 
 Suavius. 
 
 Subleyras. 
 
 Subtermans. 
 
 Swanefeld. 
 
 Sueur. 
 
 Syder. 
 
 Taffi. 
 
 Taruffi. 
 
 Tafli. 
 
 Tavarone. 
 
 Tempefta. 
 
 Tempefta. 
 
 Teniers, the Old. 
 
 Teniers, the Young. 
 
 Terbruggen. 
 
 Terburg. 
 
 Terenzio. 
 
 Terweften. 
 
 Terweften. 
 
 Tefta. 
 
 Thielen. 
 
 Thielen. 
 
 Thielen. 
 
 Thielen. 
 
 Thomas, of Landaw. 
 
 Thomhill. 
 
 Tiarini. 
 
 Tibaldi. 
 
 Tideman. 
 
 Tilborgh. 
 
 Timoteo, da Urbino. 
 
 Tinelli. 
 
 Tintoretto. 
 
 Tintoretto. 
 
 Tintoretto. 
 
 Titi. 
 
 Titi. 
 
 Titiano. 
 
 Girolamo di 
 
 Titiano. 
 
 La 
 
 Tombe. 
 
 Jacques 
 
 Toornvliet. 
 
 Flamminio 
 
 Torre. 
 
 John 
 
 Torrentius. 
 
 Pierre Charles 
 
 Tremolliere. 
 
 Francefco Trevifani. 
 
 Girolamo da 
 
 Trevigi. 
 
 Cornelius 
 
 Trooft. 
 
 Francis de Troy. 
 
 John Francis de 
 
 Troy. 
 
 Rombout van 
 
 Troy en. 
 
 Theodore van 
 
 Tulden. 
 
 Francefco 
 
 Turbido, or Torbido. 
 
 Aleflandro 
 
 Turchi. 
 
 Peter 
 
 TyfTens. 
 
 N. 
 
 Tyflens. 
 
 
 V. 
 
 Louis de Vadder. 
 
 • • • 
 
 Vaga. 
 
 Wallerant 
 
 Vaillant. 
 
 Bernard Vaillant. 
 
 • ■ • 
 
 Valentino. 
 
 » • • 
 
 Valkenburgh. 
 
 Dirk Valkenburgh. 
 
 Henry 
 
 Vanbalen. 
 
 ... 
 
 Vandieft. 
 
 Sir Anthony 
 
 Vandyck. 
 
 Philip 
 
 Vandyck. 
 
 • • • 
 
 Vanderdoes. 
 
 John 
 
 Van Eyck. 
 
 Hubert 
 
 Van Eyck. 
 
 John 
 
 Vangoyen. 
 
 John 
 
 Van Huyfum. 
 
 Jacques 
 
 Vanloo. 
 
 John Baptift Vanloo. 
 
 Carlo 
 
 Vanloo. 
 
 Charles 
 
 Vanmander. 
 
 Jacques 
 
 Van Ooft. 
 
 • • • 
 
 Van Ooft. 
 
 Adam Van Oort. 
 
 . . . 
 
 Van Opftal. 
 
 . 
 
 Van Orlay. 
 
 Paul 
 
 Vanfomeren. 
 
 Joris 
 
 Vanfon. 
 
 • . • 
 
 Vanfon. 
 
 Adrian 
 
 Vanderburgh. 
 
 . 
 
 Vandermeer. 
 
 . 
 
 Vandermeulen. 
 
 ... 
 
 Vanderneer. 
 
 Adrian 
 
 Vandervelde. 
 
 Efaias Vandervelde. 
 
 Will 
 
 uni 
 
xxxiii 
 
 William Vandervelde, the Old. 
 William Vandervelde, the Young. 
 Adrian Vandervenne. 
 Adrian Vanderwerff. 
 Roger Vanderweyde. 
 Francefco Vanni. 
 Ottavio Vannini. 
 Andrea Vanucchi. 
 Lucas Van Uden. 
 Jacques Van Uden. 
 Louis de Vargas. 
 Dario Varotari. 
 AlefTandro Varotari. 
 Giorgio Vafari. 
 Antonio Maria Vafalio. 
 
 Antonio Vaffilacchi. 
 Paolo Uccello. 
 Giovanni da Udina. 
 Jacob vander Ulft. 
 Terenzio da Urbino. 
 Adrian Van Utrecht. 
 Pietroda Vecchia. 
 ... Vecelli. 
 Francefco Vecelli. 
 Horatio Vecelli. 
 Don Diego Velafquez. 
 . . . Venetiano. 
 Antonio Venetiano. 
 Domenico Venetiano. 
 . . . Venius. 
 Gertrude Venius. 
 Marcello Venufti. 
 Henry Verbruggen. 
 Gafpard Peter Verbruggen. 
 Giovanni Mario Verdizotto. 
 Simon Verelft. 
 Herman Verelft. 
 Cornelius Verelft. 
 Mademoifelle Verelft. 
 Adrian Verdoel. 
 . . . Verendaal. 
 Tobias Verhaecht. 
 Francis Peter Verheyden. 
 Peter Cornelius Verhoeck. 
 Gyfbert Verhoeck. 
 Jan Verkolie. 
 Nicholas Verkolie. 
 John Cornelius Vermeyen. 
 Andrea Verocchio. 
 Paolo Veronefe. 
 Alexander Veronefe. 
 Antonio Verrio. 
 
 Henry Verf.huring. 
 William Verfchuring. 
 Daniel Vertansen. 
 
 Ary Hubertz Verveer. 
 Francis Verwilt. 
 Giovanni Viani. 
 Domenico Maria Viani. 
 
 . . . Vincentino. 
 Lionardoda Vinci. 
 
 David Vinckenboom. 
 Vincent vander Vinne. 
 Lawrence vander Vinne. 
 Giovanni Battifta Viola. 
 Giovanni della Vite. 
 
 Ottavio Viviani. 
 Jofeph Vivien. 
 Peter Vlerick. 
 Hendrick van Vliet. 
 Charles Boflchart Voet. 
 
 John Vollevens. 
 Daniel da Volterra. 
 Baldaflare Volterrano. 
 
 John Voorhout. 
 Martin de Vos. 
 Simon de Vos. 
 Paul de Vos. 
 John Vofterman. 
 Simon Vouet. 
 Ary de Voys. 
 Sebaftian Vranx. 
 John Fredeman de Vries. 
 Henry Cornelius Vroom. 
 
 Lucas de 
 
 Cornelius de 
 
 Robert 
 
 John Abel 
 
 Anna 
 
 Anthony 
 
 Anthony 
 
 Anfelme 
 
 John Baptift 
 
 John 
 
 Chevalier 
 
 Peter vander 
 
 Jofeph 
 
 Gerard 
 
 Adam 
 
 Abraham 
 
 John 
 
 Michael 
 
 Jofeph van 
 
 Jeremiah van 
 
 Giles de 
 
 William 
 
 W. 
 
 Waal. 
 Waal. 
 
 Walker. 
 
 Waffenberg. 
 
 Waffer. 
 
 Waterloo. 
 
 Watteau. 
 
 Weeling. 
 
 Weeninx, the Old. 
 
 Weeninx, the Youn*. 
 
 Werff. 
 
 Werff. 
 
 Werner. 
 
 Wigmana. 
 
 Willaerts. 
 
 Willaerts. 
 
 Willeborts. 
 
 Wildens. 
 
 Willemans. 
 
 Winghen. 
 
 Winghen. 
 
 Winter. 
 
 Willing. 
 
 Matthias 
 
xxxiv 
 
 Matthias 
 John 
 Peter 
 Francis 
 Jacques de 
 Emanuel de 
 Henrietta 
 Francis 
 Philip 
 Peter 
 John 
 Matthias 
 Thomas 
 John 
 John 
 Matthew 
 
 Withoos. 
 
 Withoos. 
 
 Withoos. 
 
 Withoos. 
 
 Witt. . 
 
 Witt. 
 
 Wolters, 
 
 Wouters. 
 
 Wouwermans. 
 
 Wouwermans. 
 
 Wouwermans. 
 
 Wulfraat. 
 
 Wycke.theOld. 
 
 Wycke, the Young. 
 
 Wynancs. 
 
 Wytman. 
 
 Martin 
 
 Zaagmoolen. 
 
 Matteo Zaccolini. 
 
 . 
 
 Zampieri. 
 
 Filippo 
 
 Zanimberti. 
 
 Battilta 
 
 Zelotti. 
 
 . . Van 
 
 Zoon. 
 
 Marco 
 
 Zoppo. 
 
 • • 
 
 Zorgh. 
 
 ... 
 
 Zouft. 
 
 ... 
 
 Zoutermans 
 
 Taddeo 
 
 Zucchero. 
 
 Federigo 
 
 Zucchero. 
 
 Lambert Zuftrus. 
 
 iftlliiSi* 55 ! 
 
 THE 
 
THE 
 GENTLEMAN'S and CONNOISSEUR'S 
 
 DICTIONARY 
 
 O F 
 
 PAINTERS. 
 
 A. 
 
 ABA ABB 
 
 Andrea ABATE. 
 
 Painted Fruit, and Still Life. 
 Died 1732. 
 
 THIS matter was a Neapolitan, who excelled in painting inanimate 
 objects. His colouring was bold ; he gave a noble relief to the 
 vaies, and other ornaments, with which he enriched his defign ; and 
 grouped all his objects with peculiar judgement, and care. 
 
 He was employed by the King of Spain, at the Eicurial, along with Luca 
 Giordano-, and that eminent artift was very liberal in commending the works 
 of Abate ; he efteemed him highly •, and always allowed him that juft praiif, 
 which his compofitions univerfally merited. 
 
 ABBATE. Vid. N 1 c o l o. 
 
 Filippo ABBIATI. 
 
 Painted Hiftory. 
 
 Died 1 715, aged 75. 
 
 He was born at Milan, in 1 640, became the difciple of Nuvolone, and 
 
 appeared very eminent in his profeffion. His invention was ready, and fertile ; 
 
 4 and 
 
A C H [ 2 ] A C H 
 
 a- J he was extremely '•'ign. He difHnguifhed himfe!: by an 
 
 uncommon freedom of hand, and a light touch ■, ar.d by thole accomplilhnnents 
 became remarkably expeditious in his execution, and painted with an equal 
 degree of be_ : relco, and in oil. 
 
 John V a m - A C H, cr ACHE N. 
 Pcin!:& H;jifrj y and Portrait. 
 
 Dii 1 621, aged 6 '■ 
 
 He was born 2: C :. :-,e, in 1556^ and 2: nrit was a difciple of a portrait- 
 painter called Jerrigh, under whofe direction he continued for fix years ; but af- 
 uds, he improved himfelf confiderably, by ftudying and copying the 
 works of Sprangher. 
 
 en he had acquired a fufneient readinefs of hand, by a diligent practice in 
 his own country, he travelled to Venice, and there Itudied after the works of the 
 moft diftinguifhed mafte- n a more extenfive knowledge of 
 
 colouring; and with equal affidui:y he applied himfelf for fome years at Rome, 
 to perfect his tafte, and eftablifh himfelf in c c I of defign. 
 
 H!s rr.erit foon made him known in that ere he painted a Nativity for 
 
 the church of the Jefuits, and alio a portrait of M a ri o n a Yenufta, a celebrated 
 performer on the lute, which is accounted one of his beft performances. 
 
 The moft judicious writers on thefubject of painting allow that his colouring 
 is extremely good, his defign correct, and that the airs of his heads have a 
 great deal of the tafte of Correggio. 
 
 His talents, and polite accomplishments, recommended him to feveral of the 
 greateft princes of Europe, and particular'; :ourt of Bavaria, and the Em- 
 
 - Rodolph -, by the former, he was employed to paint the portraits <: 
 
 . ne piec;. _ as large as life; and alio a 
 
 of the Invention of the Crofi, 07 Helena the mother of Conftan- 
 
 mmended for the elegance of the compofition, the 
 
 corr _ :he heads, and the attitudes of his 
 
 rhoagh defcribed by Mr. Defcamps, as two dif 
 painters, ieem to be bat oce and the tame per 
 
 Hoabraken mentions John Van A tea ife do .ith many of xhr. circurn- 
 
 fiaaces ascribed to both. ixps describes J. Van Ach;a (vol. 1, page 219) as being bora 
 
 1556, rtCc yet KM - defences John iyAch alfo, as born in die fame year, at 
 
 tee lace place, a to hair, being careffed by the fame Emperor, and both painters &-■ 
 
 iiKontetabry, the account can c. :aeperfon, John Van Ach, 
 
 . 
 
 The fan: - imps is guilty of in regir B -ages, who in toI. i, page r, 
 
 is neadooed as a correct designer, and cce wis a a graceful mar 
 
 page : "ame rolame, he defcribes Roger Vaeder Weyde in a different way, and particu- 
 
 larizes his works, as if be had been really a dizrereat arris* : whereas the fad n, that the name 
 .: mater was Roger ' . ind he was difiingaiihed by the name of Rogrrof Bruges , 
 
 from his native city, where be principally followed his profcEos . 
 
 Thofe 
 
ADR [ 3 ] A E L 
 
 Thofe performances eftablifhed his reputation effectually -, the elector 
 liberally rewarded him for his work, and as a peculiar mark of his efteem 
 prefented him with a chain and medal of gold. 
 
 By the emperor he was invited to Prague, where he executed feveral noble 
 compofitions ; and particularly a picture of Venus and Adonis, lb much to 
 the fatisfaction of that monarch, that he engaged Van Ach in his fervice as 
 long as he lived ; and not only gave him conftant employment for his pencil, 
 but appointed him to go to Rome, in order to defign the moft celebrated 
 antiques in that city ; and at his return, his work was received with general 
 approbation. 
 
 His own compofitions were very much prized by the ableft judges, and 
 he had the character of being one of the beft mailers of his time. 
 
 Alexander ADRIANSEN. 
 Painted Fruit, Flowers, Fijh, and Still Life. 
 Died aged 
 
 This painter was born at Antwerp, about the year 1625-, but, very few 
 particulars relative to his life, have been tranfmitted by any writers on this 
 lubject. 
 
 It is only obferved, that he was an extraordinary good painter of fruit, 
 flowers, vafes of marble, and the ornamental baflb relievo's, with which they 
 are often decorated ; and fome of thofe vafes he reprefented as being filled 
 with flowers, or otherwife embelliihed with feftoons, in an elegant tafte. 
 
 This mailer alfo painted fifh admirably, giving them all the truth, frefh- 
 nefs, and character of nature. All his objects are extremely well coloured, 
 with an agreeable effect from the judicious management of the Chiaro-Scuro, 
 and with a remarkable tranfparence. 
 
 Evert Van AELST. 
 
 Painted Fruit, Still Life, and Dead Game. 
 Died 1658, aged 56. 
 
 He was born at Delft, in 1602, and acquired a great reputation by his 
 delicate manner of painting thofe objects, which he chofe for the fubjects of 
 his pictures. 
 
 He was exact in copying every thing after nature ; he difpofed them with 
 elegance •, and finifhed his pictures with neatnefs, and tranfparence of colour. 
 Whether he painted dead game, fruit, armour, helmets with plumes of 
 feathers, or vafes of gold and lilver, to each he gave a true and ftriking 
 refemblance of nature, and an extraordinary luftre to the gold, filver, and 
 fteel. 
 
 B W 1 l- 
 
A E L [ 4 ] A E R 
 
 William Van A E L S T, called in Italy Gulielmo. 
 
 Painted Still Life. 
 Vied 1679, aged $y> 
 
 He was the nephew and difciple of Evert van Aelft, born at Delft in 
 1620, and arrived at a much higher degree of perfection, than even his 
 inftructor. His pencil was fo light, and his touch fo delicate, that the objeds 
 he painted, feemed real. 
 
 He followed his profeflion in France, for four years ; and for feven, in Italy ; 
 having conitantly received every token of refpect, and efteem, from the prin- 
 cipal noblemen of each country in which he refided. In the year 1656 he 
 returned to his native city Delft 5 but, foon after, fettled at Amfterdam, 
 finding there an encouragement equal to his utmoft defire •, his works being 
 admired, coveted, and fold for a large price. 
 
 When he vifited Florence, he was employed by the grand duke, who fhewed 
 him many inftances of his favour, and honoured him with a gold chain and 
 a medal, as a publick acknowledgement of his merit. 
 
 Peter AERTSEN. 
 Painted Hiftory, Kitchens, and Culinary Utenfrfs. 
 Died 1575, aged 56. 
 
 He was born at Amfterdam, in 15 1.9, and was the difciple of Alaert 
 ClaefTen, a painter who was well efteemed for portrait. 
 
 He had always a bold and ftrong manner, peculiar to himfelf, to which he 
 principally owed his reputation ; and" even at the age of eighteen, he was 
 accounted a good matter, having received great improvement, by ftudying and 
 copying feveral capital paintings in the cabinet of Bofiu, in Hainault. 
 
 His iubjects at firft, were kitchens and their utenfils, which he executed 
 with fuch nature and truth, as to deceive the eye agreeably ; nor could his 
 colouring be excelled by any mafter. 
 
 It feemed not a little furprifing, that he was able to compofe, and colour, 
 hiftorical fubjects of a fuperior ftyle, fo excellently as he very often did ; when 
 one confiders the lownefs of thofe fubjedts, which he was generally accuftomed 
 to paint. 
 
 At Amfterdam there is an altar-piece, reprefenting the death of the Virgin, 
 by this mafter, in which appears a good defign, and a tone of colour that is 
 warm, and true. The draperies are fo judicioufly cad, as to difcover the 
 pofition and turn of all the limbs ; nor docs any tiling of the kitchen painter 
 ihew itfelf, in any part of the compofition. And at Delft he painted a 
 nativity, and the wife men offering, which are accounted very excellent perfor- 
 mances. 
 
 His genius was beft adapted to grand compofitions ; he was well (killed in 
 f erfpective and architecture, and he enriched his grounds with elegant orna- 
 ments, 
 
AGR [ 5 ] ALB 
 
 merits, and animals. His figures were well difpofed, their attitudes had abun- 
 dance of variety, and their draperies were well chofen, and well call. 
 
 Livio AGRESTI, da Furl i. 
 
 Painted Hiftory. 
 
 Died 1 5 So, aged 
 
 This mailer was a difciple of Pierino del Vaga, and is commended by Va- 
 fari, for the richnefs of his invention, the goodnefs of his colouring, and the 
 oorreclnefs of his defign. 
 
 Many of the works of this great artift in frefco, and in oil, are in the Va- 
 tican, where he was employed by Gregory XIII ; and there are alfo in Rome, 
 feveral noble altar-pieces of his hand. 
 
 Francesco ALBANO. 
 
 Painted Hiftory, and Land/cape. 
 
 Died 1660, aged 82. 
 
 He was born at Bologna, in 1578, and at firft ftudiedin the fchool of Denis 
 Calvart, at the time when Guido was the difciple of that mailer •, and as 
 Guido had already made fome progrefs in the knowledge of the art, being older 
 than Francefco, he in a friendly manner, afilfted him while he was learning to 
 defign. However, they both loon quitted Calvart, and Albano placed him- 
 felf under the direction of the Caracci •, but he afterwards completed his 
 iludies at Rome, working after the fined models •, and became one of the moil 
 agreeable painters of the Roman fchool. 
 
 He had a delicate tafle of the lovely, and the graceful, in his boys, and 
 female forms •, but his figures of the other fex, were uiually lean, and without 
 mafculine beauty, except in fome of his heads. He underftood defign well ; 
 his colouring frefh, his carnations of a languine tint, and he finifhed highly 
 with great neatnefs of pencil. As for the Chiaro-Scuro, and union of colours, 
 De Piles obferves, that, though he did not know them to be pririciples of his 
 art, yet good fenfe, or chance, fometimes directed him to the ufe of them. 
 
 For the mod part he painted in a fmall fize, and chofe his fubjefts from 
 poetic or fabulous hiftory ; but was fond of introducing Cupids, in a variety of 
 actions and attitudes. It is objected againfl him, that he was apt to preferve 
 ■too great a fimilitude in his figures, and in the airs of his heads ; but that parti- 
 cularity was occafioned by his painting after the fame models, his wife and his 
 children •, though it muft be confefTed, that they were beautiful and graceful 
 models. However, by that means, the manner of Albano may more eafily be 
 dilcerned, than that of any other mafter. 
 
 The ftyle of his landscape is very agreeable ; it is defigned in a good tafte, 
 and vvell adapted to his fubjtcts ; and for many of his fcenes, as well as the 
 forms of his trees, he was indebted to nature, after which he always fludied. 
 
 B 2 Yet, 
 
ALB [ 6 ] ALB 
 
 Yet, it ought to be remembered, that all the pictures of Albano, have not the 
 fame force of colour ■, fome of them being much weaker than others, though 
 ftill pleafing, and delicate. 
 
 In the palace of the king of Sardinia at Turin, are the four elements, painted 
 by Albano, each of them about four feet fquare. Thole pictures are of an 
 extraordinary beauty, and well preferved. The defign is excellent, the dra- 
 peries perfectly elegant, the colouring lovelv, and the whole very correct. 
 The compofition is, perhaps, a little too diffipated ; but that is a circumftancc 
 frequently obferved in the works of Albano. 
 
 Giovanni Battista ALBANO. 
 
 Painted Hijtory, and Land/cape. 
 
 Died 1 668, aged 
 
 He was the brother and difciple of Francefco, and became an admirable 
 painter, in the ftyle, manner, and colouring of his brother. He likewife ex- 
 celled in landfcape, which he defigned in an exquifue tafte, touching the trees 
 with abundance of fpirit, and giving them a great fweetnefs of colour. 
 
 Cherubino ALBERT I. 
 
 Painted Hijlory. 
 
 Died 1 615, aged 63. 
 
 The nobleft works of this eminent artift, are in Frefco, at Rome-, but, there 
 are alfo paintings in oil by his hand, which are extremely admired, and allowed 
 by the beft judges, to have a judicious difpofition, a lively and beautiful co- 
 louring, and a fine exprefiion. His merit likewife as an engraver, is very con- 
 fiderable •, and he eftablifhed a lafting reputation, by his prints after Polidoro, 
 Zucchero, and Michael Angelo Buonaroti. 
 
 Giovanni A L B E R T I. 
 
 Painted Perfpeflive and Hijlcry. 
 
 Died 1 60 1 , aged 43 . 
 
 He was the brother of Cherubino, born near Florence in 1558, and received 
 his early instruction from Alberto Alberti, his father ; but afterwards hs 
 went to Rome, where he ftudied geometry, and alfo the works of Buonaroti, 
 and other great mailers. He devoted his principal attention to perfpective, in 
 which branch of his profeflion, he arrived at the utmoit eminence ; and gave 
 a demonstrative proof of his great abilities, in one of the Pope's palaces, having 
 painted a defign in that ftyle, which procured him univerfal admiration and 
 applaufe. 
 
 The prime nobility at Rome were folicitous to employ him, and he worked 
 in many of the chapels, and convents, with general approbation ; for he re- 
 commended himfclf to all perfons of tafte, by the elegance of his compofition •, 
 
 5 by. 
 
ALD [ 7 ] ALE 
 
 by the firmnefs and delicacy of his pencil ; by the grandeur of his thoughts ; 
 by the judicious diftribution of the parts ; and by the fpirit vifible through the 
 whole. 
 
 Albert ALDEGRAEF. 
 Painted Hiftory. 
 
 Died aged 
 
 He was a veiy confiderable painter, born at Zouft, in Weflphalia •, the prin- 
 cipal part of whofe works, are in the churches and convents of Germany. De 
 Piles mentions a nativity by this mafter, which he accounts worthy of the ad- 
 miration of the curious. 
 
 His defign was correct, and his expreffion tolerably good, allowing for the 
 gufto of his country •, but his draperies were in a bad tafte, and his manner 
 is readily diftinguifhed, by the multiplicity of the folds, which are not without 
 a degree of hardnefs. He feemed to want nothing to render him eminent in 
 his profeffion, but a better knowledge of the antique, and a greater intimacy 
 with the Roman mailers. 
 
 He was alio a confiderable engraver; and in the latter part of his time, em- 
 ployed himfelf more in engraving than in painting. 
 
 John Van ALEN, or Oolen. 
 
 Painted Fowls, Land/cape, and Still Life. 
 
 Died 1698, aged 47. 
 
 This artift was born at Amfterdam, in 1651, and fpent the greateft part of 
 his life in that city. He had no ready talent for invention ; but, he had a molt 
 uncommon power of the pencil, and an extraordinary imitative genius. 
 
 In the touch, and the peculiar tints of colour, he could mimick the work of 
 any mafter, in any ftyle ; but, obferving that the works of Melchior Honde- 
 koeter were in the higheft requeft, he applied himfelf particularly to imitate, 
 and copy his works. This he performed with a furprizing exactnefs, and to 
 fuch a degree, that the molt fagacious among the connoifieurs were puzzled to- 
 determine, whether a picture painted by Van Alen, was not really of the hand 
 of Hondekoeter. By that practice he gained much money, and more reputa- 
 tion ; and it is by this means, fo many pictures called Hondekoeter's, are fo- 
 frequently met with in private collections, and public fales ; which though 
 they are often reputed originals, perhaps are no other than imitations by this 
 mailer, if not by fome inferior pencil. 
 
 Antonio ALIENSE. Vid. Vassilacchi. 
 
 B A L- 
 
ALL [ 8 ] ALL 
 
 Baldassare A L L O I S I, called G a l a n i n o. 
 Painted Hi/lory, and Per'.; 
 Died 163S, cged 60. 
 
 This artiil: received his education in the celebrated fchool of the Caracci, 
 and in all his compofitions retained the admirable ftyle of his mailer: he had 
 naturally a melancholy turn of mind, and was of a retired and folitary difpofi- 
 tion ; which caufed him to avoid the converfation of his friends, and devote 
 himfelf to the ftudy of his arr. 
 
 But, by that conduct, he rendered himfelf fo neceffirous, that he was com- 
 pelled to paint portraits, to procure a fubuftence. However, in this branch 
 of painting his fuccefs was aftonifhing, and he grew into the highclt eiteem ; 
 not only for the refemblance vifible at the firft fight, and the beauty of his 
 colouring, but alio, for a new and unufual boldnefs of manner, by which his 
 portraits feemed abfolutely to breathe. 
 
 None of his cotemporaries could enter into competition with him ; and the 
 Italian writers place him, in the fame rank of merit widi Vandyck. He was 
 born at Bologna in 1578. 
 
 Allessandro ALLORI, called B r o n z i n o. 
 Painted Hijiory and Portrait. 
 Died 1607, aged 72. 
 
 He was born at Florence, in 1535, and was the difciple of Agnolo Bronzi- 
 no, a diftinguifhed painter, who educated him with all the tendernefs of a 
 parent •, Allori having been deprived of his own father, when lie was but five 
 years old. He was very ftuuious, and applied himfelf diligently, not only to 
 imitate the manner of his matter, but the different manners of thefe mailers, 
 who were in the greater! reputation. 
 
 When he commenced painter, his firft work was a crucifixion, intended for 
 an altar-piece •, in which he introduced abundance of figures, extremely well 
 grouped and difpofed, beautifully coloured and with good exprefiion. But, 
 being much folicited by feveral of the nobility to paint their portraits, he re- 
 ceived deferved applaufe for every performance in that way, and by that fuccefs 
 was induced to appropriate a great deal of his time to that branch of his profef- 
 fion. 
 
 Michael Angelo Buonaroti was the mafter, whole works he ftudied witii the 
 greateft attention and pleafure ; and he defigned a picture of the laft judgment, 
 after the manner of that great genius, which is ftjll preferved at Rome, and 
 will perpetuate the honour of Allori. 
 
 C h r 1- 
 
ALL [9] AMI 
 
 Christofano A L L O R I, called Bronzino. 
 Painted Hiftory and Portrait. 
 Died 1 62 1 , aged 44. 
 
 He was born at Florence, in 1577, the fon and difciple of AlefTandro Allori,. 
 and, for fome time, he followed the manner of that mafter ; but afterwards 
 ftudying defign from the works of Santi di Titi, and colouring from the lively 
 and elegant tints of Cigoli, he formed to himfelf a manner entirely different 
 from that of AlefTandro. 
 
 He executed feveral large defigns for altars \ yet, he had a particular excel- 
 lence in painting fmall pictures, in which he introduced a number of minute 
 figures, fo exquifite for correftnefs of drawing, fo round and relieved by the 
 colouring, and touched with fo much delicacy, that it feemed furprizing, how 
 either the hand or the eye could execute them. 
 
 He likewife painted portraits, as large as life, with abundance of nature 
 and truth ; which were exceedingly valued, not only for the happinefs of the 
 expreffion, but for giving every fubject that attitude, which feemed molt 
 proper, and moft becoming. 
 
 Christopher AMBERGER. 
 
 Painted Portrait, and Hiftory. 
 
 Died 155©, aged 
 
 This painter was born and lived at Nuremburg, where the moft" capital of 
 his paintings are preferved, and held in high eftimation. He was a difciple of 
 Hans Holbein, and his works are frequently taken for the works of his mafter. 
 His invention was ingenious, his defign good, and his colouring very like that 
 of Holbein ; but, he alio refembled him equally in his taice, and in his idea_ 
 of the graceful. 
 
 He acquired great reputation by a compofition of the hiftory of Jofeph, 
 which he defcribed in twelve pictures •, and likewife, by the portrait of the em- 
 peror Charles V, which that monarch, (according to the teftimony of Sandrart) 
 accounted equal to any of the portraits of him painted by Titian ; and to exprefs. 
 his lingular approbation of that performance, he not only paid the artift three 
 times as much as he expected, with a liberality truly royal, but he honoured 
 him alfo with a rich chain of gold, and a medal. 
 
 Octavio AMIGONI. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1 66 1, aged 56. 
 
 He was born at Brefcia, in 1605, and was a difciple of Antonio Gandino.. 
 In feveral parts of Italy he was much applauded, for fome noble compofitions ; 
 in which his expreffion, and his tafte of defign, were very remarkable, and 
 very elegant ; moft of thofe compofitions being executed with a free, 'firm, 
 and zndfcerly touch, and with figures as large as life.. 
 
 5 J a c o p o 
 
AMI [ io ] A N G 
 
 Jacopo AM ICON I. 
 
 Painted Hijlory, and Grotefque. 
 Died aged 
 
 Though the compoficions of this mafter are well known in thefe kingdoms, 
 many of his pictures being admitted into the collodions of the firtt nobility ; 
 yet, few particulars relative to his life have been ascertained. It is fuppofed by 
 many, that he was born at Venice, or in the territory belonging to that repub- 
 lic -, that he itudied the art of painting for fome years at Venice •, and after- 
 wards completed himfelf in his profeflion at Rome. 
 
 The livelinefs of his imagination, the readinefs of his invention, and the free- 
 dom of his hand, foon recommended him to the public eiteem ; and he readily 
 found encouragement and employment in molt of the courts of Europe. He 
 pofiefied a very fertile invention, his talte of defign was confiderably elegant, 
 and the air and turn of fome of his figures, in his belt compofitions, were al- 
 lowed to have fomewhat engaging, natural, and even graceful : he, confefiedly, 
 had many of the accomplifhments of a good painter ; but although his merit 
 mult in many refpects be allowed, and his drawing, in particular, generally cor- 
 rect ; yet his colouring is abundantly too cold, too pale, and (as it is termed by 
 the artilts) too mealy. 
 
 Giovanni ANGELICO da Fiesole. 
 
 Painted Hijlory. 
 Died 1455, aged 68. 
 
 He was born at Fiefole, in 13S7, and was placed as a difciple with Giot- 
 tino -, though he afterwards became a Dominican Fryer, and in that ftation was 
 as much (if not more) relpected for his piety, as for his painting. Nicholas V 
 employed him in his chapel, to paint hiltorical fubjects in large, and pre- 
 vailed on him foon after, to decorate feveral books with paintings in miniature, 
 which were well deligned and neatly handled. 
 
 Indeed, even in his belt pictures there were faults, and fome of them very 
 grofs ; which lefien the praife that otherwife they might have deferved : yet, he 
 had (kill to direct younger artilts, and his obliging temper procured him many 
 difciples. 
 
 He always painted religious fubjects, and was fo remarkably humble, that 
 he rcfufed to accept of the archbifhoprick of Florence. 
 
 Michael ANGELO Buonaroti. 
 
 Painted Hijlory. 
 
 Died 1564, aged 90. 
 
 This memorable artilt, the fon of Ludovico Buonaroti Simoni, was born at 
 the caftle of Chiuli, in the territory of Arezzo in Tufcariyj in 1474, and lent 
 to Florence for his education, bung intended by his father for a literary pro- 
 feflion ; but his natural genius impelling him to fculpture and painting, in op- 
 
 pofition 
 
A N G [ ii ] A N G 
 
 pofmon to every remonftrance of his parents, at the age of fourteen he became 
 the diiciple of Domenico Ghirlandaio ; a matter whofe reputation was more 
 promoted, by the number of admirable artifts produced in his fchool, than by 
 any of his own performances. 
 
 In a fliort time, Michael Angelo proved far fuperior to his inftructor j 
 and feeing a defign of a female figure, which Ghirlandaio had drawn for the 
 ufe of fome of his pupils, he marked its defects, and corrected them with a 
 bold free ftroke, to the furprize of his mailer, and of all who faw it ; and that 
 drawing was afterwards in the poffefiion of Vafari. 
 
 Nor was his genius to fculpture lefs extraordinary ; for he gave fuch early 
 proofs of excellence in that way, that he was confidered by all who law his 
 work, as a prodigy for his years. Lorenzo de Medici obferved his uncommon 
 merit, and took him into his fervice, being intent at that time on founding 
 an academy at Florence for painting and fculpture ; and for that prince he 
 executed feveral noble works, particularly in ftatuary, which procured him 
 univerfal applaufe. 
 
 By the death of his patron in a few years after, and by the difturbances 
 which happened at Florence, he was for fome time compelled to fly from that 
 city ; but at his return he finifhed that incomparable figure of David with his 
 fling, out of a large block of marble, which is accounted one of the matter* 
 pieces of his hand, and worthy of the hand of an antique artifl:. Sandrart fays, 
 that Pietro Soderini, the purchafer of that ftatue, having injudicioufly remarked, 
 that he thought the nofe of the ftatue too large, although it was really in a 
 true and delicate proportion •, Michael Angelo to pleafe him, feemed to aflent 
 to the obfervation, and taking fome marble powder in his hand along with the 
 chilli, he feemed to work on that part, dropping gradually fome of the 
 powder as he proceeded ; and the deception lb far anfwered, that Soderini in 
 rapture acknowledged, thofe laft touches had given life to the ftatue. 
 
 Though this great matter excelled in fculpture, architecture, and painting, 
 yet his greateft excellence is in fculpture. He undoubtedly was thefirft painter, 
 who taught the artifts of Italy, the tafte of what was grand, and elevated ; 
 and enabled them, more than any of his predeceffors, to forfake the dry, ftiff 
 manner of Perugino, and others. And, although he cannot be commended for 
 his colouring, yet if we coniider the grandeur, the elevation, and frequently 
 the fublimity of his ideas ; the noble tafte of his defign, and the jufenefs of fome 
 of his exprcflions •, it may readily be conceived why his fame is fo univerfally 
 eftablilhed, notwithftanding the many imperfections that might be imputed to 
 him as a painter. 
 
 His genius was very extenfive, and he acquired a grand gufto of defign ; 
 though he wanted elegance in the contours of his figures, and purity of outline. 
 His colouring is ftrong, but his carnations partake too much of the brick- 
 colour, and his fhadovvs are generally too black. His attitudes are not always 
 beautiful, or pleafing; and he was (as Frefnoy obferves) bold, even to rafhnefs, 
 in which he often fuccecded. His works always furprize the beholder, with 
 ppearance of fomewhat unufually great, though they may not always 
 i _ , A pleafure. 
 
 As he had ftudied anatomy with the utmoft appl ication, it qualified him to 
 : every limb, and joint, of the human body, and the infertionj as well as 
 
 C the 
 
A N G [ 12 ] A N G 
 
 the power of every mufcle, with great precifion ; but, by that extraordinary 
 anatomical (kill, he was apt to give too great a ftrength and fwell to the mufcu- 
 lar parts •, and yet, even Raphael himfelf (as mod writers affirm) derived con- 
 fiderable improvement, from obferving the grand ideas of Buonaroti, though 
 he far excelled him in elegant fimplicity, in grace, and in nature. 
 
 The moft capital performances of this extraordinary genius, are the Crucifixi- 
 on, which is always mentioned in terms of admiration ■, and the Laft Judgement,, 
 which is the ornament of the chapel of Sixtus IV. in the Vatican. The fable 
 relative to the former, that Michael Angelo ftabbed the porter who had been 
 his model, is now univerfally exploded ; but, the composition, expreffion, and 
 defign, are an honour to that eminent mafter. 
 
 The picture of the Laft Judgement employed him for eight years •, and in that 
 celebrated compofition, a multitude of figures prefent themfelves to the view, 
 wonderfully invented, and grouped with great judgement •, every mufcle, and 
 limb, being dittincTtly and curioufiy marked, as the figures were reprefented en- 
 tirely naked. That circumftance of fo many nudities, occalioned the obferva- 
 tion made by Biagio of Cefenna, the Pope's mafter of the ceremonies, that 
 fuch an exhibition of naked figures, was more fuitable to a brothel, than a 
 chapel. But Michael Angelo revenged himfelf fufficiently on Biagio for that 
 farcafm •, for, he painted his portrait exceedingly like, and reprefented him as a 
 demon, with afs's ears, encircled with a large ferpent, and placed him in hell. 
 The Pope indeed frequently folicited Buonaroti, to deliver his mafter of the ce- 
 remonies from that place of torment ; but he excufed himfelf, by obferving to 
 the Pope, that had he been only in Purgatory, he might have been releafed, 
 but, from Hell there was no Redemption. 
 
 Undoubtedly the defign is in a grand tafte, and the ideas in every part of the 
 compofition, are very elevated ; the eye is aftonifhed at the number, the variety, 
 and the uncommon attitudes of the figures, and the whole appears grand, though 
 terrible. In that performance heftudied to arrive at the higheft perfection, and 
 to convey to pofterity a proof of his fuperior abilities. 
 
 A late judicious traveller, having viewed that famous compofition with a 
 moft critical attention, and proportionable admiration, fays, that while he ftood 
 before it, his blood was chilled, and he felt, as if all he law was real ; and the 
 v cry found of the painted trumpet feemed to pierce his ears. 
 
 And yet, though the compofition is fo grand, it is not without perceptible 
 {bulls. The faces exprefs pafilons of the ftrongeft kind, and many of them 
 communicate thole paffions to all who look upon them ; but, the bodies are 
 of too grofs an appearance ; the mufcular ftrength of the Farnefian Hercules is 
 la a in the men, and the female figures have nothing fuitable to the tender and 
 more delicate frame of that fex. The face of our Saviour carries, indeed, a 
 &gnky that language cannot defcri'oe •, it has an aftonifhing mixture of divine 
 nveetnefs and icveriiy, which could only be happily expreffed by the pencil of 
 Angelo. 
 
 The original fketch of the Laft Judgement, is at prefent in the gallery of the 
 duke of Parma. 
 
 Michael Angelo discontinued painting in the feventy-fifth year of his age •, 
 and having died at Rome, Sandrart tells us, that he was fplendidfy interred 
 in that city, at theexpence of Cofmo duke of Tulcany ; and, that by order of 
 
 the 
 
ANG [13] ANG 
 
 the fame prince, his remains were fecfetly conveyed to Florence, and depofited, 
 with great funeral pomp in a magnificent monument, enriched with threo 
 marble ftatues, reprefenting Painting, Sculpture, and Architecture *. 
 
 Michael ANGEL O, Amerigi, da Caravaggio. 
 Painted fflftory, Portrait, Fruit, arid Flowers. 
 Died 1609, aged 40. 
 
 He was born at Caravaggio, a village in the Milanefe, in 1569, and was the 
 author of that manner, in which he painted •, a manner that was ftrong, and 
 had a powerful effect, by the bold oppofition of his lights and fhadows. He 
 took nature for the model of every object, that he introduced into his compofi- 
 tions •, but, wanted judgement either to correct, or to impro\e nature, and imi- 
 tated indiicriminately, the beauties and the defects of his models. It is report- 
 ed of him, that he always chofe to work in a room where the light defcended 
 from above. 
 
 His ftyle of painting was fo new, and fo furprizing, that moft of the great 
 men, his cotemporaries, ftudied to i.rutate it -, among whom were Domenichi- 
 no, Guido, Guercino, and others. The two former very foon quitted that 
 manner, obferving that it wanted variety •, the lights being the fame in all forts 
 of fubjects, and the tafte of defign being very indifferent : but, Guercino ftill 
 adhered to it, as well as Valentino and Manfredi. 
 
 The chief excellence of Caravaggio confifted in colouring •, but his attitudes 
 are ill chofen, his figures not elegantly difpoied, nor do his compofitions fhew 
 any fixed idea of grace or grandeur ; yet fome of his pictures are truly fine, 
 and admirably finifhed, with great mellownefs of pencil. 
 
 At firft, he painted fruit and flowers •, but afterwards he devoted all his ap- 
 plication to hiflorical compofitions, and portraits ; his figures being generally not 
 lower than the middle ; and thofe are accounted his beft works, which were 
 done in imitation of Giorgione. 
 
 His manner was moft commendable, when he painted portraits, and night- 
 pieces, with figures at half length •, for, in thofe his imitation of nature is al- 
 ways true, admirable, and full of uncommon force. In thofe fubjects his local 
 colours are extremely good, his lights are well contrived and diftributed, and 
 the whole has a ftriking effect. But, in the grand hiflorical defigns of this 
 mafter, thofe beauties are not often obiervable 5 the colouring appears rather 
 hard, and the fnadowing too black •, (though probably fomewhat of that black- 
 nefs might have been occafionedby time;) his figures are injudicioufiy placed, 
 being almoft in the fame line ; without any detached groups •, without giving a 
 proper perfpective proportion to thole figures, to make them appear as if they 
 receded from each other at a due diftance ; and without dignity, or elegance, in 
 the airs of his heads. 
 
 * De Piles affirms, that thofe three ftatues which are placed on the tomb of Michael Angelo, 
 were allof his own hand ; but Vafari, in vol. iii. p. 289 and 90, acquaints us, that the Grand Duke 
 appointed one of thofe ftatues to be executed by Battifta Lorenzo da Settignano, a difciple of Bac- 
 - cio Bandinelli ; another, to be carved by Giovanni di Benedetto da Caltelio, who had been a dif- 
 ciple of Bandinelli ; and the third was the work of Valerio Cioli da Settignano. 
 
 C 2 In 
 
ANG [ 14 ] ANG 
 
 In the church of S. Martin at Naples, there is a capital picture by Caravaggio, 
 reprefenting the Denial of St. Peter, with figures at half length, and as 
 large as life •, but, it feems to have been rendered more black, than it was ori- 
 ginally, by time. The head of the Saint is exceedingly fine, with a great deal 
 of expreffion, and the whole has a Angular force, every object being well 
 coloured and defigned. 
 
 Michael AXGELO, called di Campidog l 10. 
 
 Painted Fruit, and Flowers. 
 
 Died 16 jo, aged 60. 
 
 He was born at Rome, in 1610 ; was particularized by the name of Campi- 
 doglio, on account of an office which he held in the Capitol at Rome •, and was 
 a difciple of Fioravanti. He had a moft happy talent for painting fruit and 
 flowers ; and thole fubjects he defigned, and finifhed, in a ftyle fuperior to any 
 artiftofhis time. His objects are well difpofed, and judicioufly chofen ; his 
 pencil is free, and firm •, his colouring ftrong, natural, and extremely agreeable ; 
 and by proper maffes of light and ihadow, his pictures have a charming force, 
 and relief. 
 
 Michael ANGELO Cerquozzi, called di Battaglia. 
 Painted Battles, Fruit, and Converfations. 
 * Died 1660, aged 60. 
 
 According to one writer, this mafter was a difciple of Vincentio, called 
 Mozzo of Antwerp ; and according to another, the difciple of il Gobbo. He 
 was born at Rome in the year 1600, and had a very particular, and remarkable 
 manner of painting. He received fome instruction in the fchool of Antonio 
 Salviati of Bologna, and was called di Battaglia, from the excellence of his 
 ityle in painting battles. 
 
 But, befide his merit in that branch of his art, he painted fruit in fuch an 
 admirable tafte, as rendered his works defervedly famous through all Europe ; 
 all his objects appearing almoft equal to nature herfelf. 
 
 He was extremely fond of painting in the manner of Bamboccio ; a manner 
 which, at that time, was wonderfully admired at Rome •, and in that ftyle, his 
 invention was lively ; his diipofition good •, he gave to his fubjects great force 
 and truth ■, and to his characters, humour, and expreffion. 
 
 The readinefs of his pencil was furprizing, and the vivacity of his imagina- 
 tion very uncommon •, for, he never fketched his defigns, but only marked 
 them on the canvas, juft as his fancy directed, and then retouched them 
 gradually, till he give them their utmpft perfection. And, it was obferved of 
 this mafter, that his latter works are preferable to thole of his earlier time. 
 
 • According to the Abrcge de la Vie des Pcintres, born in i5o:, died 16G0, aged 5S. 
 
 Mich a E l 
 
A N G [ 15 ] A N G 
 
 Michael ANGELO Colonna. 
 Painted Hiftory, and Perfpefiive. 
 Died 1687, aged 87. 
 
 He was born at Ravenna, in 1 600, and at firft was a difciple of Gabriel 
 Ferrantino, but afterwards he became the difciple of Girolamo Curti, called 
 Dentone, a very eminent painter of architecture, with whom he carefully ftudied 
 that branch of his profefllon, and arrived at a confiderable degree of eminence 
 in it. 
 
 In feveral grand defigns, he aflbciated with Curti, who had been his beft 
 inftructor ; and, in conjunction, they enriched a great number of chapels and 
 convents with their works. In particular, that beautiful perfpe&ive of S. 
 Michael in Bofco ; a lalon in the Palazzo Grimaldi ; and the magnificent 
 decorations of the theatre at Ferrara. 
 
 He was invited to the court of Spain by Philip IV, where he was refpecfted 
 and amply rewarded, equal to his merit ; and was alio highly efteemed at the 
 courts of Modena, Florence, Paris, and Parma. There are very few eafel- 
 pieces of his hand to be {een in thefe kingdoms, though fome of them are pre- 
 served in the cabinets of the curious in Italy. His principal works, which 
 eftablifhed his reputation, are grand compofitions in the churches and convents 
 of Italy, and in the palaces of the nobility. 
 
 Filippo D'ANGELI, called Napoletano. 
 
 Painted Battles, and Land/cape. 
 
 Died 1640, aged 40. 
 
 He was born at Rome, in 1 600, and obtained the name of Napoletano, by 
 being carried to Naples, when he was very young. At his return to Rome, he 
 ftud.ed diligently after the antiques ; but forfook that noble fchool of inftruc- 
 tion, before he had made a fuflicient progrefs, and adopted in its ftead, the 
 manner of a Flemifh painter called Mozzo, (or Stump) becaufe, having loft his 
 right hand, he ufed the pencil with his left. 
 
 He wasalways moft pleafed with thofe fubjefts, which admitted of a great 
 number of figures ; and he not only grouped, and difpoied them with judgement, 
 but he generally gave every figure its proper action, and attitude. 
 
 His favourite fubjeds were battles, but he likewife painted landfcapes in a 
 very agreeable ftyle ; and frequently, he painted the views of public buildings, 
 portico's, and the areas before them crowded with people, at different fports°or 
 entertainments ; and in thofe defigns he was correct, diltributing the fio-ures 
 with propriety, and elegance. 
 
 Sopho- 
 
ANG [*6] ANG 
 
 Sophoxisba ANGUSCIOLA, called Sophonisba. 
 
 Fainted Portrait, aird Hifiory. 
 Died 1626, aged 93. 
 
 She was born at Cremona, in * 1533, of a very diftinguifhed family. The 
 firft inflructor of this eminent paintrefs, was Bernardino Campi of Cremona j 
 but fhe learned colouring and perfpe<5live from Bernardo Gatti, called Soiaro. 
 
 One of her firft performances, was the portrait of her father, placed between 
 his two children ; with fuch ftrong characters of lift and nature, with a pencil 
 fo free and firm, and fo lively a tone of colour, that her work was univerfally 
 applauded, and fhe was acknowledged an incomparable painter of portraits. 
 Through every part of Italy fhe is diftinguifhed by no other name than that of 
 Sophonifba. 
 
 But, although portraits engroffed the greateft part of her time, yet fhe 
 xlefigned feveral hiftorical fubjecls, with figures of a fmall fize, touched with 
 abundance of fpirit, and with attitudes eafy, natural, and graceful. 
 
 By continual application to her profeffion, fhe loft her fight ; and it is 
 recorded, that Vandyck having had an opportunity of converfing with Sopho- 
 nifba. ufed to fay, that he received more beneficial knowledge of the true 
 principles of his art, from one blind woman, than by his ftudying all the works 
 of the greateft mafters of Italy. 
 
 At Lord Spencer's, at Wimbledon, there is a portrait of Sophonifba, playing 
 on the harpfichord, painted by herfelf •, an old woman appears as her attendant, 
 and on the picture is written, Juffu Patris. And at Wilton, in the Pembroke 
 collection, is the Marriage of S. Catherine, painted by Sophonifba. 
 
 One of her fifters, named 
 
 Lucia ANGUSCIOLA, 
 
 Painted portraits, and gained by her performances a reputation not inferior 
 to Sophonifba, as well in regard to the truth and delicacy of her colouring, ae 
 thejuftnefs of the relemblance. And another of her fifters, named 
 
 Europa ANGUSCIOLA, 
 
 From her infancy manifefted an extraordinary genius to painting, and fhew- 
 cd fuch tafte, and elegance in her manner of defign, as to procure a degree of 
 applaufe almoft equal to Lucia, or Sophonifba. 
 
 * The author of the Mufeum Florentinum is guilty of a very remarkable anachronifm, in 
 regard to Sophonilba ; for, he fixes her birth in 1559, in which year it is abfolutely impoflible 
 fhe crulJ have been born 
 
 This appears inconteftably from Vafari, who tells us, that fhe painted the portrait of the Queen 
 of Sp: '."1. by order of Pope Paul IV, in '561; and to prove this fact, he inferts the letter, which 
 fhe ■ Ions *' ith the picture, to the Pope, and al/o the Pope's anfwer, both dated in 1561 ; 
 Soph-nilha's fn m Madrid the 1 6th of September, and the Pope's from Rome the 15th of Odober ; 
 at which time, according to the Mufeum Florentinum, ihe could have been oniy two years old, if 
 born in 1 
 
 Peter 
 
A N R [ 17 ] ANT 
 
 Peter Van ANRAAT. 
 
 Painted Hijlory. 
 Born about the year 1635. 
 
 The native city of this mafter is not known -, but^ if the merit of his works 
 is confidered, it ihould feem unaccountable, that fo few incidents of his life are 
 found recorded. Houbraken mentions a very capital picture of this artift, of 
 which the fubjefr. is the Laft Judgement. It contains a multitude of figures, well 
 defigned, correct in the outline, and penciled in a bold and free manner. The 
 principal figures are equal to Cornelius van Haerlem -, and the fmaller figures, 
 which fill, up the back ground, are as good as any of the hand of Rothenamer. 
 
 John ANTIQUUS.. 
 
 Painted Hijlory. 
 
 Died 1750, aged 48. 
 
 He was born at Groeningen, in 1702, and when he had been for fomeyear s 
 inftru&ed in the art of painting on glafs, he continued to praflife in that way, 
 till he was twenty years of age. But, being defirous to learn the art of painting in 
 oil, he placed himfelf under the direction of John Waffenburgh, an able artift, 
 with whom he continued only two years ; becaufe, he obferved that his mafter 
 would fcarce ever permit him to fee how he prepared or mixed his colours, 
 feeming rather defirous to make a fecret of his art. 
 
 Beino- difgufted with fuch a conduct, he went to France, to acquire more 
 improvement •, he viewed every thing that was curious in the churches and 
 palaces ; and afterwards travelled to Italy, accompanied by his brother Lambert 
 Antiquus, who was a painter of landfcape. Through a variety of diftreffes 
 havingarrived at Florence, the Grand Duke gave him all pofiible encouragement, 
 and retained him in his fervice for fix years. 
 
 During his refidence at that court, he painted a grand compofition, of the 
 Fall of the Giants, which in the difpofnion, as well as in the defign, /hewed an 
 equal degree of judgement and tafte. The fketch of it is ftill preferved in the 
 Florentine academy. 
 
 By permifilon of his patron, he made feveral journies to Rome, where he 
 had a particular intimacy with Trevifani, Bianchi, and Sebaftian Conca •, and 
 fpent one whole year in defigning at the academies ; nor was it an inconfiderable 
 honour to him, that he was exceedingly careffed by Solimena. 
 
 In every part of Europe through which he travelled he left memorable proofs 
 of his genius, and fine execution ; and he is ranked among the beft artifts of 
 his time. 
 
 His manner of defign is good •, he painted with great eafe and readinefs •, he 
 coloured agreeably, and had. acquired in the Roman fchool that elegance of : 
 tafte, which is difcerned in all his compofitions, 
 
 n A N T E 
 
ANT [ 18 ] ANT 
 
 ANTIVEDUTO. 
 
 Painted Portrait, and Hiftory. 
 Died 1626, aged 74. 
 
 The father of this painter was Imperiale Gramrbatica of Siena, and Antiveduto ' 
 was born near Rome, in 1552. At a proper age, he was placed under the 
 care of Giovanni Domenico Perugino, where he foon gave furprifing proofs of 
 his genius, and became a portrait painter of the higheft reputation ; for, in 
 the airs of the head, the beautiful and natural tint of the carnations, and the 
 ftriking refemblance of the features, he had no fuperior. 
 
 He was principally employed by the Medicean family; but, no prince, nor 
 any perfon of diftinftion vifitedRome, without having their portraits painted by 
 him. His attitudes were cafy and becoming, his colouring warm and lively, 
 and his diipofition extremely good. 
 
 He had likewife a confiderable talent for hiftory, and acquired great applaufe 
 for the elegant ftyle of his compofition, and the noble tafte that diitinguimed 
 all his performances. 
 
 ANTONELLO da Messina. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1475, aged 49. 
 
 He was born at Medina, in 1426, and was the firft of the Italian mailers, 
 who underftood the art of painting in oil ; having had that fecret communicated 
 to him by John van Eyck of Bruges. 
 
 Some of the pictures of Van Eyck, exquifitely finiflr d, having been brought 
 from Flanders, to Alphonfo I, king of Naples, were beheld with aftoniihment •, 
 and particularly by Antonello, who was fo ftrongly affefted by the beauty and 
 force of the figures, the fweetnefs of the colouring, and the wonderful effects 
 produced by the new difcovery, that he immediately determined to vifit Flanders, 
 to learn, if pofiible, an art that appeared fo extraordinary. 
 
 He went ; and recommended himfelf fo effectually to Van Eyck, by his 
 affability and ingenuity, as well as by a prefent of fome fine Italian defigns, 
 that Van Eyck unveiled to him the whole myftery ; and Antonello, in a inert 
 time, became almoft as eminent as his inftru&or. 
 
 From a principle of gratitude, he continued in Flanders as long as Van Eyck 
 lived; but, after his death, Antonello fettled at Venice, where he paintid 
 feveral pictures that gained him the approbation of all, as his fubjects were 
 well defigncd, the figures beautifully drawn, and the whole very delicately 
 finifhed. 
 
 He communicated the fecret to a painter, named Domenico, from whom 
 AnJrea del Caftagno afterwards obtained the knowledge of it j and from him, 
 the art of painting in oil gradually became known, and generally praetifed 
 
 thio igh ali I; 5 
 
 Jacob 
 
A P P [ 19 ] A P P 
 
 Jacob APPEL, 
 
 Painted Land/cape, Portrait., and Hijiory. 
 Died 1751, aged 71. 
 
 This artift was born at Amfterdam, in 1680, and had for his firft inftru&or 
 Timothy de Graaf, but afterwards he placed himfelf under the direction of 
 Vander Plaas ; by whofe care and his own afliduity in practice, he was reputed 
 a good painter of landfcape. 
 
 The works of Tempefta, were thofe which afforded him fuch perpetual 
 fatisfaction, that he made them his model ; but, he alfo ftudied after nature, 
 and fpent two years in defigning the trees, animals, and agreeable fcenes near 
 the Hague. His greateft improvement, however, was acquired by the obfer- 
 vations he made on the works of Meyering, having had the good fortune, to 
 fee that great mailer paint feveral landfcapes ; by which means, he learned a 
 much better manner of handling and colouring, and particularly the art of 
 making his objects recede to remote diftances, in perfpective proportion. 
 
 He painted portraits with remarkable fuccefs, and alfo hiftorical fubjedts in a 
 good tafte ; and feemed to have a particular pleafure, to introduce ftatues into 
 mod of his compofitions ; for, he defigned them well, and gave them the exact 
 refemblance of marble. 
 
 By the bell judges he is efleemed a landfcape painter of fome merit ; but, 
 not of the firft rank. He compofed his fubjects with eafe, and defigned his 
 trees, and the leaves, with truth and variety. His colouring is natural, and 
 although he is much inferior to Berchem, yet is he fuperior to many whofe 
 works are very^ much regarded. It is remarked of him, that at the age of 
 eighteen, he was confidered as a painter of diftinction, and to the laft period of 
 his life, he painted with the fame vivacity as at the firft. 
 
 Barent APPELMAN. 
 
 Painted Landfcape, and Portrait. 
 Died 1 686, ag:d 4.6. 
 
 He was born at the Hague, in 1640, and proved very excellent in painting 
 landfcapes. The fcenes of his pictures were taken from the charminor views 
 about Rome, Frefcati, and other parts of Italy, which recommended his works 
 to perfons of the beft tafte •, but, his figures were indifferent. 
 
 For fome years he was employed by the prince of Orange ; and in the palace 
 of Soefdyk, there is a large hall ornamented with landfcapes of this matter's 
 hand, defigned in an elegant tafte, finely penciled, and well coloured ; and 
 alfo in the fame hall, are feveral portraits of his painting, which are exceedingly 
 admired. 
 
 Sometimes he afilfted John de Baan, a very famous painter, in the portrait 
 ftyle ; and whenever a landfcape was to be introduced, in any of de Baan's 
 pictures as a back ground, it was always painted by Appelman. 
 
 D C^SARI 
 
ARE [20] ARE 
 
 C/esare ARETHUSI. 
 
 Painted Hiftory , and Portrait. 
 He flour ijhed in 1590. 
 
 He was bom at Bologna, where he learned the art of painting, and fludicd 
 the works of Bagnacavallo ; but, he made himfelf truly eminent, by the 
 admirable copies which he painted after the hiftorical compofitions of the moil 
 celebrated mafters. And, although his invention was not very fertile, yet, as 
 a portrait painter he had angular merit, and found fufficient employment in the 
 courts of the Italian princes ; particularly at the courts of the dukes of Parma, 
 and Ferrara, where he obtained confiderable emoluments, and honours. 
 
 The portraits which he painted were extremely in the ftyle of Correggio, 
 round, and with a fine relief ; his touch was light and delicate, and the tints of 
 his colouring fo lively and natural, that every objeft feerned animated. He 
 became fo intimately acquainted with the pencil, and colouring of Correggio, by 
 examining his works with a curious and critical obfervation, that he copied 
 them with incredible exaftnefs •, and many of thofe copies painted by Arethufi, 
 have been deemed undoubted originals of Correggio. But, he alio defigned 
 fubjects of hiftory, and finifhed them in an exquifite manner-, fo as to obtain 
 the approbation and favour of all thofe princes, by whom he was employed. 
 
 He was invited by the duke of Ferrara to vifit his court, and received there 
 with extraordinary refpecl. That prince fat to him for his portrait, admired 
 the performance highly, gave him evident proofs not only of his favour, but 
 of his friendfhip and efteem ; and having at laft concluded, that his generous 
 treatment of Arethufi muft inevitably have fecured his gratitude, (if not his 
 affeftion) he freely acquainted him with his real inducement for inviting 
 him to Ferrara. Confiding in the integrity of the painter •, he told him, there 
 was a lady in that city, whofe portrait he wiihed to poffefs ; but, it muft be 
 procured in fo fecret a manner, as neither to be fufpecled by the lady herfelf, 
 nor any of her friends. He promifed an immenfe reward to Arethufi, if he was 
 fuccefsful, and fecret •, but, threatened him with the utmoft feverity of his 
 refentment, if ever he fuffcred the fecret to tranfpire. 
 
 The artift watched a proper opportunity, to fketch the likenefs of the lady, 
 unnoticed by any •, and having {hewn it to the duke, he feerned exceedingly 
 itruck with the refemblance, as well as the graceful air of the figure, and 
 ordered Arethufi to paint a portrait from that fketch, as delicately as he 
 poflibly could ; but, above all things, recommended it to him, to preserve ic 
 from every eye but his own. 
 
 When the picture was finifhed, the painter himfelf beheld it with admiration, 
 and thought it would be injurious to his fame, to conceal from the world a 
 performance, which he accounted perfeft ; and through an excels of pride and 
 vanity, he privately fhewed it to feveral of his friends, who could not avoid 
 commending the work, while they detefted the folly and ingratitude of die 
 
 artift. 
 
 The fecret thus divulged, circulated expeditioufiy i it foon reached the ears 
 of the lady, and her family, who were exceedingly irritated ; and the duke 
 
 appeared 
 
A R L [ 21 ] A R P 
 
 appeared fo highly enraged, at the treachery of Arethufi, that he was almoft 
 provoked to put him to death ; but, he only baniShed him for ever from his 
 dominions. 
 
 In the church of S. Giovanni in Monte at Bologna, there is a very admired 
 picture by this mailer. The Subject is the birth of the Virgin, and it is well 
 defigned, with abundance of grace in feveral parts of the compofition ; and 
 particularly, a group of two female figures embracing, which is extremely 
 beautiful. 
 
 ARETINO. Vid. Spinelh. 
 
 James Anthony ARLAUD. 
 
 Painted Portrait. 
 Died 1743, aged 75. 
 
 He was born at Geneva, in 1 668, and painted in miniature with good fuccefs ; 
 but, after a elofe and retired application to the practice of his art, he became a 
 very considerable mafter, acquired great eafe and freedom of hand, and great 
 correc~t.nefs of outline ; fo that his portraits were much efteemed for having a 
 Strong likenefs, and very agreeable attitudes. 
 
 By the delicacy of his works, he obtained the favour of the duke of Orleans, 
 who honoured Arlaud fo far, as to chufe him for an inftructor, in the art of 
 painting, and to compliment him with an apartment at S. Cloud, that he might 
 be with him more frequently. 
 
 This mafter was likewife highly favoured by the princefs Palatine, who 
 prefented him with her own picture fet with diamonds ; and alfo gave him 
 recommendatory letters to the court of Great Britain, particularly to queen 
 Caroline ; by whofe encouragement, he received many marks of efteerri from 
 the nobility and gentry, of that generous nation, which is diftinguifhed through 
 all Europe, for its liberality in encouraging merit of every kind, and particularly 
 every excellence in the polite arts. The portrait of Caroline, at that time 
 princefs of Wales, was univerfaJly admired, and celebrated by feveral of the 
 poets •, and at his return to Paris, he was loaded with prefents, among which 
 were many medals of gold. 
 
 A moft remarkable painting of Arlaud, was an imitation of an admirable 
 bas-relief, carved in marble by Michael Angelo Buonaroti, reprefenting the 
 ftory of Jupiter and Leda. That famous piece of workmanihip Arlaud imitated 
 fo exquisitely, with a tint of colour lb exactly funilar to the marble, and with 
 fuch correftnefs in every part, that when they were both placed together, it 
 was Scarcely poffible to distinguish the marble from the painting, even by the 
 niceft inlpeclion. The duke de la Force purchafed it from the painter, at fo 
 large a price as twelve thouiand livres, though it was afterwards fold for a kSs 
 fum. 
 
 Giuseppe Caesar D'ARPINO, called Gioseppino Cavalie'ke. 
 
 Painted Ilijicry, and Battles. 
 Died 1640, aged 80. 
 This painter was born at Arpino, in the kingdom of Naples, in 1560; bur, 
 he Studied at Rome, after thole mafters who were moft celebrated, and was 
 . D 2 aided 
 
A R P [ 22 ] ART 
 
 aided in the knowledge of bis art, by the inflructions of Pomerancio. By the 
 p.fFiilance of an happy genius, he acquired a light and agreeable manner of 
 defigning ; though, it is remarked by De Piles, that he degenerated into a 
 flyle, that neither partook of refined nature, nor of the antique. 
 
 When he was but a young practitioner, he fhewed fuch a freedom of hand, 
 fo much fpirit in his defign, and fo good colouring, that his productions, even 
 at that age, aflonifhed the ableft artifls •, but, in his more advanced time, his 
 colouring was frequently cold and weak, his attitudes were ftifF and affected, 
 and a great deal of the mannerifl appeared in his compofitions. 
 
 His battles, which are to be feen in the Capitol, are the moft efteemed of 
 all his works ; and though De Piles affirms, that he is fuperficial in his other 
 pictures •, yet, very judicious writers defcribe the works of this mafler in a 
 different manner, and allow that his drawing is generally good, though the 
 contours of the limbs cannot be commended ; that his compofition hath a 
 confiderable degree of elevation ; and that there was fomewhat in his flyle that 
 afforded pleafure, his colouring fometimes being extremely good, though not 
 always fo. And as a proof of his merit, they alledge, that his manner was 
 adopted by mofl of the artifts of his time, others adhering to the flyle of 
 Caravaggio •, who, as long as he lived, was the competitor and formidable 
 rival of Giofeppino, their manners being as oppofite as their tempers. 
 
 In the church of S. Martin at Naples, there is a grand picture of a 
 Crucifixion ; in which compofition, are introduced the Virgin, St. John, and 
 Mary Magdalen, the figures being as large as life. An ingenious writer, 
 Monf. Cochin, who faw the picture in 1757, fays, it is beautifully coloured, 
 much in the ftyle of Rubens and Baroccio, with a broad and firm pencil, and 
 has a good effect. The heads of all the figures are well defigned, but the 
 expreflion in that of the Magdalen, is particularly commendable. But, as to 
 the contours of the limbs, and the attitudes, they are in general much over- 
 ftrained. 
 
 J a c qjj e s D'ARTOIS. 
 Painted Land/cape. 
 Died 1665, aged 52. 
 
 Tie was born at BrufTels, in 1613, and having been carefully inflructed in 
 the art of painting by Wildens, (as fome authors imagine) he perfected himfelf 
 by a fludious obfervation of nature. 
 
 No Flemifli painter cotemporary with this great mafler, could be more 
 admired than he was. His landfcapes have an agreeable folemnity, by the 
 difpofition of his trees, and the breaking of his grounds -, thediflances are well 
 obferved, and die away perfpectively, with a bluifh diilance of remote hills; 
 and his figures are properly and very judicioufiy placed. His pencil is foft, his 
 touch light and free, particularly in the leafing of his trees, and there is generally 
 a plead og harmony in the whole. It is laid, that Teniers either painted, or 
 retouched the figures of his landfcapes. 
 
 Pie is remarkable, for always ornamenting the (lems of his trees with mofs, 
 ivy, or other plants, the extremities of which are often loolely hanging down. 
 
 2 His 
 
ASH [ 23 ] ASP 
 
 His pictures are coloured with a force refembling thofe of Titian, except that 
 fometimes they are a little too dark. 
 
 Edmund ASHFIELD. 
 
 Painted Portrait. 
 
 Died aged" 
 
 This painter was born in England, and became the difciple of Michael 
 Wright. But, although he was capable of painting in oil, he for the moll 
 part, accuftomed himfelf to paint portraits in Crayon ; having difcovered a 
 method of producing a variety of tints in that manner of colouring, which 
 anfwered every complexion, and gave roundnefs and ftrength to his heads. 
 
 His works are much prized, and fome of them were fo highly wrought, as to 
 be purchafed at ten pounds a piece. He was the inftructor of Lutterel, who 
 arrived at a degree of perfection in Crayon painting, iuperior to his mailer. 
 
 John ASPER, or Aspar. 
 Painted Portraits, and Still Life.. 
 
 Died IS7 1 -) a Z e d 7 2 - 
 
 He was born at Zurich, in Switzerland, in 1499, and was cotemporary with 
 Holbein. He painted portraits in the manner of that celebrated mafter, with 
 fo much life, nature, and character, that his works were exccflively applauded^, 
 and his reputation was little inferior to that of Holbein. 
 
 To record the merit of this mafter, and to preferve his memory, a medal 
 was ftruck, with his name inlcribed on it ; the figure was taken from a portrait 
 of him, and on the reverfe was a character highly to his honour. 
 
 Am ico ASPERTINO. 
 
 Painted Hijlory.. 
 Died '1572, aged yS. 
 
 This mafter was born at Bologna, in 1494, and learned the art of paintinc 
 from Francefco Francia. Through Italy he was diftinguifhed by the name o£ 
 Amico da due Penelli ; becaufe, when he painted, he uied both hands with 
 equal dexterity ; laying on the light colours with the one, and the dark, wich 
 die other. 
 
 His pictures had a good effect, being painted with a ftrong body of colours,, 
 with a free touch, and in a grand ftyle ; but this defcription can only fuit fome 
 of his belt performances ; for, his imaginatioa was, at particular times, whimfical„ 
 wild, and extravagant •, and whatever fubjects he defigned when his mind had. 
 a wrong turn, were unworthy of being compared with thofe, which he compofecL 
 and fimfhed, when, his thoughts were ledate and undifturbed. 
 
 Jo KEN. 
 
ASS [24] BAA 
 
 John ASSELYN, called Crabbetje. 
 
 Painted Land/capes, and Battles. 
 Died 1660, aged 50. 
 
 He was born at Antwerp, in 161©, and was a diiciple of F.faias Vandervelde ; 
 and under the guidance of fo able a mailer, he became an excellent painter of 
 landfcape. His companions nick-named him Crabbetje, from a crooked turn 
 in his fingers, and his hand, which caufcd him to hold his palette with fome 
 degree of awkwardnefs. And yet, by the lightnefs, freedom, and fpirit of his 
 touch, it could not be fuppofed that his hand could have the fmalleft 
 imperfection. 
 
 He was one of the firft Flemifli painters, who adopted the clean and bright 
 manner of landfcape painting. He ftudied after nature in the country about 
 Rome, improving his tafte by the delightful fituations of towns, villa's, 
 antiquities, figures, and animals, which he fketched upon paper, to make a 
 proper ufe of them in his defigns. In the ftyle of his landfcape, he chofe 
 particularly to imitate Claude Lorraine ; but in other parts of his painting, he 
 jeemed fond of making Bamboccio his model. 
 
 He enriched his landfcapes with the veftiges of noble buildings, and the 
 views of fuch feats, as he obferved to be beautiful, by their fituation, or 
 construction. His colouring is extremely bright and clear ; his fkies are warm ; 
 his touch is free and firm ; his figures and animals are well drawn, and judicioufly 
 difpofed ; and his pi&ures juftly merit the approbation, which they have 
 always received. 
 
 John de BAAN. 
 Painted Portrait. 
 Died 1702, aged 69. 
 
 He was born at Haerlem, in 1633, and inftru<5bed in the art of painting by 
 his uncle Piemans, who painted in the manner of the Velvet Brueghel. 
 Afterwards he ftudied under Bakker at Amfterdam, with whom he praftifed 
 afliduoufiy, every particular from which he could receive improvement ; 
 fpending the whole day at the pencil, and the evenings in defigning. And as 
 his mafter regarded him both for his genius and diligence, he gave him all the 
 encouragement and affiftance in his power. 
 
 At that time, the works of Vandyck and Rembrant were exceedingly 
 applauded •, and he feemed to find fome difficulty in determining, which of 
 matters he fhould imitate ; but at laft, he appeared to give the preference 
 to Vandyck. 
 
 His merit foon was univerfally known, and Houbraken afierts, that he was 
 invited to London by Charles II, and conveyed to England in one of the 
 king's fliips. He painted the portraits of that monarch, the queen and the 
 nobility of the firft rank at court ; and was much admired for the elegance of 
 his attitudes, as alio for his clear, natural, and lively tone of colouring. 
 
 After 
 
BAA [ 25 ] BAB 
 
 After continuing for fome time in England, he returned to the Hague ; and 
 there painted a noble portrait of the Duke of Zell, for which he received a 
 thoufand Hungarian ducats, amounting to near 500/. and by the Duke of 
 Tufcany he was fo highly honoured, as to have his portrait placed in the famous 
 gallery of painters at Florence, and received a valuable prefent from that Prince 
 in return for the picture. 
 
 The beft of the performances of De Baan is the portrait of Prince Maurice of 
 NafTau, who had fufficient patience and condefcenfion to fit to him as long as he 
 defired ; and in the execution of it, the artifl exerted the utmoft efforts of 
 his pencil. 
 
 Jacob De BAAN. 
 
 Painted Portraits, and Converfations. 
 
 Died 1700, aged 27. 
 
 He was born at the Hague, in 1673, and learned the art of painting from his 
 father, John De Baan-, and having lb able a director, and fo excellent an example, 
 he very early became a painter of diftinction. 
 
 About the twentieth year of his age he went to England among the attendants 
 of William III. where the reputadon of his father procured him a favourable re- 
 ception. He painted feveral excellent portraits for the nobility at the court of 
 London, and particularly a portrait of the Duke of Glocefter, which gained 
 him fo muchefteem, that he was earneftly folicited to continue in England; but, 
 no inducement could prevail with him to delay his intended journey to Rome. 
 
 In his route to that city he vifited Florence, and was received by the Grand 
 Duke with lingular kindnefs ; where having examined carefully the admirable 
 performances of the antient and modern artifts, in that celebrated collection, the 
 Duke fhewed him alfo the portrait of his father, which was placed in the gallery. 
 
 From Tufcany he travelled to Rome, and for a fhort time applied himfelf 
 clofely to his ftudies. He painted feveral portraits, and converfations, during his 
 refidence at Rome, by which he acquired a large fum of money, but he had the 
 unhappinefs to fquander it all away in excefies and profufion. 
 
 His pictures were excellently handled, and he approached near to the merit of 
 hisfather,in his portraits •, but, in other parts of painting, he probably would have 
 far furpaffed him, if he had appropriated more of his time to his ftudies, and had 
 not died at fo early a period of life. 
 
 Theodore Dirk BABEUR, or Baburen. 
 
 Painted Hiftory, Converfations, and Mufical Performers. ■ 
 
 Died aged 
 
 The manner of painting which this mafler generally practifed, was with 
 figures as large as life.; and mod of his pictures repreient the figures at half 
 length. He had a free and firm pencil ; his drawing is tolerably correct ; and 
 his colouring ftrong-, but, it is not very pleafmg to the eye, by a yellowish brov\n 
 tint that predominates through the whole. 
 
 2 . His 
 
BAB [ 26 ] B A C 
 
 His expreffion is but indifferent in any characters, except thofe which are 
 mirthful; and in fome of thofe he hath imitated ungraceful nature with toler- 
 able exactnefs and fuccefs. Moil of his pictures reprefent philofophers, players 
 at cards, or perfons performing on mufical inftruments, in which his drawing is 
 far preferable to his colouring. 
 
 Houbraken fays, that he fometimes painted perfpectives in the manner of 
 Neefs ; but other authors are filent in regard to any of his attempts in that ftyle. 
 Perhaps, there might have been another painter of the fame name, whofe fubjccls 
 were fimilar to thofe of Neefs. But, to judge of Babeur by thofe pictures to 
 which he has affixed his name, his touch and handling feem to be very oppofitc 
 to the manner of penciling and finifhing requifite for fuch delicate works as ren- 
 dered Neefs fo defervedly famous. 
 
 BACCICI. "fid. Gauli. 
 
 Fra. Bartolomeo B ACCIO, called Bartelemi di S. Marco. 
 
 Painted Hijlory, and Portrait. 
 Died 151 7, aged 48. 
 
 He was born at Savignano, near Florence, in 1469, and was a difciple of 
 Cofimo Rofelli; but, his principal knowledge in the art of painting, was derived 
 from Lionardo da Vinci. He underftood the true principles of defign better than 
 moft mailers of his time, and was alfo a confiderable painter in perfpective ; 
 which induced Raphael to have recourfe to him, after he had quitted the fchool 
 of Perucnno •, and under his direction likewife Raphael ftudied the art of ma- 
 naging and uniting colours, as well as the rules of perfpective. 
 
 Some years after the departure of Raphael from Florence, Baccio vifited 
 Rome ; and by the obfervations he made on the antiques, and the works of Ra- 
 phael, which were then the admiration of the whole world, he was extremely 
 improved, and manifefted his acquired abilities by a picture of S. Sebaftian, 
 which he finilhed at his return to Florence. It was fo well defigned, fo natu- 
 rally and beautifully coloured, and had fo ftrong an expreffion of pain and agony, 
 that it was removed from the place where it was publicly feen, (in the chapel of 
 a convent) as it had been obferved to have made too ftrong an impreffion on the 
 imaginations of many women who beheld it. 
 
 He was very laborious, and made nature his perpetual ftudy •, he defigned the 
 naked correctly ; his figures had a great deal of grace, and his colouring was 
 admirable. 
 
 He is accounted to have been the firft inventor of that machine called a 
 Layman by the artifts, and which, to this day, is in general ufe. Upon that he 
 placed his draperies, to obferve with greater exactnefs their natural and their 
 more elegant folds. 
 
 A capital picture of the Afccnfion by Baccio, is in the Florentine collection. 
 
 J A Qja e s 
 
BAC [27] BAG 
 
 Jaques BACKER, or Bakker. 
 
 Painted Hiftory. 
 Died 1560, aged 30. 
 
 This painter was born at Antwerp, in 1 530, and learned the principle's of 
 painting from his father, who was an artift very knowing in his profefiion, tho* 
 his works were in no great eftimation. 
 
 After the death of his father, he lived in the houfe of Jacopo Palermo, 3 
 dealer in pictures ; who avaricioufly took care to keep him inceffantly employed, 
 and fent his paintings to Paris to be difpofed of, where they happened to be ex- 
 ceedingly admired. The judicious were very eager to purchafe them, and tho' 
 the tranfa&or fold them at a great price, yet the poor artift was not propor- 
 tionably rewarded, but continued in the fame obfeure and depreffed condition. 
 His merit, indeed, was univerfally allowed, but his name, and the narrownefs of 
 his circumftances were as univerfally unknown. 
 
 He had a clean, light manner of penciling, and a tint of colour that was ex- 
 tremely agreeable. 
 
 Jacob BACKER, or Bakker. 
 
 Painted Portrait, and Hijkry. 
 * Died 1 65 1, aged 42. 
 
 He was born at Harlingen, in 1 609, but fpent the greateft part of his life at 
 Amfterdam •, and by all the writers on this fubjec~t, he is mentioned as an ex- 
 traordinary painter, particularly of portraits, which he executed with ftrength, 
 fpirit, and a graceful refemblance. 
 
 Pie was remarkable for an uncommon readinefs of hand, and freedom of 
 pencil -, and his incredible expedition in his manner of painting, appeared even 
 in one portrait of a lady from Haerlem, that he painted at half length, which 
 was begun and finifhed in one day, though he adorned the figure with rich 
 drapery, and feveral ornamental jewels. 
 
 He alfo painted hiftorical fubjefts with good fuccefs •, and in that ftyle there 
 is a fine picture of Cimon and Iphigenia, which is accounted by the connoiffenrs 
 an excellent performance. In defigning academy figures his expreffion was lb 
 jnft, and his outline fo correct, that he obtained the prize from all his competitors -, 
 and his works are ftill bought up at very high prices in the Low Countries. 
 
 In the collection of the Elector Palatine there is an excellent head of Brouwer, 
 painted by this mafter •, and in the Carmelites church at Antwerp is preferved a 
 capital picture of the Laft Judgment, which is well defigned, and well coloured. 
 
 • According to Defcamps, died in 1641, aged 33. 
 
 E Willi aM 
 
BAC [ 28 ] B A C 
 
 William BACKER EEL, called Bacqjjerelli. 
 
 Painted Hiftory. 
 Died aged 
 
 He was born at Antwerp, and was a difciple of Rubens, at the fame time that 
 Vandyck was educated in that fchool. 
 
 When each of them quitted that mailer, and commenced painters, Backereel 
 was very little inferior to Vandyck, if not nearly his equal. And this may be 
 manifeftly iecn in the works of the former, which are in the church of the Au- 
 guftin Monks at Antwerp -, where thofe two great artifts painted in competition, 
 and both were praifed for their merit in their different ways ; but the fuperiority 
 was never determined in favour either of the one or the other. 
 
 He had likewife a good tafte for poetry, but, by exercifing that talent too 
 freely, in writing fatires againft the Jefuits, that body of ecclefiaftics, who are 
 not more famous for their political than for their perfecuting ipirit, purfued him 
 with unremitted revenge, till they compelled him to fly from Antwerp ; and by 
 that means deprived his own country of fuch paintings, as would have contributed 
 to its perpetual honour. 
 
 Sandrart takes notice, that in his time there were feven or eight painters, who 
 were very eminent, of the name of Backereel, in Italy and the Low Countries. 
 
 Ludolph BACKHUYSEN. 
 
 Painted Ships, Sea-Pieces., and Sea-Ports. 
 Died 1709, aged 78. 
 
 This eminent mafter was born at Embden, in 1631, and received his earlieft 
 inftruction from Albert Van Everdingen •, but acquired his principal knowledge 
 by frequenting the painting rooms of different great mafters, and obferving their 
 various methods of touching and colouring. One of thofe mafters was Henry 
 Dubbels, whofe underftanding in his art was very extenfive ; and he was as re- 
 markably communicative of his knowledge to others. From him Backhuyfen 
 obtained more real benefit than from all the painters of his time, either by 
 ftudying their works, or perfonally converfing with them. 
 ■ He had not practifed very long when he became the object of general admi- 
 ration 5 fo that even his drawings were fought after, and feveral of them were 
 boiight up at 100 florins a piece. 
 
 It was obferved of him, that while he was painting, he would not fufFer even, 
 his moft intimate friends to have accefs to him, left his fancy might be difturbed, 
 and the ideas he had formed in his mind be interrupted. 
 
 He ftudied nature attentively in all her forms ; in gales, calms, ftorms, 
 clouds, rocks, fkies, lights, and fhadows ; and he expreffed every fubject with 
 io fweet a pencil, and fuch tranlparence and luftre, as placed him above all the 
 artifts of his time in that ftyle, except the younger Vandervelde, who is de- 
 fervedly efteemed the firft in that manner of painting. 
 
 It was a frequent cuftom with Backhuyfen, whenever he could procure re- 
 folute mariners, to go out to fea in a ftorm, in order to ftore his mind with grand 
 
 images, 
 
B A C [ 29 ] BAD 
 
 images, directly copied from nature, of fuch fcenes as would have filled any 
 other head and heart with terror and difrnay, and the moment he landed he 
 always impatiently ran to his palette, to lecure thofe incidents, of which the 
 traces might, by delay, be obliterated. 
 
 He perfectly underftood the management of the Chiaro-Scuro, and by his 
 fkill in that part of his art, he. gave uncommon force and beauty to his objects. 
 He obferved ftrictly the truth of perfpe<5tive, in the dillances of his vefiels, the 
 receding of the grounds on the fhores, and the different buildings which he 
 defcribed in the fea-ports -, whether they were the refult of his own imagination, 
 or fketched, as he ufually did, after nature. 
 
 His works may eafily be diitinguifhed by an obfervant eye, from the freedom 
 and neatnefs of his touch •, from the clearnefs, and natural agitation or 
 quielcence of the water ; from a peculiar tint in his clouds and fkies ; and alfo 
 from the exact proportions of his fhips, and the gracefulnefs of their pofition. 
 
 For the Burgomailers of Amfterdam he painted a large picture, with a mul- 
 titude of vefiels, and a view of the city at a diftance, for which they gave 
 him thirteen hundred guilders, and a considerable prefent •, which picture they 
 afterwards prelented to the King of France, who placed it in the Louvre. .No 
 painter was ever more honoured by the vifits of Kings and Princes than Back- 
 huyfen ; the King of Pruflia was one of the number ; and the Czar Peter the 
 Great took delight to fee him paint, and often endeavoured to draw, after vefiels 
 which he had defigned. He was remarkably afiiduous, and yet it feems 
 aftonifhing to confider the number of pictures which he finifiied, and the 
 exquifite manner in which they are painted. 
 
 Francis BADEN S. 
 
 Painted Hijiory, and Portrait. 
 
 Died 1603, aged 32. 
 
 He was born at Antwerp, in 1 57 1, and the firfi: rudiments of the art were 
 communicated to him by his father, who was but an ordinary artift. However, 
 he vifited Rome, and feveral parts of Italy, and there formed a good tafie of 
 defign, and a manner exceedingly pleafing. 
 
 When he returned to his own country, his merit procured for him great em- 
 ployment, and ftill greater reputation, and he was ufually diftinguifhed by the 
 name of the Italian painter. His touch was light and fpirited, and his colouring 
 warm •, and he had the honour of being the firft who introduced a good taile of 
 colouring among his countrymen. 
 
 While his acknowledged merit was rewarded with every public teftimony of 
 efteem and applaufe, unhappily he received an account of the deatli of his 
 brother, who had been afiafiinated on a journey •, and the intelligence affected him 
 fp violently, that it occafioned his own death, to the inexprefiible regret of 
 every lover of the art. 
 
 E 2 Antonmq 
 
BAD [ 30 ] B A I 
 
 Antonio BADILE. 
 
 Painted Hijioty, and Portrait. 
 Died 1560, aged 80. 
 
 He was born at Verona, in 1480, and by great ftudy and application acquired 
 a more extenfive knowledge of the true principles of painting, than any of his 
 predeceffbrs. He was confefiedly a mod eminent artift •, but he derived greater 
 honour from having two fuch difciples as Paolo Veronefe, and Baptifta Zelotti, 
 than he did even from the excellence of his own compofitions. 
 
 His colouring was admirably good ; his carnations beautiful ; and his 
 portraits preferved the perfect refemblance of flefh, and real life ; nor had he 
 any caufe to envy the acknowledged merit of Titian, Giorgione K or the bell 
 of his cotemporaries. 
 
 Sisto BADOLOCCHI. 
 
 Painted Hijtory. 
 
 Died aged 
 
 This matter was born at Parma, and was a difciple of Annibal Caracci ; by 
 whofe admirable precepts he made an extraordinary progrefs in a fhort time, and 
 
 }>roved the belt defigner of any of thole who were educated with him in that il- 
 uftrious fchool. 
 
 He poffeffed a lively imagination, and a lingular readinefs of hand ; and it 
 was concluded by all who faw his performances, that he would have arrived at 
 an high degree of merit, if he had not died fo young as he did, in the very 
 bloom of life, and if he had applied himfelf with more afliduity to his profeffion- 
 
 BAERSTRAT. 
 
 Painted Sea- Ports, Sea-Shores, and Fijb. 
 Died' 1687, aged 
 
 Though this mafter was very eminent, and his works in very good 
 efteem, yet authors are filent as to the place of his nativity, and the year of his 
 birth •, but his pictures are eafily diftinguilhed by a general brightnefs diffuied 
 through the whole, and particularly in his Ikies. 
 
 His drawing was correct, and his perfpe&ive extremely true ; he copied every 
 object that he introduced into his compofitions from nature, and was exact in his 
 reprefentations of lea-ports, fhips of war, or veflels of a fmaller fize, which he 
 diipofed judicioufly, and made the whole together produce a very pleafing effect. 
 
 His pencil is light and clean, his touch ipirited, and his colouring is always 
 sranfparent ; for, in general, he finiflied his pictures with abundance of neatneis. 
 
 David BAILII. 
 
 Painted Perfpeftive Views, and Portraits. 
 
 Died 16 3S, aged 54. 
 
 He was the fan of Peter Bailii, an artilb of fome note, and was born at Leyden 
 
 in 1584. From his father he learned to draw and delign ; but he was afterward^ 
 
 5 placed 
 
BAL [ 3i ] B A L 
 
 placed under the care of Adrian Verburg, and continued with him for fome 
 time ; and when he quitted that mafter, he ftudied, to much greater advantage, 
 with Cornelius Vandervoort, an excellent portrait painter, and with him he 
 {pent above fix years. 
 
 As Vandervoort pofieffed many capital paintings of fome great matters, Bailii, 
 for his own improvement, copied them with critical care and obfervation ; and 
 particularly copied one perfpeclive view of the infide of a church, originally 
 painted by Stenwyck, which he finilhed with fuch accuracy, that even Stenwyck 
 himfelf could fcarce determine which was the original, or which the copy, when 
 both were placed before him. 
 
 He travelled through feveral parts of Italy, to'fee the works of the celebrated 
 mafters of that country, and for a few years refided at Rome •, and abroad, as 
 well as in his own country, the correctness of his drawing, and the delicate 
 handling and finilhing of his pictures, procured him employment, admirers, 
 aid friends. 
 
 In the latter part of his life he difcontinued painting, and only drew portraits 
 on vellum with a pen, which he heightened with black lead, and gave them, 
 wonderful force and roundnefs. 
 
 Mario BALA SSI. 
 
 Painted Hiftory^ and Portrait. 
 
 * Died 1667, aged 63. 
 
 He was born at Florence, in 1 604, and had for his firflr inftructor Jacopo 
 Ligozzi ; but afterwards he fucceflively became the difciple of Rofelli and Paf- 
 fignano, though he preferred the manner of the latter to tli3t of his other mafters. 
 He accompanied Paffignano to Rome, not only to be his afliftant in the works 
 which lie had undertaken at the command of Urban VIII. but alio to improve 
 himfelf by diofs incomparable curiofities of fculpture and painting which are 
 preferved in that city. 
 
 During his refidence there, Don Taddeo Barberini, having obferved with 
 what exadl precifion Balafli, in his touch and expreffion, imitated the touch and 
 expreffion of his mafter, concluded that fuch a powerful imitative talent would 
 enable him to copy the work of a fuperior artift with equal exaftnefs : He there- 
 fore tried the experiment, by employing him to copy the Transfiguration painted 
 by Raphael, which Balaffi executed with moft univerfal applaufe, and to the 
 furprize of the moft fkilful perfons at Rome. 
 
 By the recommendation of Piccolomini he was introduced to the Emperor 
 Ferdinand III. who received him in an honourable manner, and had his portrait 
 painted by him, for which Balaffi was nobly rewarded. 
 
 The greateft excellence of this mafter feemed to confift in the imitation of the 
 antiem mafters; and, by his fagacious attention to that point, being alfo applauded 
 for what he had in that way performed, he was deluded to imagine himfelf ca- 
 pable of equalling them, in a ftyle and manner of his own, as noble, and as 
 fublime. But he failed in the attempt ; and the new manner which his vanity- 
 encouraged him to aJTume, met with as much difefteem and contempt, as his 
 former works had received of univerfal approbation. 
 
 * According to the Chronological Tables,, died in 167a. 
 
 Hendrick. 
 
BAL [ 32 ] B A L 
 
 H £ x d r 1 c k Van B A L E N. 
 Painted lliftory, and Portrait. 
 Died 1632, aged 72. . 
 
 He was born at Antwerp, in 1560, and was a difciple of Adam Van Oort '■> 
 but lie quitted that mailer, to acquire a better tafte of defign and compofition, 
 by purfuing his ftudies at Rome, where he refided for a confiderable time. He 
 copied the antiques, he attended to the works of the moft memorable modern 
 artifts ; and, at his return to his own country, the vifible improvement of his 
 tafte, recommended him to the favour arid efteem of the ableft judges of the art. 
 
 He difdnguiflied himfelf by a good manner of defigning, and his works are 
 admitted into the cabinets of the curious, among thofe of the principal painters. 
 He particularly excelled in the naked, and gave to hjs figures fo much truth, 
 roundnefs, and correctness of outline, that few of his cotemporaries could 
 enter into competition with him. 
 
 Several fine portraits of his hand are at the Hague; among which there is one 
 adorned with allegorical figures of Wifdom and Jurtice, which extorts commen- 
 dation from all who attentively confider it. 
 
 All the hiftorical fubjects painted by Van Balen have abundant merit. His 
 defigns of the Deluge, of Mofes ftriking the Rock, and the drowning of Pharaoh, 
 are grand and noble compofitions. Houbraken obferves, that Van Balen, with 
 great judgment, hath introduced' die Ilraelites in a clear light in the back-ground, 
 but the Egyptians in a ftrong (hadow in the fore-ground, which had a very fine 
 effect ; the figures being well defigned, the attitudes and draperies well chofen, 
 and the number of the figures being very confiderable. Of this mailer's hand alfo 
 the Judgment of Paris is accounted a mafterly performance •, in which the figure 
 of Venus is lb elegantly defigned, fo full of life, and fo round, that it feems to 
 ftand forth from the furface. 
 
 The landfcapes and back-grounds of the pictures compofed by Van Balen, 
 were generally painted by the Velvet Brueghel. 
 
 John Van BALEN. 
 
 Painted Hijlory, Land/capes, and Boys. 
 
 Born in 1611. 
 
 He was born at Antwerp, and derived his knowledge of the art, and his fine 
 tafte of drawing and defign, from his father Hendrick Van Balen; but, a s foon 
 as he had made a competent progrefs, he travelled to Rome, and lived for feveral 
 years in that and other cities of Italy. There he acquired a good gufto of 
 defign, though he was fometimes incorrect ; and his particular merit was fhewn 
 in his naked figures of Boys, Cupids, Nymphs bathing or hunting, of which 
 fubjects he painted a confiderable number, and he procured both praife and 
 riches by his landfcapes and hiftories. 
 
 His pictures were well handled, his trees touched with fpirit, and his herbage 
 and verdure looked natural and lively. The carnations of his figures were clear 
 and frefh •, his colouring in general was tranfparent ; and the airs of his heads 
 were in the manner of Albano. 
 
 Lazaro 
 
B A L [ 33 ] B A L 
 
 La2aro BALD I. 
 
 Painted Hijiory. 
 
 Died 1703, aged 80. 
 
 He was born at Piftoia, in the territory of Tufcany, in 1623, from whence he 
 went to Rome, to place himfelf as a difciple under Pietro da Cortona -, and bj* 
 the excellent inftru&ion of that eminent mafter, he obtained an elegant ftyle of 
 thinking, and compofing •, a ready management of the pencil-, and a beautifully 
 ftrong tone of colouring. 
 
 He was employed by Pope Alexander VII. to paint the gallery at Monte 
 Cavallo -, and he fhewed the power of his genius and execution, in the defigns 
 which he finilhed, in a chapel belonging to the church of S. John Lateran, in 
 which are combined corre&nefs and elegance, with an uncommon force, har- 
 mony, and beauty of colouring. 
 
 Antonio BALESTRA. 
 
 Painted Hijiory. 
 
 Died 1720, aged 54. 
 
 He was born at Verona, in 1666, and at the age of twenty-one went to 
 Venice, where he entered himfelf in the fchool of Antonio Bellucci, and con- 
 tinued for three years under his direction ; but, from thence he vifited Bologna 
 and Rome, and at the latter became the difciple of Carlo Maratti. 
 
 Under the tuition of fo eminent a genius, he made a very great proficiency, 
 and exerted himfelf for fome hours of each day, in defigning after the antiques, 
 after Raphael, Correggio, Annibal Caracci, and other admired painters ; by 
 which conduct he fo effectually confirmed his tafte, and freedom of hand, that 
 he obtained the prize of merit, in the academy of S. Luke, in the year 1694, 
 when he was only twenty-eight years of age. 
 
 From that time his reputation was eftablifhed, and he received fuffkient en- 
 couragement •, being engaged to work for moil of the churches, and in the 
 palaces of the nobility, and his paintings were admired in every part of Europe. 
 
 His Ityle is fweet and agreeable, not unlike that of Maratti •, and the judicious 
 obferved, with a degree of delight and approbation, a certain mixture in the 
 wor£s of Baleftra, of the feveral manners of Raphael, Correggio, and Qaracci. 
 • In the church of Santa Maria Mater Domini at Venice, there is one of the 
 moft capital performances of Baleftra, reprefenting the Nativity of our Saviour. 
 It is defigned in a grand ftyle, the compofition is excellent, and has a great deal 
 of grace. The heads are peculiarly fine, and the whole has a noble effect, with 
 remarkable harmony. In a chapel belonging to the church of S. Geminiano, in 
 the lame city, there is a dead Chrift in the arms of the Virgin, painted by this 
 mafter in a grand tafte ; and, although the compofition confifts but of a few 
 figures, they are finely defigned ; and in every part of it there is fufficient merit 
 to claim and juftify applauie. 
 
 Peter 
 
BAL [ 34 3 BAM 
 
 Peter B ALTON. 
 
 Painted Ltutdfuipty and Hiftory. 
 Died aged 
 
 lie wa* born at Antwerp, and became a landWape painter of confiderablc 
 eminence, among the Flemings-, in his ftyle and manner refembling Peter 
 BriKTi-hel. His mail ufual fubjeels were Fairs, Kermeires, and Converfations, 
 in which his figures were of a fmall fize, but touched with a great deal of fpirit. 
 He painted equally well in water colours, and in oil, and was allowed, particu- 
 larly to excel in his drawings. 
 
 A very jemarkable incident happened to this artift at the Court of the Em- 
 peror. That monarch having engaged Bakon to paint a landfcape, with a great 
 number of figures, Bakon chafe for his fubjecb, S. John preaching in the Delart, 
 which afforded him an opportunity of filling his defign with a numerous variety 
 of auditors. To every one of them he gave a ftrong and proper expreffion of 
 attention to the principal figure v every individual having its eyes directed to 
 the preacher. But the Emperor, from fome motive that never was difcovered, 
 ordered a monftrous elephant to be painted in the place of the faint-, fo that the 
 whole auditory feemed then only to exprefs an allonifhment at the unwieldy bulk 
 and fhape of the animal •, nor was the picture ever altered. 
 
 By fome it was conjectured that the Emperor meant it only as a piece of 
 humour and drollery -, by others, it was imputed to a contempt for the artift > 
 but, by all the ecclefiaftics, it was afcribed to a contempt for religion. 
 
 E A M B O C C I O. 
 
 Painted Converfathtts, Lamifcapes, Cattle, &c. 
 * Died 1673, aged 60. 
 
 This mailer was born atLaeren, near Narden, in 161 3 ; his name was Peter 
 Van Laer, but in Italy they gave him the name of Bamboccio, on account of the 
 uncommon fhape of his body, the lower part being one third part longer than 
 the upper, and his neck fo fivort that it was buried between his fhoulders. 
 
 He had, however, an ample amends for the unfeemlinefs of his limbs, in the 
 fuperior beauties of his mind •, he was endowed with an extenfive genius, and, 
 indeed, had an univerfal tafte for every part of painting. He refided at Rome 
 for fixteen years fuccefiively ; every day ftudying to improve himlelf, by thole 
 beautiful models, which were continually open to his obfervation, and by the 
 lovely fcenery in the environs of that city. He was held in the higheft eiteem 
 by all ranks of men, as well as by thofe of his own profeffion ; not only on account 
 of his extraordinary abilities, but alio for the amiable qualities of his mind. 
 
 Hte ftudied nature inceffantly ; obferving with a curious exactnefs every effect, 
 of light on different objefts, at different hours of the day, and whatsoever in- 
 cident afforded pleafure to his imagination, his memory for ever perfectly re- 
 
 • The author of the Abregc delaVie des Peintres, fixes the death of B;imboccio in 1675, at the 
 age of 62; but Sandrart, who was his intimate friend, and mod other writers agree, that he died 
 at the age of 60. 
 
 tamed. 
 
UN [ 35 ] BAN 
 
 tained. His ftyle of painting is fweet, and true, and his touch delicate, with 
 great tranfparency of colouring. His figures are always of a fmall fize, well 
 proportioned, and correctly defigned ; and although his fubjects are taken but 
 from the lower kind of nature, fuch as Plunderings, Playing at Bowls, Inns, 
 Farriers Shops, Cattle, or Converfations -, yet, whatever he painted was fo 
 excellently defigned, fo happily executed, and fo highlyfinifhed, that his manner 
 was adopted by many of the Italian painters of his time. His works are (till 
 univerfally admired, and he is juftly ranked among the firft clafs of the eminent 
 mafters. 
 
 His hand was as quick as his imagination, fo that he rarely made fketches, or 
 defigns for any of his works ; he only marked the fubject with a crayon on 
 the canvas, and finifhed it without more delay. 
 
 His memory was amazing : for, whatever objects he faw, if he confidered 
 them with any intention to infert them in his compofitions, the idea of them 
 was fo flrongly impreffed on his mind, that he could reprefent them with as 
 much truth, as if they were placed before his eyes. Sandrart obferves, that 
 although painters who are accuftomed to a fmall fize, are frequently inaccurate 
 in the difpofition of the different parts of their fubjeet, feeming content if the 
 whole appears natural •, yet Bamboccio was as minutely exact in having his 
 figures, trees, grounds, and diftances determined with the utmoft precifion, 
 and perfpective truth, as the beft mafters ufually are in pictures of the largeft 
 fize •, which is one circumftance that caufes the eye to be fo agreeably deluded 
 by the paintings of Bamboccio. 
 
 In the latter part of his life, he was feverely tormented with an afthmatic 
 complaint, which he endured with much impatience -, and it is reported, that 
 as the diforder feemed to him infupportable, he threw himfelf into a canal to 
 fhorten his mifery, and was drowned. 
 
 Baccio BANDINELLI. 
 
 Painted Hijiory. 
 Died 1559, a g e <t 62. 
 
 He was born at Florence, in 1497, ar >d was adifciple of Giovanni Francefco 
 Ruftico, a good fculptor. He regularly proceeded through all the ftudies 
 requifite to form a painter ; but his pictures were never approved of, as his 
 colouring was hard, dry, and difagreeable •, his compofition but indifferent, 
 and a bad choice of attitudes afforded rather a difguft to the beholder, than any 
 degree of fatisfaction. Yet, his works were much more efteemed after his death, 
 than they ever were during his life. 
 
 He envied Michael Angelo Buonaroti, and imitated him in his extravagant 
 expreffions, not in his excellencies •, without reflecting, that it is inexcufable to 
 imitate the defects even of the greateft men. But, he was fo difcouraged by 
 hearing that his works were treated contemptuoufly by Michael Angelo, who 
 condemned his colouring as being hard, and unpleafant, that he laid afide the 
 pencil, and never would ufe it after. 
 
 He was not without (kill and merit, as a ftatuary, and in that art he deemed 
 himfelf equal to Bucnaroti ; but, he felt a fcnfible mortification, when he 
 perceived the world not to be inclined, to concur with him in the fame opinion. 
 
 F John 
 
BAP [ 36 ] BAP 
 
 John BAPTIST, Monnoyer. 
 
 Feinted I : l'n-s;-s, and Frail. 
 Died 1699, aged 6s. 
 
 This matter was born at Lifle, in 1635, and educated at Antwerp, where he 
 perfected himfelf in the knowledge of his art, and in his firft years was intended 
 for a painter of hiftory •, but having foon oblerved, that his genius more ftrongly 
 inclined him to the painting of flowers, he applied his talents to thofc fubjects, 
 and in that flyle became one of the greateft matters. , 
 
 His pictures are not fo exquifitely finifned as thofe of Van Huyfum, but his 
 compolition and colouring are in a bolder flyle. His flowers have generally a 
 remarkable freedom, and loofenefs, as well in the difpofition, as in penciling •, 
 together with atone of colouring, that is lively, admirable, and nature itfelf. 
 The difpofition of his objects is furprifingly elegant and beautiful ; and in that 
 refpect his compofitions are eafily known, and as eafily diftinguifhed from the 
 performances of others. 
 
 The duke of Montague, while ambaftador in France, invited Baptift to 
 England, and employed him, in conjunction with la Fofle, and Roufieau, to 
 embellilh Montague houfe, which is now the Britifli Mufeum -, the repofitory 
 of many curioflties of nature, and art, and the repofitory alfo of fome of the 
 fineft performances of Baptift 
 
 A very celebrated work of this artift is a looking-glafs preferved in die Royal 
 Palace at Kenflngton, which he decorated with a garland of flowers, for Queen 
 Mary II ; and what is very remarkable, her Majefty fat by him, during the 
 greateft part of the time that he was employed in painting it. 
 
 For the Duke of Ormond, he painted fix pictures of Eaft Indian birds, after 
 nature, which were in that nobleman's collection at Kilkenny in Ireland, and are 
 at prefent in the pofleflionof the author of this book ; they are painted in water- 
 colours, on vellum •,- and nothing can be more delicate, in the colouring, the 
 penciling, or the fpirited expreflion of every fpecies. He had a fon, 
 
 Anthony BAPTIST, 
 
 Who painted flowers, and, in the ftyle and manner of his father, fliewed an 
 abundance of merit. 
 
 John BAPTIST, Caspars. 
 
 Painted Hi/lory, and Portrait. 
 
 Died 1 69 1 , aged 
 
 He was born at Antwerp, and was adifciple of Thomas Willeborts Bofchaerr. 
 During the civil war he went to England, and entered into the fervice of 
 rreneral Lambert •, but after the Reflroration, he was engaged by Sir Peter Lely, 
 Vo paint the poftures, and draperies of his portraits, and was diftinguifhed by 
 the name of Lely's Baptift. Kneller alfo, and Riley, employed him for the fame 
 
 purpofe, 
 
 z. He 
 
BAR [ 37 ] BAR 
 
 He made defigns for tapeftry, which were accounted good, and his drawing 
 was generally corred. In the hall - of St. Bartholomew's hofpital, there is a 
 portrait of King Charles II, painted by this mafter. 
 
 Bernardino BARBATELLI, called Pochetti. 
 
 Painted Hijlory, Fruit* Animals, and Flowers. 
 
 Died 1 612, aged 70. 
 
 He was the difciple of Ridolfo Ghirlandaio at Florence ; from whofe fchool 
 he went to Rome, and ftudied there with fuch uncommon affiduity, that he was 
 frequently fo abftraded, and fo abfolutely engroffed by the objects of his 
 contemplations, as to forget the neceffary refrefhments of fleep and food. 
 
 He was excellent in painting every fpecies of animals, fruit, or flowers ; and 
 in thofe fubjeds not only imitated, but equalled nature. His touch was free, 
 light, and delicate, and the colouring of his objeds inexpreflibly true ; and, 
 befide his merit in his moft ufual ftyle of painting, the hiftorical fubjeds which 
 he defigned, from facred or profane authors, were much efteemed and admired. 
 He was born at Florence, in 1 542. 
 
 Giovanni Francesco BARBIERI, called Guercino da Cento, 
 
 Painted Hiftory. 
 Died 1666, aged 76. 
 
 He was born at Cento, a village not far from Bologna, in 1590, and at firft 
 was the difciple of Benedetto Gennari •, buthe afterwards ftudied for fome time 
 in the fchool of the Caracci, though he did not adopt the manner of that famous 
 academy. 
 
 He feemed to prefer the ftyle of Caravaggio, to that of Guido, or Albano, 
 imagining it impoflible to imitate nature truly, without the affiftance of ftrong 
 lights, and ftrong fhadows •, and from that principle, his light was admitted 
 into his painting room, from above. It is certain, that by the oppofition of 
 his ftrong lights and fhadows, he gave fuch force to his pictures, that few, 
 except thofe of Caravaggio, can ftand near them, and not feem feeble in their 
 effed : however, that manner is undoubtedly not like nature, became it makes 
 objeds appear as if they were feen by candle light, or by the brightnefs of a 
 fun-beam, which alone can juftify the deepneis of his fhadowing. 
 
 The principal attention of Guercino, was certainly fixed, on arriving at 
 perfection in colouring ; he faw the aftonifhing effeds produced by the 
 colouring of the celebrated Venetian matters, andobferved, that notwithstanding 
 any imperfections in regard to grace, corrednefs, or elegance, the works of 
 thofe mafters were the objedsof univerfal admiration. From which obfervation, 
 he feems to have devoted his whole ftudy to excel in colouring-, as if he were 
 convinced, that few are qualified to difcern the elevation of thought, which 
 conftitutes the excellence of a compofition ; few may be touched with the 
 grandeur, or beauty of the defign ; or perhaps, have a capacity to examine 
 even the corredneis of any part of a painting ; and yet, every eye, and even 
 
 1' 2 every 
 
BAR [ 38 ] BAR 
 
 every imperfect judge of a picture, may be fenfibly affected by the force, and 
 beauty of the colouring. 
 
 .His tafte of defign was natural, eafy, and often grand, but without any- 
 extraordinary fhare of elevation, correctnefs, or elegance. The airj of his 
 heads often want dignity, and his local colours want truth. However, there 
 Is great union and harmony in his colours, although his carnations are not very 
 frefh ; and in all his works there is a powerful and expreffive imitation of lite, 
 which will for ever render them eftimable. 
 
 Towards the decline of his life,, he oblerved that the clearer and brighter 
 ftyle of Guido, and Albano, had attracted the admiration of all Europe ; and 
 therefore he altered his manner, even againft his own judgement. But, hie 
 apologized for that conduct, by declaring, that in his former time he painted, 
 for fame, and to pleafe the judicious j and he now painted topleafe the ignorant, 
 and enrich himfelf. 
 
 A very beautiful picture by Guercino, is to be feen at Siena, perfectly well 
 preferved, and the fubject of it is, Hagar, the Angel, and Ifhmacl. The 
 head of the female figure is rather too fmall, but the linen has a iurprifing 
 brilliancy. The figure of Ifhmael is not fufficiently determined, confidering 
 his fituation, yet the whole together has a fine effect. But the mod capital 
 performance of Guercino, is the hiftory of S. Petronilla, which is confidered as 
 one of the ornaments of S. Peters at Rome. 
 
 Paolo Antonio BARBIERI, da Cento. 
 
 Painted Still Life, and Animals. 
 
 Died 1 640, aged 44. 
 
 He was the brother of Guercino, born at Cento in 1596; and chofe for 
 his fubjects fruit, flowers, infects, and animals •, which he painted after nature, 
 with a lively tint of colour, with great tendernefs of pencil, and a ftrong 
 chara&er of truth and life. 
 
 Dieterick BARENT. 
 
 Painted Hiftory, and Portrait* 
 Died 1582, aged 48. 
 
 This artift was born at Amfterdam, in 1534-, and having received fo me 
 instruction from his father, who was but an ordinary painter, he travelled to 
 Venice, was admitted into the fchool of Titian, and became the favourite 
 difciple of that inimitable matter. 
 
 He continued with Titian for feveral years •, he alfo painted a portrait of him, 
 which gained him a great reputation •, and with extraordinary fuccefs, imitated 
 the touch, the manner, and the fcyle of colouring, peculiar to that accomplifhed 
 genius. 
 
 When he returned to his own country, bufinefs crowded in upon him, and 
 
 every work he finifhed, added ftill to his credit and honour -, but, the composition 
 
 2 which 
 
BAR [ 39 ] BAR 
 
 which moft effectually efhbliftied h'sfame, was the picture repre Tenting the fall 
 of Lucifer, which contained a number of figures, naked, well contracted, and 
 excellently coloured. 
 
 Francis BARLOW. 
 
 Painted Birds, Beafis, and Fijb. 
 
 Died 1702, aged 
 
 He was born in Lincolnfhire, and bred to the profefllon of painting, under 
 Sheppard a portrait painter ; but his genius led him intirely to defign after 
 nature, birds, filh, and every fpecies of animals,, which he drew with great 
 exactnefs. He underftood colouring very imperfectly, which defect was probably 
 occafioned by the unfkilfulne'fs of the mafter who had been his inftructor. But 
 it is generally agreed, that if his penciling and colouring had proved equal to 
 the correctneis of his defign, he might have (hewn himielf fuperior to any of his 
 time in thofe fubjects, 
 
 Frederick BAROCCIO. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1612, aged 84. 
 
 He was born at Urbino, in 1528, and was the difciple of Battifta Venetian©, 
 by whom he was carefully instructed in the principles of painting ; but he derived 
 his knowledge of peripeftive from his uncle Bartolomeo Genga. Under thofe 
 preceptors he praftifed affiduoufly, till he was in his twentieth year, and he then 
 vifited Rome, where he purfued his ftudies incefiantly, and proved one of the 
 moft graceful painters of his time. 
 
 At his return to his native city Urbino, he painted feveral pictures which 
 procured him great applaufe ; but the picture of a S. Margaret raifed his 
 reputation to the higheft pitch, and induced Pope Pius IV. to invite him to 
 Rome, where he employed him in the decorations of his palacaof Belvedere, in 
 conjunction with Federigo Zucchero. 
 
 He excelled equally in hiftory, and portrait, but his genius inclined him more 
 particularly, to the painting of religious fubjects •, and his works fufficiently 
 evince, that the utmoft of his ambition was to imitate Correggio in his colouring, 
 and Raphael in his manner of defigning. But, Correggio hath fomewhat To 
 natural, fo grand, fo unaffectedly graceful, that Baroccio was far inferior to 
 him, although perhaps rather more correct in the outlines. However, it is eafy 
 to obferve, that he endeavoured to refemble that illuftrious artift in the fweetnefs 
 of his tints, in the harmony of his colouring, in the graceful airs of the 
 heads, in the diipofition of his draperies, and the forms of his Bambino's, though 
 he was fometimes apt to exprefs the mufcular parts of the human body too 
 ftrong. He rarely painted any hiftorical figure, without having either modeled 
 it in wax, or placed fome of his difciples in fuch attitudes as he wiftied to 
 reprefent ; his filler was his model for the Madonnas, and her child for his 
 Bambino's. 
 
 In 
 
BAG [ 40 ] B A S 
 
 In moft of the works of Baroccio, it is not difficult to perceive who were 
 his favourite mallei" ; and he feems to have Ids of an original in him, than 
 moft of the principal painters. A judicious eye may readily trace out Raphael, 
 in the outlines and attitudes of his figures ; and the tints of Correggio are as 
 eafily obfervable in his colouring. 
 
 In a church at Ravenna, a noble picture of this matter's hand, is ft ill preferved, 
 reprelenting the death of St. Vitalis -, and, though thefubject be unfavourable, 
 yet, it is executed in iuch a manner, as to do honour to the Saint, as well as to 
 the painter. The defign is correct, the figures are graceful to an high degree •, 
 and there is an elegance in the whole, which conceals the poverty of the fubject. 
 
 BARTELEMI DI S. MARCO. Vid. Baccio. 
 
 BARTOLET. Vid. Ft a m e e l. 
 
 Bartolomeo da B A G N A C A V A L L O. 
 
 Painted Hijiory. 
 Died aged 58. 
 
 lie was born at Bologna, where he was instructed in the art of painting, by 
 fome artilts of that city •, but particularly he imitated the manner of Girolamo 
 da Codignuola. 
 
 When he had made a tolerable progrefs, he went to Rome, to perfect himfelf 
 in the knowledge of his profeffion, by feeing the works of Raphael •, and he 
 was engaged by that great man, as one of the young artifts, who were to aflift 
 him in his extenfive undertakings. But, his execution did not prove equal, to 
 what was expected from that promifing appearance, which was obferved in his 
 performances at Bologna ; though he acquired fo much credit, as to be allowed 
 to have a very agreeable and firm manner of defigning, and a ready invention. 
 
 BARTOLOMEO. Vid. Breenberg. 
 
 Giacomo BASSAN. 
 Painted Hijiory, Cattle, Land/cafe, and Portrait. 
 
 Died 1592, aged 82. 
 
 This celebrated painter's real name was Giacomo da Ponte, but he was 
 called BafTan, from the town of Ballano on the river Brenta, where he was 
 born in 15 10. 
 
 He was the difciple of Bonifacio, but his greateft improvement was derived 
 from ftudying and copying the works of Titian, and Parmigiano, at Venice. 
 When he had completed his ftudies, he formed a ftyle that differed from both 
 thofe mafters ; and guided by his own genius, affumed a peculiar manner of 
 colouring and defigning, copying all his objects from nature. 
 
 His 
 
B A $ [41] BAS 
 
 His fubjects, generally, were peafants and villagers, bufy at their different- 
 rural occupations, according to the various feafons of the year-, cattle, 
 landfcapes, and hiftorical defigns ; arid in all thofe fubjects, the figures were 
 well defigned •, and the animals, and landscapes, have an agreeable refemblance 
 of fimple nature. 
 
 His compofitions cannot boaft of much elegance, or grandeur of tafte, not 
 even thofe which are hiftorical ; but, they have abundance of force, and truth. 
 His local colours are very well obferved ; his carnations are frefh and brilliant •, 
 and the Chiaro-Scuro and perfpective well underftood. His touch is free, and 
 fpirited, and the diftances in his landfcapes are always true, if not fometimes 
 too dark in the nearer parts. 
 
 He feems induftrioufly to avoid the naked in his figures, and frequently hid 
 the extremities by draperies ; which would make it probable, that he was 
 confcious of wanting a competent fkill, to exprefs thofe parts beautifully. Yet, 
 in fome of his pictures, where the extremities are vifible, they are excellent ; fo 
 that, perhaps he only avoided them, for expedition. 
 
 Although Baffan had, inconteftably, many excellencies, yet it muft be 
 confeffed, that he wanted correctnefs in his drawing ; and his draperies are 
 without any variety, feeming to be taken merely from the mode of his time, and 
 his country. 
 
 His works are more readily known, than thofe of mod other painters ; from 
 the finiilitude of characters and countenances in the figures, and animals; from 
 the tafxe in the buildings, utenfils, and draperies ; and befide, from a violet, or 
 purple tint, that predominates in every one of his pictures. But, the genuine 
 pictures of his hand, are not fo eafily afcertained ; becaufe he frequently 
 repeated the fame defign, and his foils were moftly employed in copying the 
 works of their father, which lie fometimes retouched. 
 
 As he lived to be very old, he finifhed a great number of pictures ; yet 
 notwithftanding his application and years, the real pictures of Giacomo are not 
 commonly met with. Iviuny of thofe which are called originals, by pur-chafers, 
 as well as dealers, being at beft no more than copies by the fons of Baffan, who ■ 
 were far inferior to him •, or, perhaps by fome painter, of ftill meaner abilities. 
 But, the true pictures of Giacomo, always bear a confiderable price, if they 
 happen to be undamaged. 
 
 Francesco BASSAN. 
 Bainted Hiftcry, Lnndfcape, and Cattle. 
 Died iS9A-> °-g e d 44- 
 He was the eldeft of the fons of Giacomo, born in 1550, and he painted 
 Titirely in the ftyle and manner of his father, to whom he proved very little 
 inferior, if not almoft his equal. 
 
 He furpaffed his brothers by many degrees, in defigning, drawing, and 
 colouring •, and was employed in the church of S. Mark at Venice, in 
 conjunction with Tintoretto, and Paolo Veronefe. This artift was always of a 
 melancholy dilpofition, which he was too apt to indulge •, and that unhappy 
 diforder of his mind, was fo much increafed by his inceflant application, that in 
 ." violent frenzy, he threw himfelf out of a window, which put an end to his life. 
 
 L e • N 
 
B A S [ 42 ] B A U 
 
 Leandro BASSAN, C a v a l i e'r e. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1623, aged 65. 
 
 This matter was another fon of Giacomo, born in 155S, and painted in the 
 fame ftyle and manner as his father and brother, but was not comparable to 
 cither j as he neither gave the force, or the clearnefs to his pictures, which 
 might be feen in the works of the others. However he excelled in portrait, and 
 therefore made it his chief employment. 
 
 In Venice, where he condantly lived, he painted many hidorical fubjecls, 
 which are in the chapels and convents of that city •, but the portrait of the 
 Doge Grimani, for which he received the honour of knighthood, and thofe of 
 the nobled perfonages who either refided in Venice, or vifitcd that city in his 
 time, are wonderfully admired. 
 
 Giovanni Battista BASSAN. 
 
 Painted Copies after Giacomo, and Francefco. 
 
 Died 1 61 3, aged 60. 
 
 This painter, and his younger brother Girolamo, were difciples of their 
 father, but neither of them arrived at any degree of higher eminence, than that 
 of being good copyids of the works of their brother, and father ; though many 
 of their copies, are taken for originals at this day. He was born in 1553. 
 
 Girolamo BASSAN. 
 
 Painted the fame fuljetls as Giovanni Battijla. 
 
 Died 1622, aged 6z. 
 
 He was at firft educated for the profeffion of phyfick, but quitted it very 
 foon for that of painting, though his only merit was copying the works of his 
 father, and elded brother. He was born in 1560. 
 
 John William BAUR, or Bawr, and Bouwer. 
 
 Painted Landfcapes, and Architecture. 
 Died 1 640, aged 30. 
 
 He was born at Strafburg, in 1610, and was a difciple of Frederick Brendel. 
 lie had an enlarged genius, but the livelinefs of his imagination hindered him 
 from dudying beautiful nature, or the antique, in fuch a manner as to dived 
 himfelf of his German tafte, though he went to Rome to improve himfelf in the 
 art. 
 
 In Italy, he applied himfelf entirely to architecture, as far as it might 
 contribute to the enrichment of his landfcapes, which were his favourite fubjefts ; 
 and for his fcenes and fituations, he dudied afcer the rich profpects about 
 Frcfcati, and Tivoli, which could afford him the mod delightful fites, views, 
 antl ir.cidents. 
 
 He 
 
B E A [ 43 ] BEC 
 
 ■ He was fond of introducing into his defigns, Battles, Marchings of the Army, 
 5kirmi(hes, and ProcCflions ; but although he refidcd, for a confiderable length 
 of time, in and about Naples, and Rome, yet ftill he retained the German 
 Gout, in all his figures ; he never arrived at a grandeur of defign ; nor could 
 ever exprefs the naked but indifferently. It mult however be laid in his com- 
 mendation, that his pencil was light, his compofition was good, and his 
 general expreffion was beautiful, though his figures were fomewhat heavy. 
 
 He painted in water-colours on vellum, and was for feveral years in the court 
 of the Duke Bracciano, for whom he finifhed fome charming perfpective views 
 of gardens, with ftatues, and fountains •, alio, of other elegmt buildings, with 
 a great number of Figures, Coaches, Cattle, and Horfemen ; and it was 
 remarkable, that he generally diilinguifhed the different nations of people, by 
 the national drefs of each. 
 
 Mary BEAL. 
 
 Painted Portrait. 
 Died 1697, aged 65. 
 
 She was born in Suffolk, in 1632, and had for her inftrudtor in the art of 
 painting, Sir Peter Lely. She drew after the life, and proved very little inferior 
 to any of her cotemporaries. 
 
 Her colouring was clear and ftrong, with a great look of nature, and fhe 
 worked with a good body of colours. She had applied herfelf to copy fome 
 pictures of the Italian matters, which Ihe procured from the cabinets of 
 noblemen, and alfo from the collection of Sir Peter, by which her tafte and 
 her pencil were much improved, and her portraits had a great deal of the 
 Italian air, and ftyle. She was amiable in her conduct ; and exceedingly 
 affiduous in her profeffion, and had the happinefs to live in univerfal efteem, and 
 to receive all poffible encouragement. 
 
 Domenico BECCAFUMI, called Micarino, and Mecherino. 
 
 Printed Hiftcry. 
 Lied 154-9, aged 65. 
 
 He was born at Siena, in 1484, and at firft was a difciple of an ordinary 
 painter called Cavanna ; but afterwards received inftructions (as fome writers 
 affirm) from Pietro Perugino. 
 
 The more he advanced in the knowledge of his art, he the more evidently 
 perceived, that he only loft his time by continuing at Siena •, and the univerfal 
 applaufe given to the works of Raphael, and Michael Angelo Buonaroti, excited 
 in him an eager ambition to fee them. He therefore travelled from his native 
 city, to Rome, to ftudy the works of thofe celebrated mafters ; and fpent two 
 years in clofe application,, exerting himfelf not only to copy their works with 
 careful exactnefs, but alfo in defigning the molt curious antique ftatues, and 
 edifices. 
 
 When his genius had been, by that courfe of ftudy, happily improved, and 
 his hand well formed •, he returned to Siena ; where he was immediately 
 
 G engaged 
 
B E C [ 44 ] BEC 
 
 engaged in feyeral confiderable works, not only in oil, but alfo in diftemper 
 and frefco,_which procured him reputation and honour. He had a fine invention •, 
 his talle or' defign was truly elegant ; his expreffion v/as commendably good ; 
 and his tone of colouring beautiful. 
 
 A great number of the works of this mailer, in frefco, oil, and diftemper, 
 are particularly defcribed by Vafari, torn. i. page 373. 
 
 David BECK. 
 
 Painted Portrait. 
 Died 1656, aged 35. 
 
 He was born at Arnheim in Guelderland, in 1621, and became a difciple of 
 Vandyck ; from whom he acquired a fine manner of penciling, and that fweet 
 (tyle of colouring, which is peculiar to that great mafter, and to all the difciples 
 trained up under his direction. He pofteflcd befides, that freedom of hand, 
 and readinefs, or rather rapidity of execution, for which Vandyck was fo 
 remarkably famous •, and King Charles the firft, when he obferved the 
 expeditious manner of Beck's painting, was fo exceedingly furprifed, that he 
 told Beck, it was his opinion, he could paint if he was riding poft. 
 
 He was appointed portrait painter, and chamberlain to Queen Chriftina of 
 Sweden -, and by her recommendation, moft of the illuftrious perlbns in 
 Europe fat to him for their pictures. 
 
 He was agreeable, handibme, and polite, and lived in the higheft favour with 
 his royal miftrefs ; but, having an earned defire to vifit his friends in Holland, 
 and leaving the Court of Sweden much againft the Queen's inclination, fhe 
 apprehended that he intended never to return ; and, as he died foon after at the 
 Hague, it was ftrongly, and generally fufpecled, that he was poifoned. 
 
 A very fingular adventure happened to this painter, as he travelled through 
 Germany, which leems not unworthy of being recited. 
 
 He was fuddenly, and violently taken ill, at the inn where he lodged, and 
 was laid out as a corpfe, feeming to all appearance quite dead. His valets 
 exprefied the ftrongeft marks of grief for the lofs of their mafter, and while they 
 fat befide his bed, they drank very freely, by way of confolation. 
 
 At laft, one of them, who grew much intoxicated, faid to his companions, our 
 mailer was fond of his glafs while he was alive ; and out of gratitude, let us 
 give him a glafs now he is dead. As the reft of the fervants afiented to the 
 p'opofal, he raifed up the head of his mafter, and endeavoured to pour fome 
 cf the liquor into his mouth. By the fragrance of the wine, or probably, by a 
 fmill quantity that imperceptibly got down his throat, Beck opened his eyes -, 
 and the fervant being exceffively drunk, and forgetting that his mailer was 
 confidered as dead, compelled him to fwallow what wine remained in the glafs. 
 
 The painter gradually revived, and by proper management and care recovered 
 perfectly, and elcaped an interment. 
 
 How highly the works of this mafter were efteemed, may appear, from the 
 many marks of diilinclion, and honour, which were fliewn him •, for he 
 received from different princes, as an acknowledgment of his fingular merit, 
 nire gold chain.-, and leveral medals of gold of a large fize. 
 
 C R N E- 
 
BEG [ 45 ] BEG 
 
 Cornelius BEGA. 
 
 Painted Landfcape, Cattle, and Converfations. 
 Died 1664., aged 44. 
 
 He was born at Haerlem, in 1620, and was the difciple of Adrian Oftade. 
 He fhewed a ftrict attention to every precept of his mafter ; obferving his 
 handling, as well as his manner of preparing and blending his colours, with 
 great accuracy -, and took inceffant pains to improve himfelf in the knowledge 
 and practice of his art; till at laft, he became the beft difciple of that fchool, 
 and foon gave publick proofs of hi* being a confiderable painter. 
 
 He fee out in his profeffion with credit, and proceeded in it for fome years, 
 with fufficient fuccefs •, but, he grew too fond of a diflipated life, and at laft his 
 morals were fo very depraved, that his father, after many ineffectual remon- 
 (trances, difowned him. For which reafon, he caft off his father's name, 
 which was Begeyn, and affumed that of Bega ; his early pictures being marked 
 with the former, and his latter works with the other. 
 
 He had a fine pencil, and a delicate manner of handling his colours, fo as to 
 give them a look, of neatnefs and tranfparence ; and his performances are fo 
 much efteemed in the low countries, as to be placed among the works of the 
 beft artifts. 
 
 He took the plague from a woman with whom he was deeply enamoured ; 
 and he fhewed fo much fincerity of affection, that, notwithftanding the expo- 
 ftulations of all his friends and phyficians, he would attend her to the laft 
 moments of her life •, and imbibed from her the fame fatal diftemper, of which 
 he died in a few days after her. 
 
 Abraham "BEGEYN. 
 
 Painted Land/capes. 
 Bern in 1 650. 
 
 Neither Houbraken, nor Sandrart, have mentioned any thing relative to the 
 mafter, under whom Begeyn was inftructed in the art of painting ; but after h<i 
 had made a competent progrefs, he ftudied perfpective and architecture, to 
 qualify himfelf more effectually for his profeffion, and perfected himfelf in the 
 knowledge of both. 
 
 His reputation procured him an invitation to the Pruffian court, where he had 
 the honour of being appointed principal painter to the king ; and was directed to 
 paint the views of the royal palaces, and the moft agreeable profpects of that 
 country ; which he executed extremely to the fatisfaction of the king, and his 
 whole court ; and he likewife finifhed feveral large defigns, for the decoration 
 of the grand falons and galleries at Berlin. 
 
 His figures and animals are, in general, well defigned and pleafingly coloured, 
 touched with great freedom, and much in the manner of Berchem. Some 
 capital pictures of this mafter are to be feen at the Hague, which are very 
 highly efteemed •, they are landfcapes, with views of rivers, ruins, and pieces 
 of architecture, enriched with figures, and a variety of animals, finifhed in a 
 mafterly manner. 
 
 G2 Joachim 
 
B E I [ 46 ] BEL 
 
 Joachim Francis BEISCH. 
 
 Painted Landfcapts, and Battles. 
 
 Vied 174S, aged 83. 
 
 He was born at Ravcnfburg in Swabia, in 1665, and was taught the firft 
 rudiments of the art by his father, who practifed painting only for his amufement, 
 and explained to his lbn the principles of it. 
 
 By the force of his own genius, and an affiduous practice for fome years, he 
 at laft proved a good artifl ; and was employed at the Court of Munich -, 
 particularly, lie was appointed to paint the battles, which the Elector Maximi- 
 lian Emanuel fought in Hungary. 
 
 While the Elector was abicnt on fome of his expeditions, Beifch embraced 
 that opportunity to vifit Italy, and took the molt effectual methods for his. 
 improvement, by ftudying, and copying thole famous models, which have 
 defervedly been the admiration of all artifts, and indeed of the whole world. 
 And it may be a furBcient teftimony, of the perfection to which this mafter 
 arrived, only to fay, that even Soiimena copied feveral of his landfcapes. 
 
 He had three different manners ; his firft, before his journey to Italy, was 
 true, but too dark ; his fecond, had more clearnefs, and more truth ; and his 
 laft was more clear, but more weak. 
 
 The fcenes of his landfcapes are agreeably chofen, and very picturefque ; his 
 touch is light, tender, and full of fpirit ; and his ftyle of compofkion frequently 
 r sfembled that of Galpar Pouffin, or Salvator Rofa. 
 
 Giovanni Battista BEINASCHI, called Cavalier Beinaschi. 
 
 Painted Hiftcry. 
 Died 168S, aged 54. 
 
 This mafter was a Piedmontefe, born in 1634, who ftudied in Rome, under 
 the direction of Pietro del Po ; and fome authors affirm, that he was afterwards 
 the difciple of Lanfranc. But, it is certain that he was peculiarly fond of the 
 works of Lanfranc, and devoted his whole thought and application to defign 
 after them, and to copy them ; till, at laft, he became fo thoroughly acquainted 
 with the ftyle, manner, and touch of that excellent mafter,. that many of the 
 pictures of Beinafchi, are, at this day, accounted the work of Lanfranc's own 
 hand. 
 
 He was an admirable defigner ; his lively invention ftirmlhed him with a 
 furprifing variety ; his thought was noble ; he was not only expeditious but 
 correct •, and as a publick acknowledgement of his merit, the honour oi knight- 
 hood was conferred upon him, 
 
 B E L L E V O I S. 
 
 Painted Sea-pieces: 
 Died 1684, aged 
 
 Except the defcription, and commendation of the works of this artift, I fincf 
 nothing mentioned by the writers on this fubject, relative to the place of his 
 
 5 birth, 
 
BEL [47] BEL 
 
 birth, his education, or the year of his nativity j but he is known through alt 
 parts of Europe, as a good painter. 
 
 Hisfubje£b are Views of Havens, Sea-ports, Shores, Calms, and Storms at Sea •, 
 but in his calms he mews his peculiar excellence. His veflels are defigned after 
 nature ; they are neatly handled, and correctly drawn j yet, they want that 
 grace and elegance, which are always oblervable in the veflels of the younger 
 Vandervelde, and Backhuyfen. 
 
 His touch is light, and his colouring clear ; the perfpective of his fea-ports 
 and buildings is true, and hath an agreeable effect •, his ikies are generally 
 bright, and judicioufly managed, and his colouring is tranlparent. His figures 
 are, indeed, but indifferent, nor have they much expreflion. 
 
 Pictures of this- mailer are often in publick iales, and ibme of them, which,, 
 fern of his belt ftyle, are fold for a tolerable price. 
 
 Giacomo BELLINI. 
 
 Painted Hijtory, and Portrait. 
 
 Vied 1470, aged 
 
 He was born at Venice, and learned the art of painting from Gentile da 
 Fabriano ■, but, he proved no extraordinary artift. The fecret of painting in 
 oil was communicated to him by Domenico, and Andrea del Caftagno ; and 
 that important difcovery he explained, to his fons Gentile and Giovanni, who 
 hadfufficient fkill to apply it in fuch a manner, as to make them conliderable in 
 their time, and memorable bypoflerity. 
 
 The reputation of this ancient mailer was eftablifhed by the portraits he 
 painted of Cornaro, and of the queen of Cyprus. 
 
 Gentile BELLINI. 
 
 Painted Hi/lory, and Pertrcit. 
 
 Died 1501, aged 80. 
 
 He was the eldeft fon of Giacomo Bellini, born at Venice, in 14-n, am*" 
 'Ttftructed by his father, in the art of painting in diftemper, as well as in oil. 
 He was accounted the moil knowing of any artift of his time, and was employed 
 by the Doge, to paint the hall of the great council ; and for others of the 
 nobility, he executed feveral noble works. 
 
 His reputation was at that time fo extenfive, that it reached to the * Ottoman 
 court; and the emperor Mahomet II, having l'een lbme of his performances, 
 invited him to Conftantinople, received him with great refpecl, fat to him for 
 
 * De Piles, and other writers reprefent the uanfoclicn. of Gemile at Conflaminople, agreeable 
 to what is related above ; but Vafari (ays, that Mahomet II, had feen fome of the works of 
 Giovanni Bellini, which he admired exceedingly, and defired that the painter of thofe pictures 
 joight be font to him from Venice ; bat, that the fenare prevailed on Gentile to go in the Head of 
 Giovanni, as the latter was then engaged in a large work, and the Doge was unwilling to deprive 
 his country ©f fo famous an artift ; Giovanni being eileemed the beft painter, not only of his own 
 family, who were all painters, but the ableft artift of his time. The circumitance of beheaiing 
 the tfavr: is not mentioned by Vafari ; as far as I have obferved. 
 
 his . 
 
BEL [ 48 ] BEL 
 
 his portrait, and engaged him there for fome time, giving him many rich 
 prefents, and many marks of his regard. 
 
 But, the emperor having ordered the head of a (lave to be cut off, before the 
 face of Gentile, to convince him of an incorrectnefs, in a picture of the decollation 
 of S. John -, he was lb affected, fo- terrified at the fight, that he never enjoyed 
 peace of mind, till he obtained leave to return to his own country. 
 
 Mahomet, to do him honour, put a gold chain about his neck, and wrote to 
 the Senate of Venice in his favour ■, which at his return procured him a penfion 
 for life, and the honourable diftinction of the order of S. Mark. 
 
 Vafari mentions a lea fight, painted by this mailer, which had extraordinary 
 merit, in the variety of the figures, the truth of the expreffions, the great 
 propriety of the attitudes, the perfpective diftances of the vefTels, and the 
 grandeur of the compofition. 
 
 Giovanni BELLINI. 
 
 Painted Portrait, and Hifiory. 
 
 Died 1 5 1 2 , aged 90. 
 
 He was born at Venice, in 1422, the fon of Giacomo, and the brother of 
 Gentile Bellini, but furpalTed them both, in every branch of the art ; and is 
 accounted the founder of the Venetian fchool, by introducing the practice of 
 painting in oil, and teaching his difciples to paint after nature. 
 
 His manner of defigning was but indifferent, and frequently in a bad tafte, 
 and before he knew how to manage oil colours, his painting appeared dry ; but, 
 afterwards he acquired more foftnefs in his penciling, fhewed a much greater 
 propriety of colours, and had fomewhat of harmony, though Hill he retained 
 too much of what appeared dry, and hard •, but the airs of his heads, were in 
 a better tafte, than thofe of either Giacomo, or Gentile. 
 
 The fchool of Giovanni Bellini produced two memorable difciples, Titian, 
 and Giorgione, who brought the art of colouring to its higheft perfection •, and 
 by obferving the works of thofe famous artilts, Bellini improved his own 
 manner very considerably •, fo that in his latter pictures, the colouring is much 
 better, and the airs of his heads are noble, although his defign is a little Gothic, 
 and his attitudes not well cholen. 
 
 Pietro BELLOTTI. 
 
 Painted Hi/lory, and Portrait. 
 Died 1700, aged 75. 
 
 He was born at Venice, in 1625, and was placed as a difciple with Michael 
 Forabofco of that city, from whom he learned the art of colouring. He 
 became a portrait painter of the firft rank, but in the compofition of hiftorical 
 Jubjects, he was not fo eminent. 
 
 He was peculiarly happy in the imitation of nature, and was matter of 
 elegancy in his art. The colouring of his portraits appears to be real flefh * 
 
 the 
 
BEL [49] BEM 
 
 the variety in the airs of his heads is inconceivable ; in aH his attitudes there is 
 a great deal of grace, and the difpolition of his figures -s becoming, and 
 natural. 
 
 Antonio BELLUCCI. 
 Painted Portrait, and Hijiory. 
 Born in 1654. 
 
 He was born at Venice, and having fhewn a ftrong inclination to the profefiion 
 of painting, from his mod early years, he became the difciple of Domenico 
 Difinico, under whom he learned a good manner of handling and colouring, an 
 elegant tafte of hiftorical compofition, and an expertnefs in painting portraits with 
 grace, and reiemblance. 
 
 When he commenced artift, his performances procured him a general 
 commendation, for their invention, elegance, and fpirit -, and he found immediate 
 employment for cabinet pictures, and altar-pieces, and alfo for portraits, in. 
 which he preferved the character of his models with an agreeable truth. 
 
 The Emperor Jofeph held him in fuch efteem, that he invited him to his 
 court, and not only fat to him for his portrait, but appointed him his principal 
 painter. But, after a continuance for fome years in that ftation at Vienna, he 
 obtained permiffion to retire, and then entered into the fervice of the Prince 
 Palatine, where he lived for a great length of time, refpecled for his perfonal 
 accompliihments, as well as for his excellence in his prorefiion. 
 
 William van BEMMEL 
 
 Painted Land/capes. 
 
 Lied 1703, aged 73. 
 
 He was born at Utrecht, In 1630, and was a difciple of Herman Sachtleven. 
 For the improvement of his tafte and knowledge, he vifited Rome, and fketched 
 every beautiful fcene that occurred to him as he travelled, or that pleafed his 
 imagination, in the neighbourhood of Rome, and particularly about Tivoli ; 
 by which means, he furniined himfelf with excellent material's for his future 
 compofitions. 
 
 His colouring is lively and natural, if not fometimes a little too green •, but 
 his figures, and the boats, barges, and other vefTels, which he always introduces 
 on the rivers, or ftationed near the banks, are well defigned, and touched with 
 fpirit. His trees, indeed, are fomewhat ftiff and formal •, but, in general, 
 his pictures have a pleating effect, as the diftances are conducted with judgement, 
 and every part handled in a mafterly manner. The lights and fhadows of his 
 landfcapes are diftributed with fingular fkill,. and his fkies are ufually clear, 
 warm, and natural. 
 
 BENEDETTO. Vid. C as tig l i o.n.e. 
 5 John. 
 
BEN [50] BER 
 
 John Vander BENT. 
 
 Painted Landfcape. 
 Died 1690, aged 40. 
 
 He was born at Amfterdam, in 1650, and at firft was a difciple of Adrian 
 Vandervelde, but afterwards of Philip Wouwermans ; whofe ftyle he always 
 imitated, as well in the choice of his fcenes and fubjects, as in his pencil, and 
 tints of colour. 
 
 His paintings are much efteemed in the low countries, and the publick feemed 
 to have high expectations of a Hill greater improvement in his fubfequent works ; 
 but, by the lofs of four thoufand Guilders, which were privately ftolen from 
 Jum, his fpirits were fo depreffed, and his constitution fo effectually broken, 
 that he furvived that misfortune only for a fhort time, and died by an excels of 
 grief and perpetual vexation, univerfally regretted. 
 
 Nicholas BERCHEM. 
 Painted Land/capes, and Cattle. 
 Died 16S3, aged 59. 
 
 This charming painter was born at Haerlem, in 1624, and was taught the 
 firft principles of painting by his father, Peter van Haerlem, an artift of very 
 mean abilities, whofe fubjects were Filh, Confectionary, Vafes of Silver, and 
 •other objects of Still Life •, but, he afterwards had the good fortune, to have 
 fome of the bell mafters of that time for his inftructors, and fuccefiively was the 
 difciple of Grebber, Vangoyen, Mojaart, Jan Wils, and Weeninx. 
 
 He had an eafy, expeditious manner of painting, and an inexprefllble variety 
 and beauty in the choice of ikes for his landfcapes ; executing them with a 
 furprifing degree of neatnefs and truth. He poffefied a clcarnefs and ftrength 
 of judgement, and a wonderful power and eafe in exprefllng his ideas •, and 
 although his fubjeifts were of the lower kind, yet his choice of nature was 
 judicious, and he gave to every fubject as much of beauty and elegance as it 
 would admit. The leafing of his trees is exquifitely and freely touched ; his 
 flues are clear; and his clouds float lightly, as if fupported by air. 
 
 The diftinguifhing characters of the pictures of Berchem, are the breadth and 
 juft diftribution of the lights-, the grandeur of his mafies of light and fhadow ; 
 the natural eafe and fimplicity in the attitudes of his figures, expreffing their 
 feveral characters •, the juft degradation of his diftances ; the brilliancy, and 
 harmony, as well as the tranfparence of his colouring ; the correctness, and 
 true perspective of his defign •, and the elegance of his compofition : and, 
 where any of thofe marks are wanting, no authority ought to be sufficient to 
 afciibe any picture to him. He painted every part of his fubjects fo extremely 
 well, as to render it difficult to determine in which he excelled mod ; his Trees, 
 Buddings, Waters, Rocks, Hills, Cattle, and Figures being all equally admirable. 
 
 One of the moft capital pictures, of this mafter, was painted for the principal 
 jnagiftrate ofDort, in whole family it is still preferved; being a profpect or a 
 
 mountainous 
 
BER [ 51 ] B E R 
 
 mountainous country, enriched with a great variety of Sheep, Oxen, Goats, 
 and Figures, excellently penciled, and mod beautifully coloured. While he 
 was employed in painting that picture, the fame Burgomaiter befpoke alio a 
 landscape from John Boch, and agreed to pay eight hundred Gilders for each 
 pictue; but to excite an emulation, he promifed a confiderable premium, for 
 the performance which fhould be adjudged the bed. When the pictures were 
 finifhxl, and placed near each other for a critical examination, there appeared 
 fuch an equality of merit in each, that he generoufly prefented both artifts with 
 an e^ual fum, above the price which he had flipulated. 
 
 Berchem was Angularly curious, in purchafing the fined prints and defio-ns 
 of the Italian mafters, as a means of improving his own tafte ; and after his 
 death that collection of drawings and prints fold for a very large fum. There 
 was fuch a demand for his works, that he generally was paid before hand •, and 
 although he was lb indefatigable, that very often he would not move from his 
 eafel in the fummer months, from four in the morning, till day light failed, (by 
 which clofe application, he finilhed a great number of pictures,) yet, at this day, 
 they are rarely to bepurchafed, and always afford an extraordinary high price. 
 
 Peter BERCHET. 
 
 Painted Hijlory. 
 Died 1720, aged 61. 
 
 He was born in France, in 1659, and at the age of fifteen was placed under 
 the care of La Fofie, with whom his improvement was lb confiderable, that in 
 three years he was qualified to be employed in fome of the Royal palaces. 
 
 In the year 168 1, he went to England, where he worked under Rambour, a 
 French painter of architecture •, and afterwards he was engaged in different 
 works for feveral of the Engliih nobility. 
 
 The ceiling in the chapel of Trinity college in Oxford was painted by this 
 matter •, he .0 oai .'ed the ftaircafe at the Duke of Schomberg's in London, 
 and the fummer-houfe at Ranelagh. His drawings in the academy were much 
 approved ; but towards the latter part of his life, he only painted fmall pieces 
 in the hiftorical ftyfe, for which the fubjects were taken from fabulous hiitory ; 
 and his laft performance was a Bacchanalian, to which he affixed his name the 
 very day before he died. 
 
 Matthvs Vanden BERG. 
 Painted Portrait, and Hiftory. 
 * Died 1687, aged 72. 
 
 He was born at Ypres, in 1 615, was one of the difciples of Rubens, and of 
 fome diftinction, among thofe who were trained up in that celebrated fchool. 
 
 He was correct in his drawing, and very affiduous in defigning after the life, 
 and likewife after the beft models ; but by his ftudying fo conftantly after 
 
 * Weyerman, and the Chronological Tables of Painters, fix his death as above ; but, Defcamps 
 fixes it in 1647, forty years fooner, which feems to be a miilake. 
 
 H nature, 
 
BER [ 52 ] BER 
 
 nature, his invention, being rarely exerted, became poor. For which reason, 
 though many excellent copies of his, after the finifhed pictures of his mafter, are 
 to be feen in feveral parts of Europe ; it is uncommon to meet with any of his 
 own defigning, or of his original invention. 
 
 Dirk Van den BERGEN. 
 
 Painted Cattle, Land/capes, and Portrait. 
 Died 1689, aged 
 
 He was born at Haerlem, and proved one of the befl difciples of Adrian Van- 
 dervelde. His colouring is more glowing than that of his mafter, but his cattle, 
 and other objects, are neither defigned, nor drawn as correctly, as thofe of 
 Adrian. His trees, and his tafte of landfcape, are alio more heavy ; but, ab- 
 ftracted from that, his cattle are frequently painted very natural, and with to- 
 lerable correctnefs. 
 
 Some years of his life were fpent in England, but he was not happy enough to 
 meet with much fuccefs •, on which account, he returned to his native country* 
 where, though he had lurficient encouragement, and employment, yet, by bad 
 eeconomy, he left little behind him, and was buried by contribution. 
 
 Job BERKHEYDEN, or Breckberg. 
 
 Painted Land/capes, and Converfatiens, and Portraits. 
 * Died 1698, aged 61. 
 
 He was born at Haerlem, in 1637, and ftudied after nature, on the borders of 
 the Rhine, where there is a variety of lovely fcenery, truly picturefque ; and he 
 carefully fketched thofe views, which appeared to him Sufficiently pleafing to be 
 introduced in his landfcapes. After he had made himfelf a competent mafter in 
 that ftyle, he ftudied and practiled to paint figures, taking his models from 
 nature alfo. His Subjects, however, were of the loweft kind, fuch as Boors, Huf- 
 bandmen, Shepherds, and Innkeepers, with which he not only furnifhed his. 
 landfcapes, but likewife represented them at their feafts, dances, or converfations,. 
 which he compofed in the manner of David Teniers. His pictures were well, 
 handled, and agreeably coloured, and fome of them were muchefteemed. 
 
 He had a great ambition to vifit the court of the Elector Palatine, having 
 heard large accounts of the munificence of that Prince, to many of- his profeffion j. 
 and, at laft, in company with his brother Gerrard, he travelled thither. When: 
 he had fpent fome time about the palace, and found it difficult to procure a., 
 proper introduction, he fixed upon a fcheme which very fortunately, and fully,, 
 anfwered his purpofe. 
 
 • Mr. Defcamps differs greatly from other writers, in regard to Job and Gerrard Berkheyden. 
 He fuppofes Job to be born in 1643, (the date which is marked in the margin) and fays he lived to 
 the age of 70; yet he fixes his death in 1698, which makes him only 55 at his death ; the au- 
 thority, therefore, or Houbraken, feems to be preferable, as it appears much more exart. Defcamps. 
 alfo fays, that it was Job who was drowned, though other writers affirm that the misfortune hap- 
 pened tc Qerrard. 
 
 He 
 
B E R [ S3 ] B E R 
 
 He had often obferved the Elector going out to the chace, and took parti- 
 cular notice of all the nobility in his train. That incident Berkheyden made 
 his -TubjecTt •, and in conjunction with his brother, he finifhed two pictures, in 
 which they painted the portraits of the Elector, and his principal attendants, ex- 
 ceedingly like, and prevailed with an officer of the houfehold„to place them in a 
 gallery, through which his Highnefs always palled at his return. The Prince 
 had no fooner obferved them, than he expreffed the greateft furprize and fatis- 
 faftion at the performance ; and having impatiently inquired after the artifts, 
 and ordered them to be brought to court, he received them honourably, payed 
 them in a princely manner, for their works, and made them confiderable 
 prefents ; among which were two medals of gold. 
 
 Gerrard BERKHEYDEN. 
 
 Painted Land/capes, and Perfpeclive Views of Palaces, and Churches. 
 
 Died 1693, aged 48. 
 
 He was the brother of Job Berkheyden, born at Haerlem, in 1645, and 
 painted many pictures in concurrence with his brother ; but his ufual fubjects 
 were views of churches, convents, noblemen's houies, and magnificent ftructures, 
 which he adorned with fmall figures, defigned after nature, with an intention to 
 introduce them into his compofitions. 
 
 His works were much efteemed, particularly thofe in which his brother had 
 been his afiiftant •, but, at the time when his reputation feemed to be ftill 
 rifing, he was unfortunately drowned in a canal, as he returned home alone, 
 after lpending the evening in great feitivity, with a chearful fet of his friends. 
 
 Nicasius BERNAERT. 
 
 Painted Animals. 
 
 Died 1663, aged 70. 
 
 He was the difciple of Francis Snyders,who in his touch, fpirit, and colouring, 
 imitated his maiter, and became an excellent painter of all kinds of animals, in a 
 ftyle and exprefiion very little interior to Snyders. 
 
 BERNARD of Brussels. 
 
 Painted Animals, Huntings, and Portraits. 
 
 Died 1540, aged 
 
 Nothing memorable of this mafter is recorded, except that he was a good 
 defigner, and an excellent painter of the chaces and huntings of wild animals, 
 giving aitrong andfpirited exprefiion to them all -, that Margaret, Governefs of 
 the Netherlands, patronized and efteemed him, and employed him to defio-n 
 fubjects for tapeftrie?, which he executed, greatly to his honour. That he was 
 alio engaged in the iervice of the Emperor Charles V. and in thofe huntings 
 which he painted for that monarch, he generally introduced the portraits of the 
 Emperor, and all his attendants. And, that feveral of his portraits of the family 
 
 H 2 of 
 
B E R [ 54 ] B E R 
 
 . - 
 
 of Nafiau, were fo highly regarded, as to be thought worthy of being copied by 
 Jordaens of Antwerp. 
 
 Sandrart mentions a picture of the Laft Judgment painted by this antient 
 
 mafter, and fays, that Bernard covered the panel with leaf gold, before he laid on 
 
 his colours, to prtferve them from changing, and alfo to add a greater luftre to his 
 
 'tints; and Sandrart, who was a very fkilful artift, and a very competent judge, 
 
 declares, that it produced an happy effect, particularly in the fky. 
 
 BERNAZZANO. 
 
 Painted Land/capes, Animals, and Fruit. 
 He flourijloed in 1536. 
 
 This artift was born at Milan, where he ftudied the art of painting, and was 
 extremely commended for the goodnefs of his ftyle in landfcape, and for an ex- 
 cellent manner of colouring and handling •, but, as he had never accuftomed 
 himfelf to defign or paint figures, he affociated with Cnsfare da Sefto, who had 
 been a difciple of Lionardo da Vinci, and whofe merit was acknowledged 
 : by Raphael. 
 
 This matter, Iikewife, painted animals, fruit, and flowers, with very great 
 fuccefs. 
 
 Pietro BERRETINI da Cortona. 
 
 Painted Hifiory, and Landfcape. 
 
 Died 1669, * aged 73. 
 
 He was born at Cortona, in 1596, and, according to fome writers, was a 
 difciple of Andrea Cominodi, though others affirm, that he was the difciple of 
 Baccio Ciarpi, and the author of the Abrege fays, he was fucceflively the difciple 
 of both ; but, he is allowed to have had as great, and as enlarged a genius as 
 any of his profeffion, and to have painted more agreeably than moft of the 
 artifts, who were his cotemporaries. 
 
 He went young to Rome, and applied himfelf diligently to ftudy the antiques, 
 the works of Raphael, Buonaroti, and Polidoro : by which he fo improved 
 his tafte, and his hand, that he diftinguifhed himfelf in a degree fuperior to any 
 of the artifts of his time. And it feemed aftonifhing, that two fuch noble 
 defigns, as were the Rape of the Sabines, and a Battle of Alexander, which he 
 painted in the Palazzo Sacchetti, could be the product of fo young an artift ; 
 when it was obferved, that for invention, difpofition, elevation of thought, and 
 an excellent tone of colour, they were equal to the performances of the beft 
 mafters. 
 
 He worked with remarkable eafe and freedom •, his figures are admirably 
 grouped ; his diftribution is truly elegant ; though his figures are frequently too 
 heavy; and the chiaro-fcuro is judicioufly obferved. Nothing can be more 
 grand than his ornaments, and where landfcape is requifite to be introduced, it 
 
 * De Piles fays, that Cortona died in 1669, in the fixtieth year of his age, which cannot be fad; 
 for being conftfledly born in 1596, he rauft, in the year 1669, have been 73. 
 
 5 is 
 
BER [ 55 ] B E R 
 
 is defigned in a fine tafte ; and through his whole compofitions there appears an 
 uncommon grace. But, De Piles oblerves, that it was not fuch a grace, as was 
 the portion of Raphael and Correggio •, but a general grace, confifting rather in 
 a habit of making the airs of his heads always agreeable, than in a choice of ex- 
 prefiions Suitable to each fubject. 
 
 In his large compofitions, the colouring had a good effect -, but his colouring 
 in frefco, is far fuperior to what he performed in oil ; nor do his ealel pictures 
 appear as finifhed, as might be expected from fo great a mafter, when compared 
 with what he painted in a larger fize. 
 
 By the beft judges it feems to be agreed, that although this mafter was fre- 
 quently incorrect ; though not always judicious in his exprefiions ; though ir- 
 regular in his draperies, and apt to defign his figures too Ihort, and too heavy ; 
 yet, by the magnificence of his compofition, the delicate airs of his figures, the 
 grandeur of his decorations, and the aftoniihing beauty and gracefulnefs of the 
 whole together, he muft be allowed, to have been the moft agreeable mannerift, 
 that any age hath produced. 
 
 Some of the moft capital works of Cortona, are in the Barberini palace at 
 Rome, and the Palazzo Pitti at Florence. In the palace of the King of Sardinia 
 at Turin, there is a fmall flcetch, reprefenting the Annunciation of the Virgin, 
 which is touched with exquifite (kill and fpirit ; and in the palace of the Prince 
 della Torre at Naples, there is an incomparable picture, of the Flight into 
 Egypt. The defign is much more correct than one ufually fees in the works of 
 this mafter •, the heads are wonderfully graceful, the compofition is extremely 
 fine, and the colouring excellent. 
 
 Nicolo BERRETONI. 
 
 Painted Hiftory. 
 Died 1682, aged 65. 
 
 He was born at Macerata, in 161 7, and was a difciple of Carlo Maratti, 
 with whom he ftudied defign and colouring for fome years ; and by the ouidance 
 of fuch an inftructor, became a painter of fuch diftinftion, that his merit excited 
 even the jealoufy and envy of his mafter, who feemed to be apprehenfive of 
 finding a powerful competitor and rival in his pupil. 
 
 His early works, after he quitted the fchool of Maratti, were in the ftyle and 
 tafte of Guido ; and they could not poflibly have a more high encomium, or re- 
 commendation. 
 
 Nicholas BERTIN. 
 
 Painted Hiftory. 
 
 Died ij%6, aged 69. 
 
 He was born at Paris, in 1 66 7, and was fucceflively the difciple of Vernanfai;, 
 Jouvenet, and Bon Boullongne. 
 
 His- 
 
BER [ 56 ] B E U 
 
 His genius was, from his infancy, ftrongly attached to the profeflion of 
 painting, and his application was fo incefiant, that at the age of eighteen, he ob- 
 tained the prize of merit in the academy. 
 
 He ftudied at Rome for four years, where he acquired a good tafte of compo- 
 fition, and in Lombardy he completed his knowledge of colouring. His manner 
 of defigning was frequently very correct, but in ibme of his figures the outlines 
 are not as exact as could be wilhed, and his expreffion is but moderate. Yet, 
 he finifhed his paintings irw a imall lize with remarkable neatnefs ; and 
 therefore, his abilities appear to much greater advantage in that fize, than in his 
 larger compofitions. 
 
 If he introduced landfcape into the back-grounds of his pictures, it was ge- 
 nerally defigned in an agreeable ftyle, and handled in a masterly manner. One 
 of his moft considerable performances, was an historical compofuion, repre- 
 fenting the Baptifm of the Eunuch of Queen Candace, by S. Philip. 
 
 Domenico BETTINI. 
 
 Painted 'Still Life, Animals, and Fruit. 
 
 Died 1705, aged 61. 
 
 He was born at Florence, in 1644, and at firft was instructed in the principles 
 of painting by Jacopo Vignali, but afterwards he ftudied, at Rome, the works 
 of Mario daFiori. He copied the paintings of that eminent mafter with much care 
 and patience, till he found his application amply rewarded, by the excellence he 
 arrived at, in the fame ftyle and manner. He painted Fruit, Flowers, Infects, 
 Animals, and Still Life; his objects were well difpofed, they were very fkilfully 
 grouped, and had aftrong character of nature, and truth. 
 
 B E V I L A QJJ A. Vid. Salimbeni. 
 
 William BEURS. 
 
 Painted Portrait, Landfcape, and Flowers. 
 
 Born in 1656. 
 
 This painter was born at Dort, and by the dint of practice, affifted by the 
 force of his natural genius, he fhewed an extraordinary expertnefs in drawing 
 and defigning, before he had received even the fmalleft instruction, from any 
 profefibr of the art •, and at the age of eighteen, he was placed under the direction 
 of William Drillenburg. 
 
 While he continued with that mafter, he made fo rapid a progrefs, that in a 
 few years he almoft equalled him, in the freedom of his hand, and the clearnefs 
 of his colouring. He painted in the ftyle and manner of Drillenburg, though 
 he rather appeared fuperion, in the correctness of his defign ; and he might have 
 acquired as great a reputation, and as large a proportion of riches, as any of 
 his cotjemporaries, if he had not wafted his time, and impaired his constitution, 
 by a negligent and diflblute courfe of life. 
 
 Francesco 
 
B I A [ 57 ] BIE 
 
 Francesco BIANCHI, called II Frari. 
 
 Painted Hijiory. 
 
 Died 1520, aged 
 
 He was born at Modena, and had the honour of being made to one of the 
 moft efteemed painters that ever appeared, Antonio Correggio. His colouring 
 was delicately fine •, his attitudes full of grace ; and his invention extremely 
 grand. His works had an aftonifhing beauty, and. are prized as highly as even, 
 thole of Correggio. 
 
 Ferdinand Galli BIBIENA. 
 
 Painted Perfpetlive, and Architecture. 
 
 Died 1 741, aged 84. 
 
 He was born at Bologna, in 1657, and having loft his father, who had been 
 a difciple of Albano, he was placed under the direction of Carlo Cignani •, who, 
 obferving that the genius of his pupil feemed to have a ftronger tendency to 
 paint architecture, than to defign figures, took care to have him fucceffively 
 inftrucied by Paradofib, Aldrovandini, and Antonio Manini, the beft mafters of 
 that time for peripeftive and architecture. 
 
 By the recommendation of Cignani, he foon had opportunities to difplay his 
 talents, and was particularly careffed by the Duke of Parma, who appointed him 
 his principal painter of decorations, and architecture, with a considerable penfion ; 
 and his fucceffor Francefco Farnefe continued to him the fame appointments, 
 and held him in the fame efteem. Afterwards the Emperor prevailed on him to 
 accept of the like employment at Vienna, condefcended to fhew him unufual 
 marks of refpect, and prefented him with a chain of gold, and a medal. 
 
 His eafel pictures fhew a noble and elegant ordonnance ; and a tone of colour 
 uncommonly beautiful. His perfpectives have an aftonifhing effect, by the ju- 
 dicious mafTes of light and fhadow, the refult of a thorough and perfect 
 knowledge of the chiaro-fcuro ; and the veftiges of magnificent buildings, which 
 he happily introduces in his compcfitipns, add a grandeur and richnefs to all his 
 performances.. 
 
 Moft of the decorations, which appeared in- any part of Italy during his time, 
 were executed from his defigns ; but, as he perceived himfelf incapable of de- 
 figning figures, with as much propriety and elegance as he defired, they were in- 
 ferted in his works by his brother Francis. 
 
 Adrian D e BIE. 
 
 Painted Portraits, and Ornaments of Architecture, and fmall Figures. 
 
 Born in 1594. 
 
 Pie was born at Lrere, and at firft learned the rudiments of the art from Wouter 
 Abts -, yet, afterwards he became the difciple of Rodolph Schoof, a painter, of 
 confiderable reputation, at that time in Paris. However, when he had practifed 
 under thatmailer for a fufficient. time to form his hand, he fought to obtain ftill 
 
 greater 
 
B I E [ 58 ] BIS 
 
 greater improvement by travelling to Rome ; and there he fpent fix years in 
 ftudying the works of the beft matters, devoting his whole time to his profefiion. 
 
 His induftry was then rewarded with proportionable fuccefs •, for, he found 
 encouragement among the moft honourable perfons at Rome, and in every part 
 of Italy through which he travelled, from perfons of the firft diftinftion. 
 
 His penciling was fo exceedingly neat, and his touch and colouring fo very de- 
 licate, that he was frequently employed to paint ®n jafper, agate, porphyry, and 
 other precious materials. 
 
 Christian Jans Van BIEZELINGEN. 
 
 Painted Portrait. 
 
 Died 1600, aged ±1. 
 
 He was born at Delft, in 1558, and accounted to have confiderable merit, as 
 a painter of portraits. But, the molt memorable performance of this mailer, 
 was the portrait which he painted of the Prince of Orange, after that Prince had 
 been afiafiinated by Balthafar Gerrard. For, although the painter had only the 
 lifelefs corps for his model ; yet, the picture was allowed to be finely executed, 
 and with a much ftronger character, and refemblance of that illuitrious hero, than 
 any other of his portraits, which were finifhed from the life. 
 
 Bartolomeo BISCAINO. 
 Painted Hijiory. 
 Died 1657, aged 25. 
 
 He was born at Genoa, in 1632, the fon of Giovanni Andrea Bifcaino, who 
 was a landfcape painter in good repute. From his father he learned the prin- 
 ciples of drawing and dtfign ; but he was indebted to Valerio Caltelli for his 
 knowledge of colouring. 
 
 He proved an incomparable defigner, and, by his early performances, afforded 
 an expectation of his future proficiency, and of his arriving at the utmoft per- 
 fection in the art •, but, he was too ibon cut off, (to the regret of all lovers of 
 the art) in the flower of his age. 
 
 John De BISCHOP, or Biskop. 
 
 Painted Hijiory, end Landfcape. 
 
 Died 1686, aged 40. 
 
 He was born at the Hague, in 1 646, and was allowed to have a great deal of 
 merit, in thofe paintings which he finifhed in ci 1 -, but, his chief excellence con- 
 futed, in drawing with a pencil, in a manner fo uncommonly curious, that he 
 could perfectly imitate the ftyle of the greater! matter : and a judicious oblerver 
 might, even at the firlt look, determine whether he imitated Tintoretto, Baflan, 
 Caracci, Veronefe, Rubens, or Vandyck. 
 
 For 
 
BIS [ 59 ] BIS 
 
 For that reafon his drawings were much fought for •, they are carefully pre- 
 ferved, and, at this day, are very highly prized, as they are correct, and in an ex- 
 cellent tafte. 
 
 Cornelius BISCHOP, or Biskop. 
 
 Painted Portrait, and Hiftory. 
 * Died 1674, aged 44. 
 
 He was born at Antwerp, in 1630, and was the difciple of Ferdinand 3ol. 
 His pencil, his tint of colouring, his ftyle and manner, had a ftrong refemblance 
 of his mafter; and, by many competent judges, he is efteemed not inferior to 
 him in hiftorical fubjecis, as well as in portrait, having been always afliduous to 
 ftudy after nature. 
 
 A painting by this mafter, confifting of a few figures by candle-light, was fo 
 much admired by Lewis XIV. that he purchafed it at an high price, and it is 
 placed in the Royal collection ; and the King of Denmark admitted his works 
 among thofe of the belt mailers. 
 
 However, notwithftanding the encomiums beftowed on this mafter, by the 
 Flemifh writers, an impartial judge would, perhaps, think his compofitions 
 but heavy, and without expreffion ■, and his works, in general, not worthy of all 
 that commendation which is lavifhed upon them. 
 
 Abraham BISCHOP, or Biskop. 
 
 Painted Fowls. 
 Died aged 
 
 This artift was the ion of Cornelius Bifchop •, but, although he was inftructed 
 by his father, to defign hiftorical fubjects, and portraits, yet, he preferred the 
 painting of fowl, particularly thofe of the domeftic kind, to any other fubjects, 
 which were recommended to him. 
 
 He defigned every object after nature, and ufually painted in a large fize, 
 fuch as ornamental furniture for grand halls ; and every fpecies of fowl'was fo 
 exactly like nature, in its attitude, character, and plumage, that his works were 
 beheld with universal approbation. 
 
 Charles Emanuel BISET. 
 
 Painted Hiftory, and Converfations. 
 
 Born in 1633. 
 
 He was born at Mechlin, and even in his early productions (hewed a lively, 
 and ready invention. He was remarkable for introducing a multitude of figures 
 into his defigns, with an extraordinary variety of drapery, peculiar to 
 every nation. 
 
 * In the Chronological Tables it is faid, that he was born at Antwerp ; but, Mr. Defcamps fays, 
 he was born at Don. 
 
 I His 
 
BIS [ 60 ] B L A 
 
 His general fubjecls were conversations, balls, concerts, and afiemblies of gay 
 and genteel perfons, which were correctly defigned, and well coloured ; though, 
 their actions and attitudes were lbmetimes very indelicate. 
 
 His pictures had a ftrong effect at a diftance ; yet, when they were more 
 nearly infpected, they fhewed a neatneis of pencil, a fpirited touch, and a good 
 expreffion'. 
 
 Bon a ventura BI S I. 
 Painted Hiftory, and Miniature. 
 Died 1662, aged 
 
 He was born at Bologna, and was a difciple of Lucio MafTari. But, his fole 
 delight was in miniature painting, and in'that way he arrived at great excellence. 
 
 Inllcad of working from his own invention, or original defign, he employed 
 himielf to imitate, in a fraall fize, the pictures of Guido, Correggio, Titian, and 
 other great matters, and thofe he finilhed widi aftonifhing grace, neatnefs, 
 and beauty. 
 
 A great number of the works of this nufier, are in the Duke's gallery at 
 Modena, arid are highly valued. 
 
 Giovanni BIZZELLI. 
 Painted Hiftory, and Portrait. 
 Died 1 61 2, aged §6. 
 
 He was the difciple of Alexander Allori, called Bronzino, and having laid a. 
 good foundation of the knowledge of defign, by the inftruclion of that mailer, 
 he vifited Rome; and there, with intenfe application, ftudied the mod celebrated 
 paintings, and ftatues, in that city. 
 
 His abilities were foon diftinguifhed, and he had continual employment as 
 long as he continued at Rome ; being engaged by perfons of the firft rank to 
 paint fubjects of his own invention, or Subjects taken from facred or fabulous 
 hiftory, and likewife portraits ; all which lie executed with a fine tafte of defign, 
 and good colouring. 
 
 J a qjj e s B L A N C II A R D. 
 
 Painted Portrait, and Hiftory. 
 Died 1638, aged 38. 
 
 He was born at Paris, in 1 600, and received the firft inflructions in the art of 
 painting from his uncle Nicholas Bolleri •, but, afterwards he fpent fome time 
 with Horace le Blanc at Lyons, and then travelled to Italy, and ltudied for two 
 years at Rome and Venice. 
 
 The colouring of Titian, and Tintoretto, whofe works were the principal 
 objects of his ltudies, made him lb enamoured with the Venetian fchool, that he 
 followed it entirely, and his principal power was feen in his colouring. The 
 force and clearness of his pictures gained him many admirers in France, when 
 
 5 he 
 
BLA [ 6l ] BLA 
 
 he returned from Venice ; and the beauty of his colouring, which at that time, 
 was new to the French artifts, obtained for him the flattering appellation of the 
 modern Titian. 
 
 In the church of Notre Dame at Paris, there is a picture of the Defcent of the 
 Holy Ghoft, by the hand of Blanchard, which gained him reputation, and even 
 at this day, it feems to be very highly efteemed. 
 
 Thomas BLANCHE T. 
 Painted Hijiory, Perfpettive, and Portrait. 
 Died 1689, aged 72. 
 
 He was born at Paris, in 161 7, and at firft his genius inclined him to 
 fculpture ; but, being difluaded from practifing that art, on account of the 
 weaknefs of his conftitution, he applied himfelf to the ftudy of painting ; and 
 having made ibme progress in it, while he continued at Paris, he travelled to 
 Italy, for additional improvement. 
 
 While he ftudied at Rome, he had the good fortune to receive fome excellent 
 precepts from Nicolo Pouffin, and Andrea Sacchi, of which he afterwards made 
 a very happy uie in the hiftorical fubjects which he compofed ; and as foon as 
 he had eftabliflied his talle of defign, and colouring, he returned to his own 
 country an able artift. 
 
 Blanchet had a ready genius ■, defigned well, and underftood the principles of 
 perfpective and architecture. He was rich in his compofition ; and his colour- 
 ing had much of the appearance of nature. His boys were well defigned ; and 
 although he was not always correct, his errors in that refpect were, perhaps, 
 as juitly imputable to a rapidity of his imagination, and pencil, as to any want 
 of ability, or fltill. 
 
 John Teunisz BLANKOF. 
 
 Painted Land/capes, Views of Sea-Shores., Calms, and Storms. 
 
 Died 1670, aged 42. 
 
 This artift was born at Alkmaar, in 1 628, and received his earlieft inftruclion 
 from Arenr Tierling : but, afterwards, he was fucceflively the difciple of Peter 
 Scheyenburg, and Casfar Van Eveidingen. 
 
 When he had fpent fome years with thofe mailers, he went to Rome, where, 
 during his continuance in that city, he was ftudioufly diligent in copying the 
 works of trie belt mailers, and was admitted into the fociety of Flemifh painters, 
 called Bentvogels, who gave him the name of Jan Maat, (which in Dutch fignifies 
 mate, or companion) and by that name he is moll generally known. 
 
 His fubjects were landfcapes, with views of rivers, or fea-fhores, havens, or 
 ports, which he executed with a light, free pencil ; and in the representation of 
 florins, and calms, (as nature was always his model) he deicribed thofe fubjects 
 with great truth, exactnefs, and neatnefs of handling. 
 
 The pictures of this matter which are moft commended, are the Italian fea- 
 ports, with vellcls lying before them. He poffelfed a lively imagination, nor 
 
 I a was 
 
B L A [ 62 ] BLE 
 
 was his hand lcfs expeditious than his thoughts •, and the connoiffeurs agreed in 
 opinion, that if he had beftowed more labour on his pictures, than he ufually did, 
 or if he had finifhed them more highly, he would certainly have deftroyed a great 
 deal of their fpirit, force, and effect. 
 
 His moll capital performance, is a view of the fea-fhore, with the waves re- 
 tiring at ebb tide •, which is defcribed, as being wonderfully beautiful, and na- 
 tural, by Houbraken. 
 
 B L E K E R S. 
 
 Painted Portrait, and Hijlorf. 
 Died aged 
 
 He was born at Haerlem, about the year 1635, and was in high reputation 
 through the Netherlands. The Prince of Orange patronized him; and he con- 
 tinued in the fervice of that Prince for feveral years. Among a great number 
 of paintings which he finifhed for his patron, one was an hiftorical defign of the 
 Triumph of Beauty ; in which compofition, the figure of Venus was well co- 
 loured, and delicately defigned. And, another picture of this mailer's hand, is 
 mentioned with large commendation, the fubject of which is the ftory of Danae. 
 
 Henry BLESS. 
 
 Painted Hiftcry, and Land/cape. 
 Died 1550, aged 70. 
 
 This painter was born at Bovine, near Dinant, in 14S0, and obtained his fkill 
 in the art of painting, merely by the ttrength of his natural genius, affifted by a 
 diligent ftudy and obfervation of the works of Patenier, without having any 
 other inftructor; and at lalt rendered himfelf very eminent, particularly by his 
 landfcapes. 
 
 His bell performances were bought up by the Emperor Rodolph, and they 
 are ftill preferved at Vienna. 
 
 His ftyle of compofition in hiftorical fubjects, refembled the ftyle of the 
 Flemifli artifts of that age, and exhibited a great number of figures, finifhed 
 with extreme neatnefs, but he crowded feveral fubjects into one defign •, as in his 
 picture of the diiciples at Emmaus, he reprefented not only that incident, but in 
 different groupes diipofed in the back-ground, he reprefented likewife the diffe- 
 rent parts of the paffion of our Saviour. And yet, notwithftanding the impro- 
 priety of that manner of compofing, his pictures were fo delicately penciled, and 
 hnifhed, and his landfcapes, in particular, fo agreeably invented, fo full of varie- 
 ty, and well executed, that even in Italy his works were in great requeft, and 
 were diftinguifhed there by the appellation of the Owl pictures •, for, he fixed an 
 owl, as his peculiar mark, in every picture he painted ; by which the works- 
 of this matter are always indifputably known. 
 
 2 A N T H O N V 
 
B L O [ 63 ] B L O 
 
 Anthony de Montfort BLOCK LAND. 
 
 Painted Hijfcry, and Portrait. 
 
 Died 1583, aged 51. 
 
 He was born of a noble family at Montfort, in * 1532, and learned the art 
 of painting in the fchool of Francis Floris, whofe manner he always followed ; 
 and became an artift of great distinction, by endeavouring principally to imitate 
 the tafte of the Roman fchool, in defign and compofition. 
 
 He underftood the principles of perfpective thoroughly, as may be evident 
 from his paintings ; and he difpofed his figures with great judgement, and 
 accuracy •, the ftyle of his colouring was agreeable, and his pencil mellow. 
 
 He defigned every object after nature, and gave confiderable elegance to the 
 contours of his figures ; the principles of his mafter Floris, were his conftant 
 guides, and he never varied the ftyle which he had acquired in the fchool of that 
 artift. He defigned the naked extremely well, and his draperies are in a good 
 tafte •, the heads of his figures are well ornamented, the beards of his old men 
 are handled delicately, and the extremities of his figures are correct. 
 
 His genius was beft adapted to grand compofitions, of which he defigned 
 many •, fome at Delft, but more at Utrecht. His defign had grandeur, the airs 
 of his heads were noble, and the profiles of his female figures approached near 
 to the tafte of Parmigiano. 
 
 Several of his works are in fo good a gufto, ana particularly a Venus, and 
 the hiftory of Jofeph and his Brethren, that they feem to have been painted by a 
 mafter educated in the fchool of Florence. 
 
 Daniel BLOCK. 
 
 Painted Portrait. 
 Died 1 661, aged 81. 
 
 This artift was born at Stettin in Pomerania, in 15S0, and gave early proofs 
 of a good genius •, which induced his parents to place him as a difciple with 
 Jacob Scherer, a mafter capable of giving him the beft directions, to qualify 
 him for proceeding fuccefsfully in his profefllon. 
 
 He chiefly painted portraits, in which, (according to Sandrart,) he was very 
 eminent, and had the honour to paint the portraits of Chriftian IV, King of 
 Denmark, and of Guftavus Adolphus, King of Sweden. 
 
 The extraordinary merit of this mafter, recommended him to the efteem of 
 the Prince of Mecklenburg, who retained him in his fervice for forty four 
 years •, ana by order of that Prince, he painted the portraits of his whole 
 family at full length, as large as life, and in the antique habit ; by which works 
 his reputation was eftablifhed effectually. 
 
 By the agreeable manner of his colouring, and the eafy attitudes of his 
 figures, his paintings became fb acceptable to all perfons of Rank, that before 
 
 * Mr. Defcamps fixes his birth in 1532, and the year of his death in 1583, and yet, fays, that 
 be died at the age of 40, which would determine his death to be in the year 1572, thoufh he lets it 
 down as in 1583 ; for, allowing his birth in 1532, he muit, in 1533, have been 5 1, inftcad of 40. 
 
 i he 
 
BLO [ 6 4 ] BLO 
 
 the decline of life, he had acquired a very large fortune ; but, unfortunately 
 he loft it all, in the compafs of a few hours, by the fudden irruption of a 
 plundering party, and with great difficulty his own life was preferved. 
 
 Jacob Roger BLOCK. 
 
 Painted Architecture, and PerfpeRive. 
 Died aged 
 
 He was born at Gouda, where he learned the art of painting, but thofe 
 branches which he principally cultivated, were perfpective and architecture. 
 
 Several years of the early part of his life were fpent in Italy, where he imbibed 
 that tafte of grandeur and elegance in his compofitions, which raifed him in the 
 publick efteem, above all his cotemporaries. At his return to his own country 
 he was appointed ftate painter to the Arch Duke Leopold, and attended that 
 Prince in all his campaigns, as he was remarkably fkilful in military architec- 
 ture ; but, having rode out with a reconnoitring party, to take a view of the 
 fortifications of Saint-Vinox in Flanders, in paffing a fmall rivulet over a 
 temporary bridge of planks, his horfe made a wrong ftep, threw him into the 
 ftream, where, notwithftanding all immediate affiftance, he was unfortunately 
 drowned. 
 
 While he lived at Gouda, lie was honoured with a vifit from Rubens ; and, 
 when that great artift had examined, and thoroughly confidered the works of 
 Block, he declared, that he had not feen any painter in the Netherlands, who 
 could ftand in competition with him, for the fubjects he painted. 
 
 Benjamin BLOCK. 
 
 Painted Portrait, and Hijlcry. 
 Died aged 
 
 He was the fon of Daniel Block, born at Lubeck, in 1631, the firft 
 fpccimen of whofe genius, was a drawing with a pen, of the Duke of 
 Mecklenburg, which appeared like a fine engraving, and was accounted a 
 curiofity •, but, he very ibon proved himielf lb excellent a painter, that his 
 reputation was fpread through all Germany. 
 
 To improve himfelf in colouring, and defign, he refided for fome time at 
 Rome, Venice, and Florence •, where his merit procured him accefs to die moll 
 curious cabinets, and he fpent feveral years in defigning •, by which he acquired 
 a good tafte, and a pleafing tone of colouring. 
 
 Thofe accompliihments introduced him to the Court of Saxony, whither 
 he was invited, and employed to paint the portraits of the Elector and his 
 family, and alio the portraits of the prime nobility of that part of Germ- y ; 
 he likewife painted a confiderable number of altar-pieces, for the churches and 
 convents of the kingdom of Hungary, which are extremely commended. 
 
 Themoft capital performance of this mafter, is the portrait of Kircher the 
 Jefuit, which, even at Rome, was exceedingly admired. 
 
 A B R A- 
 
BLO [65] BLO 
 
 Abraham BLOEMART. 
 Painted Land/cape, Cattle, Hi/lory, and Portrait. 
 Died 1647, aged 80. 
 
 This matter was born at Gorcum, in 1564 according to Houbraken, but 
 according to Sandrart, whofe authority feems to claim the preference, he was 
 born in 1567, and lived moftly at Utrecht. In his youth he applied himielf 
 diligently, to defign after the works of Francis Floris, and afterwards received 
 inftructions from feveral artifts of no great repute •, but the power of his own 
 genius, proved his principal director in the art of painting. 
 
 He formed a manner peculiar to himielf, making nature his model for many 
 of the objects he painted, particularly in his cattle, in which he excelled. His 
 invention was ready, and in his compoiitions there appears a great deal of truth ; 
 his draperies are broad, fimple, and have generally a good effect, yet they 
 would have been much better, if, in that refpect, he had ftudied nature with 
 more care ; his touch is free and fpirited, and his works demonftrate that he 
 underftood the Chiaro-Scuro very well. But, his tafte and ftyle have too much 
 of the Flemifh ; and his figures feem to be the product of his own fancy, 
 without fufficiently attending to nature, as he ought, and above all, to elegant 
 nature. 
 
 The hiftorical picture of the Death of Niobe and her Children, gained him 
 a confiderable reputation, and it was purchafed by the Emperor Rodolph, at a 
 very good price. The figures in that compofition were as large as life. 
 
 He left two ions who were painters ; the eldeft, 
 
 Henry BLOEMART, 
 
 Was instructed in the art by his father, but, he never arrived at any degree 
 of credit. His genius was heavy •, his colouring not agreeable •, his manner of 
 penciling, itiif, and conftrained -, nor did any of his labours appear worthy of 
 the ion and diiciple of ib great a maiter. But, the fecond fon of Abraham, 
 
 Adrian BLOEMART, 
 
 Proved much more eminent •, for, when he had finifhed his itudies under hi? 
 father, he travelled to Italy, and improved himielf confiderably, in his tafte of 
 compofition and defign. 
 
 On his return from Rome, he fettled at Saltzbourg ; and feveral of his 
 paintings in the hiftorical ftyle, are at the Benedictines in that city, by which 
 his reputation was firmly eftablifhed. 
 
 Peter Van BLOEMEN. 
 
 Painted Battles, Encampi;;ents, and Italian Markets. 
 Died aged 
 
 He was born at Antwerp, brother to John-Francis -Van Bloemen, called fey 
 the Italians, Horizonti, and lived for feveral years at Rome along with his 
 
 brother ; 
 
BLO [ 66 ] B L O 
 
 brother ; devoting liis whole time inceffantly, to ftudy the works of the greateft 
 mailers. As foon as he found, himfelf competently (killed in colouring and 
 penciling, as well as m defigning, he returned to his native city, where, in the 
 year 1699, he was appointed director of the academy. 
 
 The composition of this mailer is rich, and his pictures are generally filled 
 with a number of figures. I lis fubjects are, the Marchings of Squadrons of 
 Cavalry, Encampments, Artillery, Rattles, Italian Fairs, Markets, and Feftivals ; 
 in which he (hewed great corrcctnefs in his defign, and in his drawing ; an 
 elegance in the manner of drefling his figures ■, and frequently he repreiented 
 them in oriental habits. He defigned horfes in an admirable ftyle, and in his 
 battles gave them abundance of ipirit, graceful attitudes, and an exprefiion that 
 was full of life and nature. 
 
 His landfcapes are enriched with elegant architecture, with Eafib Relievo's, 
 and mutilated flatues, in a noble taile ; and rendered ilill more pleafing by a 
 good tone of colour, by animals of different kinds, and excellent figures. 
 
 His bell works are admired in all parts of Europe, and afford large prices ; 
 but, it is to be obferved, that fome of Ids prlures leem rather to be too much 
 laboured, or (liff, and (according to the artiils phrafe) fmell of the palette; and 
 thole are proportionably lefs eftimable. 
 
 John Francis Van BLOEMEN. Vid. Orizonti. 
 
 Norbert Van BLOEMEN. 
 
 Painted Portraits., and Ccnverfations. 
 Born in 1672. 
 
 This painter was born at Antwerp, being a younger brother of Orizonti and 
 Peter van Bloemen, two artifts of extraordinary eminence. The reputation 
 which his brothers poffeffed at Rome, invited him thither, although he had 
 already confiderable employment in his own country. 
 
 While he was in Italy, he devoted all his hours to ftudy •, as the profeffion of 
 painting was the only means he had of getting a livelihood. 
 
 He principally painted Converfations, and Portraits •, and he would have 
 made his pictures much more valuable, if in his colouring he had fhewn more 
 truth, and more of nature, and lefs of the glaring and raw ; yet in other 
 reipects he had ibme degree of merit. 
 
 Christopher Le BLOND. 
 
 Painted Portraits in Miniature, and all kinds of [ubjecls on Paper. 
 
 Born in 1670. 
 
 Very few circumftances relative to the education or life of this artift, are 
 mentioned by any writers, till he was known at Rome in the year 1716, being 
 at that time painter to the Count Martinetz, ambaffador at the Court of Rome •, 
 and his reputation, as a good painter of Portrait in Miniature, was well 
 eftablifiied in Italy. 
 
 By 
 
B L O [ 67 ] B L O 
 
 By the folicitation of Overbeke, he was induced to go to Amfterdam, and in 
 that city was employed to paint fmall portraits for bracelets, rings, and fnuff- 
 boxes ; which, although they were painted in water-colours, yet the colouring 
 was as lively and natural, as if they had been painted in oil. However, as he 
 found his fight much impaired by the minutenefs of his work, he difcontinued 
 water-colour painting, and attempted theufeofoil, with a reafonable degree of 
 fuccefs. 
 
 After he had refided for fome years in the low countries, he went to England, 
 and fet up a new manufactory of painting, or imprelTing colours on paper with 
 copper-plates, which feemed to promife extraordinary advantages to the 
 projector ; though in the conclufion, it proved detrimental to himfelf and his 
 afibciates. 
 
 The fcheme of the undertaker was, to copy the moft capital pictures in 
 England of the greateft matters, in fuch a manner, as to give his prints the 
 appearance of paintings in oil ; and he imitated his models with lb much fkill, 
 fuch exact refemblance, fuch correctnefs of outline, fuch fimilarity of colour 
 and expreffion, that, at firit they amazed every beholder who viewed them at a 
 proper diftance ; and many of thofe prints are ftill extant, which are much 
 efteemed by perfons of good tafte. 
 
 Le Blond might have fucceeded to his wifh, if his own diftblute life ar.d 
 morals had not occafioned the ruin of his project, and of thofe who contributed 
 to the undertaking •, for, by his vices, he at once deftroyed his fortune, his 
 character, and the advantage of his uncommon talents. 
 
 He was not the original inventor of that manner of managing colours, 
 though many have been taught to think otherwife •, but, he took it from 
 Laftman and others, who with much greater regularity of morals, equal 
 capacities, and more difcreet conduct, had before undertaken it, and failed of 
 fuccefs. 
 
 Peter BLOOT. 
 
 Painted Converfations. 
 Died 1667. 
 
 The works of this Flemifh mafter, are not frequently feen in thefe kingdoms, 
 nor are they eafdy purchafed in Holland, being carefully preferved in private 
 collections, and are highly efteemed. 
 
 The fubjects he chole to paint, were always taken from the lower! life •, fuch 
 as Boors drinking, feafting, dancing, or quarrelling; Shepherds piping, and 
 fometimes the Marriages of Villagers. He was a faithful, and indeed too fervile 
 an imitator of nature, even in the uncomely ; never departing from the actions, 
 attitudes, or draperies of his models. 
 
 He fhewed a good knowledge of the Chiaro-Scuro, and perfpeetive ; he had 
 a delicate manner of penciling, and his colouring was mellow •, but, he had no 
 idea of elegance. His figures are generally fnort, grofs, and ungraceful, 
 neither was his txpreffion commendable, nor his outline verv correct. Yet, his 
 pictures have in many refpects great merit, and his defects feem rather 
 imputable. to the. tafte of his country, than to his own genius; fome of his 
 works being, for the lightnefs of the touch, the neatneis of handling, and 
 iraniparence of colour, equal to the beft of his time. 
 
 K C A m 1 l l c 
 
BOC [68] BOC 
 
 Camillo EOCCACCI, called Boccaccino.. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1546, aged* 35. 
 
 He was born at Cremona, in 151 1, where he received the firft inftn.ic~t.ioh* . 
 in the art of painting from his father -, and for fome time he was obliged to 
 conform himieif to the ftyle and manner of his inftruftor. But, when he arrived 
 at Rome, he determined to quit that hard dry manner of colouring, to which 
 he had been accuftomed, and by degrees he afilimed the Roman tafte intirely, 
 in all his iubfequent compofirions. 
 
 In his application to his ftudies, he was unwearied, and his rapid improvement 
 was fo vi'ible, that he was immediately employed in feveral noble works fbf 
 the churches, and convents. 
 
 He died very young, at a time when there was a great expectation of fili 
 arriving at very high perfection. 
 
 Clewente BOCCIARDI, called Clemen-tone. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1658, Aged 38. 
 
 He was born, at Genoa,, in 1620, and was the difciple of Bernardo Strozd, 
 an artift of good reputation ; but, he found in himfelf fo ftrong an ambition, 
 to arrive at the utmoft excellence in his profefilon, that he left Genoa, and 
 went to Rome ; there, to explore that true fublimity of ftyle, which can only 
 be obtained, by a judicious obfervation of the antient iculptures, and the 
 works of the celebrated modern artifts. 
 
 By the guidance of- an excellent genius, and alfo by a moft iriduftrious 
 application to defign, he discovered the art, of uniting and blending the antique 
 and modern gufto ; in a ftyle, that at Once exhibited, both gracefulnefs, and 
 ftrength. 
 
 Moft of the works of this mafter, (except- his portraits, which were lively, 
 natural, and graceful,) are in the chapels of Genoa, Pifa, and other cities of. 
 Italy •, of which places they are, at this day, accounted the greateft ornaments, 
 and are moft exceedingly efteemed. 
 
 John Van BOCKHORST. 
 
 Painted Hiftory, and Portrait. . 
 
 Died aged 
 
 He was bern atMunfter, about the year 1610 ; and in the fchool of Jacques 
 Jordaens learned defign, and colouring. Under that mafter he received all 
 pofiible advantage, as well from his inftruttion as his example, and became fo 
 excellent an artift, as to equal fome of the beft of his cotemporaries. 
 
 • Vafari without fpecifying the year of his birth, fays, he died at the age of 58 ; but other 
 a»thenticlt writers who fix the year of his birth, and death, 3gree that he died young in 1546, 
 when he could only be ;:;. 
 
 He 
 
BOD [ 69 ] BOD 
 
 Hedefio-ned well, and the heads of his women were generally graceful ; his 
 tone of colouring fometimes relembled that of Rubens, but more frequently 
 that of Vandyck ; his pictures have a great deal of force, with much harmony, 
 and his fkilful management of the Chiaro-Scuro produces an agreeable effect. 
 
 A very fine performance of this mafter, is an altar-piece in the parifh-church 
 of S. James at Ghent, reprefenting the Martyrdom of that Saint ; and in 
 another church, there is a picture of the Annunciation, which is infcribed witfe 
 the date of the year when it was painted, 1 664. 
 
 BODEKKER. 
 
 Painted Portraits. 
 Died 1727, aged 67. 
 
 This painter was horn in the country of Cleves, in 1660, and bred up 
 to be a mufician, by his father, who was extremely eminent in that profeflion -, 
 but, he quitted mufick, for painting, making the latter his bufinefs, and the 
 other only his amufement. 
 
 He was placed as a difciple with John de Baan, at the Hague ; and continued 
 under his direction, till de Baan fuppofed him to be fufficiently qualified, to 
 acquire both fame and fortune by painting portraits. 
 
 He practifed his profeflion firft at Bois-le-duc, and Breda, with very great 
 fuccefs •, and his works procured him the favour of thofe in the higheft ftations. 
 He then vifjted the Hague, where he alfo received many acts of kindnefs, from 
 perfons of the firft rank •, and at laft retired to Amfterdam, where he ipent the 
 remainder of his life, as he found his performances greatly efteemed in that city. 
 
 N. BODEWYNS, and Francis BOUT. 
 
 Painted -Land/capes^ and Figures. 
 Died aged 
 
 The works of thefe mafters, are well known in thefe kingdoms, being very 
 frequently to be purchaled. They conftantly aflbciated together in their 
 labours, as their talents were of a different kind ; the merit of Bodewyns 
 confifting in defigning landfcapes, and that of Bout in painting figures. 
 
 In many of their pictures may be obferved a fine pencil, a light and neat 
 manner of handling, and agreeable colouring ; ibme of the figures being 
 touched with a fpirit, and freedom, refeinb'.ing the Velvet Brueghel, and not 
 much inferior to that great mafter. But, fame, others of their pictures, are 
 flight, and negligently finifhed, and have, in every refpect, much lefs merit, 
 as well in defign, as execution. 
 
 Their imalleft pictures are generally their beft-, and thofe of their beft ftyle, 
 Tiave the trees well formed, and handled in a mafterly manner •, the figures and 
 cattle are correctly drawn, and properly difpofed : and the whole together may 
 afibrd fatisfaction, andpleafure, even to the beft judges of painting. 
 
 K 2 P E T E p. 
 
B O E [ 70 ] B O L 
 
 Peter BOEL. 
 
 Painted Still Life, and Animals. 
 
 Died 1680, aged ! 55. 
 
 This artifb, who was the nephew ofCornelius de Waal, was born at Antwerp, 
 in 1625 ; and being carefully inftrudted for fome years by his uncle, he- 
 completed his ftudies at Rome. 
 
 De Waal, for the moft part, refided at Genoa, where his works procured him 
 wealth, favour and friends ; to him therefore at Genoa Boel returned, as 
 foon as he left Rome, and in a fhort time he diftinguifhed himfelf fo effectually 
 in his profefiion, as to have full employment, as long as he continued in Italy. 
 
 He choie for his fubjects,. Fruit, Animals, and Flowers •, which he finifhed 
 with great fpirit, with a free and bold pencil, and a tint of colour that was. 
 natural and beautiful, as he always copied every object after nature. 
 
 James BOGDANE. 
 Painted Birds, Fruit, and Flowers. 
 
 He was of a genteel family in Hungary, his father having been a deputy 
 from the ftates of that country to the Emperor. He had never been regularly 
 bred to the profeffion of painting, but the progrefs he made in the art, was 
 merely imputable to the force of his own natural abilities. His favourite 
 fubjects, were Fowl of all kinds, Fruit, and Flowers ; but, more elpecially 
 Birds, whether foreign, or domeftick. 
 
 He had the honour of being employed by Queen Anne, and fome of his 
 paintings are ftill to be feen in the royal palaces. He was exact in his copying 
 nature, and imitated his models accurately in the colouring -, but, he often 
 erred, by drawing his birds much too' large for life •, which, though intended 
 for a diftant view, and to allow for the height of the picture above the eye of 
 the fpectator, did not anfwer in perfpective proportion. 
 
 However, he found fo confiderable a demand for his works, that he was 
 enabled by his induftry to acquire an eafy fortune ; but, being over periuaded 
 to afiign that fortune over to his fon, who propofed to marry a lady of a vaft 
 reputed fortune, the wedding was no fooner made irrevocable, than it unfortu- 
 nately proved to be an impofition, and the detection of it preyed upon the 
 fpirits of Bogdane, as long as he lived. 
 
 By the lofs of his money, he was reduced to poverty, was feized with a 
 violent diforder, and died in very great diftrefs and affliction. 
 
 Ferdinand BOL. 
 
 Painted Hijlcry, and Portrait. 
 
 Died 1 68 1, aged 70. 
 
 He was born at Dort, in 161 1, educated at Amfterdam, and placed as a 
 difciple in the fchool of Rembrant. His principal ftyle was portrait, which 
 
 z he 
 
BO L [ 71 ] B O L 
 
 he painted in a free, bold manner ; but, not with that cleamefs of flefh, and 
 remarkable relievo, by which his matter was rendered defervedly famous. His 
 colouring had frequently too great a tinge of brown in the carnations ; though, 
 notwithstanding that particularity, his portraits had a great look of life and 
 nature. 
 
 He alfo rendered himfelf confiderable as a painter of hiftory •, and in that 
 ftyle fhewed a good tafle of compofition, as well as a tolerable expreffion in 
 fome of his figures •, but, he often wanted the graceful, and the elegant. In 
 fome of his works we fee a great deal of correctnefs, with eafy and natural 
 attitudes ; but, in others, (perhaps from negligence) his outline is defective, 
 and the airs of his figures are not delicate. ; He always adhered to the manner of 
 his matter Rembrant, and feveral of his productions, were an equal honour to 
 the matter, and the difciple. 
 
 In the council Chamber at Dort, over the chimney, there is a capital picture 
 by Bol, of which the fubjedt is, the Appointment of the feventy Elders in the 
 camp of the Ifraelites •, and another of Mofes breaking the Tables of Stone : 
 both of them are well defigned, and thoroughly well executed. And in the 
 chamber of the Burgomafters, there is an hiftorical picture of Fabricius in 
 the Camp of Pyrrhus, which is exceedingly admired. 
 
 John BOL. 
 
 Painted Land/cape, Hiftory, and Animals. 
 
 * Died 1593, aged 59. 
 
 This painter was born at Mechlin, in 1534 ; and received his firft inftruction 
 from a matter of no great note, with whom he continued for two years ; but he 
 afterwards ttudied at Heidelberg, copying the works of fome eminent artifts» 
 and without the afliftance of any other matter became a good painter. 
 
 His fubjects were, views of feveral cities and towns, in the low countries, 
 and particularly, different profpects of the city of Amfterdam •, in which 
 pictures, the veflels, and the reflections of them in the water* were admirably 
 executed. His invention, and compofition, were very pteafing 5 there appears 
 great harmony and union in his colouring ; and his manner of fketching, and 
 penciling, is broad and free. 
 
 Van Mander highly commends one of the paintings of Bol, which is in 
 diftemper ; the ftory of it is, Dedalus and Icarus ; and he fays, that he never 
 law any thing more beautiful. 
 
 John BO LAN GER. 
 
 Painted Hiftory. 
 
 Died 1660, aged 54. 
 
 He was born in 1 606, and placed as a difciple with Guido, in whofe fchool 
 he became fo eminent, by imitating the ftyle of compofition, and colouring, 
 peculiar to his matter, that he was appointed principal painter to the Duke of 
 Modena. 
 
 * Mr. Defcamps fays he died in 1583, but Sandrart and others fay, he died in 1593. 
 
^OL [ j\ ] BOM 
 
 I lis manner of defign was exceedingly pleafing, his tafte of compoficion was 
 elegant, and his colouring bad abundance of delicacy. His fubjects were taken 
 from facred or profane hiftory, and his defign, his tints of colour, and the 
 becoming airs of his figures, evidently mewed that noble fchool which formed 
 his tafte, and directed his pencil. 
 
 Francisco BOLOGNESE. 
 
 P 'tinted Uiftcry;, and Land/cape. 
 
 Died 1680, aged 74- 
 
 The name of this eminent painter was Francjfco Grimaldi ; but, he is beft 
 known by the appellation of Bolognefe. He was born at Bologna, in 1 606, 
 where he became a difciple of Anniba.1 Cajacri, and proved an honour to that 
 illuftrious mafter. 
 
 From the fchool of Annibal he went to complete his ftudies at Rome, and 
 improved himfelf daily, by copying the works of thofe artifts, in which he 
 obierved the greateft excellence j until his fuperior talents recommended him 
 to the favour of Innocent X, who aflbrded him immediate opportunities of 
 exerting his genius, in the gallery of his palace at Monte Cavallo, and alfo in 
 the Vatican. The merit of his performances very foon engaged the attention 
 and applaufe of the publick, and increafed the number of his admirers, and 
 friends ; among whom were, the Prince Pamphilio, and many of the principal 
 nobility of Rome ; Lewis XIV, and Cardinal Mazarine in France; and at his 
 return to Italy, the Popes Alexander VII, and Clement IX. 
 
 His genius directed him to ftudy landicape, which he executed moft happily. 
 His colouring is ftrong •, his touch light, and delicat; •, his fituations are 
 uncommonly pleafing •, and the leafing of his trees is admirable. Sometimes, 
 indeed, his colouring appears rather too green •, but thofe landfcapes, which he 
 painted in the manner of the Caracci, may ferve as models for all thofe who 
 admire the ftyle of that fchool ; and he defigned his figures in an elegant tafte. 
 
 The pictures of this mafter are very infrequent, efpecially thofe of his beft 
 time •, and whenever they are to be purchafed, they afford large prices. He 
 had a fon, whofe name was 
 
 Alexander, 
 
 Who proved a good painter, in the fame ftyle and tafte with his father, 
 though very far inferior to him •, and yet fome of the pictures of Alexander, 
 are either artfully, or injudicioufly, afenbed to Francifco. 
 
 Sebastian BOMBELLI. 
 
 Painted Hificry, and Portrait. 
 
 Died 1685, aged 50. 
 
 This painter, according to the Chronological Tables, was born at Udino, 
 though other writers affirm, that he was born at Bologna, in 1635, and learned 
 (be art of painting in the fchool of Guercino. His progrefs under that able 
 
 c iaftraftor 
 
BON [ 73 ]. BON 
 
 Lnftractor was remarkably rapid •, fo that in a fliort time he perfected himfelf m 
 the peculiar, manner of his matter. He therefore quitted that fchool, and went 
 to Venice, in order to obferve the various ftyles of the Venetian artifts, as he 
 feemed unwilling to adhere to the manner of any particular matter; and after 
 mature reflection, was affected fo ftrongly, by the majefty in the compofitions 
 of Paolo Veronefe, and the grandeur of Tintoretto, that he preferred them to 
 all others ; and the copies which he finifhed after the originals of thofe 
 admirable artifts, as alfo fome of his own original defigns, were, by the ableft 
 judges, exceedingly commended. 
 
 Sandrart fays, that he would undoubtedly have arrived at great eminence in 
 hiftory, if he had not been allured away from purfuing that branch of his 
 profeffion, and, even againft his inclination, prevailed on to devote- his talents 
 to the painting of portraits. For, by a peculiar fweetnefs and mellownefs of 
 colour in his pictures, by the graceful refemblance obfervable in the countenances, 
 and by the beauty of his carnations equal to life, he gained univerfal approbation, 
 and wasfolicked for more of his work, than he couid poflibly execute. 
 
 He was invited by the German Emperor, to his court at Vienna, where he 
 painted the portraits of the imperial family ; and was alfo employed by the 
 Electors of Bavaria, and Brunfwick, the King of Denmark, the Dukes of 
 Florence, Parma, and Mantua* and by a great number of princes in every part of. 
 Europe ; being not only highly honoured by them, all, but likewife defervedly 
 enriched. 
 
 V e n e t i a N d BONfiFACIO.. 
 
 Painted Hiftory. 
 
 Died 1630, aged 62. 
 
 Ke was £ difciple of the elder Palma, who moft fuccefsfully imitated the 
 manner, the eoleurihg, and the pencil of his mafter ; and he copied the Works 
 eFPaKrli, with a degree of accuracy that is fcarce conceivable ; fo that, it k 
 almoft impoffible to diftinguifh, between the work of. the mafter, and the ' 
 difciple, eVen at this day. He was born in 1568. 
 
 Al.essan£ro B ON VI N C I N O, called Le Moretto.. 
 
 Painted Hiftory, and Portrait. 
 Died 1 564.1 aged 50. 
 
 He was born at Rovate, in 1514^ and was the difeiple of Titian-} under 
 whofe direction he ftudied diligently for fome years. But, having accidentally - 
 feen the defigns of Raphael ; he felt an elevation of mind, that he never had 
 before experienced. He therefore gave himfelf up intirely to ftudy thofe 
 matter-pieces of art and genius •, and his observations were, guided with fuch < 
 judgement, as well as attention, that his improvement was truly furprifing, afld 
 he became an exceeding good painter. 
 
 His works were eagerly bought up, as being extremely admired for th* 
 tendernefe of the penciling ; for the correctnefs, and fpirited expreffion of the 
 
 figures; v 
 
BOO [ 74 ] BOO 
 
 figures •, for the neatnefs of the finifhing, and for the rich variety of his draperies, 
 which uiually conlifted of velvets, damafks, or fattins, all copied after nature, 
 and being wonderfully imitated. 
 
 He was alio equally excellent in portrait, and by many was placed in 
 competition even with Titian. 
 
 Daniel BOON. 
 
 Painted Drolls, and Converfations. 
 Died 1698. 
 
 He was born in Holland, but went to England, and fettled there, in the 
 reign of King Charles II. 
 
 His fubjects were always taken from the loweft, and meaneft nature ; and it 
 feemed to be the utmoft of his ambition, to excite laughter by uglinefs, grimace, 
 and deformity. He painted both in a large, and a fmall fize, and in fome of 
 his characters, expreiTed ftrongly a great deal of droll humour, and low 
 pleafantry. 
 
 Arnold BOONE N. 
 
 Painted Portrait. 
 
 Died 1729, aged 60. 
 
 He was born at Dort, in 1669, and at firft was a difciple of Arnold Verbuis, 
 a painter of hiftory, and portrait ; but, afterwards he placed himfelf with 
 Godfrey Schalcken, and continued with that artift for fix years. At which 
 time, Schalcken declared he could teach him no farther, recommending him 
 only to ltudy nature ; and Boonen, by carefully following his advice, obtained 
 the reputation of being a great matter, when he was only twenty-live years of 
 
 a ge- 
 
 The fweotnefs of his colouring, and the neatnefs of his touch, witli a ftriking 
 likenefs in his portraits, procured him a number of admirers. He painted in the 
 manner of his mailer, particularly fubjects by candle-light, which were very- 
 delicate, and very natural ; and much more of his work was requefted by the 
 lovers of the art, than it was poffible for him to undertake. 
 
 He had the honour to paint the portraits of the Czar of Mufcovy ; of 
 Frederick I, King of Pruflia •, of the victorious Duke of Marlborough, as well 
 as many of the Princes of Germany ; and moll of the noblemen who attended 
 the Czar. 
 
 His ftyle of colouring was extremely good, and he had an elegant manner of 
 difpofing the attitudes of his figures ; his handling was neat, and the whole had 
 fo much harmony, that he was juftly ranked among the ableir. artifts of his time. 
 
 The fmall pictures of Boonen, are in the tafte of his mafter Schalcken •, but, 
 his excefiive application, to anfwer the multitude of his engagements, impaired 
 his health, and deftroyed him, while it enriched him. 
 
 Henry 
 
BOR [ 75 ] BOR 
 
 Henry V a n d e r BORCHT. 
 Painted Fruit, and Flowers. 
 Died 1660, aged Jj. 
 
 He was born at Bruffels, in 1583, and was a difciple of Giles Valkenburgh •, 
 but, he completed his ftudies in Italy, and at his return to his own country, his 
 performances were held in confiderable efleem. 
 
 He was remarkably fond of antique curiofities, and had a thorough knowledge 
 of their intrinfick worth ; on which account, he was highly regarded by the 
 memorable Earl of Arundel, and received a commiffion from that nobleman, 
 to procure for him in Italy, whatfoever rarities he could meet with that were 
 purchafable ; and he difcharged that truft to his own honour, and the fatisfaction 
 of his employer. 
 
 He continued in England for feveral years, where his paintings were well 
 efteemed, and he was employed in the fervice of King Charles II, till he retired 
 to Antwerp, where he died. 
 
 BORDIER. Vid. Petitot the old. 
 
 Paris BORDONE. 
 
 Painted Hiftory, Portrait, and Architecture. 
 Died 158S, aged * 75. 
 
 He was born at Trevigi, in 15 1 3, and at eight years of age was conducted to 
 Venice, where he was carefully educated by one of his relations. At a proper 
 age he was placed as a difciple with Titian, under whom he made fo happy a 
 progrefs, that he did not continue with him many years •, efpecially, as he 
 obferved, that Titian was not as communicative as he wifhed, or indeed had 
 juft reafon to expect. He lamented, that Giorgione was not then alive to 
 inftruct him ; becaufe, he preferred the manner of that mailer to all others. 
 However, to the utmofl of his power he ftudied, and imitated, the ftyle of 
 Giorgione, and very loon role into fuch reputation, that he was appointed to 
 paint a picture in the church of S. Nicholas, when he was only eighteen years of 
 age. 
 
 Some time after, he received an invitation to Vincenza, to adorn a gallery 
 with paintings in Frefco ; part of which had been formerly enriched by the 
 hand of Titian, with a defign reprefenting the Judgement of Solomon. 
 Bordone engaged in the undertaking with an inward fatisfaction, as his work 
 was to be contrafted with the work of his mailer ; and he compofed the hiftory 
 of Noah and his fons, which he finifhed with his utmofl care ; nor was it 
 elteemed inferior to the work of Titian, both performances feeming to have 
 been the product of one pencil. 
 
 * Felibien, the Chronologicnl Tables, and the author of the Abrege, affirm that Bordone died 
 at the age of 65 j but, where that painter is mentioned by Vafari, in the life of Titian, it is faid, 
 he .-.;ed when he was 75 years old. Vol. iii. p. 232. 
 
 L He 
 
B O R [ 76 ] B O R 
 
 He likewife finifhecl feveral confiderable works at Venice, and Trc 
 and in each city painted many portraits of the nobility, and perfons of 
 diftinclion. But, in the year 1538, he entered into the fervice of Francis I. of 
 France, and added continually to his reputation, by every hiflorical fubjeft and 
 portrait which he finifhed, as they were excellently defigned, and had a 
 charming tone of colour to recommend them. 
 
 On his quitting France, he vifited the principal cities of Italy, and left a 
 number of memorable works, as monuments of his extraordinary abilities. His 
 colouring has all the appearance of nature, nor can any thing be more lively, or 
 more admired than the portraits of Bordone. Several of them are ftill prefcrved 
 in the Palazzo Pitti at Florence, of which the colouring is exceffively clear, 
 frefh, and truly beautiful. 
 
 O r a z 1 o BORGIANNI. 
 
 Feinted Hiftory, and Portrait. 
 Died 1 681, aged 51. 
 
 He was born at Rome, in 1630, and learned defign from Giulio Borgianni 
 his brother •, but improved himlelf by ftudying the capital performances of the 
 antient and modern artifts, which he was enabled to contemplate every day, in 
 his native city. 
 
 Having had an offer from a nobleman, of travelling with him in a tour 
 through Europe, he willingly accepted of it, from a defire of being acquainted 
 with the different cuftoms, and manners, of different nations. But, his progrefs 
 was flopped, by his falling in love with a young woman in Spain, to whom he 
 was afterwards married ; and finding his circumflances reduced to a narrow 
 compafs, he applied himfelf to his profeffion with double diligence, to procure 
 a comfortable iupport. His endeavours were foon fucceisful, and he was 
 happy enough to find many friends, admirers, and employers, and was accounted 
 one of the bcil painters in Ste 
 
 A fter the death of his wife, having then no attachment to that country, he 
 returned to Rome, and painted fome hiflorical fubjects, larger than life ; but, 
 the figures, being above his accuflcmed fize, fhewed a want of correefnefs ia 
 feveral of the members, which made his pictures not quite acceptable to the 
 it lined tafle of the Jloman fchool. However, he was engaged in fome great 
 v. (>rks for the chr.pels, and convents, and aiio to paint portraits, by which he 
 acquired honour, and lived in affluence. 
 
 He died, heart-broken with melancholy, by the ill treatment he received, 
 
 through the envy, anel villainy of one Celio a painter, who proved a moft 
 
 malicious competitor ■, and to whom he had often been preferred, by the belt 
 
 iu(lj?(s of painting at Rome. But, he died lamented, and pitied, by every 
 
 hy man of his profeffion. 
 
 Luciano 
 
BOR [ 77 ] BOR 
 
 Luciano BOP. ZONI. 
 
 Painted Hiftory, and Portrait. 
 Died 1645, aged 55. 
 
 He was born at Genoa, in 1590, and excelled equally in portrait, and hiftory. 
 The early manner of this mailer was faulty and incorrect; but, his fecond was 
 grand, and graceful ; his expreffion was good, and his colouring ftrong, and 
 natural. 
 
 John Baptist BORZONI. 
 
 Painted Perfpeftive, and Hiftory. 
 
 Died 1654. 
 
 He was one of the fons of Luciano Borzoni, who being inftrufted by his 
 father, painted hiftory in the lame ftyle of colouring, and delign, with figures as 
 large as life ; and he often painted perfpective views of palaces, gardens, and 
 publick edifices, with good fuccefs. 
 
 Carlo BORZONI. 
 
 Painted Portrait. 
 
 Died 16 5j. 
 
 This painter was another fon of Luciano, who painted portraits, in tht 
 manner of his father, and gained an extraordinary reputation. 
 
 Francisco Maria BORZONI. 
 Painted Land/capes. 
 
 Died 1679, aged 54. 
 
 He was born at Genoa, in 1625, the youngeft fon of Luciano ; and, although 
 he received his inftruction in the art of painting from his father, whofe greateft 
 excellence confifted in hiftorical painting, yet the genius of Francilco inclined 
 him to landfcape, in which ftyle he became very eminent. 
 
 He generally introduced views of the fea, and ihipwrecks, and imitated the 
 ftyles of Claude Lorraine, and Gafpar Pouflln, with fuccefs. His compofition 
 is good ; his fites are pleafmg ;, his trees are delicately, yet freely touched ; 
 his colouring is tender, frefn, and has great truth ; and his pictures have a 
 truly fine effect'. 
 
 For feveral years he was employed and honoured at the French Court ; and 
 his works at the Louvre, and other palaces, have a fufficient degree of merit, to 
 maintain his reputation. 
 
 L 2 J e r o M 
 
BOS [ 78 ] BOS 
 
 J E R O M BOS. 
 
 Painted Devils, Witches, Temptations of S. Anthony, and Hiflory. 
 
 Died 1500. 
 
 He was born at Bois-le-duc, and feemed to have a peculiar pleafure in- 
 painting Spectres, Devils, and Enchantments •, and although he pofieffed 
 confiderable powers as a painter, as well in the freedom of his touch, as in the 
 ftrength of colouring ; yet his pictures rather excite a horror, mixed with 
 admiration, than any degree of real delight. 
 
 When he viewed the Eicurial in Spain, and confidered the wonderful 
 performances of Raphael, Buonaroti, Lionardo da Vinci, Correggio, and 
 Titian, with which that palace is invaluably enriched, he defpaired of producing 
 any thing comparable to them, in their different ftyles. He therefore fixed 
 upon a ftyle differing from all, which was full of fancy, whim, and wildnefs 
 of imagination -, and his fubjecf s, though allegorical, were filled with demons, 
 and unulual forms of apparitions, and objects that were thoroughly difagreeable. 
 
 The mod remarkable painting of this mafler's hand, among feveral others in 
 the Eicurial, is an allegory of the pleafures of the flefh ; in which hereprefents 
 the principal figure in a carriage drawn by monftrous imaginary forms, 
 preceded by Demons, and followed by Death. 
 
 As to his manner, it was lefs ftiff than that of moft of the painters of his 
 time •, and his draperies were in a better tafte, more fimple, and with lefs 
 famenefs, than any of his cotemporaries. He painted on a white ground, which 
 he (o managed, as to give a degree of tranfparence to his colours, and the 
 appearance of more warmth. He laid on his colours lightly, and fo placed 
 them, even at the firft touch of his pencil, as to give them their proper effect, 
 without difturbing them, and his touch was full of fpirit. It is very remarkable 
 that although his fubjects are frequently difagreeable, his pictures have always 
 been much efteemed, and yield confiderable prices. 
 
 * Lewis Janssen BOS. 
 
 Painted Flowers, and Portrait. 
 
 Died 1507. 
 
 He was born at Bois-le-duc, and having been carefully inftructed in the art of 
 painting by the artifts of his native city, he applied himfelf intirely to ftudy 
 after nature, and rendered himfelf very eminent for the truth of his colouring, 
 and the neatncfsof his handling. 
 
 His favourite fubjects were flowers, and curious plants, which he ufually 
 reprcfented as grouped, in glaffes, or vafes of chryftal, half filled with water ; 
 and gave them fo lovely a look of nature, that it feemed fcarce poffible to 
 exprefs them with greater truth, or delicacy. 
 
 * Mr. Defcamps calls this painter John Lewis de Bos, but Sandrart names him Lcwis-Janfilii 
 bv.s ; and vet each of thofe authors profefs to follow the fameguide, Charles Van Mander. 
 
 It 
 
BOS [ 79 ] BOS 
 
 It was frequent with this matter, to reprefent the drops of dew on the leaves 
 of his objects, which he executed with an uncommon tranfparence ; and 
 embellifhed his fubjects with butterflies, bees, wafps, and other infects, which, 
 Sandrart fays, were fuperior to any thing of that kind performed by hij 
 cotemporary artifts. 
 
 He likevvife painted portraits, with very great fuccefs, and (hewed as much 
 merit in that ftyle, as he did in his compofitions of ftill life. 
 
 Gaspar Vander BOSS. 
 
 Painted Ships, Sea Views, Calms, and Storms. 
 Died 1 666, aged 32. 
 
 He was born atHoorn, in 1634, and fhewed an early genius to the art of 
 painting. As he advanced in knowledge, and practice, he diftinguifhed 
 himfelf, by the goodnefs of his compofition, by a light, free touch, by a p.leafing 
 tint of colour, and a very artful manner of handling. Infomuch, that Bronk- 
 horft, an able painter, and a competent judge, faid, he had not feen better 
 performances of any matter, than thofe of Bofs. 
 
 He worked with indefatigable application, which probably impaired his 
 health ; for, he died in the bloom of life, univerfally regretted. 
 
 Balthasar Vanden BOSCH. 
 
 Painted Conversations, and Portraits. 
 
 Died 1 7 1 5, aged 40. 
 
 He was born at Antwerp, in 1675, and was placed under the care of one 
 Thomas, whofe fubjects were apartments with figures in the manner of 
 Teniers-, and he decorated the infides of thofe appartments, with bufto's, vafes, 
 pictures, and other curiofities, which fort of fubjefts were at that time in great 
 requeft. 
 
 Bolch ftudied the fame manner of painting, and with great fuccefs ; but the 
 connoifleurs, and his friends, advifed him to employ his pencil on fubiecls of a 
 more elegant, and elevated kind ; becaufe it ieemed a little abfurd, to fee 
 appartments defigned with fo much magnificence, and fo richly ornamented, 
 occupied by perfons fo mean and vulgar in their appearance, as the figures 
 generally reprefented. 
 
 Bofch profited by the advice, and foon acquired a different ftyle of defi^n, 
 and elegance, in his compofition ; which afforded more pleafure to the eye, and 
 more value to his productions. He alio painted portraits with a great deal cf 
 reputation, particularly a portrait of the Duke of Marlborough on Horfeback, 
 which gained him all the applaufe, that he could poifibly defire. The horfe 
 was painted by Van Bloemen. 
 
 His paintings rofe at laft to a molt extravagant price, and were, at that time, 
 more dear than thofe of Teniers, or Oftade. Some of his works have true 
 merit, being very good in the compofition, and defign, and alfo in refpedt of 
 the colouring ; and the forms of his figures were more elegant, than molt of 
 
 5 his 
 
BOS [ 8o ] BOS 
 
 his cotcmporaries. His fubjects were judiciou fly chofen, and for tJie moft part 
 they were fculptors or painters, furraunded with pictures, or bufto's of marble, 
 hrafs, or plainer, to which he gave abundance of variety, and a great degree 
 of truth. His pencil is light, his touch fpirited, and his figures arc drefie-d in 
 the mode of the time. 
 
 However, notwithftanding he poffeffed fo much merit, as is generally and 
 juftly afcribed to him, his works cannot enter into competition with thofeof 
 Oftade, or Teniers ; nor is he now efteemed, as he formerly had been, even by 
 his own countrymen. 
 
 Thomas Will eborts BOSSCHART. 
 Painted Hiftory, and Portrait. 
 Died i66j, aged 54. 
 
 He was born at Bergen-op Zoom, in 161 3, and at firft was inftructed by an 
 ordinary painter in that city ; but, having too great a natural genius, to be 
 content with fuch a mafter, he quitted him, and went to ftudy at Rome ; where 
 he became the difciple of Gerard Segers, and lived with him for four years ; 
 till by the care of that artift he was fo remarkably improved, that his per- 
 formances met with general approbation. 
 
 He fhewed a fine tafte of defign, and was very correct ; his touch was free 
 and full of fpirit •, his colouring had traniparence and truth, and his carnations 
 had fo much of foftnefs and life, that he was thought to approach near to 
 Yandyck, in portrait and hiftory ; fo that his works were eagerly purchafed. 
 
 His finc-ular merit recommended him to the favour of the Prince of Orange, 
 who not only bought up all that could be procured of his paintings, but he alio 
 engaged Boffchart in his fervice, for feveral years. 
 
 The lar°-e picture at the Hague, which emblematically reprefents war and 
 peace, and the martyrdom of S. George in the great church, which were painted 
 by this mafter, are highly commended for goodnefs of expreffion, for excellent 
 colouring, and for being exquifitely finifhed. 
 
 Andrea BOSCOLI. 
 
 Painted Hijlory. 
 
 Died 1606, aged SZ- 
 
 lie was born at Florence, in 1553, and was a difciple of Santi di Titi. He 
 rendered himfelf famous, by having a juft notion of the Chiaro-Scuro, and ufing 
 it fuccefsfully in the Florentine fchool, where, before his time, it had not b 
 well underftood ; though Giorgione at Venice, and alfo Titian, had eftablifhed 
 it as a principle of the art, and made the happieft ufe of it in their works, fome 
 years before Bofcoli. 
 
 He had a great freedom of hand, with a furpriflng force of colour -, and the 
 
 . ndeur of his ftyle in defign, and compofition, relembled that of his mailer. 
 
 ■ ftudied after nature, and wherever he travelled, had always a book with 
 blank paper* to (ketch any particular objects that gave him pleafure, in order to 
 preferve "the ideas of tho'fe objects, whenever he wanted to introduce them in 
 
 5 his 
 
BOS [ 81 ] EOT 
 
 his defigna." But, happening at Loretto, to furvey the flight fortifications of 
 that city with particular attention, and being obferved while he was bufy in 
 drawing a fketch of them ; he was inftantly feized by the officers of juftice, and 
 condemned to be hanged ; which fentence would certainly have been executed 
 in a few hours, if Signior Bandini had not interpofed in his behalf, and explained 
 to the chief magistrate, the innocent intention of the painter. 
 
 Jacob V a n d e n BOSCH. 
 
 Painted Still Life. 
 
 Died i6j6, aged 40. 
 
 This artift was born at Amfterdam, in 1636, and painted fummer fruits of 
 various kinds, peaches, pears, apples, plums, nectarines, and cherries, with 
 extraordinary neatnefs of pencil. He painted all his objects after nature, and 
 imitated every fort of fruit, with fo great truth and delicacy, with fuch natural 
 and tranfparent colour, that they appeared delicious, and almoft real. 
 
 John BOTH. 
 
 Painted Landfcape. 
 Died 1650, aged 40. 
 
 Houbraken cenfures De Piles, and Felibien, for mifcalling the names of the 
 two brothers, John and Henry ; and alfo, for their affirming that Henry was 
 the landfcape painter, and John, the painter of figures •, whereas, the direct 
 contrary, is the truth. And Houbraken afferts, that from fuificient and 
 inconteftable authority, he knows, the name of the landfcape painter to be John, 
 and the other, Andrew •, and in this cafe, I think the authority of Houbraken, 
 preferable to the other writers. 
 
 John Both was born at Utrecht, in 1610, and was the difciple of Abraham 
 Bloemart, who at the fame time instructed Andrew, the brother of John Both ; 
 but, to perfect thcmfelves in a good tafte of defign, they went together to 
 Rome, and refided there for a great many years. 
 
 The genius of John directed him to the Study of landfcape, in which he rofe 
 almoft to the higheft perfection, making the ftyle of Claude Lorraine his 
 model ; and by many, his works are mentioned in competition even with 
 thofe of Claude. The warmth of his fkies, the judicious and regular receding 
 of the objects, and the fweetnefs of his distances, afford the eye a degree of 
 pleafure, Superior to what we feel, on viewing the works of almoft any other 
 artift. 
 
 John and Andrew had very different talents, and each of them were admirable- 
 in their differeot way. The former excelled in landfcape, the latter inferted 
 the figures, which he defigned in the manner of Bamboccio ; and thofe figures 
 are always fo well adapted, that every picture feemed only the work of one 
 mafler. The works of thefe affociate brothers, are juftly admired through all 
 Europe; they. are univerfally fought for, and purchased at very large prices. 
 
 Moft 
 
BOX [ 74 ] B O T 
 
 Moft of his pictures are, for fize, between two, and five feet long ; but, in 
 thofethat are fmaller, there is exquifne neatnefs. They generally exprefs the 
 funny light of the morning, breaking out from behind woods, hills, or mountains, 
 and diffufing a warm glow over the Ikies, trees, and the whole face of nature -, 
 or elfe a funl'et, with a lovely tinge in the clouds, every object beautifully 
 partaking of a proper degree of natural illumination. And, it is obferved, 
 that even the different hours of the day are perceptible in his landfcapcs, from 
 the propriety of the tints which he ufes. 
 
 By fome connoifleurs he is cenfured, for having too much of the tawny in 
 his colouring, and that the leafings of his trees are too yellow, approaching to 
 faffron •, but, this is hot a general fault in his pictures, though fome of them, 
 accidentally, may juftly be liable to that criticifm ; for, he corrected that fault •, 
 and many of his pictures, are no more tinged with thofe colours, than truth, 
 and beautiful nature, will juftify ; and his colouring obtained for him the 
 diftinction, which he ftill poffefTes, of being called, Both of Italy. 
 
 Defcamps in the life of Both, fays, that John painted landfcapes, and Andrew 
 figures in the manner of Bamboccio ; and yet, in a following paragraph, he 
 aflerts, that Andrew was drowned in a canal at Venice, and John returned to 
 Utrecht •, in which account he appears to follow Sandrart, though other 
 writers agree, that it was the landfcape painter who was drowned, and Andrew 
 returning to his own country, painted converfations, and portraits, as long as 
 he lived, of which the other was incapable. 
 
 Houbraken mentions a picture of this mafter, in the poffeflion of Mr. de 
 Jode, at the Hague, which is fix feet high, and efteemed the mafter-piece of 
 Both. The figures are large, and the ftory reprelented is that of Mercury and 
 Argus •, the back part is exceedingly clear, the verdure true nature, and the 
 whole admirably handled. 
 
 The two brothers mutually affifted each other, till the death of John •, and 
 then Andrew retired from Italy, and fettled in his own country. 
 
 Andrew BOTH. 
 Painted Landfcape, Figures, and Portrait. 
 Died 1656. 
 
 After the death of his brother John, he fettled at Utrecht, and continued to 
 paint ibmetimes portraits, fometimes landfcapes in the manner of his brother, 
 and alfo converfations, and players at cards, in the manner of Bamboccio. 
 
 Eoth of thofe matters had extraordinary readinefs of hand, and a free, light, 
 fweet pencil •, and that they were expeditious, may be evident from the great 
 number of pictures which they finiihed. Andrew, during the remainder of his 
 life, had as much employment as he pofiibly could execute •, but, he was lb 
 affected by the melancholy death of his brother, that he furvived him only a 
 lew years, 
 
 S A N d r © 
 
BOT [ 83 ] BOU 
 
 Sandro, or Alessandro BOTICELLO. 
 Painted Hijlory, and Portrait. 
 Died 15 1 5, aged 78. 
 
 He was born at Florence, in 1437 » ar >d being placed as a difciple with Fi- 
 lippo Lippi, he imitated that mailer, as well in his defign, as colouring. He 
 performed feveral confiderable works at Florence, and feveral at Rome, by 
 which he gained great reputation ; at the former, a Venus rifing from the fea, 
 and alfo a Venus adorned by the Graces ; and at the latter, he painted facred 
 iiibjedts from the New Teftament, which at that time were very much com- 
 mended. He obtained great honour, by his performances in the chapel of 
 Sixtus IV. for which he was very amply rewarded •, and for the family of the 
 Medici he finished fome portraits, and many hiftorical compofitions. 
 
 It was cuftomary with this mafter, to introduce a great number of figures, m 
 all the fubjects he defigned, and he difpofed them with tolerable judgment, and 
 propriety ; but, in one of his defigns, reprefenting the Adoration of the Magi, 
 the variety, and the multitude of his figures, are aftonifhing. 
 
 Louis BOULLONGNE, the Old. 
 
 Painted Hijlory. 
 
 Died 1 674, aged 65. 
 
 The principal accomplifhments of this mafler, who was born at Paris, iti 
 1609, confifted in his ability to copy the works of the moft celebrated antient 
 painters. The fimilitude between his pictures, and the originals, was fcarcely 
 credible ; and it hath often furprized, and puzzled, fome of the moft 
 expert judges. 
 
 However, he painted hiftorical fubje&s of his own invention and defign ; and 
 in the church of Notre Dame at Paris, there are three of his compofitions •, St. 
 Paul at Ephefus ; the Martyrdom of St. Paul ; and the Prefentation of Chrift 
 in the Temple. 
 
 Bon BOULLONGNE. 
 
 Painted Hijlory, Portrait, Land/cape, and Pajlici. 
 Died 1 7 17, aged 68. 
 
 He was the fon and difciple of Louis, born at Paris, in 1649, and painted 
 hiftory, and landfcape with iuccefs ; but the moft remarkable part of his merit 
 was, that, like his father, he could imitate the works of the greateft mafters, 
 and iucceeded in it to admiration, as he had the {kill to give his own pictures, 
 the look and appearance of antient paintings. 
 
 He copied a picture of Guido's with fuch amazing exactnefs, that even Mig- 
 nard pronounced it peremptorily, to be of Guido's own hand. And he copied 
 another after Pierino del Vaga, which, in every refpect, is fo like, as to make it 
 impoflibie to diftinguiih it from the original. 
 
 M Certainly 
 
BOU [ Mi ] B O U 
 
 Certainly fatfts like thefe, which frequently occurr, and are well atteftcd, 
 ono-ht to inftruct modern connoiffeurs, to be lefs pofitive in their opinions of 
 the authenticity of pictures •, and more modeft in their affertions, of their infal- 
 lible knowledge of hands. 
 
 Louis BOULLONGNE, Chevalier, The Young. 
 
 Painted Hiftory. 
 Died 1734, aged 80. 
 
 He was the younger brother of Bon, born at Paris, in 1654, and inftrudled 
 in the art of painting by his father. As he had a good natural genius, and 
 great induftry, he afforded very early proofs of his abilities •, and at the age of 
 eighteen, obtained the firft prize in the academy ; on which account he was lent 
 to Rome, to improve himfelf in compofition, anddefign. 
 
 He continued at Rome for five years, and employed his time to the bed pur- 
 pofes, fketching the works of the greateft mailers, and particularly copying the 
 works of Raphael •, and feveral of thofe copies, on his return to France, were 
 executed in tapeftries. 
 
 Lewis XIV. honoured this mailer with many marks of his favour, andefleem ; 
 he employed him at Fontainbleau, and Trianon ; allowed him a confiderable 
 penfion ; conferred on him the order of St. Michael •, and, after the death of 
 Anthony Coypel, appointed him principal painter, and enobled Boullongne, and 
 all his defendants. 
 
 In all the performances of this mailer, it might eafily be obferved, that he 
 had fludied the eminent mailers with judgment, and care-, his colouring was 
 llrong •, his compofition was in a good ftyle ; the airs of his heads had expreifion, 
 and character •, and his figures were defigned with competent correctnefs. 
 
 Among many hillorical paintings of this mailer, two are particularly dif- 
 ringuifhed, which are in the church of Notre Dame at Paris •, the one is Chrift 
 and the Centurion, and the other is, the Good Samaritan. 
 
 Sebastian BOURDON. 
 
 Painted Hiftory., Land/cape, and Portrait. 
 
 * Tied 1 67 1, aged 55. 
 
 Bourdon was born at Montpelier, in 1616 •, and in feveral branches of his 
 art was an excellent painter, but, principally, in landfcape. He had a fertile 
 genius •, yet, feemed to want ftrength of judgment, to guide and regulate the 
 wantonnefs of his imagination. 
 
 The firft rudiments of the art were taught him by his father, who was a 
 painter on glafs ; but, he ftudied under another artift at Paris, who was a perfon 
 of no great note ; and yet, the force of hi., own geuius amply fupplied him with 
 thofe powers, which he could not procure from his preceptors. 
 
 • The mod autheutick writers fix the birtli of Bourdon in 1616, and his death in 1671, at the 
 age of sjj, p.rticula.ly the authors of the Abrcge, Sec. \ etDe Piles, and the Chronologica. Tables, 
 fix his birthin 16c, and his death in 16b:, at the age of 60 ; and Pere Reila fays, he was born in 
 1617, and died in 1073, at the age oi : 54. 
 
 At 
 
BOU [ 8 5 ] BOU 
 
 At eighteen years of age he travelled to Rome, to acquire a better tafte of 
 defign, and enlarge his knowledge •, and having only looked on a picture, 
 painted by Claude Lorraine, he copied it by the ftrength of his memory, to the • 
 iurprize of Claude himfelf, and of feveral others who were able judges. He alfo 
 imitated the ftyle, and compofition, of Andrea Sacchi, andCorreggio •, and, with 
 great fuccefs adapted his pencil to the delicate manner of Bamboccio. 
 
 After a refidence for three years in Italy, and being for fome time in the 
 fervice of Queen Chriftina of Sweden, he returned to his own country, excellently 
 qualified ; and finiihed that celebrated picture, which is in the church of Notre 
 Dame at Paris, when he was only twenty-feven years of age. 
 
 He had an uncommon readinefs of hand ; though he was frequently incorrect, 
 and was particularly fo in the extremities of his figures. As a proof of his expe- 
 ditious manner of painting, it is reported, that in one day he painted twelve 
 portraits after life, as large as nature, and thole not the worft of his per- 
 formances. 
 
 His touch is extremely light •, his colouring good •, his attitudes are full of 
 variety, and fometimes graceful ; and his .exprefiion is lively and animated. 
 However, it muft be confefTed, that his conceptions were often extravagant, nor 
 would many of his compofitions abide a critical examination. 
 
 His landscapes are in the tafte of Titian, but they feem rather defigned from 
 imagination, than after nature ; yet,, in feveral of them, the product of that ima- 
 gination has a beautiful effect •, and he ufually enriched his paftoral fcenes with 
 a great number of figures, and animals. His pictures are feldom finifhed, and 
 thole which appear moft fo, are not always his bed. 
 
 The moft efteemed work of Bourdon, is the Martyrdom of S. Peter, in the 
 church of Notre Dame at Paris, which is confidered as a curiofity. 
 
 Giacomo Cortes i, called BOURGUIGNON, or 
 
 BORGOGNONE. 
 
 Painted Battles, and Hijlcry. 
 Died 1676, aged 55. 
 
 This admirable artift was born at St. Hippolito in Franche Compte, in 1 62 1, 
 and was inftructed by feveral mafters •, but did not imitate the ftyle of any 
 one of them. He compofed hiftorical fubjects in a grand and elegant tafte, but 
 his principal fubjects were battles ; and thofe he executed with fuch fpirit, 
 freedom, and fire, as rendered him fuperior to all others in that ftyle. 
 
 For fome years he held a confiderable poft in the army, and there formed his 
 animated ideas, from actions of which he had been an eye-witnefs in the field. 
 When he quitted the army, he placed himfelf under the direction of Jeronymo, 
 aLorrainefe painter; where Guido, having accidentally leen fome of his defigns, 
 conceived a great efteem for him, and took delight in giving him the beft 
 precepts for his improvement. As alfo did Albano, when he obferved the ex- 
 tenfivenefs of the genius of Bourguignon ; and that artift had furficient judg- 
 ment to make a moft happy ufe of the advice of thofe eminent mafters, in all his 
 iubfequent works. 
 
 M 2 Hi3 
 
BOU [ 86 ] BRA 
 
 His pencil is uncommonly bold, and free ; his defign full of inimitable 
 fire, and elevation of .thought -, and his colouring hath fo great a degree of force, 
 as to add life to every object. He was, in all kinds of coinpofitions, lb expert 
 an artift, that he never found it neceffary to make even a fketch, or defign, of 
 the fubject he intended to paint ; but he juft marked the canvas with the point 
 of his pencil, and finifhed his work without farther hefitation. 
 
 The paintings of this mafter are eafy to be diftinguiftied, by any one who will 
 attentively obferve the peculiar life, motion, fpirit, and action of his hories, and 
 figures •, the freedom of his touch ; the boldnefs of his handling •, the vigour of 
 his colouring ; and the truth of his expreflion. 
 
 In the Palazzo Pittiat Florence, there are four battle-pieces painted byBour- 
 guignon, in a noble ftyle. They are of a large fize, between eight and nine feet 
 long, but the figures are fmall, being only from fix to eight inches high. Thofe 
 paintings are incomparably beautiful, the colouring has an aftonifhing force, the 
 freedom alfo and fpirit of the penciling are truly admirable ; but they have too 
 great a blacknefs, though, perhaps, the darknels of that tint may have been in- 
 creafed by time. 
 
 Francis BOUT. Vid. Bodewyns. 
 BOU WE R. Vid. Baur. 
 
 Reinier BRAKENBURG. 
 
 Painted Landfcafes, and Converfations. 
 Born in 1649. 
 
 He was born at Haerlem, and placed as a difciple under Mommers •, but, it 
 is the opinion of Houbraken, that he ftudied afterwards under Bernard 
 Schendel. 
 
 His fubjects were like thofe of Brouwer, and he refembled that mafter, not 
 only in his genius, and ftyle of compofition, but alfo in his morals, and manner 
 of life ; both of thofe artifts being ingenious, and difiblute. Yet, in fome of his 
 pictures, it (eems as if he defired to imitate Oftade. 
 
 He defigned his figures after nature, and reprefented them in the habit and 
 mode of the time. His fubjects were the feafts of boors, the amufements of 
 villagers, kermefles, dancings, and, very frequently, converfations ; in which, 
 love and wine were never omitted. His compofitions are ingenious, and full of 
 variety as to actions, and attitudes ; though, the forms of his men and women 
 are always the fame, always copied from low nature, without elegance of choice. 
 His colouring is ftrong and natural -, his touch lively, and firm, only it were to be 
 wifhed, that he had a better tafte of defign. 
 
 The pictures of his latter time, are often not fo carefully executed -, and, par- 
 ticularly, in the extremities. 
 
 Leonard 
 
BRA [87] BRA 
 
 Leonard BRAMER. 
 
 Painted Hijlory, with a number of rich Vafes. 
 
 Bom in 1596. 
 
 He was born at Delft, but learned the art of painting in the fchool of Rem- 
 brant, and imitated the manner of his mafter in fmall. In the eighteenth year- 
 of his age, he went to Rome for his improvement ; but, although he continued 
 in Italy for ibme years, and acquired fomevvhat in his ftyle, rather more graceful 
 than Rembrant, yet he could never diveft himfelf of the Flemifh gout. 
 
 He had a fine tafte of defign ; his expreffion is generally good, and in fome of 
 his compofitions truly noble. His pencil is delicate, and his colouring very pe- 
 culiar in the tints, being alfo remarkably thin in many parts, fo as barely to cover 
 the panel ; yet, by great fkill in the management of the chiaro-fcuro, his co- 
 louring is bright, bold, and full of luftre •, particularly, in the vafes, which he 
 was fond of introducing in every Subject that could admit them, as he knew how 
 to give them a rich and fine relievo. He had accuftomed himfelf to paint with. 
 a very thin body of colour, efpecially in the browns, and fhadowy parts, in order 
 to give his pictures a greater tranSparence. 
 
 At Venice, Naples, Florence, Mantua, and other cities of Italy, as well as at 
 Rome, he left many proofs of his extraordinary merit, which rendered his name 
 deservedly famous -, and his works are rarely to be met with out of Italy, where 
 he painted moft ; but, whenever they are to be purchafed, they are bought at 
 eonfiderable prices, if they are intire, and undamaged. 
 
 One of the moft capital pictures of Bramer is, the raiftng of Lazarus, in- 
 which there is a charming opposition of light and Shadow ; and another is, the 
 Deniel of St. Peter ; they are both painted in his beft manner, they are bright, 
 tranfparent, and finely penciled, and are ft ill preferved at Rome. Likewiie at 
 the palace of Ryfwick, there are feveral valuable paintings by this mafter ; in 
 which the invention, and execution, are highly commendable. But, none of his 
 works can be more admired, than a fmall picture on copper, reprefenting the- 
 .dory of Pyramus and Thiibe. 
 
 Peter BRAN DEL. 
 
 Painted Portrait, and Hiftory, 
 
 Died 1739, aged 79. 
 
 He was born at Prague, in 1660, and at fifteen years of age became a difciple . 
 of John Schroeter, principal painter at that court. When he had fpent about- 
 four years in that fchool, Schroeter had opportunities of obferving the riling 
 merit of his pupil; and that he was in reality a better artift than himfelf-, which 
 probably occasioned their feparation foon after. For, Brandel had received 
 direction from his mafter to paint a fmall altar-piece, and Schroeter going in the 
 evening to fee how far the work was advanced, perceived his difciple at a window, 
 unemployed ; and without looking at the picture, which was already finifhed,. 
 he infulted him in Severe terms for idling. Which unmerited ill treatment, 
 Brandel immediately refented, quitted his School, and commenced a mafter 
 himfelf. 
 
 2 Moft 
 
BRA [ 88 ] BRA 
 
 Moil of the churches at Prague, and Brefb.u, are cmbellifhed with his work?; 
 and the Prince of Hazfeld gave him an hundred ducats for one picture of 
 S. Jerome at half length. 1 Je fpent the greateft part of His life at Prague, and 
 might have been exceedingly enriched by his performances, if he had not walled 
 his acquisitions by profufion, and an irregular conduct •, but, he died very poor, 
 and was buried by charitable contributions. However, the Jefuits and Monks 
 p ;iJ a proper refpect to his talents, and his memory, by appointing for him a 
 lolemn funeral procelTion ; in which three hundred tapers of wax were carried 
 by ecclefiafties. A mark of public efleem, which did as much honour to the 
 tafte of the times, as to the memory of the artiil. 
 
 He had a good genius, and consulted nature •, his invention was ready ; his 
 manner of painting was expeditious -, and, although he defigned with great eafe, 
 he avoided loading his compofitions. His colouring is natural, except that in 
 his Ihadows he was fometimes too black, and his pencil was broad, eafy, and 
 very free. 
 
 Giacinto BRAND I. 
 
 Painted Hiftory. 
 
 Died 1 69 1, aged 68. 
 
 He was born at Poli, about twenty miles from Rome, in 1623, and at firfl was 
 •inftructed in the art by Algarde •, but, afterwards, by Giacomo Sementa of 
 Bologna, who painted in the manner of Guido. 
 
 In a few years, after he had quitted the fchool of Sementa, he rofe into reputa- 
 tion, and was employed in many of the churches and palaces at Rome, and the 
 neighbouring cities ; but, although he appeared to have a great fhafe of merit 
 in particular parts of his profeflion, yet in others he was but very indifferent, if 
 not contemptible. Befides, he always feemed to have much lefs attention to his 
 fame, than to his fortune •, and was more remarkable for his avarice, than his 
 excellence. He had, indeed, a lively genius, and a free pencil,. but he was very 
 incorrect, and his colouring was but weak, and not agreeable. 
 
 The daughter of this painter was married to the celebrated Rofa da Tivoli, 
 of whom Giacinto conceived a mean opinion, becaufe Rofa painted nothing but 
 beads. However, that contemptuous behaviour made fo flrong an impreflion 
 on the mind of Rofa, that, to requite it in fome meafure, he bought all forts of 
 cloaths proper for his bride, and laid them in her apartment ; and rifing very 
 early the morning after his marriage, he collected every article that his wife had 
 worn, not excepting even her fhift, and packing all up together, he fent them 
 back to her father ; letting them know at the fame time, that his daughter's 
 perfon was fortune enough to make her hufband happy, and that a good painter 
 of beads was as likely to grow rich, as a bad painter of men. 
 
 Gregory BRANDMULLER. 
 
 Painted Hiftory., and Portrait. 
 
 Died 1691, aged 30. 
 
 He is confidered among the Germans, as an artift of the firfl rank, and was 
 born at Bafle, in 1 66 1 . He acquired the knowledge of delign, by fludying and 
 
 copying 
 
BRA [89] BRA 
 
 copying fome good print?, which were in the pofieffion of his father, and from 
 the appearance of his having a ftrong natural genius, he was placed as a difciple 
 with Caipar Meyer. 
 
 When he quitted Bade, he went to Paris, and had the good fortune to be 
 received into the fchool of Le Brun •, and the variety of works in which that 
 eminent mailer was employed, proved an excellent means of inftruiftion to the 
 young artift. He plealed Le Brun exceedingly by the progrefs he made, fo that 
 he was intruded with feveral defigns, under the immediate infpection of that 
 great painter j but, the particular refpect and preference, fhewn by the mafter to 
 the difciple, excited the envy and jealoufy of others, to fuch a degree, as might 
 have been attended with unhappy confequences, if Brandmuller had not retired 
 to his own country ; though, not before he had obtained the prize, in the Royal 
 Academy at Paris. 
 
 He excelled in hiftory and portrait, and his genius refembled that of Le 
 Brun •, his fubjefts being full of fire, and treated with elevation, and grandeur. 
 His defign is correcl, and his exprefllon animated, andjuft. He had a good 
 method of colouring, laying on each mafs in fo proper a manner, as to avoid 
 breaking or torturing his tints •, which made his colours retain their original 
 beauty and ftrength, without fading. 
 
 He was fond of painting portraits in an hiftorical ftyle •, and was generally 
 commended, for the refemblance of the peribns who were his models, and the 
 agreeable tafte in his compofitions. 
 
 Solomon De BRAY. 
 
 Painted Portrait. 
 
 Died 1664, aged 67. 
 
 He was born at Haerlem, in * 1597, and is reckoned among the good artifts 
 of his time. He painted a great, number of portraits, in a fmall, as well as in 
 a large fize, for perfons of the greateft diftintftion in the Netherlands ; and he 
 gained much honour, by educating and inftrutting his fon, in his own profeffion, 
 who afterwards became a very eminent painter. 
 
 Jacob De BRAY. 
 Painted Hiftory. 
 ■f He was alive in 1680. 
 
 This mafter was the fon and difciple of Solomon de Bray, born likewife at 
 Haerlem, and diftinguiftied himfelf exceedingly by his drawings, as well as his 
 paintings. 
 
 At Amflerdam there is a piclure by this artift, reprefenting David playing ' 
 before the Ark, which is mentioned by writers, in the higheft terms of conv 
 mendation. It is finiihed with a neat clean touch, and the colouring is fo happily 
 managed, that it appears as frefh, as if it had but newly come from the eaiel. 
 
 * Mr. Defcamps fixes his birth in 1579. 
 
 -f- Mr Defcamps fays, that Jacob de Bray died feme weeks before his father, in 1 554 '> but other 
 writers affirm, that he was alive in 1680. 
 
 He 
 
BRE [90 ] BRE 
 
 H: Ihewed uncommon (kill, in defigning and drawing naked figures ; but his 
 drawings on vellum and paper are extremely fine, and highly valued. They are 
 (inifhed in red and black chalk, and many of them are preferved in the col- 
 kclion of Mr. Ifaac Delcourt, at Amfterdam. 
 
 BRECKBERG. Fid, Berflheyben. 
 
 Peter Van BREDA, or Bredael. 
 
 Painted Land/capes, and Catil:. 
 
 Died 1681, aged 51. 
 
 He was born at Antwerp, in 1630, ftudied landfcape after nature, and 
 adorned his ckftgns with figures that were correctly drawn, and grouped with 
 judgement. His grounds are well broken, and the trees, and waters, which he 
 always fketched upon the fpot, have abundance of truth •, are remarkable for 
 clearnefs, and good handling ; and his fcenes are generally enriched with elegant 
 Roman buildings, fountains, monuments, and ruins. His ftyle refembled that 
 of John Brueghel, but, almoft in every refpeft, he is far inferior to that mailer. 
 
 John Van BREDA. 
 
 Painted Hijiory, Landfcape, and Converfaticns. 
 Died 1750, aged 6j. 
 
 He was born at Antwerp, in 1683, the fon of Alexander Van Breda, an artift 
 who was much efteemed for landfcapes, views of particular fcenes in Italy, 
 fairs, and markets, with a variety of animals, and figures. He was inftrudted 
 by his father, and having the advantage of a good example, and a good di- 
 rector, added to his own great application, he continued his ftudies with his 
 father, till he was eighteen years of age. 
 
 Among the variety of capital paintings, which were, at that time, in the pof- 
 feflion of John de Wit at Antwerp, Breda fixed upon thofe of Velvet Brueghel, 
 which he copied with extraordinary fuccefs •, and he was alfo employed for nine 
 years in copying the pictures of feveral other great matters, which he performed 
 with fuch incredible exactnefs, as fcarcely to leave it in the power of any judi- 
 cious perfon, to diftinguifh the originals from the copies. 
 
 Having at length eftablilhed his reputation in Holland, he went to London 
 with Ryfbrack, the fculptor-, and there gradually role into fuch efteem, that he 
 was vilited by perfons of the higheft rank, and particularly patronized by the 
 unfortunate Earl of Derwentwater, who was beheaded for rebellion in 1 7 1 5. He 
 found fo much encouragement in London, that he was employed by the 
 Court, and the Nobility, and could fcarce execute the large demands for his 
 performances. 
 
 After a refidence of fome years in England, he returned to Antwerp, loaded 
 with riches, the honourable teftimonies of Englifn liberality, as well as of his own 
 merit •, and in the year 1746, when Lewis XIV. arrived in that city, he fo far 
 honoured this mafter, as to purchafe four of his pictures. One represented 
 Chrift at the Sea of Tiberias ; another, Chrift. performing Miracles ; and the 
 
 other 
 
BRE [ 91 ] B R E 
 
 other two were landicapes, with a number of figures, fo exquifitely drawn and 
 finifhed, that it would be difficult to diftinguifh them from thole of the Velvet 
 Brueghel. 
 
 He certainly approached nearer to thofe great mafters, whofe manner he imi- 
 tated, namely, Brueghel and Wouwermans, than any other artift of his time. 
 His landicapes are in the ftyle and tafte of the former, and his converlations, 
 hiltorical figures, fairs, fkirmifhes, or battles, are in the manner of the latter. 
 His colouring is good, his touch neat, his Ikies and diftances natural, and beau- 
 tiful, and his tafte of defign agreeable. 
 
 He had as much fire in his compofition, and perhaps more genius, than 
 Brueghel, in thofe fubjects which he painted in the ftyle of that mafter ; his 
 figures are generally well placed •, his grounds fkilfully broken ; every fmall 
 figure hath its particular character, and occupies its proper place ; and in fhort, 
 he is a painter of fuch a rank, that the value and estimation of his works mull 
 always increafe. 
 
 Peter Van BREDAEL. Vid. Peter Breda. 
 
 Bartholomew B R E E N B E R G, called Bartolomeo. 
 
 Painted Land/cape, Hijloiy, and Converfations. 
 Died 1660, aged 40. 
 
 He was born at Utrecht, in 1620 ; but, went early to Rome, and is beft 
 known by the name of Bartolomeo, a diftinguifhing appellation given him by 
 the fociety of Flemifh painters at Rome, called Bentvogels. 
 
 He ftudied landfcape after nature, in the environs of that city, and acquired 
 an elegant and charming tafte. The vaft quantity of fuperb and' amazing ruins, 
 which he continually beheld, afforded him a variety of mod beautiful objects to 
 adorn his landicapes ; and even the trees and Ihrubs, about Tivoli, and Freicati, 
 are admirably adapted to painting, as well in their form, as in their colour. 
 
 The figures which he introduced in his landicapes, are always well executed, 
 and dilpoicd with an elegant propriety •, fo alio are the animals, which he touched 
 with extraordinary fpirit, and freedom. He moftly painted in a fmall fize, and 
 therefore, whenever he attempted a larger, his figures are not fo correct. 
 
 His firft manner was rather too black ; but his fecond is better coloured, 
 better finilhed, and abundantly fuperior to the other •, particularly, on account of 
 the ultra marine, and the colours of a better kind, which he uled in the latter 
 part of his life. His touch is light, and ipirited •, his tone of colouring ex- 
 ceedingly pleafing •, his tafte entirely of the Roman fchool ; and his pictures 
 have both force and delicacy. He embeliiPned his landicapes with hiltorical 
 fubjects, and his works are always diftinguiihed by elegant architecture, or ruins, 
 in the true -Greek and Roman tafte. The figures in his compofitions are o-race- 
 fully proportioned, and defigned •, their draperies are eafy, and ornamental -, and 
 even in his km) left figures, the expreffion is lively, fenlible, and natural. The 
 pictures of this mafter are exceedingly rare, and highly valued. 
 
 N Charles 
 
BRE [ 92 ] B R E 
 
 Charles BRE Y DEL, called Cavalier. 
 
 Painted Land/cape. 
 Died 1744, aged 6j. 
 
 He was born at Antwerp, in 1677, and at firft was the difciple of old Ryf- 
 brack, the landfcape painter, with whom he continued for three years -, and, by 
 liis clofe application to practice during that time, he was enabled to com- 
 mence painter. 
 
 He intended to have improved himfelf by going to Italy •, but was acciden- 
 tally detained at Frankfort, and Nuremberg, where his paintings happened to 
 be much admired. He had a brother, Francis Breydel, who refided at the 
 Court of HeSTe Cafiel, with whom he fpent two years, being retained in the 
 fervice of that Prince ; and afterwards he went to Amfterdam, where he copied 
 feveral views of the Rhine, from the defigns of Griffier, by which his colouring, 
 his penciling, and tafte of defign, were altered extremely for the better. He 
 was curious enough to furvey thofe profpects of the Rhine on the Spot, which he 
 had copied before ; fo that the works of Griffier ought to be considered as his 
 Second, and beft fchool. 
 
 At laft he fettled at Ghent, where the public were exceedingly pleafed with 
 his performances •, and he might have enriched himfelf by his pencil, if he had 
 conducted himfelf with difcretion ; for every one that was curious feemed eager 
 to have fomewhat of his hand. But, by his extravagance and pride, in his dreis, 
 furniture, and table, he only Studied how to earn money moil expeditiously-, and 
 for that purpoie, often painted (light, fmall, and inconfiderable pictures, whofe 
 merit was barely proportioned to the prices he was to receive for them. And, 
 by that means, a number of his pictures, though really genuine, feem unworthy 
 of that pencil, which had painted others fo vaftly fuperior to them in defign, 
 and execution. 
 
 For feven or eight years before his death, he was feverely afflicted with the 
 gout •, and, although he worked when he had intervals of eafe, yet he did not 
 paint with the fame fpirit, the fame delicate finishing, or the fame firmnefs of 
 touch, as in his better time. 
 
 His works are generally obferved to have two manners. While the ideas, and 
 the Style of Griffier, were his models, his pictures had true merit, and excellent 
 colour. His Subjects at that time were views of the Rhine, with boats, and a. 
 number of figures, and animals well deSigned, and neatly executed. This 
 manner he Suddenly changed, to imitate Velvet Brueghel, whofe works were, 
 at that time, univerSally admired. His Subjects in this latter Style are battles, 
 fieges, and encampments •, and, although he was often only a copier of the 
 prints of Vandermeulen, Sometimes taking whole figures, as well as defigns, 
 from the compofitions of that maSter, yet he afterwards compoSed very readily 
 in that Style, without being indebted to any other artiSt. 
 
 The pictures of his beSt time are full of fpirit •, his touch is firm, and well 
 adapted to his Style -, his defign is correct ; and if he had been more exact in 
 confulting and imitating nature, to acquire a general corrcctnefs, his works 
 -would be defervedly eSti nablc. Some of them, indeed, appear too laboured, 
 but, others are full of harmony. 
 
 Francis 
 
BRE [ 93 ] B R I 
 
 Francis BREYDEL. 
 
 Painted Portraits, and Conversations. 
 Died 1750, aged 71. 
 
 He was born at Antwerp, in 1679, and it is generally fuppofed that he was a 
 dilcipleof old Ryfbrack, as well as his brother Charles ; but, he chofe very dif- 
 ferent fubjefts. For, at an early time of life, he painted portraits with fo great 
 fuccefs, that he was appointed painter to the Court of FlefTe-Caflel, where his 
 works were very much elteemed. 
 
 His genius was not limited to portraits only, but he alio painted converfations, 
 feafts, afiemblies, and carnavals ; which fubjefts he obferved to be very pleafing 
 to the lovers of the art, and on that account, he was induced to paint a great 
 many in that ftyle. However, from a levity of temper, he quitted the Court of 
 HeiTe, where he was exceedingly carefied, and went to England •, where 
 probably he found fufficient encouragement, as he continued there for feveral 
 years, along with his friend Vandermyn. 
 
 His converfations, and other compolitions, are finely executed, agreeably co- 
 loured, and well difpoied ; and thofe pictures of his hand are moft preferred, 
 where he has endeavoured to give a proper variety to his figures. In thofe, the 
 drefles are ufually in the mode of the time; the perfons reprefented are of dif- 
 ferent ranks, and occupations, mixed with fome of the military order, and 
 through the whole there is an appearance of nature, truth, and a great deal of 
 lpirit. 
 
 Matthew B R I L. 
 
 Painted Land/cape, and Hiftory. 
 
 Died 1584, aged 34. 
 
 Very few particulars relative to the life of this mailer, are mentioned by the 
 different writers on this fubjecl: but, the moft material are, that he was born at 
 Antwerp, in 1550, and learned the rudiments of his art in that city. That he 
 went to ftudy at Rome, and in a very few years manifefted lb much merit in 
 landfcape, and hiftory, that Pope Gregory XIII. employed him to work in the 
 Vatican, and allowed him an honourable penfion as long as he lived. 
 
 Paul B R I L. 
 
 Painted Landscapes, in large and f mall. 
 
 Died 1626, aged 72. 
 
 This excellent artift, brother to Matthew Bril, was born at Antwerp, in 1554, 
 but bred to the profeffion of painting under Daniel Voltelmans. From the time 
 of his quitting that mafter, till he went to Italy, his manner was rather ftiff", his 
 pictures had a predominant brown and yellow tinge, and his defign and colour- 
 ing were equally indifferent. Eut, when he vifited his brother Matthew at 
 Rome, and there faw the works of Titian, and Caracci, he altered his Fleniiih 
 manner entirely, and fixed upon a ftyle that was abvndantly pleafing, with a 
 charming tone of colour. 
 
 N 2 The 
 
B R I [ 94 ] BRI 
 
 The penfion and employment which his brother polfefTed at the Vatican was 
 conferred upon Paul ; and he fo far furpaiTed him, that he daily rofe in his repu- 
 tation, till he was confidered as the firft in his profeflion. Annibal Caracci gene- 
 rally painted the figures in his landfcapes, and by that means, increafed their 
 value to a very high degree. 
 
 His manner of painting is true, fweet, and tender ; the touching^ of his 
 trees are firm, and yet delicate •, his fcenery, his filiations, and diftances, 
 are admirable, molt of them being taken from nature ; and the mafTes 
 of his light, and fhadow, are flrong, and very judicious ; though, in fome 
 of his fmall cafel pictures, he may be fometimes accounted rather too green, or 
 at lead more greenifh than could be wifhed. It is remarked of him, that in the 
 latter part of his life, his landfcapes were always of a fmall fize; but they are 
 beautiful, and exquifitely finifhed, and frequently he painted them on copper. 
 
 The genuine works of this eminent maftcr are now rarely to be met with, efpe- 
 cially thole of the larger fize, and they afford prices that are extremely high in 
 every part of Europe. Sandrart obferves, that in his time, thepiftures of Paul Biil 
 were eagerly coveted in all countries where the polite arts are encouraged ; that 
 abundance of purchafers appeared at the public fales, ambitious to pofiefs them ; 
 and that very large fums of money were given for them, whenever thev could be 
 procured. And it ieems that their intrinfic value is not diminifhed, fince, a very 
 few years ago, one of the landfcapes of this mailer fold in Holland for 160/. 
 and another, at an au^ion in London, for 120 guineas, or upwards, and yet, 
 they were deemed to be chcw : - : y purchafed. 
 
 A large landfcape by Paul Bril, in his bell manner, with figures, and goats, 
 by one of the Caracci, the Icene being taken from nature, on the banks of the 
 Tyber, is in the poilefTion of the author of this book. 
 
 Cornelius BRIZE. 
 Tainted Still Life, and Mujical Injlrimcnts. 
 
 Thofe fubjecls to which this painter found his genius adapted, fuch as the re- 
 prelemation of bals-relicf, StCTnOUr, fliields, weapons, and volumes lying open, he 
 riniihed in a manner that was really curious ; and he grouped his objects with 
 all the art, elegance, and judgment, that the nature of his fubjecls would admit. 
 
 There is a picture of his hand in the Old Man's Hofpital at Amfterdam, in 
 which he has fhewn extraordinary merit ; the fubject of it is, Old Age perfecuted 
 by Poverty, the figures are painted by Grcbber, the full life by Brize, and 
 both are accounted excellent. 
 
 Francesco BRIZIO. 
 
 Paint td Architecture, end Land/cape. 
 Died 1623, aged 49. 
 
 He was born at Bologna, in 1574, and received his firfl inftruclion in the 
 feliool of PafTcrotti •, but, afterwards, became the difciple of Ludovico Caracci. 
 
 He ftudied the principles of perfpecYive, and architecture, with indefatigable 
 application i an J arrived at fuch a degree of excellence, in his compositions in 
 
 thac 
 
BRO [95] BRO 
 
 that ftyle, that his work was viewed with univerfal approbation. His pictures 
 were not only admired for the truth of the perfpettive, and the beauty of his 
 colouring, but alio for the grandeur of his ideas, the majeftic ftyle of the archi- 
 tecture, the elegance of the ornaments, and the noble tafte of landfcape which 
 he introduced, to fet off his buildings. 
 
 Elias Vanden BROEK. 
 
 Painted Fruit, Flowers, and Serpents. 
 
 Died 171 1, aged 54. 
 
 He was born at Antwerp, in 1657, was tne fifft and beft difciple of Erneft* 
 Stuven, and painted, in a loofe, eafy, and natural manner, all forts of fruit, 
 flowers, frogs, and reptiles. From his manner of handling, it feemed very 
 probable that he had been inftructed byDeHeem, or atleaft, ftudied the works 
 of that mafter diligently. 
 
 Hie deiigned and coloured every objecl after nature ; and, that he might have 
 his models always ready, he furnilhed his garden with every fpecies of fruit, 
 flowers, or animals, that he was accuilomed to imitate. 
 
 B R O E R S. 
 
 Painted Csnverfations, Fairs, and Markets. 
 
 Though the fubjecls which this mafter chofe to paint were of the lowed 
 kind, yet he executed them wi L h a great deal of truth, livelinefs, and humour. 
 He was particularly attentive to exprefs the manners, drefs, and unpolilhed 
 forms of the Boors in his own country, Holland ; and he performed it with a 
 llrong character of nature. 
 
 He had a light, clean touch, and a free manner of penciling; and he always 
 grouped his figures with lingular fkiil. His keeping was remarkably good in 
 the back grounds, trees, and diftances,and the whole together in his compolitions 
 produced an agreeable cfiecf . 
 
 Peter BRONCHORST. 
 
 Painted PerfpeEfive, and Hijtory. 
 Died 1 66 1, aged 73. 
 
 He was born at Delft, in 15S8, and learned the art of painting in that city ; 
 but the matter under whom he ftudied, is not mentioned. His fubje&s were 
 views of antient and modern churches, filled with hiftorical figures, which he 
 executed with great fuccefs ; and the number, as well as the variety, of his 
 figures, agreeably contributed to enliven his pictures. 
 
 In the council-chamber at Delft, there is a noble compofition by this mafter, 
 reprefenting the Judgement of Solomon, and another, of Chrift driving the 
 Money-changers out of the Temple ; both of them are defcribed, as being 
 very fine performances, the architecture elegant, and the figures carefully 
 finifned. 
 
 * Houbrakcn fays, he was the difciple of Stuven and ftudied De Heem, but Mr. Defcamps 
 fays, he was the difciple of Mignon. 
 
 1 John 
 
BRO [ 96 ] B R O 
 
 John Van B R O N C H O R S T. 
 
 Painted Hijlcry, and Landfcape. 
 
 He was born at Utrecht, in 1603, and placed under the direction of Joins 
 Yerburg, while he was very young-, as he difcovered an extraordinary genius, 
 before he was eleven years of age. He went afterwards to Brabant, in order 
 to proceed to France, but he flopped in his journey, with Peter Mattys, a 
 painter on glafs, with whom he continued for fome time, and affifted him in 
 feveral capital works. 
 
 At his return to his own country, he was much employed, and yet he 
 feemed diffatisfied with his own productions •, For they appeared interior to thole 
 elevated ideas, which he had formed in his mind of the finer parts of his art. 
 But, having at laft fortunately met with Cornelius Pcelemburg, he was fo 
 charmed with his tafle of defign, his penciling, and colour, that he immediately 
 devoted himfelf to imitate that great matter intirely. 
 
 Till his thirty-fixth year, he painted on glafs, but after that time he painted 
 in oil, in the manner of Poelemburg ; and by the neatnefs and high finifhing 
 of his works, as well as by the elegant choice of his fubjedb, he obtained a 
 lafting reputation. 
 
 In the choir of the new church at Amfterdam, there are three of his paintings 
 on glais, which are fhewn as curiofities •, and in the fame church, on the folding 
 doors of the organ, are three hiftorical paintings in oil •, the triumph of David 
 over Goliath •, the anointing of Saul •, and the attempt of Saul to kill David 
 while he was playing on the Harp •, all of them excellently performed. 
 
 John BRONCHORST. 
 
 Painted Birds, and Animals, in V/ater Colours. 
 Died 1723, aged y§. 
 
 He was born at Leyden, in 1648, and intended for an occupation far inferior 
 to the profeffion of painting •, but his love to that art, fuperfeded all other 
 confiderations, and he made it his principal ftudy. He had no particular 
 matter, but the power of his own genius, and his incefiant application, enabled 
 him to diftinguifh himfelf as one of the moft eminent painters of his time in 
 water colours. 
 
 His fubjedts were birds, and animals of all kinds, wild and tame, which he 
 copied after nature, with uncommon life, exaftnefs, and expreffion. 
 
 B R O N Z I N O. Vid. Allori. 
 
 Agnolo BRONZINO. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1580, aged 69. 
 
 He was born at Florence, in 151 1, and was the difciple of Puntormo, with 
 whom he ftudied defign and colouring, and continued with him for feveral 
 years i till he fo effectually acquired the ftyle and manner of that matter, and 
 
 imitated 
 
BRO [ 97 ] B R O 
 
 imitated his works with fo much exactnefs, that the paintings of the one, 
 were frequently fuppofed to have been the paintings of the other. And it 
 feemed fomewhat furprifing, at that time, that Bronzino fucceeded fo happily 
 in the imitation of his matter's manner; as the general behaviour of that artiit 
 to his pupils was morofe, and unfociable, and he rarely permitted any of them 
 to fee him finifh his pictures. But, the pejfeverance, and obliging temper of 
 Bronzino, fubdued the peevifhnefs and referve of Puntormo fo far, that he loved 
 that difciple as if he had been his own fon, and afforded him opportunities of 
 improvement, which he denied to others. 
 
 His firft publick performances afforded fufficient proofs of his extraordinary 
 abilities •, procured him the approbation of the beft judges ; and every new 
 work contributed to extend, and eftablifh his reputation. Among a number of 
 his paintings at Florence, a Nativity is mentioned as an incomparable perfor- 
 mance •, and alfo a Venus embracing Cupid, attended on one fide by mirthful 
 Loves, and on the other by Jealoufy, Fraud, and other paffions, allegorically 
 reprefented. The compofition, and finifhing, in both, were worthy of the 
 higheft praife •, and the latter, was lent to Francis, the French kino-. 
 
 Puntormo dying before he had finiihed the chapel of St. Lorenzo, at Florence, 
 the Duke appointed Bronzino to complete that noble work •, and in many 
 refpects, he evidenced a Judgement iuperior even to his mailer, with an 
 execution that was equally delicate. Bronzino was likewife truly admirable in 
 portrait painting, and diftinguifhed himfelf highly in thofe of Andrea Doria, 
 Dante, Boccace and Petrarch, as he afterwards did, by the portraits of all the 
 iUuftrious perfcns of the houfe of Medici. 
 
 His woiks at Florence, Pefaro, and Pifa, are lafting monuments of his merit v 
 and the many amiable qualities of his mind, engaged the affections of all, as lono- 
 as he lived •, and made his memory relpected after his death. 
 
 His tafte of defign was always- grand ; though frequently his figures were 
 rather too tall. Flis pencil was neat, but free ; his colouring very like that of 
 Puntormo ; and in his draperies he imitated the manner of Michael Angelo 
 Baonaroti, having always admired the folds in the draperies of that, great 
 mafter. 
 
 Adrian BROUWER, or B r a u \v e r. 
 
 rain ted Drolls, and Conversations. 
 
 Died 1640, aged 32. 
 
 According to fome biographers, this famous painter was born at Oudenarde -, 
 but according to Karel de Moor's account, cited by Houbraken, he was bonr 
 at Haerlem, in 1608, of poor parentage, and became the difciple of Francis 
 Hals ; under whom he proved an inimitable artift, and was one of the mod. 
 celebrated painters in the low countries. 
 
 His fubjects were taken from low life, and always copied after nature-, fuch 
 as droll converfations, feafts, taverns, drunken quarrels, Boors playing and 
 difputing at cards, or furgeons dreffing the wounded. But, his expreflion is fo 
 full of life, and character ; the management of his colours is fo furprifing ; and 
 fo much truth, united with exquifite high finifhing, correctnefs of drawing, and 
 
 wonderfuj 
 
BRO [ 9* ] BRU 
 
 wonderful tranfparence, appears in the works of this uncommon geniu* •, that 
 his paintings are more valuable, and afford higher prices, than many of the 
 works of other mailers, who are of the greatelt eminence. 
 
 Houbrakcn mentions an incident, relative to this artift, which may not be 
 unacceptable to the lovers of painting. 
 
 It happened, that when Brouwer went to Antwerp, he was taken up, as afpy, 
 and imprilbned, in the fame place where the Duke D'Aremberg was confined. 
 That nobleman had an intimate friendfhip with Rubens, who often went to vifit 
 him in his confinement •, and the duke having obferved the genius of Brouwer, 
 (by fome flight (ketches which he drew with black lead,) without knowing 
 who he was, defired Rubens to bring with him at his next vifit, a palette and 
 pencils for a painter, who was in cuftody along with him. 
 
 The materials requifite for painting were given to Brouwer, who took for his 
 fuhject a group of foldiers, who were playing at cards in a coiner of the prifon ; 
 and when the picture was finifhed, and lncwn to Rubens, he cried out, that it 
 was painted by Brouwer, whofe works he had often ken, and as often admired. 
 The duke, delighted with the difcovery, let a proper value on the performance -, 
 and although Rubens offered fix hundred Guilders for it, the duke would by 
 no means part with it, but prefented the painter with a much larger fum. 
 
 Rubens immediately exerted all his intereft, to obtain the enlargement of 
 Brouwer, and procured it by becoming his furety •, he took him into his own 
 houle •, cloathed, and maintained him ; and took pains to make the world more 
 acquainted with his merit. But, the levity of Brouwer's temper, would not 
 fuller him to continue long with his benefactor, nor would he confider his 
 fituation in any other light, than as a Hate of confinement. He therefore quitted 
 Rubens, and died not long after, deftroyed by a difiblute cour'e of life, his 
 whole frame being impaired by every kind of vice, intemperance, ai\d diflipation. 
 
 He was buried in a molt poor, and obfeure manner at firlt ; but, when 
 Rubens knew it, he had the body taken up, and interred with great funeral 
 pomp, in the church of the Carmelites •, and intended to have a iuperbe 
 monument erected to his memory, had he lived to fee it executed; though 
 Sandrart fays, there was a magnificent monument over his tomb, with an 
 epitaph to perpetuate his honour. 
 
 Peter BRUEGHEL, called the Old. 
 
 Painted Landfcapes, and Drolls. 
 
 Died 1570, aged 60. 
 
 He was born at Brueghel, a village near Breda, initio, and learned the art 
 ef painting from Peter Cock (or Kouc) ; but, having gained a competent 
 knowledge under that mafter, he travelled to Italy, to explore fuch fcenes as 
 were more grand and beautiful, than thole with which he had been converlknt 
 in his own country. He ftudied the fites of his landfcapes after nature, and 
 particularly fketched the views of that part of the Alps, which border on the 
 Tirolefe ; and in all his fubiequent compofitions might be obferved, how much 
 he had profited by the ftudies he made in that country. 
 
 He 
 
BRU [99] BRU 
 
 He painted almoft every kind of fubject ; fometimes fuch as were full or 
 whim and drollery, in the manner of Jerom Bos ; but, generally he was fond 
 of reprefenting the marchings of armies, robberies, fkirmifhes, fports, dances, 
 weddings, and drunken quarrels ; and often, in the habit of a peafant, he 
 contrived to mix in crouds of the meaner Boors, at their feafts and amufements, 
 in order to obferve more exactly their different humours, and actions ; by which 
 method he rendered himfelf eminent in that kind of painting. 
 
 He feemed to have been born with a genius peculiarly adapted to the fubjects 
 he reprefented •, and whether he painted in oil or diftemper, in a larger or fmaller 
 fize, his figures were correct, their draperies well chofen, the heads and hands 
 were touched with fpirit, and his expreffion was true, though not elegant. 
 That work of old Brueghel, which is mentioned as his capital performance, 
 and is in the Emperor's collection at Vienna, was the Reprefentation of the 
 building of the Tower of Babel, by Nimrod •, in which he introduced an 
 immenfe number of figures, delicately handled, and the diftances were well 
 obferved. He repeated the fame fubject feveral times in large, and in fmall, 
 and finifhed them with equal merit. 
 
 Several of the paintings of this mafter are in the cabinets of the Emperor, 
 and the Elector Palatine •, and there are few parts of Europe, where fome of his 
 works are not to be feen. 
 
 Peter Petersz BRUEGHEL, called the Young. 
 
 Painted Plundering*, Majfacres, Towns en Fire, and Devils. 
 
 Died 1642. 
 
 This mafter, who was the fon of Peter Brueghel, and the difciple of Gilles 
 Coningfloo, was born at BrulTels, and is univeiially known by the name of 
 Hellifh Brueghel, on account of the difagreeable fubjects which he delighted to 
 paint. His compofitions rather excite difguft, than fatisfaction •, his human 
 figures being little more elegant, than his infernal. And, although they are 
 freely penciled, and not ill coloured, yet there are very few who can feel a real 
 pleafure in looking upon them. 
 
 Befides his fondnefs for defcribing imaginary infernal forms, he fcarce ever 
 defigned any hiftorical fubject, except thofe that would admit of introducing 
 witches and devils •, fuch as Orpheus, charming Pluto and Proferpine to 
 procure the deliverance of Eurydice, furrounded with horrible ihapes, and 
 appearances •, Saul and the Witch of Endor ; or S. Anthony's Temptations. 
 
 John BRUEGHEL, called Velvet Brueghel. 
 
 Painted Flowers, Fruit, and Landfcapes, with fmall Figures. 
 
 * Died 1625, aged 6 j. 
 
 He was the fon of Peter Brueghel the old, and was born at BrufTels in 1560. 
 Authors apparently disagree in regard to his inftructors, and yet, the teftimony 
 
 O of 
 
 * There appears to be a great difa^reement among authors, concerning the birth and death 
 of John Brueghel. Mr. Defcamps fays, that he was born about the year 1589, being very 
 young at the death of his father; vol. i. pag. 376; and yet, by the account of other writers, 
 
 the 
 
BRU [ ioo ] B R U 
 
 of each rnay bs founded on fact •, for, although fome fay, he was taught the 
 j.rinciples of painting by his father, and Others, that he learned to paint in 
 are from Peter van Aalft, and afterwards ftudtftd the art of painting in 
 </.l under Peter Goekindt •, it is not improbable, that he might have practifed 
 i rider the direction of all thole mailers, in fuccoidon, and derived a peculiar 
 advantage from each. 
 
 In every part of painting, in colouring, in defign, and in penciling, he proved 
 far fuperior to his father, and indeed, to all his cotemporaries in his (tyle •, and 
 was diliinguifhed by the name of Velvet Brueghel, on account of his drefs, 
 which was always of rich velvet. 
 
 At firft, his genius directed him to paint fruit and flv.vers after nature, 
 hich he executed with incredible neatncls, and delicacy. But, foon after, he 
 painted landicapes, fea-ports, and markets, with a number of figures wonderfully 
 tTjact, and coKrectly drawn, though exceedingly fmall. 
 
 He mud have been uncommonly laborious, to have produced fo many 
 pictures, as have appeared from his pencil, when their exquilite neatnefs is 
 confidered, which feems to have required a great deal of time, to finifh them in 
 fo high a degree of perfection. His touch is delicate, his figures are correct, 
 and the carriages which he was fond of introducing in his landicapes, are 
 admirably reprefented. It might, however, be wifhed that his diflances had. 
 r lefs of that blui.li tino;e, which is obfervable in feme of his works. 
 netimes he painted flowers, in garlands, or fefcoons , and landicapes, in 
 which Rubens, and other eminent mailers inferted the figures •, and at other 
 times, he was employed by Steenwyck, Mompcrt, Rothenamer, and Vanbalen, 
 to adorn their pictures with his figures, which now add abundantly to the 
 value of fuch combined works of thofe mailers. 
 
 Houbrakcn takes notice of a picture three feet high, and four broad, painted 
 by Brueghel •, and fpeaks of it in the higheil terms of praife, as being the 
 admiration of every beholder. So great is the variety of fruits, flowers, and 
 trees on the foreground, that the eye is perfectly bewildered , and although the 
 proportions of the objects, are but of a fmall fize in comparifon with 
 nature, yet, to the obferver they appear like nature itfelf. Particularly a 
 fig-tree in a large garden pot is remarkably curious , which appeared fo wonder- 
 fully exact, in the colouring of the ilem, the branches, and the fruit of different 
 ■-• of maturity, that it feemed not the work of the pencil, but of nature. 
 This picture was fold at Am Herd am, for 2825 Guilders, above 280 1. flerling - y 
 the figures in it are Vertumnus and Pomona, and they were painted by Rubens. 
 
 tlie father died in 1570; which would make it impoflible for him to be born in that year of 
 1589, it being 10 years after his father's death. 
 The authors of the Abrege de la Vie des Peintres, fix the birrh of John Brueghel in 1 -75, which 
 five years after, the death of old Brueghel, and they fay, he died in 1042. Bur, 
 Chronological birth in 15693 one year before the death of his. father ; and 
 
 .-.' fo, he could no: 1 ufted by him, though, that he was taught the rudiments of the 
 
 • ned by feveral w liters. 
 ore moil pi ibl \ that he was born abr>nt the year 1560, and died in 1625, (as 
 the Chronological 1 I at the age of 65 ; for, by that computation, the obfervation of 
 
 his ! young when his father died, would be juflifiable, and he would alio have been. 
 
 of a . ; to have received inftiuction from him, though he might have perfected 
 
 himjelf 0. 1 . m .. ... 
 
 z In 
 
BRU [ 101 ] B R U 
 
 In the gallery of the Archiepifcopal Palace at Milan, there is a lovely 
 landfcape of this matter, reprefenting a Defert, in which Giovanni Battifta 
 Crefpi painted the figure of S. Jerom ■, and among a great number, preferved 
 in the Ambrofian Library in that city, there is an oval picture of the Virgin, 
 painted by Rubens, which is encompaffed with a garland of flowers, admirably 
 painted by Brueghel. 
 
 Abraham BRUEGHEL, called the Neapolitan. 
 
 Painted Fruit, and Flowers, 
 
 Born in 1672. 
 
 He was born at Antwerp, and travelled to Italy when he was very young, 
 where he diligently applied himfelf to his ftudies, and acquired fuch a reputation 
 that his works were eagerly fought for ; and purchafed at large prices ; not 
 only at Rome, but alfo at Naples, and other parts of Italy. And, it was 
 allowed by the mod able judges, that he had improved himfelf more at Roi 
 than any other artift of his own country. 
 
 He conftantly made nature his model ; his objects are reprefented with 
 elegance and truth ; with a warm and natural colouring ; with a broad and free 
 touch, the genuine mark of a ready and expert hand •, and his works are ranked 
 among thofe of the moft admired painters. 
 
 He acquired a confiderable fortune by his profeffion •, but, unhappily 
 confiding it to the care of a merchant who proved difhoneft, he loft his whole 
 fubftance, and loft alfo his life, by a continual grief for his misfortune. 
 
 Charles Le BRUN, Chevalier. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1690, aged 71. 
 
 This truly great painter was born at Paris, in 16 19, and was placed as a 
 difciple with Vouet, when he had only arrived at his eleventh year •, but he 
 finifhed his ftudies at Rome, where he fpent fix years, in making proper 
 obfervations on the antique ftatues, and the beft paintings, and gradually 
 eftablifhed a reputation equal to the greateft of the modern artifts. 
 
 He had a moft extenfive genius ; a fruitful, and ready invention ; a very 
 great knowledge of nature ; and knew how to give a proper expreilion to every 
 character. He always had an high opinion of the tafte of defign peculiar to 
 the Roman fchool, although he did not imitate that tafte ; but in his ftyle and 
 manner feemed rather to follow the gufto of Annibal Caracci. His attitudes 
 are well choien, natural, and exprefiive, and his draperies agreeable, though 
 it any great variety in the folds. 
 
 The manner of colouring which he acquired in the fchool of Vouet, he never 
 
 could wholly (hake off'; not having allowed himfelf fufficient time to vifrt 
 
 Venice, to itudy the beautiful tints of the Venetian artifts ; and therefore he 
 
 always retained thofe that were too general. In regard to his lights and 
 
 . ..lows, they were often not haj pilj diftributed •, and he certainly was 
 
 O 2 indifcreet 
 
BRU [102] BUF 
 
 iftdifcreet in not making the foregrounds of many of his pictures fufficiently 
 brown, or dark, by which means moll of his works have an effect, not equal to 
 the dignity of his defign. 
 
 Le Brun fhewed abundance of grandeur in the difpofition of his fubject •, in 
 all his compofnions he had a particular attention to exprefs the paflions of the 
 foul agreeable to nature •, and was an exact obferver of the coftume ; yet, his 
 figures frequently are too fhort, and there is too much famenefs in his expreflion, 
 his draperies, and his attitudes. His pencil is light, and mellow •, but his 
 local colours are cenfiired by De Piles, as being very indifferent ; and indeed, 
 through his whole pictures one tint feems to predominate too much, except in 
 fome few of his mod capital performances. It is obferved of him, that the airs 
 of his heads are almoit always the fame, though they are well chofen, and often 
 Graceful, and full of elegance ; and that his lafl works are his bell. 
 
 His dillinguiihed merit procured him the favour of Lewis XIV, who 
 appointed him principal painter ; conferred on him the order of S. Michael, 
 and frequently honoured Le Brun with his prefence, while he was at work on the 
 Battles of Alexander. Thofe battles, which are fo univerially known and 
 admired, are fufficient to convey a proper idea of his extraordinary abilities, and 
 of the grandeur of his compofition and defign. But, though the expreflion of 
 thofe paintings is ilrong, the attitudes happy, and the draperies well fet •, yet, it 
 mud be confelfed that the colouring wants warmth, and by no means correfponds 
 with the noblenefs, or the dignity of the defign. 
 
 BRUSASORCI. Vid. Riccio. 
 
 Roger of Brussels. Vid. Vander Weyde,. 
 
 Buonamico BUFFALMACCO.. 
 Painted Hijlory. 
 Died 1340, aged 78. 
 
 He was born at Florence, in 1262, and having been for fome years the 
 difciple of Andrea Taffi, was allowed to be very ingenious in his compofitions. 
 He had a lingular talent for droll humour, and is remarkable for being the firft 
 who advifed the. uie of a label drawn from the mouth of a figure, to reprefent 
 that figure as fpeaking, though fentences wrote over the heads of figures had 
 been before praclifed by Cimabue. 
 
 Vafari, among many inflances of the drollery of this painter, tells us, that 
 bcino- eno-a"-ed to paint a picture of a Madonna and Bambino, in frefco, tor a 
 citizen iiT Florence, his employer difputed the payment when the painting was 
 iinimed •, but BurFalmacco, without ieeming any way diffatisfied, went away, 
 and prepared fome water colours, with which, very early the next morning, he 
 ctficed the Bambino, and painted a young bear in its Head, on the lap or the 
 Virgin ; which excited fo much ridicule againft the employer, that he fupplicated 
 earneflly to have the work reftored to its original condition ; and, when he had 
 paid the llipulated Turn, Bufialmacco walhed away the additional bear, with a 
 
 wet lounge. . 
 
 Being 
 
BUG [ 103 ] BUN 
 
 Being confulted by one Bruno a painter, his particular friend, how he might 
 give more exprefiion to his figures, Buffalmacco told him, that nothing more 
 need be done, than to make the words come out of their mouths. The advice 
 was ludicroufly intended, but it was ferioufiy underftood by Bruno, who directly 
 put it in practice •, and that ridiculous contrivance, was introduced by the 
 German painters, in all their Gothick compofitions of that time. We alio find 
 that low fpecies of wit or humour fubfift even to this day, particularly in the 
 political defigns of modern artifts in our own country, as well as among the 
 Dutch. 
 
 Giuliano BUGIARDINI, 
 
 Painted Hiftory, and Portrait. 
 
 Died 1556, aged 75. 
 
 He was born at Florence, in 1481, and having received fome inftruct ion 
 from Bertoldo a fculptor, he was indebted to Michael Angelo Buonaroti for his 
 further improvement, as he was exceedingly beloved by that celebrated artift. 
 
 Some of his works were well efteemed, but his tafte of defign and compofition 
 was very imperfect ; he was incorrect in his drawing ; and apt to exprefs the 
 mufcular parts of the human body too hard ; and belide that imperfection, his 
 colouring was dry, and difagreeable, 
 
 Jacob BUNEL 
 Painted Hiftory. 
 Born in 1558. 
 
 He was born at Blois, and became the difciple of Frederick Zucchero. He 
 painted with great reputation at Rome, and Paris ; and in the church of the 
 Auguftines, in the latter city, he painted a Defcent of the Holy Gholt, which 
 Nicolo Pouffin, who was inconteftably a judge of merit, did not fcruple to 
 prefer to all the paintings in that city. 
 
 John Van BUNNIK. 
 
 Painted Hiftory, and Landfcape. 
 
 Died 1727, aged 73. 
 
 He was born at Utrecht, in 1654, and was a difciple of Herman Sachtleven ; 
 ?nd continued under the direction of that raafter, till he proved a considerable 
 artift. "When he had followed his profeffion for fome years, he affociated with 
 Gerard Hoet, and painted feveral pictures in conjunction with him; but, being 
 defirous to. gain more knowledge^ and enlarge his ideas, he determined on a 
 journey to Rome. 
 
 In his paffage through Genoa, he commenced an acquaintance with Peter 
 Molyn, called Temperta, which detained him there for fome time, and he 
 painted feveral pictures that gained him very great credit •, and on his arrival a: 
 
 5 Rome,. 
 
BUN [ 104 ] B U O 
 
 Rome, he was introduced to Carlo Maratti, and Abraham Genoels, from 
 whole works, and instructive converfation, he obtained abundance of improve- 
 ment. 
 
 I laving at length completed his Itudies, and confirmed his hand, he refolvcd 
 to return to his own country ; but, pafling through Modena, the Duke 
 accidentally law fome of the performances of Bunnik, and admired them fo 
 much, that he engaged that artift in his fervice, with an allowance of an 
 honourable penfion, and retained him for eight years at his court •, where 
 Bunnik left memorable proofs of his genius, and execution. 
 
 He defigned' well, difpofed his figures with elegance and propriety, and 
 was correct in his outline. 
 
 Jacob Van BUNNIK. 
 
 Panted Battles. 
 
 Died 1J25. 
 
 He was the brother, and difciple of John •, and being poflefied of a ready 
 genius, which he cultivated with great application, he became an excellent 
 mafter. His principal improvement was derived from his having travelled 
 with his brother through molt parts of Italy •, he had the fame opportunities of 
 forming his talte, and had difcretion alio, to direct him in making a proper ufe 
 of them. 
 
 The fubjects which he always painted were battles, and in thofe he diftinguifhed 
 himfelf eminently •, but, although in his choice of fubjects he differed from the 
 tafte of his brother, yet in the manner of his handling and colouring, he 
 refembled him intirely. 
 
 Bernardo BUONTALENTI, called Girandole. 
 
 Painted lliftcry, and Portrait in Miniature. 
 
 Died 1608, aged 61. • 
 
 This mafter learned correctness of defign, and the knowledge of colouring, 
 from Salviati, Bronzino, and Vafari, but, the art of painting in miniature, he 
 acquired from Julio Clovio. 
 
 1 i works were very foon the objects of publick admiration, not only for 
 the b< auty of the colouring, but alio for a certain dignity of expreflion in his 
 Madonna's, as well as in his portraits. 
 
 his merit as a painter, lie was exceedingly approved of, as a 
 ary, and an architect. He was born at Florence, in 1547. 
 
 r:to B U O N A CCORSI. Vid. Pierino del V a c a. 
 
 A D R I A N 
 
CAB [105 C A G 
 
 Adrian Vander CABEL, or Kabel.. 
 
 Painted Land/cape, Sea-ports y and Cattle. 
 
 Died 1695, aged 64.. 
 
 He was born at Ryfwick, in 1631, and was placed as a difciple with John 
 Van Goyen, by whole precepts and example he made a progrefs that appeared 
 remarkably rapid, and continued under his direction, till he was qualified to 
 appear with credit in his profeffion. He ftudied every object after nature, and 
 defigned the figures, animals, and buildings, as well as the views of fea-ports, 
 and landffcapes, before he inferted any of them in his compofitions. 
 
 According to Houbraken, his name was originally Vander Touw, but altered 
 by Van Goyen to the name of Vander Cabel, by which he is now univerfally 
 known. In his defigning animals and figures, he formed his tafte on that of 
 Caftiglione ; but in landscape, he made the ftyle of Salvator Rofa his model. 
 His manner is great, and very much in the gout of the Italian fchool. The 
 touchings of his trees are excellent ; his figures and animals are extremely 
 correct, and marked with fuch a fpirit, as mult always afford pleafure to a 
 judicious eye. But, all his pictures are not of an equal degree of merit, fome 
 of them being more negligently executed than others ; though the freedom of 
 his hand, and the firm touch of his pencil, appears in every one of his com- 
 pofitions. 
 
 In his colouring he was felicitous to imitate the Caracci, and Mola •, but he 
 indulged himfelf too much in painting with a dark, and deep brown tone of 
 colouring, which frequently deftroys the beauty of his defign, and compofition. 
 
 Paolo CAGLIARI, called Paolo Veronese. 
 
 Painted Hijiory. 
 
 Died 1588, aged 58. 
 
 This great painter was born at Verona, in * 1530, and was a difciple of 
 Antonio Badile his uncle. He ftudied and imitated nature, and among all 
 the eminent artifts of his time, lie attached himfelf to the manner of Titian 
 with the ftricteft attention. He feems, however, to have neglected the 
 antique, and to have known but little of the true principles of the Chiaro-Scuro, 
 
 * De Piles dates the birth of Paolo Cagliari, in 1537, and his death in i;88, and fays, he died 
 58 years o;J, which muft be an error ; for by thofe dates he could have died only at the age of 51. 
 Alfo in the Absrje°S cle la Vis des Pe-intres, there is a like miliake ; for, it is there faid that Paolo 
 was born in 1532, ■' Lin 1558, 1 ; ?, though allowing thofe dates he could be only 56. 
 
 But as mc, ^ree that he was 58 when he died, and the year of his death inferibed on his 
 
 monument being 1588, he mult have been born in 1530. 
 
 though. 
 
C A G [ 106 ] C A G 
 
 though in feveral of his works he feems happily to have hit upon it, from the 
 dictates and guidance of his own genius. 
 
 His tafte was better adapted to large, than to fmall compofitions •, and 
 although in the latter, his merit, in refpect of colouring and defign, was 
 fufficiently evident ; yet, in the former, he difplayed all the fire of his 
 imagination, and the fertility as well as the magnificence of his invention. In 
 molt of his large works, he was either the affociate, or the competitor of 
 Tintoretto •, nor was the pre-eminence of the one or the other intirely determined. 
 For, though Tintoretto was allowed to have imitated nature, with a fuperior 
 degree of force and vivacity, and with more truth of colour, in an incomparable 
 manner ; yet, Veronefe was acknowledged to have a finer invention, more 
 grace in the airs and countenances of his figures, more dignity in his characters 
 in general, and more univerlal elegance. 
 
 His compofition is peculiarly grand ; his defigns are noble ; and he executed 
 them agreeably, with abundance of truth and fpirit ; but fome judicious 
 writers think, that there is an apparent want of delicacy in his exprefiions, either 
 of the fubject in general, or or the paflions in particular, although they were 
 taken from nature. 
 
 The draperies of his figures are modern, defigned after the fafhions of his 
 time, or the modes of thofe eaftern people who reforted to Venice •, but yet, 
 thofe draperies are grand, rich, lively, and diverfified •, and Sandrart obferves, 
 that in the diftribution of the folds, he very much adhered to fomewhat of the 
 manner of Albert Durer, whofe defigns he had ftudied in his youth. The airs 
 of his heads are often graceful ; but the feet of his / figures, and the outlines of 
 the naked, are generally incorrect, nor are his attitudes always well chofen. 
 However, we may obferve in his works, a lively imagination, a very fertile 
 invention, a light and pleafing pencil, and a firm as well as a fpirited execution. 
 He painted a great number of pictures •, and although his predominant 
 pafiion, was the love of fame and glory, yet in many of his paintings hefhewed 
 too great a degree of negligence •, adapting the compofition, as well as the 
 finifhing, to the perfons by whom he was employed, or the places for which he 
 worked •, and giving them a greater or lefs proportion of merit, according to 
 the dignity or importance of his employers. His defigns for the altars of the 
 principal churches, or for the ornaments of princely palaces, were as elegant, 
 and as perfect: as it was pofiible for him to make them ; but, for private perfons, 
 or chapels, the pictures which he painted, were not only inferior to other 
 productions of his own pencil, but to feveral other artifts who were in no 
 competition with him. 
 
 The pictures of Veronefe fhewed a good underftanding of the local colours, 
 and his carnations are natural ; yet, they are not fo frefh as thofe of Titian, 
 nor are they fo vigorous and ianguine as thofe of Tintoretto ; but there is a 
 charming harmony in his colouring, particularly in his draperies, which are 
 brilliant, and magnificent. 
 
 It was a confiderable difadvantage to him, that he had not been more 
 converfant with the antique ; for when he went to Rome in the train of the 
 procurator Grimani, (ambaffador from Venice to the Pope) by only having that 
 opportunity of feeing the works of Raphael, and Michael Angelo Buonaroti, a 
 perceptible improvement in his ftyle was obferved at his return to Venice, and 
 
 his 
 
CAG [107] CAG 
 
 his reputation was fo highly raifed, that the honour of knighthood was conferred 
 on him by the Doge. 
 
 Whenever his fubject would admit of architecture, he appeared always 
 attentive to introduce it, in a ftyle that is truly grand •, fo as to add both beauty 
 and richnefs to his defign •, and thofe embelliihments of architecture, were 
 generally painted by his brother Benedetto, in an admirable tafte. 
 
 The mod capital performance of this mailer, is the Marriage at Cana, which 
 is now" in the refectory of the Convent of S. George at Venice ; in which 
 Sandrart fays, there are an hundred and fifty heads, if not more. And an 
 exceeding fine picture, of his hand, is at Pefaro, reprefenting the calling of 
 St. Andrew to the Apoftlefhip. 
 
 The procurators of S. Mark propofed a premium of a large gold chain, for 
 the belt picture painted by fix eminent artifts ; which were Giufeppe Salviati, 
 Battifta Franco, Schiavone, Zelotti, Frafina, and Paolo Veronefe. The perfons 
 appointed to be judges were Titian, andSanfovin, and the honour of fuperiority 
 was determined in favour of Paolo ; who was fo proud of the victory, that he 
 ufually wore that gold chain in publick, as a mark of diftinction. 
 
 It feems highly probable, that many pictures which are afcribed to Paolo 
 Veronefe, are not really of his hand, as they appear more rouoh than his 
 genuine works, and want that union and harmony, for which he is fo defervedly 
 famous •, but, they may, perhaps, be by his brother Benedetto, or his fon 
 Carletto Cagliari, fince both of them imitated the manner of Paolo, 
 
 Carletto CAGLIARI. 
 
 Painted Hifiory. 
 
 Died 1596, aged 26. 
 
 He was the fon of Paolo, born at Venice in 1570, and gave early proofs of a 
 lively and ftrong genius. By the care and inftruction of his father, he produced 
 fome extraordinary performances, that gained him a very high reputation, 
 when he was only eighteen years of age ; and it was imagined, that he would 
 have been at leaft equal, if not fuperior to his father, if he had lived fome few 
 ' years longer. But, by inceflant application to his profeffion, he impaired his 
 conftitution, which from his infancy had been tender, and he died of an 
 impoftumation in his breaft. 
 
 He was employed, as well as his brother Gabriel, to finifh feveral works 
 which were lett imperfect by their father ; and thofe pictures which were of 
 their own defign and execution, are frequently afcribed to Paolo ; nor, are 
 fome of the beft of them eafily diftinguifhed from the performances of that great 
 mafter. 
 
 Gabriel CAGLIARI. 
 
 Painted Hijicry, and Portrait. 
 
 Died 1 63 1, aged 63. 
 
 This painter was alfo a fon of Paolo, born at Venice in 1568 ; but he had 
 not a very promifing genius, and turned his attention principally to commerce ; 
 
 P though 
 
C A G [ 108 ] C A G 
 
 though at intervals when unemployed in mercantile affairs, he employed himfelf 
 in painting hiftorical pictures and portraits, but more especially the latter, of 
 which he finiflied a eonfiderable number. 
 
 Benedetto C A G L I A RI. 
 
 Painted Architecture. 
 
 Died 1598, aged 60. 
 
 This mafter v/as the brother of Paolo Veronefe, born at Verona in 153S. 
 He painted in much the fame ftyle and manner of his brother, but his peculiar 
 excellence confiftedin painting architecture, with which he enriched the compo- 
 fitions of Paolo. 
 
 He was extremely laborious, and remarkably unambitious of diftinguifhing 
 himfelf, fo that his nobleft performances are blended with the works of his 
 brother. However, there are many of his paintings in Venice, defigned and 
 executed with his own hand, which are truly excellent, and worthy of 
 admiration. 
 
 CAGGNACCI. Vid. Guido Cacnacci. 
 
 Francesco CAIRO, called Cavalie're del Cairo. 
 
 Painted Hijiory, and Portrait. 
 
 Died 1674, aged 76. 
 
 He was born at Milan, in 1598, and inftructed in the art of painting by 
 Morazzone, whole ftyle he for fome time adopted ; but he altered that manner, 
 after he had perfected his ftudies at Rome, having there learned to compofe 
 with judgemen:, co defign in an elevated ftyle, and to give correctnefs, grace, and 
 harmony to his compohtions. 
 
 However, he was deiirous to accompliih himfelf ftill more, by ftudying the 
 excellencies of the Venetian fchool, and copying the works of the famous 
 mafters in that city ; by which method, he acquired a ftrong and lively manner 
 of colouring ; and fuch a pencil, as hath occafioned feveral of his pictures to be 
 accounted of the hand of Titian, or Paolo Veronefe, and particularly his 
 portraits, which have ftrong life, and true nature. 
 
 He had three different manners of painting •, the Milanefe, the Roman, and 
 Venetian, and that extraordinary variety enabled him to recommend himfelf fo 
 effectually to all the lovers of the art, that he was univerfally applauded, and 
 employed. 
 
 The Duke of Savoy, Victor Amadeus I. having been made acquainted with 
 the merit of Cairo, invited him to his court, allowed him an honourable 
 penfion, conferred on him the order of knighthood, and gave him one of the 
 favourite ladies of the court, for a wife. 
 
 In a chapel belonging to the church of the barefooted Carmelites at Venice, 
 there is a piclure of S. Therefa, by this mafter, which is much admired. The 
 colouring is extremely agreeable, and the expreiiion remarkably good, though it 
 
 is 
 
CAL [109] CAL 
 
 is not free from fomefmallincorrectnefs. And, in a chapel of the Chartreuxat 
 Pavia, there is a picture reprefenting the Virgin, S. Catherine of Siena, and 
 another Saint, painted by Cairo, which is excellently defigned, and very 
 beautifully coloured, in a ftyle that refembles the colouring of Rubens. 
 
 CALABRESE. Vid. Preti. 
 
 Giacinto CALANDRUCCI. 
 
 Painted Hijlory, and Portrait. 
 Died 1707. 
 
 He was a difciple of Carlo Maratti, and after fome years of ftudy and 
 practice, under the direction of that great painter, he became an artift of 
 confiderable eminence, and performed feveral noble works in the churches, 
 convents, and chapels at Rome. 
 
 His invention was ready, his ftyle of compofition like that of Maratti, his 
 pencil was free, firm, and delicate, his touch light, and in the tints of his 
 colouring he very happily imitated the manner of his illuftrious mafter. 
 
 John CALCAR, or Kalkar. 
 Painted Hiftcry, and Portrait. 
 Died 1546, aged 47. 
 
 He was born at Calcar, a city of Cleves, in 14.99, and hath rendered his 
 name famous through all Italy. He was the principal difciple of Titian, and 
 by the admirable example and precepts of that accomplilhed mafter, he made 
 fuch a progrefs, that feveral of his defigns and paintings, have been accounted, 
 by very furficient judges, the work of Titian's own hand. Even Goltzius 
 himfelf, when he was at Naples, and with admiration examined many portraits 
 painted by Calcar, pronounced them to be by Titian ; nor could he be 
 undeceived, till he faw the name of Calcar infcribed on others, which were 
 equally beautiful, and excellent. It is alfo affirmed by Sandrart, that he 
 imitated the works of Raphael with fuch delicate exactnefs, that manv of his 
 paintings in that ftyle, have been efteemed the work of Raphael himfelf. 
 
 Vafari, who knew him at Naples, fays, it is impoflible to obferve in the works 
 of this mafter, the fmalleft traces of the Flemifh tafte. He defigned all the 
 heads for the works of Vafari, and the anatomical fig;ures in the works of 
 VefTalius. 
 
 Rubens pofleffed a moft capital picture of this mafter's hand. It was a 
 Nativity, excellently compofed, in which the light proceeded from the Infant. 
 After the death of Rubens, it was purchafea by Sandrart, and by him fold to 
 the Emperor Ferdinand, who prized it exceedingly. 
 
 P 2 L u c .•■. 
 
C A L [ no ] C A L 
 
 LucA CALIAVARI. 
 
 Painted Sea-pcrts, Land/capes, and Views of Rome. 
 
 Died 1 7 1 5, aged 50. 
 
 He was born at Udino, in 1665, and acquired his whole fkill by fludying,. 
 and copying the works of feveral painters who were very eminent ; but he was 
 not by any particular matter instructed in the art of painting. 
 
 The fubjects which he chofe, were fea-ports, and landicapes, embellifhed 
 with a variety of elegant figures, and eipecially views about Rome and Venice •, 
 which he defigned and executed with truth, nature, elegance, and abundance 
 of merit. 
 
 He publifhed a volume of his perfpective views of Venice, etched with 
 aqua fortis, which are a lufficient proof of his tafte, and abilities. 
 
 Denis CALVART. 
 
 Painted Hijlory, and Land/cape: 
 Died 1 6 1 9^ aged 64. 
 
 He was born at Antwerp, in 1555, and at firft employed himfclf in painting 
 landicapes, having accuftomed himfelf to retire to groves and fields, to fludy 
 fuch fcenes and objects after nature, as might be ufeful to him in that branch 
 of his profefiion. But, being defirous to obtain a better manner of defigning 
 figures, to adorn his landicapes, he determined to travel to Italy. 
 
 In his journey he flopped at Bologna, where he unexpectedly met with many 
 inducements to detain him in that city for fome time •, and became the diiciple 
 of Profpero Fontana, who had every qualification requifite for the improvement 
 of his pupils, as well by his precepts, as his performances. 
 
 In fuch a fituation Calvart applied himfelf diligently to his ftudies, not only 
 carefully examining, but alfo copying the works of Correggio, and Parmigiano ; 
 ancfwhen he afterwards quitted the ichool of Fontana, lie placed himfelf with 
 Lorenzo Sabattini, with whom he travelled to Rome, where he perfected, 
 himfelf in defign, in perfpective, architecture, and anatomy. 
 
 He acquired an excellent manner of penciling, by endeavouring to imitate 
 thofe great matters, which he had chofen for his models ; and fo far diverted 
 himfelf of the Flemifli tafte, that his compofitions appeared more like the 
 productions of an Italian artift, than of one born in the low countries, His 
 figures were well difpofed, and grouped without confufion ; his draperies were 
 judicioufly caft, his touch was delicate, and the tone of his colouring exceedingly 
 I leafing. 
 
 At his return from Rome to Bologna, which city he now confidered as the 
 place of his nativity, he there opened an academy ; and his extraordinary merit 
 procured him a large number of difciples, among whom were fome of the firft 
 rank for genius ; and he derived the higheft honour from his having been the 
 initructor of Guido, Albano, and Domenichino, as well as of feveral other 
 excellent painters. 
 
 In 
 
C A L [ in ] CAM 
 
 In the Palazzo Ranuzzi at Bologna, there is a fine piclure by Calvart, 
 reprefenting two Hermits, which is correftly defigned, beautifully coloured, 
 and delicately penciled •, and in the Pembroke collection at Wilton, there is a 
 Nativity painted by that mafter. 
 
 Antonio CALZA. 
 
 Painted Landfcape, and Battles. 
 Born in 1653.. 
 
 He was born at Verona, and became a difciple of the celebrated Carlo 
 Cignani at Bologna ; but, after his return to his own country, having feen 
 fome of the battle-pieces of Borgognone, he was fo charmed with his manner, 
 that he determined to vifit him at Rome. 
 
 He went thither accordingly, and with inexpreffible care and delight copied 
 the works of that great mafter ; and had the happinefs of receiving additional 
 improvement, from the inftruclions which were afforded him by that admirable 
 artift. 
 
 From thence forward he devoted himfelf to paint battles, and landfcape ; 
 the former, in the ftyle of Borgognone ; and in the latter, he imitated: 
 fuccefsfully the tarte and manner of Gafpar Pouflin. 
 
 Andrea CAMASSEI, or Camac e. 
 Painted Hiftory, and Landfcape. 
 Died 16 5 7. 
 
 He was born at Bevagna, and at firft learned the principles of defign and' 
 colouring from Domenichino ; but afterwards he ftudied in the fchool of 
 Andrea Sacchi, and proved a very great painter. 
 
 He was employed in S. Peter's at Rome, as alfo at St. John Lateran ; and his 
 works are extremely admired, for the fweetnefs of his colouring, the elegance 
 of his thoughts and defign, and likewife for the delicacy of his pencil. 
 Sandrart laments that the world was deprived of fo promifing a genius, in tlie 
 very bloom of life, when his reputation was daily advancing. 
 
 At S. John Lateran are to be feen, the Battle of Conftantine and Maxentius ; 
 and the Triumph of Conftantine ; which are noble and grand compofitions •, 
 and they afford fufficient proofs of the happinefs of his invention, and the 
 correclnefs of his execution. Alfo at Wilton, the feat of the Earl of Pembroke, 
 there is a picture of Venus with the Graces, faid to be by the hand of Camaflei. 
 
 Galeazzo C A M P I, or C a m p 0. 
 
 Painted Hiftory, and Portrait. 
 Died 1536, 
 
 He was born at Cremona ; and the beft evidence of the genius and fkill of 
 this artift, is the portrait of himfelf, painted by his own hand, and at prefent 
 
 placed i 
 
CAM [ 112 ] CAM 
 
 placed in the gallery of painters, at Florence •, which is defcribed by the editors 
 of the Mufeum Florentinum, as a performance of extraordinary merit. 
 
 By thofe who have examined that picture, with a judicious and critical 
 obfervation, it is defcribed as being deligned in a more elegant ftylc -, with a 
 much bolder relief •, and a greater knowledge of the Chiaro-Scuro, than any of 
 his other works, which are ftill to be feen in Cremona, and Ferrara. 
 
 Bernardino CAMP I, or Campo. 
 
 Painted Hiftory. 
 
 Died 15S4, aged 62. 
 
 He was born at Cremona, in 1522, and fuccefiively became the difcipleof 
 Julio Campi, and Hippolito Cofta. The principal works of this mailer are at 
 Milan, where feveral of his compofitions are to be feen, and they are in very 
 great efteem. Particularly, there is a pidure of S. John in the Wildernefs, 
 preferved in the Ambrofian Library, which is mentioned with great honour to 
 the artift, and accounted to be extremely well executed. 
 
 Dirk Theodore Raphael CAMPHUYSEN. 
 
 Painted Land/capes, Cattle, and Moonlights. 
 Bom in 1586. 
 
 He was born at Gorcum, and learned the art of painting from Diederic 
 Govertze •, and by a ftudious application to it, he very foon not only equalled, 
 but far furpaiTed his mafter. 
 
 He had an uncommon genius, and ftudied nature with care, judgement and 
 afliduity. His iubjects were landfcapes, moftly i'mall, with ruinous buildings, 
 huts of peafants, or views of villages on the banks of rivers, with boats, and 
 hoys, and generally he reprefented them by moonlight. His pencil is remarkably 
 tender and loft, his colouring true nature and very tranfparent, and his expertnefs 
 in perfpective is feen in the proportional diftances of his objects, which are 
 excellently contrived, and have afurprizing degree of nature and truth. 
 
 As he left off painting, at an age when others are fcarcely qualified t,o 
 commence artifts, few of his works are to be met with, and they bring 
 conliderable prices ; as they cannot but give pleafure to the eye of every 
 obferver. He painted his pictures with a thin body of colour, but they are 
 handled with fingular neatnels and fpirit. 
 
 He practifed in his profefiion only till he was eighteen years of age, and being 
 then recommended as a tutor to the fons of the Lord of Nieuport, he undertook 
 the employment, and difcharged it with lb much credit, that he was appointed 
 lecretary to that nobleman. 
 
 He excelled in drawing with a pen ; and the defigns which he finiflied in that 
 manner are exceedingly valued. 
 
 One of his belt performances, being a view of a village on the bank of a 
 river, with veffels palling and repairing by moonlight, is in the pofiefilon of 
 the author of this book, and itjuftifi.es all that can be faid in his commendation. 
 
 L u d o v 1 c o 
 
CAN [ ii.i 1 CAN 
 
 Ludovico CANGIAGIO, or Cam bias i. 
 
 Painted Hiftory. 
 Died 1585, aged 58. 
 
 He was born at Oneglia near Genoa, in 1527, and became one of the moft 
 eminent of the Genoefe painters. His manner was genteel and fpirited ; his 
 works at Genoa are very numerous ; and he was employed by the King of Spain, 
 to adorn part of the Efcurial. 
 
 It is remarked of him, that he was not only a moft expeditious, and rapid 
 painter, but alfo, that he worked equally well with both hands ■, and by that 
 unufual power he executed more deligns, and finifned more grand works with 
 his own pencil, in a much fhorter time, than moft other artifts could do, with 
 feveral affiftants. 
 
 It is mentioned as a memorable circumftance in the life of this matter, that 
 at the age of feventeen, he was employed to affift in painting the front of an 
 elegant houfe, in frefco •, and at his entering on the work, the other artifts, who 
 were Florentines, were already on the fcaffbld. When they at firft obferved 
 the youthful appearance of Cangiagio, they concluded he could be nothing 
 more than a grinder of colours ; and therefore, as loon as he took up the 
 pallette and pencils, they determined to prevent him from ufing them, being 
 apprehenfive that he would fpoil the work. But after a very few ftrokes of his 
 pencil they had reafon to be of a very different opinion, and freely acknowledged 
 their own miftake, and his uncommon abilities. 
 
 Cangiagio had three different manners at different periods of his life. His 
 firft, was gigantick and not natural ; in his fecond, he feemed to be confcious 
 of his own imperfection, and therefore confulted nature with greater attention, 
 and digefted his thoughts in fketches, before he began to paint; this was his 
 beft ftyle. The third, was diftinguifhed by a more rapid and expeditious 
 manner of penciling, which he adopted, to provide more amply for the fupport 
 of his family, and had a great deal of the mannerift. 
 
 In the royal collection at Paris, there is a Sleeping Cupid, as large as life, 
 and likewife, Judith with her Attendant ; which were painted by Cangiagio, 
 and are an honour to that matter. And in the Pembroke collection at Wilton, 
 is a picture, reputed the work of Cangiagio, reprefenting Chrift bearing his 
 Crofs. 
 
 Peter CANDITO, or de Witte. 
 
 Painted Hijiory, Portrait, and Hermits. 
 
 Bern in 1 548. 
 
 The real name of this matter was de Witte, (or White) although Sandrart 
 calls him by the name of Candito, as alfo does de Piles, on account of that name 
 being inferibed on fome of the prints engraved after the defigns of this artift. 
 Some authors affirm that he was born at Munich, but Defcamps afferts, that he 
 was born at Bruges in rs, in 1548, although he probably might have 
 
 refided for k ■. ■ him h, and perhaps have died there.' 
 
 He 
 5 
 
CAN [ 114 ] CAR 
 
 He painted with equal fuccefs in frefco, and in oil, and had an- excellent 
 genius for modelling. He worked in conjunction with Vafari at the Pope's 
 palace in Rome, and was alfo employed at Florence by the Grand Duke ; in 
 both places affording competent proofs of his (kill, and gaining reputation ■, 
 till at lad he was taken into the fervice of the Elector Maximilian of Bavaria, 
 and ipent the remainder of his life in the court of that Prince. 
 
 Several prints are publifhed by Sadeler after his defigns and paintings •, 
 particularly the Hermits, and the Four Doctors of the Church. 
 
 Dome n ico Maria CANUTI. 
 
 Painted Hijiory. 
 
 Died 1678, aged 55. 
 
 He was born at Bologna, in 1623, and had no other inftrudtor in the art of 
 painting, but nature, affifted by an happy genius. Even Guido could not 
 forbear admiring the product of this mailer's fine imagination, and very 
 frequently commended the judgement and tafte that were vifible in his 
 compofitions. 
 
 He was employed in many magnificent works at Rome, and Bologna, which 
 are ftill beheld with univerfal eiteem. 
 
 CAPPUTTINO. Vid. Galantini. 
 
 Annibal CARACCI. 
 
 Painted Hijiory, Portrait, and Land/cape. 
 
 Died 1609, aged 49. 
 
 By the concurrent teftimony of moft writers, this illuftrious artift was born 
 at Bologna, in * 1560, and was a difciple of Ludovico Caracci, his coufin- 
 german ; from whom he imbibed not only the belt principles of the art of 
 painting, but alfo a warm ambition to arrive at the utmoit perfection in every 
 branch of it. And for that purpofe, he ftudied the works of Titian, Tintoretto, 
 and Paolo Veronefe at Venice, and copied them with a moff accurate care. 
 
 His early performances at Bologna, afforded manifeft proofs of an extenfive 
 genius-, they furprifed the ableft artifts of his time, and railed a general 
 expectation of that excellence at which he afterwards arrived. 
 
 As the fame of the Caracci's had extended itfelf to Rome, Annibal was 
 invited thither by the Cardinal Farnefe, and employed to paint that gallery, 
 which is fo well known through all Europe. It will be for ever the glory of 
 Annibal, but it muff, likewife be the eternal difgrace of his employer, who 
 rewarded fuch eminent talents, and the labour of ten f years (as Sandrart 
 
 * Sandrart fays that Annibal Caracci was born in 1555, and died in i6og, aged 54, which 
 feein.- to be an error; for Agoftino who was his elder brother, was not born till 155X5 and it was 
 Ludovico who was born in 1555. 
 
 f The authors of the Abrege de la Vie des Peintres allow Annibal to have been but eight years 
 2\ work on the paintings of the Farnefian Gallery ; but Sandrart fays, he was ten. 
 
 5 affirms,) 
 
CAR [n5] CAR 
 
 affirms,) fo meanly and fo unworthily. For, that wealthy ecclefiaftick, 
 influenced by the fordid advice of his favourite dependant Don Gio, prefented 
 the painter with only five hundred crowns, for a work which richly merited 
 more than as many thoufands. 
 
 He went with Angular fatisfaction to Rome, as he had for a longtime defired 
 to fee the antique ftatues, the baflb-relievo's, and alfo the compofitions of 
 Raphael. And the obfervations he made in that city, induced him to change 
 his Bolognian manner, which had very much of Correggio in it, to affume one 
 that was indeed more learned, but more dry, and lefs natural, as well in defign 
 as colouring. 
 
 It is obferved, that the manner of all the Caracci's is the fame ■, the only 
 difference that can be perceived among them, feems to arife from their diverfity 
 of temper, and difpofition. Annibal had more fire, more boldnefs, and 
 Angularity of thought, than the two others •, and his defigns were more profound, 
 his exprefiions more lively, and his execution more firm. 
 
 His genius was better adapted to paint poetical, and profane fubjecls, than 
 facred ; though when he attempted the latter, he generally fucceeded. His 
 tafte of compofition and defign, was considerably promoted by his ftudies at 
 Rome, as may be evident from the Farnefian gallery ■, and although it muft be 
 confefied that the defign is loaded, yet that load hath fo much of elegance and 
 learning, that it often pleafes even thofe whofe critical judgement prevents 
 them from approving it. 
 
 His manner fhews a mixture of the antique, of nature, and of the manner of 
 Michael Angelo Bnonaroti. Fie forfook that of Bologna, and adopted the 
 Roman manner intirely ; the former was foft and mellow ; and the latter more 
 exact in defign, but it was lefs delicate in the colouring •, fo that the penciling 
 in the laft works of Annibal, is neither fo tender, nor fo agreeable as in his firft. 
 He had an admirable genius for landfcape ; the forms of his trees are truly 
 fine ; and in all his objects after nature, there is a character that diftinguifhes 
 them ftrongly. He feems, however, not well to have underflood the principles 
 and doctrine of the Chiaro-Scuro, nor are his local colours commendable ; but, 
 upon the whole, no painter feems to have been more univerfal, more eafy, more 
 certain in every thing he did, nor more generally improved, than Annibal. 
 
 In the gallery at Munich are two pictures of this mafter, for each of which, 
 (according to Mifibn,) Maximilian I, Elector of Bavaria, paid forty thouland 
 guilders. And, at Loretto is preferved a picture painted by Annibal, reprefenting 
 the Birth of the Virgin, which is exceffively beautiful. 
 
 Ludovico CARACCI. 
 
 Painted Hiftory, Landfcape, and Portrait. 
 
 Died 1 619, aged 64. 
 
 He was born at Bologna, in 1 SoS-> an ^ became a difciple of Profpero Fontarra ; 
 but he rofe to that high degree of reputation which he pofTefied, by ftudying 
 the works of Titian, Tintoretto, and Paolo Veronefe, at Venice •, of Paffignano, ' 
 and Andrea del Sarto, at Florence ■, of Julio Romano at Mantua ; and of 
 
 Q^ Jarmigiano, 
 
CAR [116] CAR 
 
 Parmigiano, and Correggio, at Parma. But above all thofe mafters he admired 
 Correggio, and always endeavoured to imitate his manner. 
 
 He is deemed to have lefs fire in his compofitions, than Annibal or Agoftino ; 
 but to furpafs them in grace, grandeur, and iweetnefs. In religious fubjects 
 particularly, he excelled them both •, and after the manner of his favourite 
 Correggio, he gave a wonderful grace to his Madonna's. Simplicity and 
 elegance diftinguifhed all his defigns •, his touch was lively •, his exprefiion 
 good ; the airs of his heads are graceful ; his figures are marked with a fine 
 outline •, and his compofition is often fublime. 
 
 In conjunction with Agoftino and Annibal, he laid the foundation of that 
 fchool, which has been fo highly celebrated, and even to this time diftinguifhed 
 by the title of the Academy of the Caracci' s ; and thither, (as Be Piles and 
 other writers report) all the young ftudents, who gave great hopes of their 
 becoming mafters, reforted to be inftructed in the true principles of painting. 
 
 The Caracci taught freely thole things, that were proportionable to the 
 talents, and qualifications of their difciples. They ettablifhed well chofen 
 models of men and women •, and Ludovico collected at Rome a number of 
 fine cafts from the beft figures, and fome antique ftatues, and curious bafib- 
 relievo's, which he conveyed to Bologna. They procured the moft capital 
 defigns of the great mafters ; they purchafed inftruitive books on all fubjects 
 relative to the art •, and had the afiiftance of a very noted anatomift, Anthony de 
 la Tour, who taught the difciples whatever might be neceiTary to be known, 
 relative to the knitting of the bones, and the infertion of the mufcles. So 
 that, young men were excited to ftudy there, and many fpent whole days and 
 nights, in afiiduous practice to improve themfelves, by the antiquities and 
 defigns which were always open to their infpection. 
 
 The happy effects of this inftitution is lufficiently proved, from the abundance 
 of noble difciples which were formed in that academy ; among the number of 
 whom are, Guido, Domenichino, Albano, Lanfranc, Guercino, and many 
 others. 
 
 At Bologna, in a chapel belonging to the church of La Madona di Galiera, 
 there is a picture painted in frefco, by Ludovico Caracci, reprefenting an Ecce 
 Homo, in which Pilate is feen wafhing his Hands. The defign is excellent, 
 the colouring extremely good, and the whole has a fine effect. In the church 
 of S. Leonardo, the grand altar-piece is of the hand of this mafter. The 
 fubject is the Martyrdom of S. Urfula, and S. Leonardo, and it is a noble and 
 grand compofition, confifting of a number of figures in good attitudes, grouped 
 with lingular fkill, and adorned with elegant draperies ; the heads and hands 
 being correctly defigned, and in a good tafte. But, it is grown dark by time, 
 as moft of the paintings of Ludovico are at this day, which greatly diminifhes 
 the effect. Likewife, in the fame * city is a moft capital picture of S. John 
 the Baptift, painted by this mafter. The dignity that appears in the whole 
 figure is aftonifhing ; it commands reverence, attention, and love ; and the 
 countenance looks infpiration. The graceful air and attitude, as well as the 
 union of fimplicity and dignity in the character, are heightened by the judicious 
 mixture of ftrength and foftnefs in the colouring. 
 
 • Vid. Letters from the Eaft. 
 2 There 
 
CAR [ 117 ] CAR 
 
 There are alfo many other pictures in Bologna of his hand, which are confef- 
 fedly excellent ; particularly a Transfiguration, and the Converfion of St. Paul; 
 and a great number are in the churches, and religious communities, in all parts 
 of Lombardy. 
 
 Agostino CARACCI. 
 
 Painted Hijlcty, and Portrait. 
 
 Died 1602, aged 4+. 
 
 This eminent artift was born at Bologna, in 1558. He was the elder bro- 
 ther of .Annibal, the difciple of Ludovico, and in many refpects was not interior 
 to either. At firft he ftudied painting in the fchool of Profpero Fontana, and 
 afterwards became the difciple of Paflerotti ; but it was under the direction of 
 Ludovico, he acquired that tafte, and knowledge, by which he rendered himfelf 
 confiderable. 
 
 As well in the difpofition, as in the execution of the memorable Farnefian 
 gallery, he afiifted Annibal •, but he had not the afiiduity of his brother ; and 
 devoted a great deal of time to engraving, in which he was lb excellent, that 
 his etchings were almoft as much valued as his paintings. 
 
 There are but few of his pictures to be met with •, and it is thought that 
 feveral of thofe which he did finifh, pafs for the work of his brother Annibal. 
 One of the moft celebrated pictures of this mafter, is the Communion of 
 S. Jerom, at the Chartreux in Bologna, which he executed after his return from 
 ftudying at Venice •, it is defigned and compofed in a grand ftyle ; the draperies 
 of the figures are broad, and elegant ; and in the heads there is a noble cha- 
 racter. But, although abundance of merit appears through the whole compo- 
 fition, it cannot Hand in competition with the famous picture, painted by Dome- 
 nichino, of the fame fubject. Another of his defigns is at Parma, in the Duke's 
 palace ; which, by the death of Agoftino, was left imperfect, and unfinifhed. 
 And it was fo highly efteemed by the Duke, that he never would permit any 
 other painter to work upon it, becaufe he accounted it impoiiible to rind a 
 mafter equal to fuch an undertaking. 
 
 Antonio CARACCI, called I l Gobbo. 
 
 Painted Hi/lory, Land/cape, and Birds. 
 
 Died 16 1 8, aged 35, 
 
 He was the natural fon of Agoftino, born at Bologna, in 1583 ; and having 
 been carefully inftructed by Annibal in the art of painting, he appeared to have 
 a lively, and promifing genius ; and even in the few things which he painted, he 
 gave fuch evident tokens of a very enlarged capacity, that the ihortneis of his 
 life has been exceedingly regretted. 
 
 In all his compofitions he diiplayed a very excellent tafte, and in thofe 
 pictures which he finifhed, he (hewed the fpirited touch, and penciling, as well 
 as the beautiful exprefiion of the admired Annibal. And, if a judgement might 
 be formed of his talents, by thofe frefco paintings with which he enriched the 
 
 Q^ 2 three 
 
CAR [ 118 ] CAR 
 
 three chapels, belonging to the church of San Bartolomeo nell' Ifola, it would 
 feem not improbable, that he might, perhaps, have even iurpaffed the whole fa- 
 mily of the Caracci. 
 
 Francesco CARACCI, called Franceschino. 
 
 Painted Hiftoiy. 
 
 Died 1622, aged 28. 
 
 He was the difciple of Ludovico Caracci •, by whofe precepts he proved, in a 
 ihort time, an eminent defigner of naked figures ; and was accounted by his 
 mafter, fuperior to any of his fellow difciples, in freedom of hand, correctnefs, 
 and truth. But, growing vain by the applaufes he received for his acknow- 
 ledged excellencies, he neglected colouring •, and by that means leffened his re- 
 putation, which, by a different conduct, he might have effectually eftablifhed. 
 
 CARAVAGGIO. Vid. Ancelo. 
 
 Ludovico CARDI, called Cigoli, and Civoli. 
 
 Painted Hijlory. 
 Died 1 61 3, aged 54. 
 
 This diftinguifhed mafter was called Cigoli, from the caftle where he was 
 born, in 1559 > and became the difciple of Aleffandro Allori, though he after- 
 wards ftudied Andrea del Sarto, and Correggio. 
 
 He drew extremely well, and his ftile of defigning was grand, and elevated. 
 The attitudes of his figures were natural, juft, and expreffive ; and his out-line 
 was exceedingly correct. But, notwithftanding his allowed merit, his works are 
 readily known by fome particularities, which are remarked in all his compofi- 
 tions •, iuch as a multiplicity of folds in his draperies, and a peculiar form of the 
 hair in all his figures. 
 
 At Florence he ftudied, moft accurately, not only the antique ftatues, but alfo 
 the works of Michael Angelo Buonaroti, and Andrea del Sarto •, and applied 
 himfelf to learn peripective, and architecture, in the famous fchool of Bernardo 
 Buontalenti. But, having accidentally feen fome of the works of Baroccio, he 
 grew fo pafiionately fond of the new ftyle of that great mafter, that he after- 
 wards endeavoured to imitate it ; till he found that Baroccio had derived his 
 tafte and knowledge from the works of Correggio, and then he determined to 
 leek for improvement at the fountain head. 
 
 From thenceforward he devoted himfelf intirely to form his tafte of co- 
 louring, and defign, on the principles of that celebrated genius-, and, as he pof- 
 feffed a lively imagination, joined to an acute underftanding, and a judgement ca- 
 pable of difcerning every portion of merit in the works of Correggio, it cannot 
 appear furpf. .ring, that he copied him with incredible exactnefs, and beauty; 
 or, hat from his future performances, he fhould be diftinguifhed by the name 
 of the Florentine Correggio, which he obtained by his picture of the Martyrdom 
 of S. Stephen. 
 
 5 He 
 
CAR [ 119 ] CAR 
 
 He was employed by Pope Paul V. to paint the dome of S. Maria Maggiore 
 at Rome ; but, as that work proved unequal, if not inferior, to his other pro- 
 ductions, he feemed fo utterly diffatisfied with it, that he defired to have it de- 
 faced, in order to finifti it with greater beauty, and more to his own honour. 
 Ye; the Pope could not be prevailed on to permit the painting to be deftroyed ; 
 and his refufal impreffed fo deep a melancholy on the fpirits of Cigoli, that it 
 was thought to be the principal caufe of the death of that excellent artift. 
 
 In the palace of Pitti at Florence, a noble picture of this mafter is preferved. 
 The fubject is a dead Chrift, the Virgin, and Nicodemus. The compofition, the 
 expreffion, and the colouring, are all beautiful. The figure of the Virgin is 
 particularly excellent, and has ibmewhat that appears like the tafte of the Ca- 
 racci ; and in the fame palace is an Ecce Homo, which is efteemed one of his 
 fineft performances. 
 
 Henry CARRE'. 
 
 Painted Land/capes, Cattle, Huntings, and Converfations-. 
 Died 1 72 1, aged 65. 
 
 According to Weyerman, and Defcamps, this painter was born at Amfter- 
 dam, in 1656; but, according to Houbraken, and the Chronological Tables, in 
 1 65 S •, and was a difciple at firft of Jurian Jacobfz, an Ham burgher, as he alio 
 was afterwards of Jacques Jordaens. 
 
 Soon after his appearing in public as an artift, he found employment at the 
 court of Frizeland, and was appointed ftate painter. He adorned the palace 
 with feveral fine paintings, particularly landfcapes, in which he introduced 
 huntings of the wild boar, and of other animals : in all which fubjecls his 
 manner refembled that of Snyders. The principal part of his life was, how- 
 ever, fpent at Amfterdam, and the Hague, where he took uncommon pains to 
 excel, and his works were in general efteem. 
 
 His ufual fubjecls were landfcapes, with peafants attending flocks of flieep, or 
 herds of cattle ; huntings, and fometimes converfations. He had an agreeable 
 ftyle of painting, and alio a good manner of colouring ; his figures, and animals, 
 were well defigned, and touched with a great deal of fpirit •, though many of 
 ^is pictures have rather too great a degree of darknefs. 
 
 Michael CARRE'. 
 
 Painted Landfcapes, and Cattle. 
 Died 1728, aged 62. 
 
 He was a younger brother of Henry Carre, born at Amfterdam, in 1666, and 
 ftudied the art of painting under his brother ; but, to accomplifla himfeif in his 
 profeffion, he became the difciple of Nicholas Berchem, 
 
 When he had improved his tafte and his hand confiderably, under that great 
 mafter, he quitted him, and moft unaccountably preferred the ftyle of Varider 
 Leew, to that of Berchem, though it had neither fo much truth, beautv, or 
 delicacy. 
 
 For. 
 
CAR [120] CAR 
 
 lor fome time he followed his profeffion in his own country, and afterwards 
 went to London, where he refided for ieveral years ; but he found fmail encou- 
 ragement, undoubtedly becaufe he changed his firft agreeable manner, and 
 perfifted in another, not fo acceptable to the judicious and critical talte of 
 the Englilh. 
 
 The difappointment urged him to return to his native city, from whence, 
 however, he was invited to the Prufiian Court, where he had a good appoint- 
 ment, and was very nobly paid for his work. 
 
 He had great readinefs of hand, and a neat manner of penciling in his eafel 
 pictures ; but he was by no means defirous of painting in afmall fize, if he could 
 avoid it ; for, his inclination always led him to embellifh grand falons, halls, 
 and large apartments. 
 
 It is remarked of him, that in his compofitions of the larger fize, he was fond 
 of introducing Subjects that excited terror ; ftorms with lightning, destroying 
 caftles and towers, and tearing up trees by the roots. 
 
 CARRIER A. Vid. Rosalba 
 
 Giovanni Francesco CAROTO. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1546, aged 76. 
 
 He was born at Verona, in 1470, and learned the firft principles of painting 
 from Liberale Veronefe ; but, having an opportunity of feeing fome of the 
 works of Andrea Mantegna, he went to Mantua, to place himielf as a difciple 
 under that celebrated mafter. He there applied himielf induftrioufiy to improve 
 his genius, and acquired fuch a readinefs in defign, and freedom of hand, as ren- 
 dered him fuperior to his mafter; and many of his compofitions were taken for 
 the works of Andrea. 
 
 At firft he delighted to paint in a fmall fize; but thofe who envied his merit 
 having afierted that he was incapable of painting in large, he confuted them, 
 by finifhing a very noble defign in the chapel of the Virgin at Verona, with 
 ficrures as large as life, which was allowed to excel all his former works, and efta- 
 bliftied his reputation. 
 
 Giovanni CAROTO. 
 
 Painted Hiftory, and Portrait. 
 
 Aged 60. 
 
 He was born at Verona, and inftructed in the art of painting by Giovanni 
 Francefco Caroto, his brother, whofe manner he fuccefsfully imitated ; though 
 he had not a proportionable degree of merit, to entitle him to as great a 
 reputation. 
 
 A' cer he had applied himfelf for fome years to his profeflion, he went to 
 Venice, in order to obtain a more perfect knowledge of col juring ; and returned 
 to Verona about the time of his brother's deceafe. In that city he founJ. fuf- 
 
 ficient 
 
CAR [121] CAR 
 
 ficient employment for hiftorical fubjects, as well as portraits, having painted 
 many altar-pieces for the churches, and convents, as alfo eaiU pictures for the 
 principal nobility of his time. 
 
 He defigned all the curious remains of antiquity in, and near, Verona, parti- 
 cularly the famous amphitheatre ; which were afterwards engraved, and pub- 
 lilhed, very greatly to his honour •, and, before his death, he had the fatisfaftion 
 to fee two of his difciples ranked among the number of the molt eminent artifts, 
 which were Paolo Veronefe, and Anfelmo Canneri. 
 
 Ugo da CARPI. 
 
 Painted Hiftory. 
 Died 1500. 
 
 This artift was not in any degree confiderable as a painter ; but, he made 
 himfelf remarkable by difcovering the art of printing in chiaro-fcuro, which he 
 performed with two pieces of box-wood ; one of which marked the outlines, and 
 fhadows, and the other imprefTed whatever colour he laid upon it, leaving fome 
 parts of the paper uncoloured, as mafTes of light. In that manner he ftruck off 
 prints after feveral defigns, and cartons, of Raphael •, particularly one of the 
 Sybil, a Defcent from the Crofs, and the Hiftory of Simon the Sorcerer. 
 
 This art was brought to a ftill higher degree of perfection by Balthafar Pe- 
 ruzzi of Siena, and Parmigiano, who publifhed feveral excellent defigns in that 
 manner. 
 
 GlROLAMO DA CARPI. 
 
 Painted Hiftory ; and Portrait. 
 , Died 1556, aged 55. 
 
 This painter, who was born at Ferrara, in 1501, became a difciple of Garo- 
 falo, and proved the beft artift of all thofe who ftudied in that academy •, but, 
 when he quitted that mafter, he devoted his whole time, thoughts, and attention 
 to ftudy the works of Correggio, and to copy them with a moll critical care, and 
 obfervation. In that labour he fpent feveral years, at Parma, Modena, and 
 other cities of Italy, where the beft works of that exquifite painter were 
 preferved. 
 
 He fucceeded to admiration, and acquired fuch an excellence in the imitation 
 of Correggio's ftyle, and copying his pictures, that many paintings finifhed by 
 him, were taken for originals •, and not only admired, but were eagerly pur- 
 chafed by the connoifleurs of that time. Nor is it improbable, that feveral of 
 the paintings of Girolamo da Carpi, pafs at this day for the genuine work o£ 
 Correggio himfelf. 
 
 Jul 1 & 
 
CAR [ 122 ] CAS 
 
 Julio CARPIONE. 
 
 Painted Hijlory, Bacchanals, Triumphs, and Sacrifices. 
 
 Died 1674, aged 63. 
 
 He was born at Venice, in 161 1, and was a difciple of Aleffandro Varotari, 
 called Paduanino ; under whofe guidance he made a remarkable proficiency, 
 and in a furprifingly fhort time acquired a great reputation for defign, for in- 
 vention, and for a charming tint of colouring. 
 
 His genius directed him to paint in a fmall fize, and therefore he chofe 
 fubjects which admitted of a number of figures, fuch as Bacchanalians, facrifices, 
 triumphs, &c. in which he was without a competitor. 
 
 During the life of this mafter, the demand for his works was extraordinary ; 
 and at this time, they are exceedingly rare, and highly valued. 
 
 C A R U C C I. Vid. Puntormo. 
 
 Nicolo CASSANA, called Nicoletto. 
 
 Painted Hijlory, and Portrait. 
 
 Died 171 3, aged 54. 
 
 He was born at Venice, in 1659, anc ^ became a difciple of Giovanni Fran- 
 cefco Cafiana, a Genoefe, who had been taught the art of painting by Ber- 
 nardino Strozzi. 
 
 Having the advantage of fo able a director, he practifed with unufual induftry, 
 and accurately ftudied whatever appeared moil worthy of his imitation, in the 
 works of art, and likewife what was moll beautiful and perfect in the works 
 of nature. 
 
 By fuch an earneft application to his ftudies, he foon diftinguifhed himfelf, 
 not only by the beauty of his colouring, but by the gracefulnefs of his figures 
 in hiftorical compofitions, as well as in portrait. The moft eminent perfonages 
 folicited him to enrich their cabinets with fome of his performances •, and were 
 more particularly defirous to obtain their portraits, becaufe in that branch he ex- 
 celled beyond competition. 
 
 The Grand Duke of Tufcany, who was an excellent judge of merit in all pro- 
 feffions, and as liberal an encourager of it, invited Nicoletto to his court; and he 
 there painted the portraits of that Prince, and the Princefs Violante his confort. 
 Thofe performances procured him uncommon applaufe, as well as a noble gra- 
 tuity, and he was employed, and carefied, by the principal nobility of Florence. 
 
 Befide feveral hiftorical fubjects painted by this mafter, while he refided in 
 that city, one was a very capital defign. The fubject of it was the Confpiracy 
 of Catiline ; it confifted of nine figures as large as life, down to the knees ; and 
 the two principal figures were reprefented, as with one hand joined in the 
 prcfence of their companions, and in their other hand holding a cup of blood. 
 
 Some of the Englifh nobility, on their travels, fat to him for their portraits ; 
 which being fent to London, and highly admired, Nicoletto was invited to 
 England, with ftrong afilirances of a generous reception ; and, on his arrival, he 
 
 experienced 
 
CAS [ 123 ] CAS 
 
 experienced the kindnefs, the refpect, and the liberality, fo peculiar to the 
 natives of that kingdom. 
 
 He had the honour of being introduced to the prefence of Queen Anne, and 
 to paint her portrait •, in which he fucceeded fo happily, that the Queen dif- 
 tinguifhed him by many marks of favour, and honour ; but he had not the hap- 
 pinefs to enjoy his good fortune for any length of time, dying in London, uni- 
 verfally regretted, in the year 171 3. 
 
 Giovanni Agostino CAS SANA, called L'Aeate Cassana. 
 
 Painted Beafts, Birds, Fifies, and Fruits, 
 Born in i 664. 
 
 He was the younger brother of Nicolo, educated along with him by their 
 father Francefco Caffana, and he finifhed his ftudies at Venice, where his brother 
 Nicolo refided for fome time. 
 
 Although he compofed and defigned hiftorical fubjects with expertnefs, and. 
 with a correctnefs of out-line equal to his brother ; yet, from prudence, and fra- 
 ternal affection, he declined to interfere with him, and chofe therefore to defign 
 and paint all forts of animals, and fruits. 
 
 In that ftyle he arrived at a high degree of excellence, imitating nature with 
 exactnefs, beauty, and truth ; expreffing the various plumage of his birds, and 
 the hairs of the different animals with fuch tendernefs, and delicacy, as rendered 
 them eftimable to all judges and lovers of the art. His works were admitted 
 into the collections of thole of the firft rank, and accounted ornaments of thofe 
 repofitories of what is curious or valuable. 
 
 He alio painted fruits of thole kinds which were the moft uncommon, or na- 
 turally of odd and fingular colours •, and fuch fifties as feemed worthy to excite 
 admiration, by their unufual form, colour, or appearance. 
 
 But, befides thofe fubjects, he fometimes painted the portraits of particular 
 perfons of diftinction, which he defigned, coloured, and touched with the fame 
 degree of merit, that was vifible in all his other performances. 
 
 At laft he determined to vifit Genoa, where his family had lived in efteem ; 
 and took with him feveral pictures which he had already finifhed. His intention 
 was to difplay his generofity, and to appear as a perfon of more wealth, and of 
 greater confequence than he really was ; and to fupport that character, he be- 
 llowed his pictures to feveral of the principal nobility of that city. 
 
 But, unhappily, he experienced no grateful return for all that prodigal muni- 
 ficence ; he reduced himfelf by that vain liberality to the moft neceffitous cir- 
 cumftances ; was deprived of the means to procure for himfelf even the common 
 neceffaries of life, and wafted away the remainder of his days, in the bitternefs 
 of poverty, mifery, and neglect. 
 
 Jacopo d 1 CASSENTINO. 
 
 Painted Hijlory*, and Portrait. 
 
 Died 1356, aged 80. 
 
 He was born at Cafientino, in 1276, and learned the art of painting from 
 Taddeo Gaddi. He was confidered in his time as an artift of confiderable merit, 
 
 R as 
 
CAS [ 124. ] C A S 
 
 as well in frefco, as in diftemper; and performed a great number of works in 
 fijs native city, in Arezzo, and Florence, and in the year 1350 became the 
 founder of the Florentine academy. 
 
 The mod memorable work of this mafter, was that which he painted in the 
 chapel of the academy, reprefenting S. Luke drawing the portrait of the Virgin •, 
 in which he introduced on one fide all the academicians, which were ten, and on 
 the oppofite fide all their wives. 
 
 Andrea d a l C A S T A G N O. 
 
 Painted MJlcry. 
 
 Died 1480, aged 71. 
 
 He was born at a fmall village called Caftagno, belonging to the territory of 
 Tufcany, in 1409, and being deprived of his parents, was employed by his uncle 
 to attend the herds of cattle in the fields •, but, having accidentally leen an or- 
 dinary painter at work in the country, he obferved him for fome time with fur- 
 prize, and attention, and afterwards made fuch efforts to imitate him, as afto- 
 niihed all who law his productions. 
 
 The extraordinary genius of Andrea, became at laft a common topick of 
 difcourfe in Florence 5 and lb far excited the curiofity of Bernardetto de Medici, 
 that he fent for Andrea ; and perceiving that he had promifing talents, he 
 placed him under the care of the belt matters who were at that time in Flo- 
 rence. Andrea diligently purfued his ftudies, devoted himfelf entirely to prac- 
 tice under the direction of his inftructors, became particularly eminent in defign, 
 and in a few years made fo great a progrefs, that he found as much employment 
 as he could poflibly execute. 
 
 He painted only in diftemper, and frefco, with a manner of colouring that 
 was not very agreeable, being rather dry, and hard ; till he learned the fecret of- 
 painting in oil from Domenico Venetiano, who had derived his knowledge of 
 that new difcovery from Antonello da Meffina. 
 
 Andrea was the firft of the Florentine artifts who painted in oil ; but, although 
 he was in thehigheft degree indebted to Domenico for difclofing the fecret, yet 
 he fecretly envied the merit of the man who taught him the art ; and becaufe his 
 own works feemed to be much lefs admired, than thole of Domenico, he deter- 
 mined to affafiinate his friend, and benefactor. 
 
 He executed his defign with the utmoft ingratitude, and treachery, (for Do- 
 menico at that time lived with him, and painted in partnerfhip with him) and 
 he ftabbed him at a corner of a ftreet fo fecretly, that he efcaped unobferved, and 
 unlufpected, to his own houfe, where he compofedly fat down to work ; and 
 thither Domenico was foon after conveyed, to die in the arms of his murderer. 
 The real author of fo inhuman a tranfaction was never dilcovered, till Andrea, 
 through remorfe of confcience, difclofed it on his death-bed. 
 
 He finifhed feveral confiderable works at Florence, by which he gained great 
 riches, and as great a reputation •, but, when his villainous mifconduct became 
 public, his memory was ever after held in the utmoft debellation. 
 
 The moft noted work of this matter is in the hall of juftice at Florence, repre- 
 senting the execution of the confpirators againft the houfe of Medici. 
 
 Bernard 
 
CAS [ 125 ] CAS 
 
 Bernard CASTELLI. 
 
 Painted Hifiory y and Portrait. 
 Died 1629, aged 72. 
 
 This painter was born at Genoa, in 1557, and was a dilciple of Andrea Se- 
 mini, but he ftudied to imitate the ftyle of Ludovico Cangiagio. 
 
 He was efteemed to have a commendable genius, alio a good tone of colour- 
 ing, and a good tafte of defign ; but, by neglecting to ftudy nature, as carefully 
 as he ought, his works were, in many refpects, very defective. Yet, he painted 
 portraits with confiderable fuccefs, and fome of his compofitions in the hifto- 
 rical ftyle, are defigned with a degree of elegance, and are coloured in an agree- 
 able manner. The picture which he painted in the church of S. Peter at Rome, 
 reprefenting that apoftle walking on the water, is defigned in a grand ftyle, and 
 added greatly to his reputation. 
 
 Valerio CASTELLI. 
 Painted Hiftory, and Battles. 
 Died 1659, aged 34. 
 
 He was born at Genoa, in 1625, and ftudied in the fchool of Domenico Fia- 
 fella ; but, he owed his principal knowledge in the art of painting, to the ftudies 
 he mide at Milan, and Parma, after the works of the moft celebrated mafters, 
 by which he improved his tafte of defign, compofition, and colouring. 
 
 The merit of Valerio was immediately diftinguiftied, as foon as his works be- 
 came known ■, and he acquired fuch a reputation for drawing, colouring, and 
 the elegant turn of his figures, as placed him in a rank far fuperior to 
 his father. 
 
 His moft favourite fubjefts were battles, which he compofed with fpirit, and 
 executed them with fo pleafing a variety, and fo great freedom of hand, as 
 gained him univerfal applauie. His horfes are admirably drawn, thrown into 
 attitudes that are natural and becoming, full of motion, action, and life. In that 
 ftyle of painting he fhewed all the fire of Tintoretto, united with the fine tafte of 
 compofition of Paolo Veronefe. 
 
 The works of this matter are not very frequent •, but they are defervedljr 
 held in very high efteem. 
 
 As to hiftorical fubjects, which he frequently painted, he fhewed a great deal 
 of merit in his eafel pictures, as well as in feveral that were truly grand. In the 
 great ftyle, the cupola of the church of the Annunciation at Genoa, is entirely 
 painted by his hand ; and it is defcribed as a very noble compofition, in which 
 appears an excellence of invention, expreffion, and defign. And at Florence, 
 in the palace of the Grand Duke, there is a noble painting, of which the fubject 
 is the Rape of the Sabines, by this matter. The compofition is full of fire, the 
 figures are well grouped, and the colouring has abundance of force, by a ftrong 
 oppofition of light and Ihadow. However, the defign is not very correct ; the 
 hands of the figures are too fmall ; and, in general, there appears too much of 
 the mannerift, as well in the colouring as the defign. 
 
 R 2 At 
 
CAS [ 126 ] CAS 
 
 At Wilton, in the collection of the Earl of Pembroke, a picture reprefenting 
 Chrift taken down from the Crofs, is by Valerio Caftelli •, and it is believed 
 that a greater number of the eafel pictures of this mafter are in the collections 
 of the Nobility and Gentry of England, than in any other part of Europe. 
 
 Giovanni Benedetto CASTIGLIONE, called 
 
 Greghetto. 
 
 Painted Cattle, Land/cape, Portrait, and Hijlcry. 
 Died 1670, aged 54. 
 
 This admired artift was born at Genoa, in 16 16, and in that city was at firft 
 a difciple of Battifta Pagi, and afterwards ftudied in the academy of Giovanni 
 Andrea de Ferrari ; but his principal improvement was derived from the in- 
 structions of Vandyck, who at that time refided in Genoa. 
 
 Pie formed to himfelf a very grand manner of defign, in every branch of his 
 ait, and fucceeded equally well in all •, in facred and prophane hiStory, land- 
 scape, cattle, and portrait •, executing every one of them with an equal degree 
 of truth, freedom, and fpirit. 
 
 But, although his genius was fo univerfal, his natural predominant turn was to 
 rural Scenes, and paStoral Subjects, markets, and animals, in- which he had no Su- 
 perior. He had great readinefs of invention, a bold and noble tint of colour- 
 ing, and abundance of nature, in all his compofitions. His drawing is elegant, 
 and generally correct, his touch judicious, and his pencil free and firm. And 
 Still to add to his accomplishments, he had a thorough knowledge of the chiaro- 
 fcuro, which he very happily applied through all his works. 
 
 In a chapel of St. Luke's church at Genoa, is an excellent picture by this 
 mafter. The composition and defign are good, the heads of the figures ex- 
 tremely fine, the draperies well choSen, and judicioufly caSt, the animals lively 
 •md correct, and the manner through the whole is grand, and yet delicate ; tho.' 
 it muft be obServed, that the colouring is rather alittle too red. In the Palazzo 
 Brignoletti is a grand compofition, the figures being eighteen or twenty inches 
 high, which is admirably finiflied, though perhaps a little too dark. And at the 
 Palazzo Caregha, in the Same city, is an historical picture of Rachel concealing 
 the Teraphim from Laban, in which the figures and animals are exceed- 
 ingly fine. 
 
 Francesco CASTIGLIONE. 
 
 Painted Land/cape, Hiflory, and Animals. 
 
 He was the fon and difciple of Benedetto, and was born at Genoa. He had 
 thehappinefs to inherit abundance of the merit, and extraordinary talents of his 
 father, and imitated his Style and manner exactly, in compofition, handling, and 
 defign. Benedetto was not a more univerfal painter than FranceSco ; but the 
 latter was not in every reSpect equal to his father ; though in hiitory, landScape, 
 and animals, his exquiSite taSte, his freedom of hand, and his Spirited pencil, pro- 
 cured him an eflablifhed reputation. 
 
 5 U 
 
CAS [ 127 ] C A V 
 
 It is thought, that many good paintings which are afcribed to Benedetto, and 
 are frequently feen at fales, or in moderate collections, are copies after him by 
 his fon Francefco, or perhaps originals of the younger Caftiglione. 
 
 PlETRO DE CASTRO. 
 
 Painted Still Life. 
 Died 1663. 
 
 The fubjects which this great artift chole to paint, were what are dif- 
 tinguifned by the name of full life •, vafes, fhells, mufical inftruments, gems, 
 veffels of gold, filver, and chryftal, books, and rich bracelets ; and in thofe 
 fubjects his choice and difpofition were elegant, and his execution admirable. 
 
 No colouring could have more of truth, nature, or tranfparence than his, nor- 
 any penciling be more free, though neat, and delicate. He fhewed peculiar 
 judgement in grouping a variety of objects in fuch a manner, as to give union 
 and harmony to the whole. Every feparate object is exact when critically exa- 
 mined ; and every object contributes at the fame time, by a.judicious arrange- 
 ment, to form but one mafs of light and fhadow. 
 
 _ Thathe was expert in the true principles of perfpective, and the chiaro-fcuro, 
 his works fufficiently demonftrate ; and for tranfparence, and truth, the beft of. 
 his cotemporaries could not be fuperior to him. 
 
 A capital picture of this matter is in the poffeflion of William Montgomery, 
 Efq; in Dublin. 
 
 Pietro CAVAELINI. 
 
 Painted Hiftory, . and worked in Mofaick. 
 
 Died 1364, aged 85. 
 
 He was born at Rome, in * 1279, and became the difciple of Giotto. He 
 rendered himfelf very confiderable by a multitude of paintings which he 
 
 * Mr. Vertue, according to the Anecdotes of Painting, vol. 1. page 17. thinks it highly pro- 
 bable, that the lbrine of Edward the Confeflbr, and the croiTes erected to the memory of Queen 
 Eleanor, were couftrufted from the defigns of Pietro Cavallini, by Abbot Ware ; and he fuppofes 
 Cavalliai to be the inventor of Mofaic, alledging that Giotto was zo years younger than 
 the other. 
 
 But, with great deference to that gentleman, thofe fuppofiiions feem not to be very defenfible ; 
 fur, by the testimony of Vafari, and other writers, and alio by the Hiftorical Tables of Antient and 
 Modem Painters, publifhed by Anthony Harms at Erunfwick, it appears that Giotto was three 
 years older than Cavallini, irfftead of being twenty years vounger ; and was really his infractor in 
 the art of Mofaic ; as may be evident from the dates of their birth according to Yatiri. 
 
 Giotto was bom in 1276, and 
 Cavallini was bom in 1279. 
 
 Indeed, Vafari does not mention the precife year of the birth of Cavallini ; but, as he teftifies . 
 that he died in 1364, at the age of 8;, he-determines the year of his birth in 1279. 
 
 Nor can theothei h'ppcniion, of Abbot Ware's conftructing thofe croffes and {hrine from the ■ 
 defigns of Cavallini, be any ways eRabliflied; for, according to the Anecdotes, Ware was at Rome 
 in 1260, and there faw a (hrine that had been erefled in 1254, an ^ the Abbot himfelf died 
 in 12S3, which, it. is obfervable, was eight years before the death of Queen Eleanor, who died . 
 in f 1291. 
 
 Now, as it appears that Giotto was born in 1276, he could have been but feven years old at the 
 death of Ware; and Cavallini being three years younger than Giotto, it muft appear impoifible 
 that he fliould have been a defigner for Ware, as that Abbot died when Cavallini was only four 
 years old. 
 
 f V,d. Daniel's H.ftory of Engh^, 
 
 finished,. 
 
C A V [ 128 ] C A V 
 
 Jiniflied, to the number (as fome writers afiert) of 1300-, and he was alfo as 
 remarkable for his piety, having on that account been efteemed as a faint. 
 
 His principal works are at Rome, where he affifted Giotto in that celebrated 
 picture in Mofaic, which is over the grand entrance into the church of 
 St. Peter ; and in St. Paul's there is a crucifix, faid to be by his hand, which the 
 fuperftitious affirm to have miraculoufly talked to S. Bridget. But his bell per- 
 formance in frefco, was in the church of Ara Cceli at Rome •, in which he repre- 
 sented the Virgin and Child above, furrounded with glory, and below was the 
 figure of the Emperor Octavian, and alfo that of the Sybil, directing the eye and 
 the attention of the Emperor, to the figures in the air. 
 
 Jacomo CAVEDONE. 
 
 Painted Hijiory. 
 Died 1660, aged 80. 
 
 This matter was born at Saffuolo, near Modena, in 1580, and was educated 
 in the academy of the Caracci, where he learned defign •, but he frequently at- 
 tended the fchools of Baldi, and Pafferotti, to ftudy after the naked. Yet, to 
 acquire a proper knowledge of colouring, he vifited Venice, and carefully exa- 
 mined the perfections of Titian ; and at his return to his own country, the beft 
 judges of the art of painting were much pleafed with his works, as they feemed 
 to poffefs an agreeable mixture of the ftyle of the Caracci, and the tints 
 of Titian. 
 
 For fome time at Bologna, the works of Cavedone were efteemed equal to the 
 compofitions of Annibal •, and it is recorded, that in the King of Spain's chapel 
 there is a picture reprefenting the Vifitation of the Virgin, which Rubens, Ve- 
 lafquez, and Michael Angelo Colonna fuppofed to be the performance of An- 
 nibal Caracci, although it was really the work of Cavedone ; nor could there be 
 a more honourable teftimony in favour of this mailer. 
 
 His beft manner was ilrong and free, and the tints of his colouring were na- 
 tural and beautiful •, but, by thofe who have judicioufiy confidered his works, 
 it is obferved that this painter had three different manners, at three different 
 periods of his life. His firft time was excellent ; his fecond but indifferent ; 
 and his laft was feeble, and miferably bad. For, in the latter part of his life, 
 he was depreffed byficknefs, and extreme poverty ; and a few years before his 
 death, he received a violent (hock, by the fall of a fcaftbld while he was paint- 
 ing •, and his unhappinefs was completed by the death of his only fon, who had 
 given ftrong proofs of apromifing genius. 
 
 At Bologna, in the church of S. Salvatore, are feveral very capital perfor- 
 mances of Cavedone. The Prophets, and the Four Doctors of the Church, are 
 extremely good, and have an agreeable effect •, and in a chapel belonging to the 
 church of S. Paul, are fome excellent paintings of his, very much in the manner 
 of Caravaggio as to the colouring, and the heads of the figures are in a fine ftyle. 
 But, one of his beft performances is in the church of the Mendicants in Bo- 
 logna, in which he reprefents Petronius and another flint on their knees, in the 
 lower part of the picture, and the Virgin and Child in the Clouds attended by 
 /\ngels. The Virgin is in a grand tafte of defign ; the com^jfition is excel- 
 lent; 
 5 
 
C E L [ 129 ] C E R 
 
 lent •, the colouring, in fome parts, refembles Titian, and, in others^the toucK 
 and manner of Guido ; the heads are exceedingly fine •, the draperies nobly exe- 
 cuted, in that ftyle which is particularly admired in Guido -, the fhadowings 
 fhew all the force of Caravaggio ; and the whole is finifhed with great freedom 
 of hand, and a mafterly pencil. If there be any thing which might be liable to 
 cenfure, it is the drapery of the Virgin, which appears rather heavy, and is not 
 fo happily difpofed as all the other parts of the compofition. 
 
 Andrea C E L E S T I, called Cavalier Celesti. 
 
 Painted Land/cape, and Hiftory. 
 
 Died 1706*, aged 6g. 
 
 He was born at Venice, in 1637, and learned the principles of defign, and 
 colouring, from Cavalier Matteo Ponzoni. He was much applauded for a 
 beautiful ftyle of painting, in hiftory, as well as in landfcape •, but he princi- 
 pally employed himielf in the latter. 
 
 In landfcape his fituations are always natural, and his choice elegant •, his co- 
 louring is very pleafing, his fkies are luminous and clear, his buildings and 
 other objects well relieved, and every part offers itfelf extremely agreeable to 
 the eye. 
 
 He painted the beautiful views about Venice, and other cities of Italy, in a 
 large fize, and alfo in a fmall •, and his works are very highly prized, but not 
 eafily procured. 
 
 Two hiftorical compofitions of Celefti, are preferved in the chapel of Madona 
 della Pace, at Venice ; the one, is S. Luke painting the portrait of the Virgin ; 
 and the other, the Adoration of the Magi ; which are excellent performances. 
 The compofition is ingenious, the ftyle grand, and the whole executed with a 
 flowing, bold pencil. And in the chapel of Spedaletto, is another of his 
 pictures, (reprefenting St. Jerom, with the Virgin and fome faints,) which is well 
 defigned, foft, and delicately coloured, but rather a little too ruddy. He was 
 fond of ufing a purplifh tint, not unlike the manner of Rubens, but he was fome- 
 times apt to ufe it in the extreme, particularly in his carnations. 
 
 Giovanni Domenico CERINI. 
 
 Painted Hiftory. 
 
 Died 168 1, aged 75. 
 
 This artift was born at Perugia, in 1606, and received his firft inftructions 
 from Guido, under whom he ftudiedfor fome time ; and afterwards he became 
 a difciple of Domenichino. From thofe two celebrated mafters he acquired a 
 very beautiful tone of colouring, and a graceful difpofition of his figures ; 
 and he particularly excelled in giving elegant and noble airs to his heads. 
 
 GlOVANKl; 
 
C E R [ 130 ] C H A 
 
 Giovanni Paolo CERVETTO. 
 
 Painted Hijlcry. 
 
 Died 1657. 
 
 He was born at Genoa, (but the year is not mentioned,) and was a difciple of 
 Valerio Caftelli •, whofe tafte of defign, and colouring, he fo thoroughly imbibed, 
 that the works which he executed, could not be diftinguifhed by the ableft 
 judges, from thofe finifhed by the hand of Caftelli. 
 
 Philip de CHAMPAGNE. 
 
 Painted Hifiory, Portrait, and Land/cape. 
 
 Died 1674, aged 72. 
 
 He was born at Bruffels, in 1602, and received his earlieft inflructions from 
 Bouillon, and Michael Bourdeaux, two ordinary painters ; but afterwards be- 
 came a difciple of Fouquieres, with whom he ftudied landfcape ; and having 
 travelled to France, at the age of nineteen, with an intention to vifit Rome, after 
 fome flay at Paris ; he practifed portrait painting with one L'Alleman, and in 
 fome time made a great progrefs in that branch of his profeffion, as well as in 
 hiftory, and landfcape. 
 
 While he continued at Paris, he happened to commence an acquaintance 
 with Nicolo PoufTin, which gradually increafed to fo eftablilhed a friendfhip, as 
 proved of the greateft confequence to him •, and they were together employed in 
 pain-ting the ornaments of the Luxembourg palace. Not long after he was 
 made director of the Queen's paintings, with a penfion of twelve hundred livres 
 a year, and apariments in the palace. 
 
 He defigned corredtly ; had an agreeable, clear, tint of colour ; and under- 
 ftood well the principles of perfpedtive, and architecture. But, although he had 
 a ready invention, his works have not a great deal of fpirit, and his tafte re- 
 tained too much of the Flemifh. He was too attentive to a faithful imitation of 
 nature, and made his model his fole guide, without elegance of choice -, by 
 which means his imitations are cold, and lifelefs ; nor had he the capacity, or 
 genius, to act like other eminent artifts, fo as to improve nature by the afliftance 
 of art. De Piles obferves, that all his knowledge confided in a fervile imita- 
 tion, in the performance of which he neither followed his genius, nor the rules 
 of art. 
 
 It is but juftice to acknowledge, that his colouring in general is lively, fome 
 of his local colours very good, and fome heads well imitated •, yet, thofe heads 
 feemed as immoveable, and infenfible, as fome living models appear, to com- 
 mon obfervation. 
 
 Though his colouring is clear, it wants brilliancy ; but his pictures are deli- 
 cately finiihed, and particularly his portraits •, in which ftyle, that which he 
 painted of Cardinal Richlieu, is one of the beft pictures that ever came from 
 his pencil. 
 
 His works, which are difperfed through France, are very numerous •, but a 
 moil capital picture of Champagne, is Lewis XIII. kneeling before the Virgin, 
 
 and 
 
C H A [ 131 ] C H A 
 
 and offering his crown. It is remarked of him, that he refufed to paint the por- 
 traits of the firft nobility in France, on a Sunday ; though he was exceedingly 
 fond of getting money at other times. 
 
 John Baptist CHAMPAGNE. 
 
 Painted Hiftory, Portrait, and Land/cape. 
 Died 1688, aged 43. 
 
 This painter was nephew to Philip, and was born at Bruffels, in * 1 645. He 
 was inftructed by his uncle, and for feveral years was a difciple of that mafter ; 
 but, as foon as he found himfelf qualified to vifit Italy, he travelled thither, to 
 ftudy after the works of the great artifts, and refided there a year and three 
 months. 
 
 He painted in the very fame ftyle and manner as his uncle Philip, nor did he 
 even alter that manner, after he had fuch opportunities in Italy of refining and 
 improving his original tafte. At his return from his travels he was fo highly 
 regarded that he was appointed Director (as Houbraken writes) of the Royal 
 Academy, but, Defcamps fays, that he was appointed Profeffor. 
 
 He was not equal to Philip, either in defign, or execution, but he proved a 
 good imitator of him ; and if he had many of the perfections of his uncle, he had 
 alfo many of his defects. 
 
 CHARD IN. Vid. Jardvn. 
 
 Francis du CHATEL. 
 
 Painted Converfations. 
 Born about the year 1625. 
 
 His native city was Bruffels, where he had the good fortune to be placed as 
 a difciple with David Teniers the younger •, who, obferving in the genius of his 
 pupil, a ftrong fimilarity to his own, took pains to improve it as much as pof- 
 fible ; and by that means Du Chatel became an honour to his inftructor. 
 
 He always adhered to the manner which he had lb happily acquired in the 
 fchool of Teniers ; and his lubjects were of the fame kind as thofe of his mafter, 
 except, that fometimes they were rather more elevated. Like Teniers, he 
 painted corps de garde, &c. but he alfo painted converfations, and affemblies 
 of thofe of higher rank, in which his compofirions confided of a number of 
 figures, correctly defigned, and habited in the mode of the time. His colouring 
 was extremely good, and his pictures were remarkable for the truth of their 
 perfpective, and for the fine effect produced by his (kill in the chiaro-fcuro. 
 
 The moft capital work of this mafter, is in the Town-hall at Ghent, being 
 near twenty feet long, and fourteen high. The fubject of that picture is the 
 King of Spain receiving the oath of fidelity from the ftates of Flanders and 
 Brabant, in 1666. The background fhews a view of one of the principal 
 places in Ghent, adorned with triumphal arches, and other decorations •, and it 
 
 * According to fome writers, born in 1643, 
 
 S is 
 
CHE [ 132 ] CHE 
 
 is faid, that the number of figures amount to above a thoufand ; with an abun- 
 dant variety or" characters; through the whole, the groupes are fo aptly dif- 
 pofed, that there is not the fmaileft appearance of confufion. 
 
 Elizabeth Sophia C HERON. 
 
 Painted Portrait, and Hiftory. 
 Died 171 1, aged * 6$. 
 
 She was born at Paris, in 1648, the daughter of Henry Cheron, a painter iir 
 enamel ; who, obferving her to be paffionately fond of the art of painting, and to 
 afford an early appearance of a good genius, took pains to inftrucl: her in defign, 
 and colouring. 
 
 She very loon rofe into general efteem by her performances •, and particu- 
 larly by the portraits which fhe painted •, for, befide their having a ftriking 
 reiemblance, they were elegandy difpofed, well coloured, and neatly finifhed ; 
 and as me had a lingular talent for painting hiftory, her ufual manner of portrait 
 painting was in the hiftorical ftyle. 
 
 Her manner of defigning was excellent ; her colouring had the lively look of 
 nature •, her pencil was free, her touch delicate, her draperies were always well 
 call ; and there appeared a great deal of union and harmony in her paintings. 
 
 She had the honour of being prefented to the academy at Paris by Le Brun,, 
 in 1676, and was received with every mark of relpecl and diftinction. 
 
 Louis CHERON. 
 
 Painted Hiftory. 
 
 Died 1 713, aged 53. 
 
 He was the brother of Elizabeth Cheron, born' at Paris in 1660, and having 
 been taught the rudiments of the art in his own country, he travelled to Italy, 
 where his lifter fupplied him with a competency, to enable him to profecute his. 
 ftudies for eighteen years. During his continuance in Italy he made the works 
 of Raphael and Julio Romano the principal objefts of his ftudies, by which his 
 future compositions had always a certain air of the antique, though he had no- 
 great portion of grace, and his figures were frequently too mufcular.. 
 
 Two of his pictures are in the church of Notre Dame at Paris - r the one, of Pie - 
 mdias holding the charger with the head of S. John the Baptift. ; die other, of 
 Apabus foretelling the perfecutions of S. Paul. 
 
 On account of his religion, being a Calvinift, lie was compelled to quit his 
 native country, and fettled in London, the happy retreat of all diftreffed artifts ;. 
 and there he found many patrons, among the nobility and gentry, particularly 
 the Duke of Montague, for whom he painted the Council of the Gods, the 
 Judgement of Paris, and fome other competitions, taken from poetic, or fa* 
 bulous hiftory, and he died in London. 
 
 * TJie authors of the Abrege de la- Vie des Peintres, though they fix the birth of Elizabeth 
 Cheron in 1648, and her death in 1.711, which makes her only 63 years old at her death, have,, 
 by fome miftake, faid, that (he died at the age of 83. Vid. vol. 2, page 371, 4W. 
 
 Giuseppe 
 
CHI [ 133 ] CHI 
 
 Giuseppe CHIARI. 
 Painted Hijlory. 
 Died 1727, aged 73. 
 
 He was the fon of Stefano Chiari, and born at Rome, in 1654. While he 
 was yet an infant he was feized with the plague, but fecreted by the tender care 
 of his mother, and preferved from being difcovered by the officers of health, 
 who infpe<ted all houfes, to prevent the increafe of the infection. 
 
 He recovered from that diftemper, but grew up with a very feeble, and fickly 
 conftitution •, and, at a proper age, was defirous to learn defign, as it might 
 afford him a profeffion fuirable to his ftrength, and for that reafon preferable to 
 any other. 
 
 At firft, therefore, he was inftructed by one Galliani, who was a painter, and 
 a dealer in pictures ; but, while he ftudied with that mafter, there were fome ap- 
 pearances of an amendment in his conftitution, and he was placed as a difciple 
 with the celebrated Carlo Maratti. By the directions of that great mailer, and 
 the affiftance of thofe difciples who had made already a confiderable progrefs, he 
 obtained incredible benefit ; became capable of copying the works of his mafter 
 in a free manner, and by unbending his mind at intervals with innocent amufe- 
 ments, found his health in a fhort time totally eftabliihed. 
 
 When he gave the firft proof of his ability, by painting fome of his own de- 
 figns, they were extremely commended by all the lovers of the art ; however, he 
 ftill continued to work under the guidance of Carlo, who, oblerving the refpect, 
 the deference, and the afiiduity of his difciple, thought himfelf obliged, in gra- 
 titude, to promote him, and afford him the means of raifing his reputation, and 
 his fortune. For that purpofe, he appointed him to execute feveral public 
 works, which he performed to the fatisfaction of the bt ft judges. Every new un- 
 dertaking added confiderably to his fame ; and his works were univerfally efteem- 
 ed, as well for the beauty of the colouring, as for the elegant tafte of defign. 
 
 Nor is it any way furprizing, that Chiari fhould be fo highly approved, fince 
 Carlo, who was allowed to be a fuperior judge of the merit of artifts, was conti- 
 nually profufe in his commendation, and recommended him to work in his ftead, 
 confiding entirely even his own credit, to the known ability of his difciple. 
 And, as an inconteftible proof of this, thofe very cartons, which Carlo had al- 
 ready begun, for one of the domes of S. Paul's church at Rome, and, by his ad- 
 vanced age, were likely to be left imperfect, were, by his own direction, in- 
 truded to Giu'eppe Chiari ; and he finifhed them, to the entire approbation of 
 Pope Clement XI. who honoured him with his prefence while he was at work. 
 
 He was continually employed in grand works for the churches, and palaces of 
 the nobility •, and painted an extraordinary number of fubjects, from facred and 
 prcphane hiftory, as well as compofitions which were the product of imagi- 
 nation, and fancy •, which fpread his reputation not only through all Italy, but 
 through every part of Europe. 
 
 His touch was delicate, and his colouring agreeable ; he was correct, and 
 elegant. Thofe copies which h.e made after his mafter, are exact, and well exe- 
 cuted ; and the prices which are now given for thofe paintings, as likewife for 
 his own original paintings, area fufficient proof of their inrrinfic value. 
 
 S 2 J \ C O P o 
 
CHI [ 134 ] CIA 
 
 Jacopo CHIAVISTELLI. 
 
 Painted Architecture, and Perfpeclive. 
 Died 1698, aged jj. 
 
 This rnafter was born at Florence, in 1 62 1 , and his father perceiving a ftrong 
 inclination in his fon to learn the art of painting, placed him under the direction* 
 of Fabricio Bofchi, an artift of good credit, to ftudy defign, and colouring. 
 But, as Bofchi was of an odd,, wfumfical temper, which feemed every day to 
 grow more difagreeable, Jacopo was under a neceffity of leaving his fchool, and 
 became a difciple of Baccio del Bianchi, a very famous painter, architect, and 
 engineer •, who, for the public emolument, had opened an academy at Florence,, 
 for the improvement of youth in civil, and military architecture. By the in- 
 ftruction of that eminent artift, Jacopo made an extraordinary progrefs, became 
 fuperior to all his competitors, and fliewed an execution far beyond what could 
 be expected from his years, or his experience. 
 
 Being at laft accomplifhed in the principles of perfpective and architecture, 
 and having alfo great readinefs of invention, and freedom of hand, he liftened 
 to the advice of his friends, who wiftied him to devote his talents entirely to 
 paint in frefco •, becaufe it appeared to them probable, that he might, in that 
 ftyle, equal, if not furpafs the beft artifts of his time ; who were from all parts 
 invited to Florence, to embelliih the churches, convents, and the palaces of 
 the nobility. 
 
 At laft he fixed his determinate refolution, and ftudied the works of Michael 
 Angelo Colonna in the palace of Pitti, and of fome others ; travelling alfo to 
 Bologna, to examine the grand compofitions of Girolamo Curti, and Agoftino 
 Metelli. At his return to his native city, he gained univerfal efteem, for the 
 variety and delicacy of his invention, the beauty of his colouring, and the ele- 
 gance of his compofitions. 
 
 He was employed by the Grand Duke, and moft of the nobility of Tufcany ; 
 and in his perfpective defigns he fliewed the utmoft perfection of the art ; de- 
 luding the eye by the truth and exactnefs of his drawing, and enriching his ar- 
 chitecture with ftatues of an exquifite tafte, and bold relief. 
 
 By the merit of his performances, and his indefatigable application, he ac- 
 quired an opulent fortune ; and though he lived to a very advanced age, he 
 continued to work upon a variety of defigns ; but, in the decline of his life, his 
 colouring wanted much of that luftre, which recommended and diftinguiflied 
 his early performances. 
 
 Acostino CIAMPELLL 
 
 Painted Hiftory. 
 
 Died 164.0, aged 62. 
 
 He was born at Florence, in 1578, and was a difciple of Santi di Titi ; from 
 whom he obtained an excellent tafte of defign, and gradually rofe into fuch a 
 high degree of reputation, and general efteem, that he was employed in the 
 thurch of S. John Lateran, in the Vatican, and the moft confiderable places in 
 
 3 Rome. 
 
C I G [ 135 ] C I G 
 
 "Rome. He worked equally well in frefco, and in oil, and was fo diftinguifhed 
 an architect, that he prefided over the building of S. Peter's church. 
 
 He finifhed a volume of his defigns in architecture, which were allowed, by 
 the connoiffeurs of that time, to be exquifite in the tafte, as well as in the 
 drawing. 
 
 Scipro CIGNAROLI. 
 
 Painted Land/cape. 
 
 He was born at Milan, and became the difciple of Cavalier Tempefta ; but, 
 notwithftanding the admirable talents of his matter, who not only taught him 
 what was beft, but alio exemplified it in his own works ; and although he daily 
 faw thofe pictures painted, which placed Tempefta in the foremoft rank of thofe 
 who were eminent for landfcape •, yet he found in himfelf an impatience to fee 
 Rome, nor could he enjoy his pencil, till he had gratified that commendable 
 inclination. 
 
 When he arrived at Rome, he was inceflant in his ftudies, and particularly in 
 ftudying the works of Salvator Rofa, and Nicolo PoufTin •, and by the affiftance 
 of an apt genius, ftrengthened by application, he proved a moft excellent painter 
 of landlcapes, in a ftyle that perceptibly reiembled each of thole great, 
 mafters. 
 
 His merit, and extenfive reputation, at laft recommended him to the Duke of 
 Savoy, who invited him to his court ■, where he lived for ieveral years in the 
 higheft efteem, and fpent his days in honour,, content, and quiet. 
 
 Carlo C I G N A N I. 
 
 Painted Hiftory. 
 Died 1 7 1 9, aged 9 1 . 
 
 This celebrated mafter was born at Bologna, (though fome writers fay he 
 was born at Rome) in 1628, and received his firft inftruction in the art of paint- 
 ing from Giovanni Battifta Cairo Cafalafco; and afterwards became the difciple ■ 
 of Albano, in whofe ichool he appeared with all the advantage that could be ex- 
 pected from a youth of moft promifing, and fuperior talents. 
 
 But, although the firft proofs of his genius, while he ftudied with Albano, 
 were exceedingly admired ; yet, to improve himlelf ftill farther in correctnefs of 
 defign, and alio in the force and relief of his figures, he ftudied Raphael, An- 
 nibal Caracoi, Caravaggio, Correggio, and Guido ; and afiiimed a beautiful- 
 manner of his own, in which feemed combined the different excellencies of 
 all thofe incomparable artifts. For, it is obferved, that in a new method of 
 painting, he fhewed a great deal of Guido and Caravaggio in his works, united 
 with the grace of Correggio. 
 
 He is accounted very happy in his tafte of compofition, and excellent in the 
 difpofition of his figures ; but, a judicious writer lays, that he was cenkired for 
 bellowing too much labour on the finifhing of his pictures, which coniiderably 
 diminifhed their fpirit ; and alio for affecting too great a ftrength of colouring, , 
 
 fo- 
 
C I M [ 156 ] C I M 
 
 lb as to give his figures too bold a relief", and make them appear as if not united 
 with their grounds. 
 
 However well or ill founded thefe obfervations may be, yet it is almoil 
 univerfally allowed, that his ideas are lovely, his imagination fine, and 
 his invention fertile ; and through all Europe he is defervedly admired, for the 
 force and delicacy of his pencil, for the great correctnefs of his defign, for a 
 dillinguilhed elegance in his compofuions, and alfo for the mellownefs which 
 he gave to his colours. The draperies of his figures are in general eafy and free -, 
 his exprefiion of the paffions is judicious, and natural ; and there appears a 
 remarkable grace in every one of his figures. 
 
 The Cardinal San Cadareo paffing through Forli, where Cignani at that titne 
 refided with his family, defired to have one of his paintings; and Carlo fiiewed 
 him a picture of Adam and Eve, which he had painted for his own life, intend- 
 ing to have kept it by him. On viewing that performance, the Cardinal was 
 pleafed beyond meafure, gave him for it five hundred piftoles, and politely 
 told Carlo, that he only paid him fur the canvas, and accepted the painting as 
 a prefent. 
 
 In the Palazzo Arnaldi at Florence, a late * traveller obferved an admirable 
 picture by this mafter, representing the wife of Potiphar endeavouring to detain 
 Joieph. 1'he composition of that painting is extremely good, full of fire, talle, 
 and excellent exprefiion, and in a broad manner. The naked, in the female 
 figure, is marked with great truth and delicacy-, the heads are fine, the 
 colouring is good, and the whole has a linking effect, although his choice or" 
 nature cannot be commenJcd. 
 
 In the Palazzo Zambeccari at Bologna, is to be feen a Sampfon painted by 
 Ci<mani, in a noble and grand ftyle •, in the fuperbe collection of the Duke <,f 
 Devonfhire, there is a picture of Joieph difengaging himfelf from the immodefty 
 of his miftrefs ; and one of the lame fubject, is in the Palazzo Arnaldi at 
 Florence. 
 
 Giovanni CIMABUE. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1300, aged 60. 
 
 At that period when learning, arts and fciences were almofl extinct in Italy, 
 by the perpetual wars and Cornells in that country ; and when the knowledge 
 of painting, in particular, feemed totally loll-, it happened fortunately to be 
 revived, in a furprizing manner, by Giovanni Cimabue, who from thence 
 obtained the name of the Father of modern Painters. 
 
 He was born of a noble family at Florence, in 1240, and placed at afchool 
 where he could have the faireft profpect of the bed education ; but, even there, 
 inftead of endeavouring to advance himfelf in literature, he fpent mot! of his 
 hours in drawing human figures, horfes, buildings, or any objects that prefented 
 themfelves to his imagination ; and appeared to take more real delight in thofe 
 trilling amufements, than in any kind of ftudious employment. 
 
 * Monf. Cochin, vol. ii. p. Fo. 
 
 At 
 
 1 
 
C I M [ 137 J C I M 
 
 At that time, the governor of Florence invited fome ordinary Greek artifts 
 to that city, who were employed in one of the churches to repair the decayed 
 paintings ; and Cimabue, already prepofiefTed in favour of the art, fpent whole 
 days in obferving their manner of working, to the intire neglect of his fchool 
 education. So flrong an attachment to thofe Greek painters, prevailed with 
 his father to indulge him in a ftudy, to which his genius feemed evidently to 
 direct him •, and he placed Cimabue with them as a efifeiple, flattering himfelf 
 with a hope, which appeared prophetick, that he would one day render himfelf 
 remarkably eminent. 
 
 He received the instructions of his mailers with fuch eager delig'.t, and 
 applied himfelf fo inceffantly to practice, that in a fhort time he proved far 
 fuperior to his directors, in his tafte of defign and colouring, and painted with 
 equal readinefs in freico, and diftemper ; not only defigning historical fubiects, 
 but alfo portraits after the life, which at that tints was conlidered as a wonderful 
 effort of art. 
 
 It certainly cannot but appear aftonifhing, that in the infancy of painting, 
 and having no other models to imitate, but thofe infipid, dry, ftiff compofitions 
 of the Greeks of that age, Cimabue could arrive at fo much elegance, as 
 appeared in fome or his works •, fo good a- manner of defigning the naked 
 figures •, or fo great a propriety as he fhewed in his draperies. Yet, we find that 
 one of thofe pictures, which he painted at Florence, was- confidered as fuch a 
 curiofity, that it was carried from his houfe in the highefi, folemn, publick 
 pomp, in procefiion to the church of the Virgin Mary, attended by a number 
 of performers on various mufical inftruments, and alfo amidit the taudtft 
 applauies of the citizens. 
 
 Vafari, who was a good painter, and a competent judge of painting,, 
 teftifies that he faw a picture executed by Cimabue, when it had been not far 
 fhort of three hundred years painted, which for the grandeur of the defio-n, the 
 richnefs of the compofition, and the difpofition of the whole, feemed abfolutely 
 aftonifhing ; when he reflected on that age of dullnefs and ignorance, in which 
 it was produced. 
 
 An old commentator on the poetical works of Dante, who fiourifhed in the 
 year 1354, records a circumftance relative to this matter, which fhews how 
 attentive he was to tranfmit his fame to pofterity. He tells us, that Cimabue 
 was fo felicitous to give his paintings all poffible perfection, that if he himfelf 
 perceived any defect in his work, when it was finifhed •, or, if any defect was 
 difcovered by others •, though the imperfection might have been occafioned 
 either by the badnefs of the materials, or by an injudicious method of applying' 
 them, he always immediately defaced it. He was fo refpected and honoured by 
 all orders of men at Florence, that the King of Naples favoured him with av-ifit, 
 and was highly delighted with a fight of his works. 
 
 He only painted in diftemper, and frefco, as the ufe of oil in paintino-was not 
 difcovered till the year 1410. He wanted the art of managing his lights and 
 lhadows ; and was totally unacquainted with the rules of perfpective, though he 
 underftood architecture. But, even to this day, he is diflinguiihed by the title 
 of the Father of modern Painting. 
 
 Some of his works are frill preferved in the church of Santa Croce in Florence. 
 
 Andrea di CIONE. Vid. Orcagna. 
 
 Nicolo 
 
C I R [ 138 J C L A 
 
 Nicolo CIRCIGNANO, called Pomerancio. 
 
 Painted Hiftory. 
 
 Died 158S, aged 72. 
 
 He was born at Pomerancio, a city in the territory of Tufcany, in 15 16, and 
 from the place of his nativity, received that furname. He fludied the art of 
 painting at Rome, and proved an excellent artift ; being much efteemed for his 
 compofition, and alfo for a firm and expeditious manner of working. 
 
 Several of his paintings are in the churches and palaces of Rome, where they 
 are exceedingly admired. In that city is preferved the Martyrdom of S. Stephen, 
 by Pomerancio, which is accounted a capital performance ; and atLoretto there 
 is an altar-piece, reprefenting the Crucifixion, on wluch the poffeffors fet an 
 immenfe value. 
 
 Antonio CIRCIGNANO, called Pomerancio. 
 
 Painted Hiftory. 
 Died 1620, aged 60. 
 
 He was the fon and difciple of Nicolo, born at Pomerancio in 1560. His 
 manner of painting was exaftly in the flyle of his father, and he aflifted him in 
 feveral very grand works at Rome, by which the reputation of both artifts was 
 effectually eftabliflied. 
 
 The general character which is given to this mailer, is, that he had a ready 
 invention, and a remarkable freedom of hand. 
 
 CIRO FERRI. Vid. Ferri. 
 
 CLAUDE LORRAINE, or Gelee. 
 
 Painted Land/cape. 
 
 Died * 1682, aged 82. 
 
 This admirable, I had almoftfaid inimitable painter, was born at Lorraine, in 
 1600, and ferved an apprenticeihip to the trade of a paftry-cook. In the 
 early part of his life he fhewed no fymptoms of that aftonifhing genius, which 
 in his more advanced years fhone out, in works that are beheld with admiration 
 by all the world. He was very little indebted to any mailer for inftruftion, 
 except Agoflino Talfi •, who had been a difciple of Paul Bril, and with great 
 labour taught Claude fome of the rules of perfpective, and the method of 
 preparing his colours. But, although at firll he could with difficulty be taught 
 to comprehend the rudiments of the art ; yet, when he began to have fome 
 tolerable conception of them, and to profit by his application, his mind feemed 
 
 w De Piles fays hedied in 1678* but all other author* fix hi* death in 1682. 
 
 pro- 
 
C L A [ 139 ] C L A 
 
 proportionately to expand ; his ideas improved; Iris imagination became more 
 lively ; and with wonderful eagernefs he applied himfelf to his iludies. 
 
 He exerted his utmoit induftry to explore the true principles of painting, by 
 an inceffant examination of nature, that genuine fource of excellence •, for which 
 purpofe, he made his (Indies in the open fields ; where he very frequently 
 continued from fun rife, till the dufk of the evening compelled him to withdraw 
 himfelf from his contemplations. It was his cuftom to fketch whatever he 
 thought beautiful, or ftriking •, and every curious tinge of light, on all kinds 
 of objects, he marked in his (ketches v/ith a fimilar colour •, from which he 
 perfected his landfcapes with fuch a look of real nature, and gave them fuch an 
 appearance of truth, as proved fuperior to any artift that ever painted in that 
 ftyle. 
 
 The beauties of his paintings are derived from nature herfelf, which he 
 examined with uncommon afiiduity ; and Sandrart relates, that Claude ufed to 
 explain to him, as they walked through the fields, the caufes of the different 
 appearances of the fame profpect at different hours of the day, from the 
 reflections or refractions of light, from dews or vapours, in the evenino- 
 or morning, with all the precifion of a philofopher. 
 
 He worked on his pictures with great care, endeavouring to bring them to 
 perfection, by touching them frequently over again •, and if any performance 
 did not anfwer his idea, it was cuftornary with him to alter, to deface, and 
 repaint it again feveral times over, till it correfponded with that image pictured 
 in his mind. But, whatever ftruck his imagination, while he obferved nature 
 abroad, it was fo ftrongly impreffed on his memory, that on his return to his 
 work, he never failed to make the happieft ufe of it. 
 
 His fkies are warm, and full of luftre, and every object is properly illumined. 
 His diftances are admirable, and in every part a delightful union and harmony 
 not only excite our applaufe, but our- admiration. His invention is pleafing, 
 his colouring delicate, and his tints have fuch an agreeable fvveetnefs and variety, 
 as have been but imperfectly imitated by the beft fubfequent artifts, but were 
 never equalled. He frequently gave an uncommon tendernefs to his finiflied 
 trees, by glazing •, and in his large compofitions which he painted in frefco, he 
 was fo exact, that the diftinct (pedes of every tree, might readily be diftinguifhed. 
 Among feveral of his performances in that manner of painting, one was on 
 the four walls of a magnificent Salon at Rome, belonging to a nobleman named 
 Mutius, the height of the walls being very confiderable. 
 
 On the firft fide he reprefented the veftiges of an antient palace, bounded by 
 a deep grove of trees, incomparably expreffed as to the forms, (terns, barks, 
 branchings and foliage •, the proportional grandeur of thofe trees, as well as the 
 length of the grove, were perfpectively and beautifully fet off, by the fhrubs 
 and plants, with which his ground was diverfified •, and the eye was pleafingly 
 conducted to the fecond wall, which feemed, by an artful contrivance and 
 difpofition, to be only a continuation of the fame fcene, the fame elevation of 
 the horizontal line being obferved through the whole work. On the fecond 
 fide, he (hewed an extenfive plain interlperfed with mountains, and falls of 
 water, as alfo with a variety of trees, plants, travellers, and animals ; and this 
 part of the composition, was likewife connected with the third wall. In that, 
 the lengthened profpect (hewed a iea-port at the foot of fome high hiils, with a 
 
 T view 
 
CLE 140 ] CLE 
 
 
 view of the ocean, and vefTels labouring amongft th* waves, which, appeared in 
 violent agitation ; and on the fourth wall were reprefented caverns among rude 
 rocks, ruins of buildings, and fragments of antique ftatues •, the compoiition, 
 though 1 into fo many parts, conftituting in the whole but one intire 
 
 connected profpecl. But, as to the beauty, truth, and variety of the work, the 
 power of language cannot fufficiently reprefent them. 
 
 As to his figures, if he painted them himfelf, they are very indifferent, 
 though Sandrart allures us, that he fpent a great deal of time and labour in 
 practifing to defign them-, that he drew for fome years in the academy at Rome, 
 after living models, as well as after ftatues ; and that he took much more 
 pains in endeavouring to form his hand to draw figures correctly, than to 
 perfect himfelf in landfcape, in which he was confefledly fuperior to all. And 
 he was fo confcious of his deficiency in figures, that he ufually engaged other 
 artifts who were eminent to paint them for him ; of which number were 
 Courtois, and Philippo Laura. 
 
 His pictures are now very rare, efpecially fuch as are undamaged ; and thofe 
 are at this time fo valued, that no price, however great, is thought to be 
 fuperior to their merit. 
 
 In order to avoid a repetition of the fame fubject, and alfo to deteft fuch copies 
 of his works as might be injurious to his fame, by being fold for originals, it 
 was his cuftom to draw (in a paper book prepared for his purpofe) the defigns 
 of all thole pictures which were tranfmitted to different countries ; and on the 
 back of the drawings, he wrote the name of the perfon who had been the 
 purchafer. That book, which he titled Libro di Verita, is now in the 
 pofleffion of the Duke of Devonshire. 
 
 Joseph, or Joas Van CLEEF, or Cleeve. 
 
 Painted Portrait, and Hijlory. 
 
 Died 1536. 
 
 This mafter, who was a native of Antwerp, and a difciple of William Van 
 Cleef, was regarded as the beft colourift of his time, and his works have often 
 been equalled with thofe of the beft mafters of Italy. 
 
 He painted, in the ftyle of Quintin Matfys, portraits, mifers, and bankers 
 counting or weighing money ; but he was allowed to give more force and life 
 to his pictures than Matfys, as his colouring was far fuperior, and as natural 
 as life itfelf. He alfo painted hiftorical fubjects with great fuccefs •, and 
 probably might have found very great encouragement in England, if fome of 
 the works of Titian had not appeared at the fame time that Van Cleef went to 
 refide in London. But, his own vanity, and his unexpected difappointment, 
 contributed to * turn his brain. 
 
 An altar-piece in the church of Notre Dame at Antwerp, is by this mafter •, 
 it reprefents S. Cofmus, and S. Damian, and is efteemed to be more in the tafte 
 
 • Dcfcamps fays, that being introduce J to the King of Spain by Antonio More, he conceived fo 
 extravagant an opinion of his own merit, tint he went dillracted by feeing Come of Titian's 
 ; -d to his own. 
 
 5 o£ 
 
CLE [ 141 ] CLE 
 
 of the Roman fchool, than of the Flemifh. Likewife, at Amfterdam is to be 
 feen a very remarkable picture by Van Cleef, of a Bacchus with grey hair. 
 The countenance of the figure is youthful and ruddy, and it ieems as' if the 
 painter by this defign intended to convey a moral inftruction to the fpectator, 
 that excels of wine haftens old age. That painting is much efteemed, as weil 
 for the defign, as for the excellence of the colouring. 
 
 Henry, and Martin Van CLEEF. 
 Henry painted Land/cape, and Martin, Hiftory. 
 
 Thefe brothers were born at Antwerp, but Henry refided for feveral years at 
 Rome, and became a very good painter of landfcapes. The moll agreeable 
 views which occurred to him in his travels, he fketched, and referved them as 
 ftudies for his future compofitions. 
 
 He was often employed to paint the back grounds for the pictures of Francis 
 Floris, and finifhed feveral paintings which were left imperfect by that mafter ; 
 and thofe he executed with fo much art, as to make the whole appear only as 
 the work of one hand. His principal merit was conftituted by the lightnefs of 
 his pencil, and the harmony of his colouring. He was admitted into the 
 academy of painters at Antwerp in 1533, and died in 1589. 
 
 Martin was a difciple of Francis Floris, and had competent abilities to 
 compofe hiftorical fubjects in great, though his inclination directed him to 
 paint in fmall ; and the back grounds of his pictures were always painted by his 
 brother Henry. Several very diftinguifhed landlcape painters employed him to 
 infert the figures in their works, and among others, Conixlo. He died at the 
 age of 50. 
 
 John Van CLEEF. 
 
 Painted Hiftory, and Architecture. 
 Died 1 7 1 6, aged 70. 
 
 He was born at Venloo, in 164.6, and was a difciple of Gentile, a painter of 
 hiftory at Bruliels ; but, being ibon difguflcd with the temper of that mafter, 
 he placed himlelf under Gafpar de Crayer. To this new inftructor he fhewed 
 the mod affectionate attachment •, and when Crayer difcontinued painting, 
 becaufe his bufinefs feemed to decline at Bruffels, Van Clecf went with him to 
 Ghent •, lived with him there for feveral years •, and became fo good a painter, 
 that after the death of Crayer, he was thought qualified to finifh the works left 
 imperfect by his mafter, and particularly the cartons for the tapeftry intended 
 for Lewis XIV. He painted a very great number of pictures, having employ- 
 ment from almoft every part of Europe •, and in Ghent, moft of the altar- 
 pieces are of his hand. 
 
 His manner was not like that of Crayer, but, a manner peculiar to himfelf •, 
 it was grand and noble, and his pencil was free and flowing. His tafte of 
 compofition refembled that of the Roman fchool -, his fubjects were well 
 chofen, and as well difpofed ; and though full of figures, there appeared not 
 any thing like confufion. Fie enriched his compofitions with grand pieces of 
 
 T 2 architecture, 
 
CLE [ 142 ] C L O 
 
 architecture, which he thoroughly undcrftood ; and was much fupericr to 
 C raver indcfign, though unequal to him in colouring. 
 
 The heads of fome of his female figures had a good deal of grace -, his. 
 draperies were thrown into large folds, and elegantly caft ; and one of his- 
 greateft excellencies confifted in defigning and painting boys. 
 
 CLEMENTONE. Vid. Bogci ardi. 
 
 John le CLERC, called C h e v a. l i e r.. 
 
 Painted Hiftory. 
 
 Died 1633, aged 46. 
 
 He was born at Nanci, in 1587, but ftudied in Italy, where he refided for 
 twenty years •, and was a diiciple of Carlo Venetiano, with whom he worked a 
 long time. Though he had an opportunity of examining die productions of the 
 moft eminent artitts, yet lie preferred the manner of his own mafter to all 
 others; and he fo effectually ftudied and imitated that ftyle of painting, that 
 feveral of the pictures which were finifned by ie Cletc, were taken for the. work 
 of Venetiano. 
 
 He was moft highly efteemed at Venice, for his extraordinary merit, and as a 
 token of publick refpect, he was made a knight of S. Mark. His freedom of 
 hand was remarkable, he had a light pencil, and in his colouring he refembled 
 his mafter. 
 
 Francis de CLE Y N. 
 
 Painted Hiftcry, and Grotefque. 
 
 Died 1658. 
 
 He was born at Roftoch, but travelled to Rome, and ftudied there for four 
 years. Among other branches of knowledge, he acquired, in that city, a taftc 
 for the beautiful and ornamental grotefque, in which he arrived at very great 
 excellence. 
 
 In the reign of King James I, he went to England, received a penfion from 
 the crown, was employed to draw defigns for tapeftry, and lived in great 
 favour with the monarch who was his patron. Some of the paintings of this 
 mafter are ftill extant in Holland-houfe ; there is one cieling in grotefque, and 
 there are fmall compartments on the chimnies, fomewhat in the ftyle of 
 Parmigiano. He was much commended for the readinefs of his invention, and 
 made feveral defigns for painters,, fculptors, and engravers, which were 
 accounted extraordinary good. 
 
 N. CLOSTERMA N-. 
 
 Painted Portrait. 
 
 Died 1 7 13, aged 57. 
 
 He was bom at Hanover, in 1656, and went to London in the year 16S1- 
 At firft, he painted draperies for Riley, but foon after, they painted in 
 
 5 conjunction, 
 
C L O [ 143 ] C L O 
 
 conjunction, Riley fti!l continuing to draw rroft of the heads. But, on the death 
 of that mafter, Clofterman finifhed many of Riley's pictures, which recommended 
 him to the favour of the Duke of Somerfer, who had patronized Riley. 
 
 He fpent the greateft part of his life in London, where he received fufficient 
 encouragement, and was employed by fome of the principal nobility. How- 
 ever, he was but a very moderate artifl; his colouring was ftrong, but heavy-, 
 and his portraits were (without any idea of grace) plain and fervile imitations 
 of his models. 
 
 In the year 1696 he was invited to the Court of Spain, to paint the portraits 
 of the Kingand Queen, and lie returned from that court enriched, and refpedted •, 
 and he might have enjoyed very affluent circumftances, had he not fhewn a 
 foolifh and infatuated fondnels (as Houbraken tells us) for a girl that he kept 
 in his houfe. That infidious young woman, who had taken care to perfuade 
 him that fhe was intirely attached to his perfon and intereft, watched a proper 
 opportunity, and robbed him of ail his money, plate, jewels, and every coftly 
 moveable, and fled out of the kingdom. So fudden, and fo unexpected a 
 misfortune, againft which he was totally unprepared, affected Clofterman fo 
 violently, that he pined away his life ; not long furviving the lofs of his effects, 
 and the infidelity of his miftrefs. 
 
 Giorgio Giulio CLOVIO. 
 
 Painted Hift cry, and Portrait.. 
 Died 1578, aged 80. 
 
 He was born in Sclavonta, in 1498, and having in the early part of his 
 youth applied himfelf to literature, his genius prompted him to purfue the art- 
 of painting for a profefllon ; and at eighteen years of age he went to Rome ; 
 where he fpent three years to perfect his hand in drawing, and devoted himfelf 
 intirely to painting in miniature. His knowledge of colouring was eftablifhed, 
 by the inftructions of Julio Romano, and his tafte of compofition and defign, 
 was founded on the oblervations he made on the works of Michael Angelo 
 Buonaroti. By thofe affiftances he proceeded to fuch a degree of excellence, in 
 portrait as well as in hiftory, that in the former he was accounted equal to 
 Titian, and in the latter not inferior to Buonaroti. His works are exceedingly 
 valuable, and are, at this day, numbered among the curiofities of Rome. 
 
 Vafari, who had feen the wonderful performances of Clovio with inexprefiible 
 aftonifhment, enumerates many of hi3 portraits and hiftorical compofitions ;. 
 and feems to be almoft at a lofs for language fuffkiently expreffive of their 
 merit. He mentions two or three pictures on which the artift had beftowed the 
 labour of nine years ; but, the principal picture reprefented Nimrod building 
 the Tower of Bsbel, which was fo exquifitely finifhed, and fo perfect in all its 
 parts, that it feemeS quite inconceivable how the eye or the pencil could 
 execute it. He fays it is impoffible to imagine any thing fo admirably curious, 
 whether one confiders the elegance of the attitudes, the richnels of the compo- 
 fition, the delicacy of the naked figures, the perlpective proportion of the 
 
 objects, 
 
C O I [ 144 ] COL 
 
 objects, the tender diftances, the fcenery, the buildings, or other ornaments ; 
 for, every part is beautiful, and inimitable. 
 
 Pie alfo takes notice of a fingle ant, introduced in one of the pictures of this 
 mafter, which though exceedingly and incredibly fmall, is yet fo perfect, that 
 even the molt minute member was as diftinft, as if it had been painted of the 
 natural fize. 
 
 C O D A Z Z O. Vid. V 1 v 1 a n 0. 
 
 Giles COIGNET, called Giles of Antwerp. 
 
 Painted Hiftory, and Grotefque. 
 
 Died 1600, aged 70. 
 
 This painter was born at Antwerp, in 1530, and lived for fome time with 
 Antonio Palermo, till he went to Rome, accompanied with one Stella ; in 
 which city they worked as aflbciates, and both of them were foon diftinguifhed 
 for their merit. As their reputation increafed, they were engaged in feveral 
 other cities of Italy, particularly at Terni, between Rome and Loretto, where 
 they finifhed many hiftorical fubjects, as alio fome in the grotefque ftyle, in 
 frefco as well as in oil. 
 
 He travelled through all Italy, Naples, and Sicily, much refpefted where- 
 ever he came ■, and at laff. returned to his own country, where he could fcarcely 
 execute the different works, which he was folicited to undertake for the 
 churches, and likewile for the cabinets of the nobility. 
 
 Frequently he employed Cornelius Molenaer, to paint his back grounds 
 with landfcapes, or architecture -, and fometimes he delighted to paint hiftory 
 in fmall, which generally contained a great number of minute figures, illumined 
 by the moon, or by the light of flambeaux, luftres, or fires. But, his figures 
 had no elegance in their forms, nor tafte in their dilpofition •, for, although he 
 took pains to finifh his pi&ures highly, with a free touch, and a firm pencil, 
 yet, after all his labour, his manner feemed dry and hard. 
 
 His greateft reproach is, that he employed his difciples in copying his works, 
 which he afterwards retouched, and fold them for originals. By that means it 
 is not eafy to know his genuine works, and the imperfections obfervable in 
 many of his pictures, are of necefiity afcribed to himfelf, to the great diminution 
 of his credit. 
 
 De COLOMBIEN. Vid. Valentine. 
 
 Adam COLON I, called the Old. 
 
 Painted Hiftory, Cattle, and Land/cape. 
 
 Died 1685, aged 51. 
 
 He was born at Rotterdam, in 1634, but refided, and died in London ; and 
 was particularly noticed for his compofitions in fmall, of country wakes, fairs, 
 markets, and rural fubje&s, and alfo for his cattle. 
 
 Several 
 
COL [i45] COM 
 
 Several pictures of the Bafians were copied by him with great fuccefs, after 
 the originals in the royal collection, and others in the cabinets of the Englifh 
 nobility ; and he fupported a good reputation as long as he lived, although at 
 prefent his works are in no very great efteem. 
 
 Adrian COLON I, called the Young. 
 Painted Hifiory, Cattle, Converfations, and Land/capes. 
 Died 1 701, aged 33. 
 
 This painter was the fon cf Adam Coloni, born in 1668, and inftructed in 
 his profeffion by his father, and his brother-in-law Van Died. He took pains to 
 improve himfelf in defign, by ftudying after good models, and the bell 
 cafts he could procure ; and by that application acquired a great freedom of 
 hand in drawing, and gained reputation by a number of academy defigns which 
 he finilhed. 
 
 Frequently he painted the figures in the landfcapes of Van Dieft, though 
 fome of them were very indifferently defigned, were incorrect in the drawing, 
 and neither judicioufiy contrived, nor elegantly diipoied ; but fuch afigures as 
 he painted in imitation of the tafte of Saivator Rofa, were an additional 
 ornament to the landfcapes of his employer. He was accounted to have a 
 lively and ready invention, and great quicknefs of execution j but, at this day 
 he is not held in any confiderable rank among the artifts. 
 
 COLONNA. Vid. Michael Angel o. 
 
 Andrea COMMODI. 
 
 Painted Hijiory. 
 
 Died 1638, aged 7S. 
 
 He was born at Florence, in 1560, and was a difciple of Ludovico Cardi? 
 called Cigoli ; but, having an ambition to be thoroughly mailer of defign, he 
 fludied anatomy, architecture, and perfpecltive, and alfo, the art of modelling. 
 When he had completed himfelf in thofe different branches, he travelled to 
 Rome to enrich his mind by obfervations on the bell works of antient and 
 modern artifts, and became one of the moft efteemed painters of his time, for 
 correcfnefs and truth. 
 
 One picture which he. painted for Pope Paul V, procured him univerfal 
 applaufe. The fubject of that performance was, the Fall of Lucifer, and his 
 companions •, and he had introduced a multitude of figures in the compofition, 
 which were defigned with tafte and judgement, and were remarkable for the 
 variety of difficult and fine attitudes, as alio for the terrible expreffion. 
 
 After continuing for fome years at Rome, he returned to his native city ; 
 and as he had a prodigious power of imitating every ltyle with incredible 
 exadlnefs, whether it were landfcape or hiftory, he .was almcit perpetually 
 employed in copying the moft curious paintings of the celebrated antient 
 
 mailer?;, 
 
CON [ 146 ] CON 
 
 matters, which were preferved in the churches and convents, and in the 
 collections of the Grand Duke, and the nobility of Florence. It is no incon- 
 Gderable honour to Commodi, that Pietro da Cortona was his difciple. 
 
 Sebastian CONCA, called Cavalier. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1 761, aged 82. 
 
 He was born at Gaeta, in 1679, and placed as a difciple with Francefco 
 
 Solimena, an incomparable matter. Under his direction Conca exerted his 
 
 utmoft induftry, to obtain a proper degree of knowledge of the true principles 
 
 of the art of painting •, nor did he permit any kind of amufement, to withdraw 
 
 his attention from his ftudies. 
 
 Solimena foon perceived in his difciple fuch talents, and fuch a difpofition, 
 as would qualify him to make a very great progrefs ; and on that account, he 
 conceived lb ftrong an affettion for him, that he not only afforded him the bed: 
 inftru&ions, but, often employed him to fketch after his own defigns ; took 
 him alone* with him to Monte Caflino, where he was to paint a chapel in frefco ; 
 and therc'made Conca acquainted with every thing relative to that manner of 
 painting. 
 
 At his return to Naples with Solimena, he was, if poflible, ftill more afliduous 
 to improve himfelf to the utmott ■, and entered on a projeel, that might at once 
 advance his income, and add to his expertnefs in his profefiion. That project 
 was, to paint portraits in a fmall fize, and at a low rate •, by which fcheme, all 
 ranks of perfons crowded to him ; and befide the pecuniary advantages refulting 
 from it, he acquired an extraordinary freedom of hand, in penciling and 
 colouring ; a good habit of imitating nature with an elegant choice ; and 
 likewife, great diverfity of airs of heads, which were of extraordinary ufe 
 to him, in his future beautiful compofitions. 
 
 As he had a great defire to fee Rome, he obtained permifllon from Solimena 
 to indulge his inclination •, and although he was near thirty years of age, when 
 he vifited that city •, yet, he fpent eight years in conftant ftudy after the 
 antiques, after Buonaroti, Raphael, and the Caracci, and perfected himfelf in 
 every part of his profeffion. 
 
 The fame of his works foon fpread throughout Rome, and procured him the 
 patronage of Cardinal Ottobuoni, who was a princely encourager of artifts ; 
 and Conca having fhewn an elegant proof of his abilities, in a compofition, 
 reprefenting Herod inquiring of the wife men the place of the birth of the 
 Mefliah, the figures being as large as life, the Cardinal thought it fo excellent a 
 performance, that he rewarded him in a munificent manner, entertained him in 
 his own palace, and introduced him to Pope Clement XI, who appointed Conca 
 to paint the picture of the prophet Jeremiah, in the church of S. John Lateran ; 
 which he executed with univerfal applaule. On that occafion, the Pope was 
 defirous to give him lbme particular mark of his efteem •, and therefore, in a 
 •general affembly of the academicians of St. Luke, he conferred on him the order 
 of knighthood, and the cardinal preferred him with a rich diamond crois, 
 which Conca, out of refpeeT: to his patron, always wore at his bofom. 
 
 From 
 
CON [ 147 ] CON 
 
 From that time he was inceflantly employed, and his works were folicited by 
 mod of the princes of Europe. The churches and chapels of every part or" 
 Italy are enriched v/ith forne of his compofitions ; of which he painted an 
 incredible number, as he lived to a very advanced age, and never difcontinued 
 his labours. 
 
 He was earneftly invited by Philip V. of Spain to vifithis court, but, he could 
 not be prevailed on to leave Rome. He painted two admirable pictures for the 
 King of Poland, with figures as large as life •, in one was re'prefented Alexander 
 prelenting Bucephalus to Philip, after he had managed him -, a grand com- 
 pofition, with a multitude of figures, correctly defigned, and charmingly 
 grouped and difpofed •, the whole being adorned with moft elegant architecture, 
 in true and beautiful perfpective. The other, was the marriage of Alexander 
 with Roxana, the daughter of Darius, which was in every refpecl equal to the 
 former. 
 
 He was at laft fo ftrongly preflfed to go to Naples, that he undertook the 
 journey •, and was received in that kingdom with all the refpect and honour due 
 to his merit ; and there he finilhed feveral noble defigns, as alio at Gaeta his 
 native city. While he continued at Naples, he received in the royal prefence, 
 a IhufF-box of very great value, prefented to him in the king's name by the 
 Marquis of Tanucci, at that time prime minifter ; and in the year 1757, the 
 king was pleafed to ennoble him, and all his defcendants. At that time he was 
 78, and it is confidently faid, that he died in 1761, aged 82, which is very 
 probable, though not pofitively certain. 
 
 He underftood perfpective and architecture thoroughly, and added to it a 
 fine underftandingof the Chiaro-Scuro. His ftyle of compofition is grand and 
 elegant ; his defign very correct ; his diipofition ingenious •, his attitudes and 
 expreffion full of truth, nature, and variety -, and his colouring is excellent. 
 
 The hiftory of Diana and Actason by Conca, is in the pofTeffion of the Earl 
 of Pembroke at Wilton. 
 
 Ecidius, or Gilles CONINGSLOO, or Conixlo. 
 
 Painted Landfcape. 
 Died 1609, aged 65. 
 
 This mafter was born at Antwerp, in 1 544, and at firft was placed with 
 Peter Van Aelft the younger, with whom he continued for fome years ; but 
 afterwards, he became a difciple of Leonard Kroes, who painted hiftory and 
 landfcape in diftemper, and he alfo received fome inftruction from Giles 
 Moftaert. For feveral years he worked in France, at Paris and Orleans, and in 
 fearch of greater improvement travelled to Rome, where he ftudied for a 
 confiderable time. 
 
 His works, as foon as they were known, were much coveted ; for, at that 
 time, his tafte in landfcape happened to be greatly admired, and his paintings 
 were readily bought by the dealers in pictures, who lent them to different parts 
 of Europe, where they brought a good price ; and even the Emperor purchafed 
 many of them, which he placed among the moft capital paintings in his 
 collection. 
 
 U Tic 
 
CON [ 148 ] CON 
 
 The touching of his trees was very free, and mafterly ; his pencil was light ; 
 and the variety in the dilpofition and breaking of his grounds, evidently fhew 
 the richnefs of his genius. His ftyle of colouring is pleafant, if it be not 
 frequently too green ; but, his fcenes are generally crowded, and too much 
 incumbered. However, there is fuch tranfparence in his colour, and fuch 
 freedom in the handling, that, upon the whole, they have a very agreeable 
 effect. 
 
 The figures in his landfcapes, were ufually painted by Van Cleef •, and as 
 Coningfloo was juftlyefteemed one of the belt mafters of his time, in the ftyle 
 that was peculiar to him, fo was that ftyle ftudioufly imitated by many 
 fubfequent artifts. 
 
 Giovanni CONTARINI. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1605, aged 56. 
 
 He was born at Venice, in 1549, and being poffeffed of a very happy genius, 
 he applied himfelf induftrioufly to ftudy and to copy the works of Titian ; and 
 by that means became excellent in colouring, and painted portraits with a great 
 deal of force, fweetnefs of tint, and ftrong refemblance ; and alfo painted 
 hiftory, with remarkable tafte, and correctnefs of defign. 
 
 When his reputation was well eftablifhed, and his abilities fufficiently known, 
 he travelled to Germany, and met with all poflible encouragement and 
 approbation among the princes and nobility wherever he went. His manner 
 was lively and pleafing, and through all his compofitions might be obferved the 
 imitation of that incomparable artift Titian, whofe excellence is fo well known 
 in every part of Europe. 
 
 Jacopino dal C O N T E. 
 
 Painted Hiftory^ and Portrait. 
 Died 1598, aged 88. 
 
 This mafter was born at Florence in 1510, and was a difciple of Andrea del 
 Sarto, with whom he learned defign and colouring. But although he ftudied 
 and pracTileci hiltorical compofition principally, while he was under the care of 
 that mafter, yet his inclination directed him moftly to the painting of portraits, 
 and in that branch he arrived at a high degree of excellence. 
 
 The portrait of Pope Paul III, which he drew, gained him not only extraor- 
 dinary applaufe, but obtained for him the patronage of that prelate ; and moft 
 of the cardinals at Rome, employed, and generoufly rewarded him. But, his 
 talent was not confined to portrait ; for, his reputation as an hiftorical painter 
 was equally diltinguifhed. In his compofitions of that kind, he generally 
 defigned a great number of figures, with attitudes that were natural and 
 elegant; his outline was correct, his tafte noble, and his colouring truly 
 beautiful. 
 
 S A MUEL 
 
 5 
 
COO [149] coo 
 
 Sam uel COOPER. 
 
 Painted Portraits in Miniature. 
 Died 1672, aged 63. 
 
 He was born at London, in 1 609, and was a difciple of John Hofkins, his 
 uncle. His genius inclined him to paint portraits in miniature, and in that 
 ftyle he proved far fuperior to any of his own countrymen, and was accounted 
 in fome relpecls not inferior to the beft artifts of Italy. 
 
 He was commonly called the Vandyck in fmall, as he refembled that cele- 
 brated mafter, in the beauty and clearnefs of his colouring, the agreeable turn 
 of the head, or the fpirit and relief of his portraits. He exprefTed the hair 
 inimitably, and gave fuch tendernefs and life to his figures, that his work was 
 univerfally admired, in all parts of Europe where there is any tafte for the 
 polite arts, as well as in his own country ; and the prices which they now bring 
 are incredible. 
 
 However, a great portion of that merit to which this artift arrived, was 
 really imputable to Vandyck, in whole time he lived ; whofe works he ftudied 
 inceffandy ; and copied many of them, either to improve himfelf by getting the 
 habit of imitating him, or at the defire of others who rev/arded him for his 
 labour. But, a diftinguifhed * writer and connoifieur juftly obferves, that not- 
 withftanding the confefTed merit of Cooper, as to the head and hair in his 
 portraits, yet his power was confined to the head only ; and the incorre&nefs 
 of his drawing when he proceeded lower, cannot but ftrike every judicious 
 eye. It is by the defeft in his drawing, that perfons of fkill account for fo 
 many of his pictures being left unfinifhed ; nor had he grace, even in the greateft 
 number of thofe heads which he finifhed. His chief excellence confifted in the 
 variety of tints which he introduced to render his carnations more clear, and in 
 the loofe management of the hair. -|- 
 
 Alexander COOPER. 
 Painted Portraits in Miniature, and Land/cape. 
 
 He was the elder brother of Samuel Cooper, who learned the art of paintino- 
 from John Hofkins. But, although he became a good artift in limnin?, yet 
 he was in no degree of competition with his brother. He followed his profeffion 
 in feveral cities of the low countries, and particularly at Amfterdam ; from 
 whence he was invited to Sweden, where he had the honour of beino- 
 appointed limner to Queen Chriftina. 
 
 He alio painted landicapes in water colours extremely well, and was accounted 
 to have a corredr. manner of drawing 
 
 fc>" 
 
 • Mr. Walpole, in the anecdotes of painting. 
 
 f Among many incorredtions obfervable in the hiftorical Tables publilhed by Mr. Harms, he 
 feems to be remarkably wrong in his account of this painter ; for, he mentions Samuel Cooper, as 
 having lived principally at Stockholm, which mult be a miftake ; Cooper having always lived in 
 England, and principally in London, where he died in 1672, and was buried in Pancras church. 
 Perhaps the author of thofe Tables means one Alexander Cooper, elder brother to Samuel, who 
 refided for fome time at Amfterdam, and was afterwards in the fervice of Queen Chriftina, as her 
 miniature painter. 
 
 U 2 Cavalier 
 
COP [ 150 ] c o cl 
 
 Cavalier COP PA. 
 
 Painted llijlory. 
 Died 1665, aged 70. 
 
 This mailer was born in 1595, and learned defign and colouring in the fchool 
 of Guido ■, where, by the precepts and exquifite example of that great genius,., 
 he acquired a delicate tafte of compofition, as well as a beautiful tint of colour, 
 and became a painter of high reputation. 
 
 His ftyle of defign, and his manner of handling, intirely refembled that of his 
 mailer ; and his principal works are in the churches and chapels of Verona, 
 where they are exceedingly regarded.. 
 
 Gonzalo CO QJJ E S. 
 
 Painted Portraits, and Conversations. 
 Died 1684, aged 66. 
 
 He was born at Antwerp, in 161 8, and was a difciple of the old David 
 Ryckaerr. ; under whofe direclion he applied himfclf diligently, to cultivate thole 
 promihng talents which he poffefied •, not only by pra&ifing the belt rules 
 adminiftered to him by his inftructor, but alfo by ftudying nature with fingular 
 attention. 
 
 When he faw, and confidered, the works of Vandyck, he was (truck with- 
 iurprize, at beholding Rich elevation of mind, fuch force of colour, fuch life, 
 expreffion, and handling as were viable in every compofition of that great 
 mafter ; and as that manner feemed mod conformable to his own genius, he 
 fixed on Vandyck as his model, and had the happinefs of fo far fucceeding in 
 his attempt, that next to that inimitable artift, he was efteemed equal to any 
 other painter of his time. 
 
 In the fchool of Ryckaert he had been accuftomed to paint converfations, and 
 he frequently compofed fubjefts of fancy like Teniers, Oftade, and his mafter ; 
 and by that habit, he introduced a very agreeable ftyle of portrait painting, in a 
 kind of hiftoricai converfations, which feemed much more acceptable to perfons 
 of tafte, than the general manner of painting portraits, and procured him great 
 reputation, and riches. 
 
 In that way he compofed feveral fine pictures for King Charles I, and likewiie 
 faveral for the Arch Duke Leopold, and the Prince of Orange ; which latter 
 prince, as a mark of refpeft prcfented Coques with a rich gold chain, and a 
 gold medal on which the bull of that prince was impreffed. 
 
 He had an excellent pencil ; his portraits were well defigned, with eafy, 
 natural attitudes •, he difpofed the figures in his compofition, fo as to avoid 
 confufion, or embaraffment •, he gave an. extraordinary clearnefs of colour to 
 las heads, and hands ; and his touch was free, firm, and broad, a circumllance 
 very uncommon in works of a fmall fize. 
 
 CORIARIO. Vid. Arto Leone.. 
 
 L '-. c .'. s 
 
COR [ 151 ] COR 
 
 Lucas CORNELII, or Cornelisz. 
 
 Painted Portrait, and Hijlory. 
 
 He was born at Leyden, in 1495, became the difciple of Cornelius 
 Engelbrecht, and was reputed an extraordinary artift in his time ; being- 
 acknowledged equally excellent in his paintings in diftemper, and in oil. 
 
 Yet, as he found very Imall encouragement in his own country, the lovers 
 and admirers of painting being but few, he turned his attention to England, 
 where Henry VIII. ihewed a peculiar fondnefs for the artifts, and feemed 
 defirous not only to introduce them, but alfo to eftablifh them, in his dominions. 
 Thither Lucas directed his courfe, accompanied by his wife, and a large 
 family of children ; and received fo many marks of favour from the king, to 
 whom he was appointed principal painter, and fuch kindnefs and liberality from 
 the benevolent nobility and gentry of that kingdom, that he feems to have 
 fettled there intirely ; for, Sandrart obferves, that he could obtain no particulars 
 of his life from the time he quitted his own country, except that in general he 
 lived in affluence, and great efteem in England. 
 
 At Leyden, a picture of his, reprefenting the Woman taken in Adultery, is 
 highly admired •, and in England at Penfhurft, the portraits of the Conftables 
 of Queenborough caftle, from the reign of Edward III, to the third year of 
 Henry VIII, are painted by his hand. 
 
 Jacques CORNELISZ. 
 Painted Hijlory. 
 
 This painter was born at Ooft-Sanen about the year 1471, and the city of 
 Amfterdam boafts much of his remarkable genius and talents. Van Mander 
 fays, that in the year 15 12, he was confidered as a very great matter. 
 
 In the old church at Amfterdam is preferved a Deicent from the Crofs, by 
 this Cornelifz. It is an altar-piece, and Mary Magdalen is there reprefented as 
 fitting at the Foot of the Crofs. Likewife at Haerlem there is a picture of the 
 Circumcifion, painted in 151 7, which is extremely commended. Van Mander 
 praifes in high terms, a defign of this mailer's, in the church at Alkmaar. The 
 fubject is the Pafllon of our Saviour ; the compofition of the. whole is good, and 
 the actions and expreffions natural and ftrong ; particularly the expreffion of the 
 malignity of the executioners who are extending Chrift upon the Crofs. 
 
 He died at a very advanced age, in Amfterdam. 
 
 Cornelius CORNELISZ, called Cornelius Van Haerlem,. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1638, aged j6. 
 
 He was born at Haerlem, in 1562, and from his youth gave evident tokens 
 c-x an apt genius, and a ftrong propenfity to the art of painting. He was placed . 
 under the care of Peter le Long the younger, who was at that time in eftablilned ! 
 credit •, and in a fnort fpace he made fuch a rapid progrefs, that he was diftirr- 
 
 5 guifceci: 
 
COR [152] COR 
 
 guifhed by the appellation of Cornelius the painter, and very far furpaffed his 
 matter. His real name was Cornelifz, but his merit in his profeflion, and the 
 city where he was born, have afforded him the name of Cornelius van Haerlem, 
 by which he is now univerfally, and only known. 
 
 When he quitted his mailer, he determined to improve himfelf by travelling 
 to Italy, being then only feventeen years of age •, but, his project was 
 difconcerted by a concurrence of accidents, and he was allured to Antwerp, by 
 the fame of the artifts in that city. On his arrival he placed himfelf with 
 Francis Pourbus, and afterwards with Giles Coignet •, and by their inftructions 
 he corrected, and improved, his firft manner, which was raw and hard, and 
 acquired a more foft, neat, and agreeable ftyle of colouring and penciling. 
 
 As a teftimony of his relpeft to his inftructor Coignet, he prefented him with 
 a flower-piece of his painting, which was copied from nature, touched in a 
 mallerly manner, and delicately finifhed •, and likewife a compofition, confiding 
 of naked female figures, well defigned, and beautifully coloured, which juftly 
 merited the great value that Coignet ever after fet upon them. 
 
 His colouring in portraits, as well as in hiftory, was truly fine ; the 
 cilpofition of his figures good, and often elegant ; the hands and extremities are 
 well defigned, and the exprefTions noble. As he had no opportunities of ftudying 
 the antique at Rome, he formed his tafle from the bett calts and models that 
 he could procure, carefully imitating nature in all his performances. 
 
 He painted equally well in large, and in fmall •, but although he finifhed a 
 great number of pictures, yet they are not often to be purchaied. One of his 
 large defigns was the Battle of the Giants ; and another the Deluge, in which 
 the naked figures, and the different ages of thofe in the latter compofition, are 
 extremely well exprefied. 
 
 Octavio CORRADI. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1643. 
 
 This mafter was born at Bologna, and was a difciple of Giacomo Cavedone ; 
 but his principal merit confifted in copying the works of other painters of 
 eminence, which he executed to the greateit perfection ■, many of his copies 
 being, even in his own time, accounted originals of thofe matters which he 
 imitated. 
 
 Antonio da CORREGGIO. 
 
 Painted Hiftory. 
 
 * Died 1534, aged 40. 
 
 The true name of this illuftrious painter was Antonio de Allegris ; but he 
 obtained the name of Correggio, from an inconfiderable town in the Modenefe, 
 where he was born in 1 494. He was a difciple of Francefco Bianchi, called il 
 
 Frari 
 
 • In the dates of the birth and death of Correggio, I have followed the authors of the Abrege 
 de la Vie des Feintres, though I am not thoroughly iatisned that thofe dates are indifputable. For, 
 
 De 
 
COR [ 153 ] COR 
 
 Frari da Modena •, but to nature alone was he indebted for every excellence he 
 pofTefTed. For, although he might have received feme knowledge from his 
 inftructor, yet his manner had nothing that refembled, in any degree, that of 
 Bianchi, or any other artift ; nor had he either curiofity, or fufficient refolution 
 tovifit Rome, to examine and ftudy the antiques, or toobferve the productions 
 of modern genius. By the admirable turn of his own mind, and taking nature 
 for his director, he became one of the moft pleafing painters, and mod efteemed 
 artifts, that have appeared fince the revival of the art ; and has always been 
 placed in the higheft rank of merit, by all thofe who underftand the art of paint- 
 ing, or are capable of judging of its excellencies. 
 
 He was peculiarly happy in a beautiful choice ; in his carnations appears an 
 inexpreffible delicacy, united with the utmofl force, and truth •, and his touch 
 is exquifite. It is impofiible to fee any thing more tender, more foft, or more 
 round, than his figures, without the fmallelt harfhnefs of outline, though his 
 outline is not always correct. He was the firft who brought the true art of fore- 
 shortening figures, to the utmoft perfe&ion, which he effected merely by the 
 power of his own extenfive genius ; and by that art he decorated the domes of 
 churches, and the cielings of palaces, in a ftyle that agreeably furprifed every 
 beholder, as well by its novelty, and beauty, as by its aftonifhing effect. 
 
 He found out certain amiable and graceful airs for the heads of his madonna's 
 laints, and boys, which diftinguifh him from all others, and render him not only 
 fuperior to moft, but inimitable. His thoughts were grand, and elevated ; his 
 pencil uncommonly tender, and delicate ; he had the power of touching the 
 paffions, by the truth and elegant fimplicity of his expreffions •, and, as to his co- 
 louring, it could not fo juftly be called a beautiful imitation of nature, as 
 nature itfelf. 
 
 In defign, Correggio was not as excellent as in his colouring ; but, notwith- 
 ftanding any incorrectnefs in that refpect, his perpetual elegance of tafte in 
 defign, and the turn which he gives to his actions, muft always command our 
 admiration. He had a manner peculiar to himfelf, of diftributing his lights 
 with fo great judgement, as to give an amazing relief and force to his figures •, 
 and this manner confuted in extending a large light, and then making it infen- 
 fibly lofe itfelf in the dark fhadowings, which he placed out of the mafTes. 
 
 But, although his powers were wonderful in many parts of his art, yet he had 
 no great variety of graceful attitudes, nor did he groupe his figures with all that 
 beauty, which might be expected from fuch an enlarged genius. But, he de- 
 figned heads, hands, and feet, in a tafte that was truly admirable ; and finifhed 
 
 De Piles and the Chronological Tables agree that he died in 1513, at the age of 40 ; Vafafi alfo 
 and Sandrart allure us, that the greatelt part of the works of Correggio, were finifhed in 1512^ 
 But, for the fatbfaclion of thofe connoiifeurs, whofe judgement may be far fuperior to mine, I have 
 fet down the teltimonies of different authors on the fubjeft. 
 
 According to De Piles, Correggio died in 1513, aged 40. 
 
 _ to the Chronol. Tables, he died in 1513, ag. 40. 
 
 . . to the Abrege, &c. he died in 1534, ag. 40. 
 
 ■ to Vafari, and Sandrart, the greateft part of his works were finifhed about the year, 
 
 1512 ; but, Vafari does not mention the year of his birth or death, and only ob- 
 fcrves that he died about 60 years of age. 
 
 his 
 
COR [ 154 ] COR 
 
 Lis pictures with iuch neatnefs, purity of tines, that they 
 
 as if they had been executed in one d . 
 A late writer observes, that Correggio lpoiled the nes, by 
 
 ing the red and blue too freely, and has now an J then robbed things of r 
 body, by fhading them too much, and melting them, as it were, into 
 other. But, perhaps we ought to forgive Correggio every appearance of imper- 
 : ::ion, on account of that unufual g and foul, which 
 
 he . ..fed into all his figures. 
 
 He painted with a.fufficient body of colour, but highly v.rojght up j ye:, 
 :hout any diftinguifhable fmart touches of his pe tint contri- 
 
 butes to a general hara -id to be painted 
 
 f gold, in order to give them a grea:. c of mellownefs, and luftre. 
 
 e celebrated cupola, in the cathedral at Parma, executed by Correggio, 
 has long been the admiration of all perfons of tafte, for the grandeur of the 
 fign, tl :h of imagination, and the boldnefs of the fore- fhortenings. 
 
 are reprefented with all pomble propriety, and poflibility ; but, in a chamber be- 
 longing to that cathedral, may be feen one of the mod lovely pictures pa:. 
 great genius. The is i'r.-j Vi . and the infant Jefus . 
 
 Ma J as k the infant, and St. Jeror. 
 
 ftanding by. And it is j u ft ly remarked that, in: pofition, the com- 
 
 xions o: .aint, and the -Magdalen, are all varied, 
 
 e-eable to their did -ges, and ch This picture is inc bly 
 
 beautiful for the colouring, and the head of the Magdalen is one of his moft 
 perfect perforrr ipect of the frefhnefs, and lovelinefs of the tints. 
 
 The heads, ar.-: e figures, are defigned with inexpreffible 
 
 , in feme particulars, the defign is a little incorrect. 
 Two of his moft capital pictures are a Leda, and a Venus, intended as a 
 e Duke of Parma, to the Emperor-, the figures _d, and 
 
 ly tender, clear, foft, and delicate, that it had more the 
 appearance of real fein, than the production of the pencil. In each picture there 
 a lovely landfcape ; but, in that of the Venus, two Cupids were introduced, 
 as trying their arrows, of geld and lead, on a touchftone -, and from a rock iffued 
 a ltrcam of tranfparent water, which, in its courfe, fiowed over the feet of 
 Venus, and feemed fo | lucid, that it rather increaled the deliov 
 
 nefs of the fiefh, than concealed any part of its beauties. 
 
 But, in the palace at Modena was that remarkable painting, called the Notte, 
 or Night of Correggio. The fubieft of it is the Nativity of Chrift, in which 
 the light proceeds from the infant, illuminating the fhepherds and fpecrators, 
 among whom, one figure of a woman is reprefented, as being fo ftrongly affected 
 by 1 of glory which iffues from the babe, that fhe holds one hand be- 
 
 tween her face and the infant, to avert the dazzling brightnefs, with which fhe 
 fee: powered. Julio Romano, on feeing thoi"; , declared they 
 
 e fuperior to any thing ceheld. 
 
 Jacomo CORTES I. Vkl. Bovrgocnc- 
 
 G I O ▼ A M S .1 
 
COR [ 155 ] COS 
 
 G 1 v a n "N a Marmocchini CORTES I. 
 
 Painted Portrait. 
 Died lys^t aged 66. 
 
 This paintrefs was born at Florence, in 1670, and inftrucled in the art of paint- 
 ing by Livio Mehus, and Pietro Dandini ; but, by order of the Grand 
 Dutchefs, fhe was afterwards taught to paint in miniature, by Hippolito 
 Galantini. 
 
 In that ftyle of painting me, in a few years, became extremely eminent ; and 
 was univerfally applauded for a pleafing and natural tint of colouring, for a 
 pencil Angularly neat and tender, and for a very lively and ftriking refemblance 
 of the perfons whofe portraits (he drew. 
 
 She ufually worked in oil •, but fhe alfo painted with crayons, in which fhe 
 fhewed an equal degree of merit, and gave thole paintings all the tendernefs and 
 warmth of life. 
 
 Pietro da CORTONA. Vid. Berretini. 
 Pietro Paolo CORTONESE. Vid. Gobbo. 
 
 John COSIERS. 
 Painted Hiftory. 
 
 This artift was born at Antwerp, in 1 603, and placed as a difciple with Cor- 
 nelius de Vos •, with whom he continued for fome years, and proved extremely 
 happy in his tafte of defign, and colouring. His reputation fpread through 
 moft of the courts of Europe, and procured him employment from the King of 
 Spain, the Cardinal Infant, the Arch-duke Leopold, and feveral other princes ; 
 who expreffed the greateft approbation of his works, and beftowed on him fuch 
 marks of their favour, as were juftly merited by his extraordinary abilities. 
 
 His compofition is in a mafterly ftyle ; his figures are well defigned, and well 
 grouped ; and there appears a judicious variety in the attitudes. His back- 
 grounds are much enriched, efpecially when he introduces architecture, and his 
 manner of painting is broad, eafy, and free. His drawing is generally correct, 
 and his colouring good, except that it fometimes partakes too much of a yel- 
 lowifh tint •, but, that is not a defect obfervable in all his performances. 
 
 At Mechlin is to be feen a noble defign of this matter's hand, of which the 
 fubject is, the Paffion of our Saviour ; and Houbraken allures us, that this work 
 alone is fufficient to eftablifh the reputation of Cofiers. He was appointed Di- 
 rector of the Academy at Antwerp, in 1639. 
 
 Pietro da COSIMO. 
 
 Painted Hiftory, Portraits, and Bacchanals. 
 
 Died 152 1, aged 80. 
 
 He was born at Florence, in 1441, and was a difciple of Cofimo Rofelli ; but, 
 as he had a fprightly imagination, and a ftudious attention to the art, he foon 
 became a far better painter than his matter. 
 
 X - Rofelli 
 
C O U [ 156 ] C O V 
 
 Rofelli being invited to Rome, to paint one of the Pope's chapels, was at- 
 tended thither by his difciple, who afiifted him in the work ; and in that under- 
 taking Pietro gave fuch proofs of his (kill, that he was employed in the Vatican 
 for fome years, and fo effectually recommended himfelf to the favour of the 
 Pope, and the principal nobility, that he painted for them a great number of 
 hiftorical defigns, as well as portraits. He had the honour to inftruct many 
 difciples, who were- afterwards very eminent in the profeffion ; among whom 
 Andrea del Sarto, and Francifco da San Gallo, were of the greateft note ; but, 
 as he advanced in life he grew whimfical, altered his ftyle of defign, and, for the 
 moft part, delighted to paint fantaftical fubjects, fuch as harpies, fatyrs, and 
 monfttrs, and was particularly fond of painting bacchanals. 
 
 William COURTOIS, or Cortes 1. 
 
 Painted Hiftory. 
 Died 1679, aged 51. 
 
 He was born in Franche-Comte, in 1628, the brother of Giacomo Cortefi, 
 called Bourgognone •, and having learned the rudiments of the art from his 
 father, he travelled with his brother to Rome, and entered himfelf as a difciple 
 in the ichool of Pietro da Cortona. Under that matter he obtained a commen- 
 dable tafte of defign and colouring, which enabled him to make a confiderable 
 figure in his profeflion •, and afterwards he became the difciple of Claude Lor- 
 raine, in whole landfcapes he very frequently inferted the figures. 
 
 Few artifts compofed hiftorical fubjects in a more agreeable ftyle, and the no- 
 bility of Rome furnifhed him with perpetual opportunities for exerting his talents, 
 by employing his pencil incelfantly, for the ornament of their palaces ; as did alfo 
 the ecclefiaftics, in adorning their churches and convents. By order of Pope 
 Alexander VII. he painted, in the gallery of his palace in Monte Cavallo, the 
 Battle of Jofhua, which afforded the Pope fo much fatisfaftion, that he preiented 
 him with a chain of gold, and a medal, as a mark of his particular efteem. 
 
 He frequently afiifted his brother Bourgognone in his large defigns 5 and by 
 the recommendation of his mafter Cortona, he was appointed to paint feveral 
 noble defigns in the church of S. Mark, at Venice, which he executed highly to 
 his honour. 
 
 His tafte of defign was very good ; he was generally correct in his drawing ; 
 and his manner of compofing, colouring, and handling, was fo well approved to 
 by the ableft Judges, that he obtained the character of being an excellent painter, 
 and diedpoffeffed of confiderable riches, honourably acquired by his merit. 
 
 Reiner COVYN. 
 
 Painted Still Life, and Conver fat ions. 
 
 This painter was born in Brabant, and ftudied after nature. His ufual fub- 
 jects were herbs, plants, and different kinds of vegetables ; and fometimes he 
 "painted market-women, with bafkets of eggs, fruit, or dead fowl. 
 
 He alio reprefented, in fome of his compofitions, girls fewing, or bufy about 
 domeftic employments, and likewife converfations. 
 
 c I SR AE J. 
 
COX [ 157 ] COY 
 
 Israel COVYN. 
 Painted Hiftory, and Portrait. 
 He alfo was a Brabander, and brother to Reinier Covyn ; but, employed his 
 pencil in fubje&s very different from thofe of his brother. His mod ufual ttyle 
 was hiftory, though frequently he painted portraits ; but, it is remarked of him, 
 that his early defigns, and portraits, were, by many degrees, luperior to thofe 
 which he finiihed in his more advanced age. 
 
 COUWENBERCH. Vid. Van Thielen. 
 
 Michael COXIS. 
 
 Painted Hiftory., and Portrait. 
 Died 1592, aged 9 5. 
 
 He was born at Mechlin, in 1497, and received the firft notions of painting, 
 when he was very young, from Bernard Van Orlay, of Bruffels •, but, quitting 
 his own country, he travelled to Rome, and there had the good fortune to be- 
 come a difciple of Raphael. He fludied, and worked under the direclion of 
 that fuperior genius, for feveral years ; and in that fchool acquired the tafte of 
 defign, and colouring, peculiar to his matter, as alfo the power of imitating hi s 
 exquifite manner fo far, as to be qualified to defign his own female figures, with 
 a great deal of grace, and elegance. 
 
 Undoubtedly he had no great invention, nor did he poffefs a livelinefs of ima- 
 gination ; and therefore, when he left Rome, to return to his native country, he 
 took care to carry along with him a confiderable number of the defigns of Ra- 
 phael, and other eminent matters of Italy •, which he did not fcruple to make 
 ufe of afterwards in his own compofitions. By that means he gained reputation, 
 and his pictures were wonderfully admired through the Low Countries. 
 
 But, when Jerom Cock returned from Rome, and brought with him into 
 Flanders, The School of Athens defigned by Raphael, and other defigns of the 
 moft famous Italian artifts ; they were no fooner made public, than the plapiarifm 
 of Coxis was difcovered, and his reputation proportionably decreafed. 
 
 In the church of St. Gudule at Bruffels, there is a Laft Supper painted by 
 Coxis, which is much commended ; and in the church of Notre Dame at Ant- 
 werp, a S. Sebaftian, a Crucifixion, and feveral portraits, which are fine imita- 
 tions of nature, and the expreffion in all of them is excellent. And in the chapel 
 of St. Luke at Mechlin, he painted two folding doors, intended to cover an altar- 
 piece, which were fo greatly efteemed, that the Arch-duke Matthias pureliaied 
 them at a very large price, and carried them out of the Low Countries. 
 
 Anthony COYPEL. 
 
 Painted Hiftory, and Allegorical Stibjecfs. 
 
 Died 1722, aged 61. 
 
 He was born at Paris, in 1661, and at firft was inftru£ted by his father, who, 
 being appointed Director of the French Academy at Rome, took his fon along 
 with him, to give him an opportunity of improving himfelf there, by ftudyincr 
 after the beft models : and during his continuance in that city, he defio-ned after 
 the antiques, after the works of Buonaroti, Raphael and the Caracci, and ac- 
 
 X 2 quired 
 
COY [ 15S ] COY 
 
 quired a noble tafte and manner, which, as he advanced in age and experience, 
 was ftill farther improved. 
 
 After three years practice at Rome, he was advifed by his friends to travel to 
 Lombardy, and, among the moft famous painters wh'ofe works occurred to him, 
 he preferably chofe to copy thofe of Correggio, Titian, and Paolo Veronefe •, and 
 having fufficiently indulged his genius, he returned to Paris, very well qualified 
 to appear as a profened mafter, although at that time not above eighteen years of 
 age. He foon found employment, and diftinguifhed himfelf more and more by 
 every public peiformance ; and the Duke of Orleans honoured him fo far, as to 
 appoint him his principal painter. 
 
 He received fo many proofs of efteem from the King, the Dauphin, and the 
 Princes of the Blood, that he was ieldom difengaged from the fervice of one or 
 the other ; and, as a public teftimony of his merit, he was appointed by the 
 King director of all his paintings, with a large penfion, and was alfo elected di- 
 rector of the academy. 
 
 But, although this artift had, confefTedly, great talents, and an abundance of 
 merit, in feveral parts of his art ; yet, even in his heft works, he left juft room 
 for the cenfure of judicious critics. He was, during his whole life, perfecuted 
 by thofe who envied his fuccefs, being themfelves far inferior to him in defert, 
 which gave him perpetual difquiet •, but, as his patrons were fteady and gene- 
 rous, he never fuffered from the malignity of his defamers. 
 
 There is a great deal of fpirit in his compofitions, and generally an agreeable 
 exprefiion ; the turn of his figures is frequently elegant ■, but, he rarely can 
 divert himfelf of the French gout. His ftyle is fo well known by the prints 
 which have been publifhed from his works, that it feems unneceiTary to be more 
 particular. However, he certainly is not fo much idolized by others, as he is 
 by thofe of his own country, who dwell on his perfections, and feem quite infen- 
 fible of his defects, though it muft be confefTed, that he ufually gives agreeable 
 airs to his heads, and his boys are remarkably well defigned. 
 
 Two of his performances are particularly commended ; the meeting of 
 Jephtha and his daughter, and a Crucifixion; which were applauded by the beft 
 judges, and celebrated by the poets of that time. 
 
 Noel Nicholas COY PEL. 
 Painted Hiftory, and Portrait. 
 Died 1737, aged 45. 
 
 This painter, who was brother to Anthony Coypel, was born at Paris in 
 1 692, and learned the rudiments of the art from his father •, and he took pains 
 to improve himfelf, by ftudying fuch deligns of the bert mafters, either in 
 ftatuary or painting, as were open to hi 1 ; obfervation, till he feveral times ob- 
 tained the prize in the academy. 
 
 He had an apt genius, a ready invention, and ,a free manner of handling •, in 
 his tafte of defign he (hewed a contiderable degree of correctnefs, and elegance j 
 and, as well as his brother, lie gave an agreeable air to the heads of his figures. 
 He painted portraits in oil, and with crayons ; and in the latter particularly, ex- 
 prcP.cdall the tendernefs of Befo, with abundance of trudi, fpirit, and natuve. 
 
 The piincipc:': work of this mafter, is in the chapel of the Virgin, belonging 
 to the church of S. Saviour, at Paris, 
 
 Francesco 
 
COZ [ *59 ] CRA 
 
 Francesco COZZA. 
 
 Painted Hijiory. 
 Died 1664. 
 
 He was born at Palermo in Sicily, where he was inftructed in the firft prin- 
 ciples of the art of painting •, and to accomplifh himfelf in the profeffion, he 
 went to Rome, where he was admitted as a difciple in the fchool of Do- 
 menichino. 
 
 Under that eminent mafter he continued for feveral years, and conceived fo 
 juft an opinion of the merit of his director, that he conftantly endeavoured to 
 imitate his manner and ftyle, and his endeavours were attended with fuccefs. 
 
 At Rome he was employed in a great number of grand works, in frefco, 
 as well as in oil, which were an honour to his inftru&or, as well as to himfelf. 
 
 CRABBETJE. Vid, Asselvn. 
 
 Dirk and Wouter CRABETH. 
 
 Painted Hijiory, on Glafs. 
 
 Thefe brothers were incomparable painters on glafs. By fome writers they 
 are accounted natives of France, and by others natives of Germany, but it ap- 
 pears certain that they were born at Gouda in Holland. Wouter is faid to have 
 vifited France and Italy, and by all judges he is allowed fuperior to his brother 
 in drawing, and in the tranfparence and brilliancy of his colouring. 
 
 The work of Dirk had greater ftrength in the tints, and, by his bold and 
 ftrong manner, he produced an effect, equal to the clearnefs and delicacy of the 
 other. Both were very great mafters, as well in large as in fmall, and they 
 wrought with incredible freedom. The moft beautiful work of thofe affociated 
 artifts, and perhaps the moft beautiful of its kind in Europe, was painted by 
 them in 1567, at Gouda, in the great church. The fubject is, Chrift driving 
 the buyers and fellers out of the Temple ; and whether one confiders the com- 
 pofition, the attitudes of the figures, or the luftre of the colours, it is an ad- 
 mirable performance. 
 
 It is veiy remarkable, that though thofe artifts lived in the moft clofe con- 
 nexion, and apparent friendfhip, they were fo cautious of having their fecret dis- 
 covered, or perhaps were fo jealous of each other, that one brother would not 
 fuffer the other to fee him at work •, and Wouter even covered up his work, 
 as foon as Dirk came into the apartment where he painted. 
 
 N. CRAME R. 
 
 Painted Portraits, and Converfations. 
 
 Died 1710, aged 40. 
 
 He was born at Leyden, in 1670, and at firft was a. difciple of Williams 
 Mit ris, though he afterwards placed himfelf with Karel de Moor, whole ftyle 
 of defign, and manner oi colouring, he followed as long as he lived. 
 
 A moft uncommon affection always fubfifted between De Moor, and his dif- 
 ciple •, nor was there a ftronger refemblance in their manner of painting, than 
 in their tempers and difpofitions. His fubje&s were portraits in linall, and con>- 
 
 vcrfations 5 
 
C R A [ 160 ] C R A 
 
 verfations •, which were beautifully coloured, and finifhed in a delicate manner. 
 He had a good tafte of defign, and a judicious difpofition of the figures in all 
 his compofitions •, and his portraits had great force, having alfo a great re- 
 femblance of nature. 
 
 Cramer had extraordinary talents, but a weakly habit of body ; and died 
 much regretted, as he was defervedly admired. 
 
 Luca CRANIUS, or Kranach the Old. 
 
 Painted Hijlory, and Portrait. 
 Died 1553, aged 83. 
 
 He was born at Kranach, a town in the bifhopric of Bamberg, in 1470, and 
 in his time was accounted a confiderable artift. The reputation of his extraor- 
 dinary merit, recommended him to the favour of the Elector of Saxony, who 
 employed him for feveral years in his fervice •, and the greateft, as alfo the beft 
 part of the works of this mailer, are preferved in the palace of that prince. 
 
 For the mod part he painted portraits, and figures at half length ; though he 
 frequently painted hiftorical and poetical ilibjecls. He was remarkably fond of 
 painting the heads of old men, and women •, and the draperies of his figures, in 
 all his compofitions, were imitated from the modes of the time. The Elector, 
 and his whole court, carefied him exceedingly, and very liberally rewarded him 
 for his labours. 
 
 Sandrart fays, that Cranius defigned with grace, and elegance ; of which, 
 however, there is very little, or no appearance, in the general number of the 
 paintings of that mafter, whofe works, in thefe kingdoms, are fufficiently 
 common. His manner of defigning was as entirely Gothic, as his compofition 
 was irregular •, and although he ieems to have laboured the heads of his figures 
 with greater care, yet the hands and extremities are ftifF, and often very incor- 
 rectly drawn, as well as badly proportioned. Yet this mafter is not without his 
 modern admirers, who perhaps imagine, that the antiquity of a painting, com- 
 penfates for any deficiency of tafte, grace, or correclinefs. 
 
 The moft capital performance ot Cranius, is a naked Lucretia, as large as 
 life, in an erect pofture, which is preferved with great care, and highly valued. 
 
 L u c a CRANIUS, the Younger. 
 
 Painted Hijlory. 
 
 Died 1586, aged j6. 
 
 This artift, who was the fon of old Cranius, was born at Wittemberg, in 
 1 5 10, and being thoroughly inftriufted by his father, he painted in the very 
 lame ftyle and manner, as well in refpect of his tafte in compofition and defign, 
 as in his colouring and handling. 
 
 Joseph Van C R A A S B E C K, or Craesbeke. 
 
 Painted Converfations, and Drolls. 
 
 Died 1668, aged 60. 
 
 He was born at Brufiels, in 1 608, and was by trade a baker •, but, by having a 
 ibcial intimacy with Brouwer, he learned the art of painting fVom him. He had 
 
 a ftrong 
 
CRA [ 161 ] C R A 
 
 aftrong natural genius, and by obferving the method of Brouwcr's drawing, and 
 managing the pencil, he made confiderable advances •, which being noticed by 
 that able artift, he gave Craafbeck every neceffary inftruction, and foon per- 
 ceivedin his companion, an exact imitator of himfelf. 
 
 His invention was very lively, but his fubjects were mean, low, fordid, and 
 often unchafte •, yet his touch was delicate, and his colouring clean and tranfpa- 
 rent •, though he was ftill inferior to Brouvver, as well in penciling, as colour- 
 ing. His general fubjects were taverns, inns, corps de garde, and drunken 
 quarrels, which were full of humour, and droll expreffion, always taken 
 from nature. 
 
 One of his mofl capital defigns, is a reprefentation of fome boors drunk, and 
 fighting ; the tables, chairs, pots, men, women, and children tumbled together, 
 and one of the combatants ftretched out as dead. This picture is of Craafbeck's 
 befl time, and is entirely in the manner of Brouwer. 
 
 Houbraken mentions a droll incident of this painter, who refembled Brouwer 
 in his morals, and extravagancies, as well as in his pencil. Craafbeck took it 
 into his head to be jealous of his wife, who was a modeft and agreeable woman ; 
 and as he was in fome doubt of her affection, in order to enable him to judge 
 certainly whether Hie really loved him, he one day ftripped his bread naked, 
 and painted the appearance of a mortal wound on his fkin ; his lips and cheeks 
 he painted of a livid colour, and on his palette near him, he placed his knife, 
 painted on the blade with a blood-like colour. 
 
 When every thing was thus prepared, he roared out, as if he had been killed 
 that inflant, and lay ftill. His wife ran in, faw him in that terrifying condition, 
 and fhewed fo many tokens of unaffected, natural pafiion, and real grief, that he 
 rofe up, convinced of her affection, diffuaded her from grieving, and freely told 
 her his motive for the whole contrivance. 
 
 He very often ftudied variety of grimaces before a glafs, and frequently 
 painted his own portrait, with a patch on one eye, and a countenance full of 
 grimace, particularly about the mouth. 
 
 Caspar de CRAYER. 
 
 Painted Hiftory, and Portrait. 
 
 * Died 1669, aged 84. 
 
 He was born at Antwerp, in 1585, and was a difciple of Raphael Coxis, the 
 fon of that Coxis who had ftudied under Raphael ; but he foon fhewed fuch 
 proofs of genius, and of an elevated capacity, that he far furpaffed his mafter, and 
 therefore quitted him. Afterwards he made judicious oblervations on the par- 
 ticular excellencies of the moft renowned mafters to which he had any accefs, 
 and taking nature for his conftant director, and guide, he formed for himfelf a 
 manner that was exceedingly pleafing. 
 
 The firfb work which eftablifhed him in the favour of the court at Bruffels, 
 was a portrait of Cardinal Ferdinand, brother to the King of Spain, which he 
 
 * The Chronological Tables of the eminent painters fix the death of Craver in the year r6j8» 
 at the age of 53, which feems manifeftly wrong ; for all authors agree that lie lived above four- 
 fcore years, and one writer particularly mentions the lafi: picture painted by Crayer, which was 
 finilhed in the year 1668, and placed in the Dominican's chapel at Ghent, where that artift is 
 interred. 
 
 painted 
 
CRA [ 162 ] CRE 
 
 painted at full length, and as large as life. In that picture he fucceeded fo hap- 
 pily, that it was fent to Madrid, and received there with fuch concurrent appro^- 
 bation of the King, and the whole court, that it laid the foundation of the fame 
 and fortune of Crayer. For the King, as an acknowledgement of the painter's 
 merit, fent him' a gold chain with a medal; and added, as a farther inftance of 
 his favour, an appointment for a confiderable penfion. 
 
 But nothing can certainly place the talents of Crayer in aftronger light, than 
 the teftimony of fo excellent an artift as Rubens. That great man went to 
 Antwerp, particularly to vifit Crayer, and to fee his work; and after examining 
 attentively a picture of his painting, in the refeftory of the abbey of Affleghem, 
 he publicly declared that no painter could furpafs Crayer. Nor was this mafter 
 lefs diilinguifhed by Vandyck, who always expreffed a real efteem and friendfhip 
 for him, and painted his portrait. 
 
 He had fomewhat lefs fire in his compofitions than Rubens, but his defign is 
 frequently more correct. His compofition generally confuted of a Imall 
 number of figures ; and with difcreet judgement, he avoided the encumbring 
 his defign with fuperfluous particulars, or loading his fubject with any thing 
 that feemed not to contribute to its elegance, or probability. He grouped his 
 figures with fingular fkill, arrd his expreffions have all the truth of nature. 
 There is a remarkable variety in his draperies, and an equal degree of fimplicity 
 in their folds ; and as to his colouring, it is admirable. Of all his cotemporary 
 painters, he was accounted to approach neareft to Vandyck, not only in hiftory, 
 but in portrait. 
 
 He principally painted religious fubjects, and was continually at work ; and, 
 although he lived to a great age, yet his temperance, and conftant regularity, 
 preferved to him the full ufe of all his faculties ; and to the laft month of his 
 life, his pencil retained the fame force, and freedom, which it poffeffed in his 
 moft vigorous time. 
 
 The fubject of that picture, which was fo honoured by the approbation of 
 Rubens, is the Centurion alighting from his horfe, to proftrate himfelf at the feet 
 of our Saviour. It is a capital defign of Crayer ; and although it confifts of a 
 great number of figures, the harmony and union are well preferved. 
 
 Lorenzo di CREDI. 
 Painted Hijlory, and Portrait. 
 
 Died 1530, aged 78. 
 
 He was born at Florence, in 1452, and was a difciple of Andrea Verocchio' 
 at the fame time that Pietro Perugino, and Lionardo da Vinci, ftudied in the 
 fchool of that mafter. As he had perpetual opportunities of obferving that 
 grandeur of ftyle which appeared in the compofitions of Lionardo, and that ex- 
 quifite manner of penciling which far furpaffedhis inftruclor Verocchio, he gave 
 himfelf up entirely to imitate Vinci, in his tafte of defign, in his handling, and 
 in the management of his colours. 
 
 To the aftonifhment of the connoiffeurs of that age, he copied the paintings 
 of that eminent genius with fuch critical exactnefs, fuch a furprizingfimilarity of 
 colour, and freedom of touch, that it feemed almoft impoffible, even at that 
 time, for the moft able judges to determine, winch were the copies, and which 
 the originals. 
 
 2 He 
 
CRE [163] CRE 
 
 He rofe at laft into high reputation, and painted a great number of his own 
 defigns at Florence, by which he was enriched •, and he had the difcretion to 
 fpend the latter part of his life in a comfortable retirement, difengaged from the 
 fatigue of his profeffton. 
 
 C R E P U. 
 
 Painted Flowers, and Fruit. 
 
 He was born about the year 1 660, and was a Fleming, who without any 
 inftructor, and only ftudying after nature, arrived at a great degree of merit in 
 flower painting. 
 
 He originally was bred to a military profeflion, and had the poft of a lieutenant 
 in the Spanifh troops ; but, while he was encamped, or in garrilbn, he amufed 
 himfelf by defigning after nature fuch objects as were agreeable to his fancy. 
 He did not quit the army till he was forty years old, and then eftablifhed himfelf 
 at Antwerp, where he began to practife painting for a maintenance. His 
 works were very foon noticed by the artifts, many of whom were profufe in his 
 commendation, and could not but acknowledge his fuperiority in many refpects. 
 His pictures were much fought for ; they brought confiderable prices, and were 
 carried to every part of Europe. After fome years he fettled at Bruflels, where 
 he continued to work till the time of his death. 
 
 He was a good painter of thole kind of objects which he delighted to reprefent, 
 though he could notjuftly be ranked with Vanlluyfum, Mignion, Baptift, or 
 De Heem ; but his compofition was pleafing, and his flowers were light, tender, 
 and natural, which conftituted their greateft merit. 
 
 Da niello CRESPL 
 
 Painted Hijlory, and Portrait. 
 Died 1630, aged 38. 
 
 This artift was born at Bologna, in 1592, and at firft was a difciple of 
 Giovanni Battifta Crefpi, though he afterwards ftudied under Julius Casfaf 
 Procaccini. 
 
 The grace, and the variety, obfervable in the airs of his heads, and the 
 propriety of action and character which he gave to his figures, accompanied 
 with a beautiful tone of colour, foon raifed him to the higheft efteem ; procured 
 him the favour of the great, and fo much employment in frefco painting as 
 well as in oil, that he was not only made very rich, but his reputation alio was 
 rendered very extenfive. 
 
 He painted portraits in an admirable ftyle, fuperior to moft of his cotem- 
 poraries ; and had the fkilful power to give lb true, and lb lively, an exprefiion 
 to every one of them, that they feemed to think. He died of the plague, 
 extremely lamented -, and with him died his whole family, of the fame fatal 
 diftemper. 
 
 In the church of the Chartreux at Pavia, are feveral charming paintings by 
 Crefpi ; (Thrift among the Doctors ; the Prefentation in the Temple •, the 
 Adoration of the Magi -, the Baptifm of Chrift ; and the Preaching of S. John, 
 
 Y which 
 
CRE [ 164 ] CRE 
 
 which are all excellent performances. And at "Wikon there is a picture painted 
 by this mafter, reprefenting the Virgin encircled with Flowers, with Chritt 
 leaning on her Bolbm. 
 
 Giuseppe Maria C R E S P I. 
 
 Tainted H'ftcry, and Portrait. 
 Died 1747, aged $2. 
 
 Tie was horn at Bologna, in 1665, and received his earlicft inftn.icT.ion in 
 deiign, frpm Angelo Toni, a very moderate artill ; but in a fhort time he 
 quitted that fchool, and fuccefTively ftudied under Domenico Canuti, Cano 
 Cignani, and Giovanni Antonio Burrini. Having obtained great improvement, 
 from the precepts and example of the latter eminent matters, he applied himlllf 
 induftrioufly to ftudy and copy the works of Baroccio, in order to habituate 
 himfelf to the imitation of that painter's ftyle. He found all the advantage he 
 could hope, from the obfervations he made on the works of that diftinguifhed 
 artill: ; and he promoted his knowledge ftill farther, by defigning after the 
 naked in the academy, and afterwards ftudying the principles of colouring at 
 Venice, from the paintings of Titian, Tintoretto, and Paolo Veronefe. 
 
 Thus qualified to appear with credit in his profefTion, his merit was made 
 known to the Grand Duke Ferdinand, who immediately engaged him in feveral 
 noble compositions, winch he executed with iuccels •, affording that prince the 
 higheft fatisfacTion, and likewife gaining the applaufe of the publick. The 
 duke made him magnificent prefents, diftinguifhed him with his protection and 
 favour, and honoured him with the title of his own painter. 
 
 In portrait he was particularly excellent, and to thole fubjects he gave 
 elegant attitudes, with aftrongand graceful refemblance. The moft illuftrious 
 perfons for learning and nobility among the men, and the moft celebrated ladies 
 for birth or beauty among the women, or who were admired performers on the 
 ftage, were his ulual fubjects, and were rendered ftill more admired by his 
 pencil. 
 
 Flis imagination wr.s lively, and often whimfical •, he was very famous for 
 caricatures ; and frequently amufed himfelf, with defigning comick and 
 burlefque fancies, which he expreffed with abundance of humour, and drollery. 
 Sometimes he etched thofe defigns with aqua fortis, ilTecting his fubjecTs from 
 the writings of the facetious, and burlefque poets. 
 
 He was remarkably finguhr, in accuftoming himfelf to paint in a chamber 
 properly darkened, and fo contrived, as to admit a ray of the fun, or the lightL 
 of a flambeau, to enable him to give a greater roundnefs and relief to his 
 paintings, by a nice obfervation of the force of natural light and fhadow. His 
 tafte of defign was elegant, and graceful ; and his colouring had a degree of 
 force that was very (Inking, and very extraordinary. 
 
 Domenico C R E S T I, called Cavalier Passignano.. 
 
 Painted Hiftcry, end Portrait. 
 
 Died 1638, aged 80. 
 This pointer, accounted one of the beft maftcrs of his time, was born at Ot 
 ■village in the neighbourhood of Florence, called Paflignano, in 1558, (though 
 
 hia 
 
CRO [ 165 ] CUR 
 
 his birth, in the Chronological Tables, is erroneoufly fixed in 1585,) and he 
 received the name of Paflignano, from the place of his nativity. 
 
 At firfr he was inft-ructed in the art, by Macchietti, and afterwards by Battilta 
 Naldini ; but, at Florence he became a difciple of Frederick Zucchero, and 
 painted feveral works in conjunction with that mailer, which eftablifhed his 
 reputation. He had very uncommon, and great abilities ; a fruitful invention, a 
 noble tafte for grand compofitions, a competent (kill to introduce a multitude of 
 figures in hisdeligns, and an accurate judgement to difpofe them with elegance. 
 Yet, he was not without his defects ; for, he frequently painted with too thin 
 and fluid a body of colour, which prevented his pictures from having a proper 
 degree of force ; and being impatient, when his pencil did not immediately 
 produce the effect, which the vivacity of his imagination fuggefled to him, it 
 difcompofed his mind, and difordered his work. 
 
 He was alfo cenfured by very able judges in the art, for not adorning or 
 enriching his figures with fuitable draperies, though they were in other refpects 
 excellent, for correctnefs of defign, and for the natural eafy turn of the attitudes. 
 
 Mr. CROSS. 
 
 Painted Hiftory. 
 
 He was an Englifh artift in the reigns of Charles I, and II, who was not 
 remarkable for any thing but copying ; yet, in that point he is laid to have had 
 a great deal of merit. 
 
 It is reported of this painter (though with what degree of truth is uncertain,) 
 that being employed by King Charles I, to copy fome of the works of the beft 
 matters of Italy ; and being permitted by the Hate of Venice, to copy a famous 
 Madonna of Raphael, in the church of S. Mark •, he executed his commiflion 
 lb happily, that he brought away the original, and left the copy in its Head. 
 The deception was not immediately diicovered, and the detection was too late 
 to regain it; for, although feveral meflengers purfued him expeditiously, they 
 were all disappointed. 
 
 It is likewife reported, that the Spanifh ambafTador, in the time of Cromwell's 
 lifurpation, bought that picture, and the twelve Calais by Titian, for the King 
 of Spain, who placed them in the Efcurial. 
 
 Francesco CURRADI. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1 660, aged go. 
 
 He was born in 1570, and learned the art of painting from Battifla Naldini, 
 under whom he made fo great a proficiency in colouring and defign, that his 
 mailer permitted him to afiill him in fome of his own works -, and being 
 frequently afflicted with the gout, he confided the finishing of his compofitions 
 to Curradi, and Balducci, his difciples, who executed them with a fpirit and 
 beauty equal to their mailer. The peribns of the belt talte in painting, allowed 
 Curradi to have a delightful manner, great correctnefs of defign, an excellent 
 difpofition of his figures, attitudes full of fife and expreflion, and a thorough 
 
 underitanding of the Chiaro-Scuro. 
 
 Y 2 He 
 
C U Y [ 166 ] DAG 
 
 He ftudied the airs of heads with unufual exactnefs, and gave a graceful and 
 angelick air to particular figures in his hiftorical compofitions, but particularly 
 to the heads in his defigns from facred hiftory, which were tnoftly the iubjefts he 
 choie to paint. 
 
 To oblige his friends he often painted portraits, which were admired, for 
 the life and nature infufed into them by his pencil ; for the roundnefsand relief 
 of his colouring •, and alfo for the amiable refemblance of the perfons who fat to 
 him. 
 
 CUYLENBURG. 
 Painted Hi/lory, Land/cape, and Figures in Caver. 
 
 This artift is by many fuppofed to have been a difciple of Poelemburg, by his 
 tafte of defign, and the ftyle of his compofition ; although neither his age, nor 
 his mailer, are afcertained by any of the biographical writers that I have feeo. 
 His fubjeclis are caves with figures, nymphs bathing, bachan-nals, or ftories from 
 fabulous hiftory, and fometimes defigns of fancy. 
 
 He ulually painted in a fize much larger than Poelemburg, and wanted than 
 clearnefs of tint, that luftre of colouring, fo remarkable in all the genuine 
 works of that delicate painter. A predominant brown prevails through the 
 whole of Cuylenburg's pictures, and makes an evident difference between the 
 colouring of thole two mafters. And befides, Cuylerrburg is neither fo delicate 
 in his female forms, fo correct in his drawing, lb elegant in his tafte, nor lb neat 
 in his finifhing, as are all the paintings of Poelemburg ; nor is he, in general^, 
 equal to Vertangen. 
 
 C U Y P. Vid. Kuyp. 
 
 D. 
 
 Jacopo D'AGAR. 
 
 Painted Hijiory, and Portrait.. 
 
 Died 1716, aged 76. 
 
 He was born at Paris, in 1640, and was a difciple of Ferdinand Vouet ^ 
 from whom he learned to defign fubjects of hiftory, which he performed widi 
 a good deal of credit. But, perhaps confeious that his genius would not enable 
 him to arrive at any high degree of excellence in that ftyle, he applied himielf 
 to draw and paint portraits after the life; and very foon acquired a great 
 reputation through all Flanders. 
 
 His manner of defigning thofe fub}ecl:s, was elegant ; he had a pleafing and 
 lively tone of colour ; and his works were admired at moft of the courts of 
 
 Europe. 
 
DAL [ 167 ] DAN 
 
 Europe. But, he was particularly invited to the court of Denmark, where he 
 was received with every mark or refpect, and immediately engaged in the 
 fervice of that monarch, being alio employed by the principal nobility at 
 Copenhagen. The merit of his paintings, and his politenefs of manners, gained 
 him the particular regard of the king ; who conferred on him an employment 
 of honour near his own perfon, and appointed him his principal painter •, and at 
 the death of his patron, Chrifthn V, he was continued in the fame appointments, 
 by the fucceffor Frederick IV. 
 
 As he was defirous to eftablifb his fame in other countries, he felt an ea°-er 
 ambition to vifit London, where he knew the polite arts were as zealoufly 
 cultivated, as the artifts were liberally and generoufly rewarded -, and he obtained 
 permiffion to lpend fome time in that country, whither the merit and character 
 of the artift had arrived before him. His reception amply anfwered his molt 
 fanguine expectations •, for, the nobility, and the lovers of the art, kept him 
 conftantly at work, and when he returned to Denmark, he was loaded with 
 riches and honour, and poiTelfed an univerial eftecm as long as he lived. 
 
 The portrait of D'Agar, painted by him/elf, is honoured with a place in the 
 gallery of the eminent painters at Florence. 
 
 Dirk DALENS. 
 
 Painted Landfcape. 
 Died 1688, aged 29. 
 
 This matter was born at Amfterdam, in 1659, and learned the principles of 
 the art from his father William Dalens, a landfcape painter, who had no great 
 abilities, and who very foon was furpafled by his difciple. 
 
 In the year 1672 he retired to Hambourg, to avoid the calamities of war, 
 which at that time defolated his native country ; and happening to meet with 
 John Voorhout, who was there at that time, they aflbciated together, and 
 jointly applied themielves to Itudy, and to improve themfelves in their profeffion. 
 At his return to Amfterdam, his performances received the approbation of the 
 publick, and he would probably have made a v_-ry confiderable figure, if he 
 had not been cut off in the very bloom of his vears. 
 
 m J .'4 
 
 In the collection or the Elector Palatine there is a fine lanifcap; by this 
 mailer ; the fcene is a marlhy ground, on which are reprefented ducks anc' 
 other fowl, very much in the tafte and manner of Hondekoeter. 
 
 Pietro DANDINI. 
 
 Painted Hipry, Landfcape, Portrait, Jrchiteilure, Battles, and Animals^ 
 
 Died 1 7 12, aged 66. 
 
 He was born at Florence, in 1646; and received his firft inftruction in tht 
 art of painting from Va-lerio Spada, who excelled in final! drawings with a 
 pen. Whilft he was under the care of that artift, he gave fuch evident proof, 
 of a ready genius, that he was then placed as a difciple with his uncle Vincentu* 
 Dandini, a mailer of great reputation through all Italy, who had been bredup= 
 
DAN [ 168 J DAN 
 
 under Pietro da Cortona. Vincentio Toon obferved the dole application of his 
 pupil, and therefore gave him all poffible affiftance, by directing him to defign 
 after nature, till practice-confirmed him in correctneis; healfo encouraged him 
 to furnifh his mind by reading hiftory ; and made him attend the publick 
 lectures on anatomy, that he might be thoroughly acquainted with the 
 ftructure of the human body, and the true fit nation and action of every 
 ber, and mufcle. 
 
 Fromfo regular, and excellent an education, he became an admirable arti ft; 
 and even his lirfl productions were applauded, for the goodneis of the defign, 
 and the pleafing tone of his colouring. But, when he had an opportunity to 
 exert his talents, and to difcover the fertility of his invention, and the grandeur 
 or" his ideas, in feveral large compofitions which he finifned, he was ranked 
 among the molt able mafters of his time. 
 
 He travelled through moft of the cities of Italy, ftudying the works of thofe 
 who were molt diltinguifhed •, and refided for a long time at Venice, where he 
 copied the paintings of Titian, Tintoretto, and Paolo Veronefe ; and afterwards 
 vifited Parma and Modena, to defign the works of Correggio ; omitting no 
 opportunity that might contribute to improve his hand, or his judgement. 
 When he returned to Florence, the Grand Duke Colmo III, the Grand Dutchefs 
 Victoria, and the Prince Ferdinand, kept him perpetually employed, in frefco 
 painting as well as in oil •, his fubjects being taken not only from facred or 
 fabulous hiftory, but from his own invention and fancy, which frequently 
 furnifhed him with fuch as were odd and fmgular, and especially with whimfical 
 caricatures. 
 
 He had a moft extraordinary talent for imitating the ftyle of even the 
 moft celebrated antient painters, of every fchool, particularly Titian, Vero- 
 nefe, and Tintoretto •, and with a force and elegance, equal to his fub- 
 jects of hiftory, he painted portraits, landfcapes, architecture, flowers, fruit, 
 battles, animals of all kinds, and likewife iea-pieces ; proving himfelf an 
 universal artift, and excellent in every thing he undertook. He had a refined 
 tafte of defign •, a beautiful tone of colour ; great rirmnefs and freedom of 
 pencil ; and an unufual mixture of force, and i'weetnefs, with an agreeable 
 harmony, appeared in all his compofitions, refulting from a judicious ufe of 
 the Chiaro-Scuro. 
 
 He had a fon, 
 
 Octavio DANDINI, 
 
 Who proved not inferior to him in any branch of his profefiion, and was an 
 honour to his family, and his country. 
 
 C;esare DANDINI. 
 
 Painted Hiftory. . 
 
 He was born at Florence •, and was the elder brother, and firft inftructor of 
 Vincentio Dandini the uncle of Pietro. This maftcr had fucceffively ftudied as 
 3. diiciple with Cavalier Curradi, Paflignano, and Chriftolano Allori ; from 
 whom he acquired a very pleafing manner of defigning, and colouring. He 
 
 was 
 
DAN [ 169 ] DEL 
 
 was extremely correiSt in his drawing, and finifhed his pictures highly. Several 
 noble altar-pieces in the churches of Florence are of his hand ; and one, which 
 is in the chapel L'Annonciata, is particularly admired. 
 
 Cavalier DA NIELLO. Vid. Daniel Syder. 
 
 Henry DANKER S. 
 
 Painted Land/capes. 
 
 He was born at the Hague, where he was taught the firft rudiments of paint- 
 ing •, but, he afterwards travelled to Italy, and ftudied there for fome years. His 
 obierving thole fcenes, with which the face of nature is fo beautifully diverfified 
 in that country, and his attention to the works of the beft painters of landfcape,. 
 rendered him a good artift in that branch, to which he devoted himfelf intirely. 
 
 King Charles II. of England, engaged him to paint views of all the fea-ports 
 in his dominions, and particularly the profpects on the coaft of Wales, as alfo 
 the views of the royal palaces ; which commiffion he executed extremely to the 
 fatisfaction of his employer. He followed his profefiion in London for feveral, 
 years, and had good rates for his pictures, being efteemed the neateft, and beft. 
 painter in his way, of that time. 
 
 He had a brother named 
 
 John DANKER S, 
 
 Who was a painter of hiftory, and lived and died at Amfterdam. 
 
 Dirk Van DELEN. 
 
 Painted In/ides of Churches^ and PerfpeSfive Views. 
 
 Neither the precife year of the birth, or the death, of this matter is mentioned 
 by Houbraken, or other writers ; but, it is recorded that he was born at 
 Heufden. He was a difciple of Francis Hals, in wliofe fchool he practifed to 
 paint thofe particular fubjects, which were mod efteemed by that mafter, fuch 
 as portraits and converfations ; and by that means he acquired the (kill to defio-n 
 figures, with a great deal of fpirit and correctnefs. 
 
 But, his predominant inclination directed him to paint architecture, and. 
 perfpective •, and thofe he ftudied with fo much care, as to make his works 
 admired and. coveted, through the low countries. His fubjects were, the infides 
 of churches, filled with figures -, grand temples -, magnificent falons and 
 galleries, with people afiembled at concerts of mufick, or feafting, or dancino- ; 
 and thofe fubjects he finifhed highly ; his architecture was in a noble tafte : the 
 figures were well defigned ; and- they were grouped with a great deal of 
 judgement. 
 
 Several authors mention the performances of this mafter, with large com- 
 mendation, for the goodnefs of his invention, and the neatnefs of his handling 
 
 5 Ta.co.bj 
 
DEL [ 170 ] DEN 
 
 Jacob DELFT. 
 
 Painted Portrait. 
 
 Died 1 6 6 1 , aged 42 . 
 
 He was the Ton of Willemz Delft, and grandfon of Michael Mirevelt, born 
 in 1619 at Delft. As he had been carefully inftructed by his grandfather, he 
 chofe to paint the fame fubjedts for which Michael was fo defervedly efteemed ; 
 he acquired a fimilar tafte of defign and colouring •, and imitated him fuccefsfully 
 in the management of his pencil ; nor can there be a greater encomium given 
 to this mafter, than what is afierted by the concurrent teftimony of feveral 
 writers, that he painted portraits, with a force and delicacy equal to Mirevelt. 
 
 Deodato DELMONT. 
 Painted Hijiory. 
 Died 1634, aged 53 . 
 
 He was born at S. Tron, in 1 5 8 1 , of a good family, who gave him an 
 education iuitable to his fortune -, had him inftrufted in all the polite languages ; 
 and placed him as a difciple with Rubens, to learn defign and colouring. He 
 became the moll intimate and beloved friend of that illuftrious painter, and 
 accompanied him to Italy •, and during his continuance at Rome, he ftudied 
 every thing that was curious in painting, ftatuary, or architecture, with fuch 
 accurate care, that he obtained the reputation of being an excellent painter, and 
 architect. 
 
 For a long time he was employed at the court of Newburgh, and the Duke 
 ennobled him as a teftimony of his merit. Several excellent paintings by this 
 mafter, are preferved in the churches and convents of Italy •, but, there are 
 three capital performances of his at Antwerp, which are evident proofs of his 
 extraordinary talents. In the church of Notre Dame is a fine picture of the 
 Transfiguration •, in the Jefuits church is another compofition, reprelenting 
 Chrift carrying his Crofs, which is confidered as one of the principal ornaments 
 of that edifice •, and in a cloyfter, is the Adoration of the Magi, painted for the 
 altar-piece. It is grand in the defign, exquifitely penciled and coloured, and in 
 a free and firm ftyle. In all his fubjec~ts the compofition is elevated, the defign 
 correct, and the colouring and penciling excellent. Rubens himfelf was profufe 
 in his praife, and the approbation of that incomparable judge, is fufficient to 
 lecure the approbation of pofterity. 
 
 Balthasar D E N N E R. 
 
 Painted Portraits. 
 
 Died 1 747, aged 62. 
 
 He was born at Hambourg, in 16S5, and was inftructed in the principles of 
 the art, by the moft noted mailer in Altena •, though afterwards, he was placed 
 under the direction of either painter at Dantzick •, and having, for fometime, 
 
 practiied 
 
 3 
 
& 
 
 DEN [171] DEN 
 
 practifed with thofe profeflbrs, he improved himfelf by copying the beft 
 pictures which could be procured in the latter city, and alio ftudied diligently 
 after living models. 
 
 When he thought himfelf qualified to work for the publick, he was appointed 
 to paint the portrait of the Duke Chriftian Auguftus, adminiftrator of Holftein- 
 Gottorp, in miniature ; and he performed it with fbch fuccefs, that it eftablifhed 
 his .credit at that court •, where he painted, in one picture of a large fize, twenty- 
 one portraits of the family of that prince, and alfo added his own. That picture 
 fo highly pleafed the Czar Peter, that he determined to have it conveyed to 
 Peterfburg, till he was informed, that the duke would be exceedingly forry to 
 have it carried out of his own country. 
 
 He was principally employed by the princes of Germany, and the King of 
 Denmark, and he painted many portraits of that monarch ; but at intervals, 
 he vifited other countries, and particularly England and Holland, where he was 
 received and retpected as his merit juftly deferved. As a fpecimen of his abilities 
 he carried along with him the portrait of an old woman, fo wonderfully painted, 
 that it not only procured him honour and employment in London, and the Low 
 Countries, but he refufed five hundred guineas for it. It was purchafed for a 
 greater fum by the Emperor Charles VI, who was fo careful to preferve it from 
 injuries, that he kept the key of the cabinet where it was repofited •, and fome 
 time after procured from Denner the head of an old man, as a companion, for 
 which he gave the fame price.- Thofe heads are the mod capital of all his 
 performances.. 
 
 This mafter was moft remarkable for rimming his portraits in a manner that 
 was inconceiveably neat-, his expreffion is natural, nor had he, in his touch or 
 his colouring, any appearance of ftiffnefs, or of the manneriit ; but a general 
 union and harmony feemed diffufed through the whole. However, he had no 
 great tafte of ccmpofrtion •, his draperies are very indifferent, without any idea 
 of dignity in the difpofition, and without truth in the folds. His manner of 
 defign, except in the heads, was but poor, and his works cannot by any means 
 be recommended as a model to other artifts. In fome parts he was admirable, 
 but very unequal in others •, vet he has painted the portraits of his wife and 
 himfelf, in the manner of Rembrant, which are fo minutely nnilhcd, .that (if. 
 writers maybe credited) even the pores of the (kin are viiibie. 
 
 } a c c^u e s DENY 5. 
 Bainted Hijt'ory., and Portrait. 
 
 This artift was born at Antwerp in 1045, and -was a difciple of Erafmus 
 Quellinus ; but, went young to Rome, and Venice, where he fpent fome 
 years, in copying the works of Raphael, Juiio P.omano, Guido, and Titian, 
 and forming his tafte of deiign aad colouring from the compofitions of thofe 
 celebrated matters ;. by. which method of . conducting his itudies, his own 
 compofitibns mewed all the elegance of the Roman, and Venetian fchools. 
 
 The Arch-dutchefs at Mantua having heard the genius of Denys very greatly 
 commended, invited him to her court, and took him into her feryice ; and not 
 long after, the Duke of Tufcany obtained permifiion for him to vifu Florence, 
 
 Z where 
 
© E R [ 172 ] D E R 
 
 where he painted the portraits of that prince and his family •, nor would the 
 Grand Duke have fuffered him to leave his court, if Denys had not been under 
 prior engagements to return to Mantua, However, the Grand Duke exprefTed 
 tiie molt kind concern for parting with him ; he made him many valuable 
 p relents, among which were a rich gold chain and a large medal of gold ; and 
 he honoured Denys with letters patent, declaring his efteem for the talents, and 
 perf jnal merit of that artift. At his return to Mantua, he finifhed fcveral 
 grand hiftorical compolitions for his patronefs, and adorned the principal 
 apartments of the palace with fuch works, as were iufficient to rank him 
 among the moil able in his profeflion. 
 
 The Arch-dutchefs wifhed to engage him in other new defigns, in order to 
 detain him longer in her fervice •, but, the love of his native country prevailed 
 over all other confederations with him, as he had then refided in Italy for fourteen 
 years •, and he returned to Antwerp, loaded with riches, and honours. By all 
 the artifts, and lovers of the art, he was received in that city, as in triumph •, 
 but, he enjoyed that honour only for a fhort time, and died foon after, extremely 
 regretted in every part of Europe, whither his fame had extended. 
 
 The oreatett part of his works are in Italy, few of them being to be feen or 
 purchafed in his own country. Yet, at Antwerp is to be feen an Ecce Homo 
 of his painting, which, as well in defign as colouring, is intirely in the ftyle 
 of Vandyck. There is alfo in the fame city a portrait, moft beautifully coloured, 
 and painted with lb greatfreedom and force, as if portrait had been his peculiar 
 ftudy, and excellence. In general, lie was remarkable for great correctnefs of 
 defign ; his colouring is bold •, and his manner hath abundantly more of the 
 jfchool of Italy, than of that of Flanders. 
 
 Peter Cornelius DERYCK, or Derick. 
 
 Painted Portraits, Land/capes, and Cattle. 
 Died 1630, aged 62. 
 
 He was born at Delft, in 1568, and was a difciple of Hubert Jacobs ; and 
 having acquired a good degree ot knowledge under that mailer, he went to 
 Italy, where he ftudied the different ftyles of the moft eminent mafters, and at 
 laft fixed on BafTan as his model. In copying and defigning he fpent fifteen 
 years at Rome, Venice, and other cities of Italy ; and painted a great number 
 of pictures in a large, as well as in a fmall fize. 
 
 His portraits were very much admired •, but, thofe pictures which he painted 
 in the manner of BafTan, were commended for the goodnefs of the defign ; for 
 the firmnefs and freedom of his touch •, and the fpirit of thofe animals which he 
 introduced into his compolitions. His peculiar excellence was his imitation of 
 the ftyle, the manner and the tint of colouring of BafTan •, and that imitation he 
 performed with fuch exactnefs, that even good judges are frequently deceived 
 by lbme of the pictures of Deryck. 
 
 Wit- 
 
D E R [ 173 ] DEW 
 
 William DERYKE. 
 
 Painted Hijlory. 
 Died i6gy. 
 
 He was born at Antwerp, and at firft was bred to the trade of a jeweller ; but, 
 he afterwards applied himfelf to painting, in which he had tolerable fuccefs. 
 
 His manner of defign was not extraordinary •, his compofitions were historical 
 Subjects, with figures as large as life, and thofe he executed with a full, bold 
 pencil ; but, although there was an appearance of merit in fome particular 
 parts, yet his outline was frequently incorrect, and in refpect of grace, and an 
 agreeable variety, he was very deficient. 
 
 Francis DESPORTES. 
 
 Painted Animals, Huntings, Flowers, and Infeffs. 
 Died 1743, aged 82. 
 
 He was born at the village of Champigneul in Champagne in the year 1661, 
 and was a difciple of Nicafius Bernard, whofe manner of painting he ever after 
 feemed to imitate. 
 
 The fubjects which he generally delighted to paint, were flowers, infects, 
 animals, or reprefentations of the chace •, and thofe, he defigned and coloured 
 with abundance of truth ; his local colours being very good, and the aerial 
 perspective well managed. 
 
 He moftly was employed in the fervice of Lewis XIV, and for that monarch, 
 for the Dauphin, and the Duke of Orleans, he painted many pictures, repre- 
 senting the chace of different animals, in which the action and attitudes of the 
 dogs, were full of Spirit, nature, and life. 
 
 In the train of the Duke d'Aumont, when he went as ambaffador to England, 
 Defportes arrived in London ; he took with him fome of his paintings, as a 
 Specimen of his abilities ; and during his continuance in that city, he experienced 
 (as many others of his countrymen have done) the generous encouragement of 
 the Englifh, who purchafed many of his performances* which are Sufficient 
 evidences of his merit. 
 
 J A QJJ E s DEWIT, 
 
 Painted Hijlory, and Portrait. 
 
 He Kvas alive in 1 744. 
 
 This mafter was born at Amfterdam, in 1695, and Shewed a very early 
 fondnefs for the art •, and while he was extremely young, learned the iirlt 
 principles of drawing and defign, from Albert Spiers a portrait painter ; bur, 
 afterwards, he was placed as a difciple with Jacques Van Hal, a painter of 
 hiftory, whoSe reputation was considerable. With that mafter he continued 
 two years ; and then applied himfelf to Study after nature, and likewife to copy 
 
 Z 2 fome 
 
D E Y [ 174. ] D E Y 
 
 fome capital paintings of Rubens and Vandyck, to which he obtained accefs by 
 the intereft of his uncle, (a lover of the art, and a very curious collector) from 
 which his principal improvement arofe. 
 
 In 171 3 he obtained the firft prize in the academy, for defigning after a 
 living model •, and the firft prize for painting hiftory •, and he made himfelf 
 particularly known, by fetching feveral of the cielings in the Jefuits church 
 at Antwerp, which had been originally painted by Rubens, and Vandyck, and 
 were very much injured by lightening ; and thofe grand compofitions had been 
 intircly loft to the publick, if they had not been thus preferved by the induftrious 
 curiofity of Dewit, in whofe (ketches they ftill fubfift. 
 
 He was much folicited to paint portraits, but it was with the utmoft difiikc 
 he ever undertook it •, as it was, not only lb much inferior to hiftorical 
 fubjects, but becaufe fuccefs in that ftyle, depended greatly on the caprice, 
 vanitv, ll-lf-admiration, or ignorance of others •, and at laft he totally refilled it, 
 although he received the molt deferved applaufe, for what he had done in tliat 
 way. He principally painted ceihngs, and grand apartments, and in all his 
 compofitions (hewed an elegance of tafte, witli a tolerable correftnefs of defign. 
 
 His molt noted work was for the Burgomafters of Amfterdam in their great 
 council chamber. The fubject which Dewit chofe, was, Mofes appointing the 
 ieventy Elders. It was a grand composition, forty-five feet wide, by nineteen 
 high ; and the whole work is a proof of a fine tafte, noble ideas, and a freedom 
 of hand capable of executing the dictates of a lively imagination. Although 
 he had never feen Rome, he had acquired the ftyle of the Italian mafters, by 
 ftudying after the fineft defigns of the belt artifts of that country, which he had 
 collected with great judgement, and expence. 
 
 His colouring is extremely good, and his compofitions arepleafing; becaufe 
 they are always ingenious, and in the grand manner •, his pencil is free, and his 
 touch full of lpirit and brilliancy ; and a better tafte of defign, would have 
 rendered him truly eminent. But, his greateft excellence confided in his 
 imitation of bafs-relief in ftone, wood, or plailter •, which objects he painted 
 with fo much roundnefs as to deceive the eye, by giving them the appearance of 
 real carvings •, and thofe works of his, are highly prized in every part of Europe. 
 
 He defigned beys with a great deal of fkill and tafte, and knew where to 
 introduce them with a good effect, elpecially whe~e he reprefented them in bafs- 
 relief-, and as he made (ketches for all his paintings, thofe (ketches, although 
 they are (light, are much admired for their freedom and lpirit, and purchafed by 
 perfons of the belt tafte. 
 
 John Baptist van DEYNUM. 
 Painted Portraits in Miniature, end Hiftory in Water Colours. 
 
 He was born at Antwerp, in 1620, and devoted the early part of his life to 
 an intenfe ftudy and practice of the art of painting ; and at laft became very 
 excellent in his profclfion. 
 
 His fubjects were portraits in miniature, and alfo hiftory and landfcapes in 
 water colours •, which he executed with furprizing neatnels, judgement, and 
 tafte. The greateft part of his paintings were purchafed by the Emperor, and 
 
 the 
 
D E Y [ 175 ] D E Y 
 
 the King of Spain ; and his works were admired for the delicacy of his touch, 
 for the fweetnefs of his colouring, for the exquifite manner in which he finifhed 
 them, and alio for an elegance in his compofition. 
 
 Lewis DEYSTER. 
 
 Painted Hiftory. 
 
 Died 171 1, aged 55. 
 
 This matter was born at Bruges, in 1656, and was placed as a difciple under 
 the direction of John Maes, a painter of portrait and hiftory ; but, he perfected 
 himfelf in the knowledge of the true principles of defign and colouring, by 
 ftudying the antiques, and the beft modern productions at Rome for fix years j 
 and fpending fix years more at Venice, in copying, and curioufiy examining, 
 the beautiful compofitions of the Venetian artifts. 
 
 When he returned to his own country, he was of fo retired a difpofition, that 
 he was fcarce known even in his own city •, though he had abundant merit, 
 and though his works were at the fame time generally admired. But, he was 
 compelled to engage in feveral performances for the publick, which introduced 
 him more effectually to the world, and enriched him, while they raifed his 
 reputation. 
 
 At Bruges, he painted two excellent pictures •, the one, Rebecca with 
 Abraham's Servant at the Well •, and the other Judith and Holophernes. But, 
 his moft capital compofitions are, the Death of the Virgin, which is an incom- 
 parable performance, not only evidencing the abilities of Deyfter, in refpect of 
 defign, but alio the great accuracy with which he had ftudied nature •, the 
 Refurrection of Chrift -, and the appearing of Chrift to Mary Magdalen and 
 the other Mary •, in which the figure of our Saviour is accounted no way 
 inferior to Vandyck, either in colouring, or defign. 
 
 He compofed in the grand ftyle, and much in the tafte of the Italian fchool ; 
 he gave a great deal of elegance to the airs of his heads, and to the extremities 
 of his figures •, his draperies are loofe and light, fo as to make the naked in the 
 limbs perceptible, and the folds are large and well chofen ; his colouring i$ 
 warm, and the fhadows were only glazed in the finifhing, with a compofitioa 
 called Sphaltum. 
 
 Anna DEYSTER. 
 
 Painted Hiftory. 
 
 Died 174C, aged 50. 
 
 She was the daughter and difciple of Lev/is, born at Bruges in 1696, and 
 painted in the ftyle and manner of her father •, and fhe imitated his touch and 
 colouring fo exactly in the copies fhe made after the works of her father, that 
 few of the moft able judges could determine politively, which were the copies, 
 or which the originals. 
 
 & 
 
 Adrian 
 
DIE [ 176 ] DIE 
 
 Adrian Van DIEST. 
 
 Painted Land/cafes, and Cattle. 
 Died 1704, aged 49. 
 
 He was born at the Hague, in 1655, but fpent the greateft part of his life in 
 England, where he gradually rofe into considerable credit, having been well 
 inftructed by his father, who was a fkilful painter of fea-pieces. 
 
 His tafte of landfcape was formed almoft intirely (as he often declared) by 
 defigning thofe lovely views in the weftern parts of England, and along the 
 coafts. He wanted, however, a great deal of that excellence at which he 
 might have arrived, had he feen Italy, and been not only converfant with the 
 beautiful fcenery of that country, but with the works of the great matters, who 
 were eminent in that ftyle which he cultivated. Some of his pictures, finifhed 
 in his bell manner, have great clearnefs and tranlparence in the colouring, and 
 a peculiar tendernefs in the diftances ; they are truly fine in the fkies, have an 
 uncommon freedom in the clouds, and an agreeable harmony through the 
 whole. 
 
 But, as he was often obliged to paint for low prices, there is a great difpro- 
 portion in the merit of foine of his works, when compared with others. The 
 narrownefs of his circumftances deprefTed his genius, and rendered him unat- 
 tentive to fame, being folely anxious to provide for his family. Had he been 
 fo happy, as to have received a proper degree of encouragement, it is not 
 improbable, that he might have approached near to thofe of the firft rank in 
 his profeflion. The figures in his landfcapes were frequently inferted by the 
 younger Adrian Coloni, his brother-in-law. 
 
 Abraham Van DIEPENBEKE. 
 Painted Hiftory. 
 Died 1675, aged 6S. 
 
 This artift was born at Bois-le-duc, in 1607, and was at firft a painter rn 
 glals, in which he was accounted excellent, and even fuperior to any of his 
 time; yet, he difcontinued it, on account of a variety of difcouraging acci- 
 dents that happened to him, in his preparations for that kind of work. He 
 ftudied for fome time in Italy, and found there good employment as a glafs 
 painter ; but he turned his thoughts intirely to painting in oil ; and to obtain 
 the beft knowledge of colouring, entered himielf in the fchool of Rubens, 
 where he improved exceedingly, and was confidered as one of the good difciples 
 of that great mailer. However, notwithstanding the opportunity he had of 
 refining his national gout ■, during his refidence in Italy, it never induced him 
 to alter his original tafte of defign ; for, all his fubfeOjiient compositions were 
 too much loaded, and not very correct. 
 
 His invention was fertile, and fhewed genius, and his execution was full of 
 
 fpirit ; but, it was no inconfiderable prejudice to him, to have been engaged in 
 
 uich a number of deligns as were perpetually thrown in his way; and which he 
 
 was obliged to ftrike out in a hurry, without competent time allowed, for 
 
 1 judgement 
 
DIE [ 177 ] DOB 
 
 judgement to revife, digeft, and correct them. Defigns for title pages, for 
 thefes, and devotional fubjects, engrolTed the greateft part of his time and his 
 labour ; or defigns for the decoration of books ; of which kind, that called the 
 Temple of the Mufes afforded him great employment, and added fome honour 
 to the artift, merely as a defigner. 
 
 He has been always ranked among the better difciples of Rubens, and 
 polTefTed of more livelinefs of genius, than moll of the others. He imitated 
 the manner of his matter with fuccefs •, he coloured well, and gave a great force 
 to his paintings by his finguiar fkill in the Cbiaro-Scuro. 
 
 Abraham DIEPRAAM. 
 Painted Converfations. 
 
 This painter was at firft inftructed in the art, by Dirk Stoop, the father of 
 Peter Stoop the battle painter •, and in a few years after, he ftudied under 
 Hendrick Zorg ; but his principal improvement was derived from the precepts 
 of Adrian Brouwer, whofeftyle of defign, and manner of colouring, and hand- 
 ling, he imitated with fo great accuracy, that there is a ftrong relemblance ill 
 their productions. But unhappily for himielf, he imitated his matter Brouwer, 
 not only in his pencil, but alio in the diflblutnefs of his morals ; and by that 
 means, his time was unprofitably confumed, his fubftance diffipated, and thofe 
 excellent talents with which nature had liberally endowed him, were incredibly 
 impaired. 
 
 His firft pictures were much efteemed, and fold for a good price ; fome of 
 them being as tranfparent in their colour, as well defigned, and as freely and 
 neatly handled, as many of Brouwer's. But when he gave himfelf up to a 
 vicious and irregular courfe of life, his hand forgot its former execution, and 
 even his ideas were altered, and confufed. For which reafon his latter works 
 are accounted but comparatively mean, and fcarce appear to be of the fame 
 hand with thofe of his beft time. His irregularities reduced him to great 
 poverty, and he died in an hofpital, though he had abilities, which, properly 
 exerted, would have rendered him very happy, and very famous. 
 
 William DOBSON. 
 Painted Portrait., and Hiftory. 
 
 Died 164.6, aged §6. 
 
 This admirable painter was born at London, in * 1610, and was apprenticed 
 to one Peak, a ftationer and dealer in pictures. He received indeed, fome 
 inftruction from Francis Cleyn, but he owed his principal improvement to his 
 copying a few excellent pictures, procured by his matter, particularly fome of 
 Titian, and Vandyck ; and the manner of thofe two matters, he in fome 
 meafure always retained. 
 
 * The author of the lives of Englith painters at the end of De Piles, fays, he died in 1647, 
 aged 37. The Chronological Tables fix his birth in 1610, and his death in 1649 ; but the author 
 which I have chofen to follow, fays he died in 1646, aged 36. 
 
 By 
 
DOE [178] DOE 
 
 By that courfe of lludy and practice, he improved fo remarkably, that a. 
 picture of his painting being expofed in the window of a (hop on Snow-hill in 
 London, Vandyck, pafling by, was ftruck with it exceedingly ; and inquiring 
 after the author, found him at work in a poor garret. Vandyck foon delivered 
 him from a fituation fo unworthy of his merit, and generoufly furnifhed him 
 with every thing requifite for his appearance in a character fuitable to his 
 talents. He afterwards recommended him to King Charles I; who took him 
 into his fervice, kept him at Oxford as long as he himfclf continued there, fat: 
 to him often for his portrait, and diftinguilhed him by the name of the Englifh 
 Tintoret. 
 
 It Is much to be lamented, that an artift born with fuch happy talents, and fo. 
 excellent a genius, mould have wanted thole advantages in his ftudies, which 
 might probably have raifed him to the higheft excellence ; had he feen Italy, 
 had he even beheld the antiques, and been furnifhed with an opportunity of exa- 
 mining, as Vandyck and Rubens had done, the perfections of the illuftrious 
 artifts of Rome and Venice, it is no way improbable that Dobfon might have 
 equalled the beft portrait painters that ever lived, fince without any cf thofe 
 aids, he is only in fome particulars inferior to any of them. 
 
 Undoubtedly, he was one of the moft eminent painters of his time •, and an 
 equal honour to the art, and to his native country. His manner is bold, and 
 free, and at the fame time has abundance of fweetnefs, with a charming tone of 
 colour •, and although he was inferior to Vandyck, in the gracefulnels of his 
 figures, yet he gave life, dignity, and fentiment, to his portraits ; and for truth, 
 character, and refemblance, few have furpaffed him. 
 
 At Wilton there is a picture of the Decollation of S. John, by Dobfon, which. 
 b in a good ftyle, though' the colouring is rather cold •, the idea of S. John is 
 laid to be taken from the face of Prince Rupert •, and at Blenheim, Northurrr- 
 berland-houfe, and the Duke of Devonshire's, are feveral very capital pictures 
 •of tl-.is mailer. 
 
 Jacob V a n d f. r DOE?, the Old, 
 
 Painted Landfcape^ and Animals.. 
 
 Died 1673, aged '50.. 
 
 He was born at Amfterdam, in 1623, and for fome years was die difciple oB 
 Nicholas Moyaert ; but in the twenty firft year of his age he quitted Holland, 
 and travelled to Rome, where he arrived in a very neceffltous condition, . 
 was fupported by the young artifts of the Bentvogel.fbciety.. 
 
 He ip^nt feveral years at- Rome, defigning and painting with inexpreffible 
 application ; and at Lift adopted the manner of Bamboccio, preferably to the 
 multitude of great mailers whole works he had considered ■, and made him the 
 model for his own performances. And it foon became evident, that his choice 
 was judicious, as his future works approached very near to the merit, of that 
 great painter. 
 
 1 [e had naturally a great diffidence of his- own abilities, and often felc 
 himfclf not pleafed with his work, even after exerting his utmoft pains, 
 indullry •, and frequently lie grew melancholy, by imagining that he obferwd 
 
 Others 
 
DOE [ 179 ] DOE 
 
 others arrive at a greater degree of perfection than himfelf. However, when 
 he returned to Holland, he had as much fuccefs as he could defire ; and having 
 married a perfon who pofiefied a considerable fortune, he followed his profeilioa 
 with much more pleafure, and content. 
 
 His temper, which was morofe and difagreeable, procured him the hatred and 
 contempt of all his acquaintances in Italy •, and compelled him to return to his 
 own country. The only friend who did not forfake him, was Karel du Jardin ; 
 as he alone could endure his difguftfi.il humour. Yet, thofe two painters were 
 as oppofite in their ftyle, as they were unlike in their difpofuions ; Jardin loved 
 to paint clear, and chearful; Vander Does was fond of the brown, and dark, 
 and his very pictures feemed to partake of the gloominefs of his temper. 
 
 In the compofition of his landicapes his tafte was noble, and the fmall figures 
 with which he adorned them, were well defigned, and touched with fpirit ; the 
 animals alio, which were chiefly fheep, or goats, were painted with fuch truth, 
 and delicacy, that few artifts have furpaffed him in that point. He perfectly 
 underftood the principles of the chiaro-fcuro, and grouped his figures with judg- 
 ment, and propriety ; but his particular excellence confifted in defigning fheep 
 in a variety of attitudes, with abundance of correctnefs, and a tint of colour that 
 was true nature. 
 
 It is obferveu, that his pictures brought higher prices during his life, than 
 they have done fince his deceafe ; though many of them have extraordinary 
 merit, and ibme of them are very defervedly much valued. 
 
 * Jacob Vander DOES, the Young. 
 Painted Hijiory, , 
 
 Died 16 9 3, aged 39. 
 
 He was born at Amfterdam, in 1654, the fon of Jacob, and younger 
 brother of Simon Vanderdoes. He was at firft a difciple of Karel du Jardin, 
 with whom he continued till that painter went to Rome; and then he placed 
 himfelf as a difciple with Netfcher, and ftudied under his direction for two 
 years •, but, when he quitted him, he fought for additional improvement from 
 the inftruction of Gerard Lairefie, who at that time was in high reputation at 
 Amfterdam. Under thofe eminent artifts he made fuch a progrefs, as enabled 
 him to afford the publick fufficient proofs of his uncommon talents, and a 
 promife of making ftill higher advances in the art. 
 
 He was extremely ready at defigning, as he had a lively imagination, and 
 good invention •, but, he had a violent, impetuous fpirit, which often made 
 him apt to deftroy his compofitions, if they failed to pleafe him in the execution. 
 Houbraken fays, that when Vanderdoes had fpent three or four weeks on a 
 picture, and not thoroughly liking it, after fo much labour had been beftowed 
 upon it, though it was admired and commended by all who faw it •, he cut it to 
 pieces, notwithftanding the interpofition of his brother, who exerted himfelf to 
 diffuade him from deftroying it. However, he finifhed another picture of that 
 
 * The authors of the Abrege &c. are guilty of a great miftake, in applying to Jacob Vanderdoes 
 the Old, all the circumftances of Vanderdoes the Young, confounding thofe artilts with each other. 
 Vid. Del'camps, and the Chron. Tab. 
 
 A a very 
 
DOE [ 1S0 ] D O L 
 
 very fubject, and was fo fuccefsful in the fecond attempt, that Mr. de Graaf, to 
 ■whom it was prefented, appeared wonderfully itruck with the beauty of the 
 performance •, made very large prefents to the artift •, and recommended him 
 to the favour of Mr. Heemfkirk, ambaffador from the itates to the King of 
 France. 
 
 Vander Does was inexpreftibly pleafed at the profpect of difplayinghis talents 
 at Paris ; and it is probable, that he might have railed his fortune, and reputa- 
 tion, to a high degree, if he had lived to finifh, what the fame of his abilities 
 had engaged the nobility of that kingdom to beipeak from him. 
 
 Simon Vander DOES. 
 Painted Land/capes., Cuttle, and Portrait. 
 Died 1 7 1 7, aged 64. 
 
 He was born at Amfterdam, in 1653, and learned the art of painting 
 from his father, Jacob Vander Does, who painted landfcapes, and cattle ; 
 and Simon chofe the fame fubjects, the fame ftyle, and the very fame manner of 
 painting. He travelled at firft to Frizeland, in order to follow his profeffion 
 in that country ; but, he did not receive fufficient encouragement, to detain him 
 there for any length of time, and therefore determined to vifit England, where 
 probably his real merit happened not to be known, for he continued there only 
 oae year, and returned to the Hague. 
 
 In that city he found employment equal to his defire •, yet, at the fame time 
 he was fo unhappy, as to be deprefied in his circumftances, as well as in his 
 fpirits, by the extravagance of a difTolute wife, who fquandered away all that his 
 mod laborious induftry could procure ; and when fhe died, left him involved in 
 debts, and mifery •, though in all his affliction, he never difcontinued his appli- 
 cation to his profeffion. 
 
 On particular occafions he painted portraits, which in the touch and colouring 
 refembled the portraits of the old Netfcher ; and if he had not indulged himfelf 
 in a retired courfe of life, that kind of painting would have proved more advan- 
 tageous to him, than the ufual fubjects of his pencil. But, although his works 
 were admired, and eagerly bought up, and tranfmitted to molt of the courts of 
 Europe by the picture-merchants, yet he fell atlaft into very great poverty. 
 
 There is fomewhat extremely pleafingin all the pictures of this matter ; and 
 though his figures generally want elegance, and his colouring rather inclines to 
 the yellow and light brown •, yet there is fo much correctnefs in his cattle, fo 
 much freedom and eafe in his touch, fuch agreeable diftances, fuch pleafing 
 forms in his trees, fuch tranfparence and delicacy in his colouring, and fuch a 
 look of nature, with the fimplicity of rural life, in his paftoral iubjecls, as muft. 
 always render his works eftimable. 
 
 Some of the paintings of Simon Vander Dees have been imported into this 
 kingdom, and were fold for very large prices. 
 
 Carlo, or Carlino DOLCE. 
 Painted Hijlory, and Portrait. 
 Died 1686, aged 70. 
 He was born at Florence, in 1 6 1 6, and was a difciple of Jacopo Vignali. His 
 firft attempt was a whole figure of S. John-, painted when he was only eleven- 
 
 Years, 
 
DOM [ 181 ] DO M 
 
 years of age, which received extraordinary approbation •, and afterwards he 
 painted the portrait of his mother, which gained him fuch a general applaufe, as 
 placed him in the highefl rank of merit. From that time his new and delicate 
 ftyle, procured him great employment in Florence, and other cities of Italy, as 
 much, or even more than he was able to execute. 
 
 This great mailer was particularly fond of painting divine fubiects, although 
 he fometimes painted portraits. Flis works are eafily dillinguifhed ; not fo 
 much by any fuperiority to other renowned artiils, in defign, or force, as by a 
 peculiar delicacy with which he perfected all his compofitions •, by a pleafing tint 
 of colour improved by a judicious management of the Chiaro-Scuro, which 
 gave his figures a furprifing relief-, by the graceful airs of his heads ; and by a 
 general harmony, accompanied with exquilite finiihing. 
 
 His pencil was tender, his touch inexpreffibly neat, and his colouring 
 tranfparent ; though it ought to be obferved, that he has often been cenfured, 
 for the exceffive labour bellowed on his pictures, and finiihing them too highly ; 
 and alio for giving his carnations, more of the appearance of ivory, than the 
 look of fleih. 
 
 In his manner of working he was remarkably (low ; and it is reported of him, 
 that his brain was affected, by having feen Luca Giordano difpatch more 
 bufinefs in four or five hours, than he could have done in fo many months. 
 
 In the Palazzo Corfini at Florence, there is a picture of S. Sebaftian painted 
 by Carlino Dolce, half figures of the natural fize. It is extremely correct in the 
 defign, and beautifully coloured ; but it is rather too much laboured in regard 
 to the finiihing, and hath fomewhat of the ivory look in the flefh colour. In 
 the Palazzo Ricardi, is another picture of his, reprefenting the four Evan°-e- 
 lifts •, the figures are as large as life, at half length ; and it is a lovely 
 performance ; nor does there appear in it that exceffive high finiihing for which 
 he is cenfured. The two befl figures are S. Matthew, and S. John ; but the 
 latter is fuperior to all ; it is excellent in the defign, the character admirable, and 
 the whole well executed. There is alio a fine picture by Carlo Dolce in the 
 Pembroke collection at Wilton, of which the fubject is the Viroin ; it is 
 ornamented with flowers, and thofe were painted by Mario da Fiori. 
 
 DOMENICHINO, or Domenico Zampieri. 
 
 Painted Hiftery, and Land/cape. 
 
 Died 1 64 1, aged 60. 
 
 This admired mailer was born at Bologna, in * 158 1, and received his fir it 
 inilruction in the art of painting from Denis Calvart ; but afterwards he became 
 a diiciple of the Caracci, and continued in that fchool for a long time. The 
 great talents of Domenichino did not unfold themfelves as early in him, as 
 talents much inferior to his, have difclofed themfelves in other painters ; he 
 was iludious, thoughtful, and circumfpect ; which by fome writers, as well as 
 by his companions, was mifunderitood, and mifcalled dullnefs. But the intelli- 
 
 * It feems very unaccountable, that De Piles fets down the year of the birth of Domenichino, in 
 1551, and his death in 1648, and then obferves that he died at 60 years of age; whereas, 
 according to thofe very dates, he mull: have been at his death 97, inilead of 60. 
 
 A a 2 gent 
 
DOM 
 
 [ *S2 ] 
 
 DOM 
 
 jrent Annibal Caracci, who obfervcd his faculties with more attention, and knew 
 abilities better, teftilkd of Domenichino, that his apparent flownefs of 'parte 
 at prcfcnt, would in time produce what would be aa honour to the art of painting. 
 He perfevered in the ltudy of his art with incredible application, and attention ; 
 and daily made fuch advances, as enabled him at lait to appear in an honourable 
 light, even among the moll famous artifts that have 'ever appeared. It is 
 acknowledged by all writers, ebat his thoughts -were judicious from the begin- 
 ning-, and they were afterwards elevated, wanting but little of reaching the 
 iublime •, and 'whoever will confider the compofition, the defign, and -the 
 expreflion in hi 5 Adam and Eve, his Communion of S. Jerom, and in that 
 admirable picture of the Death of S. Agnes at Bologna, will readily perceive 
 that they muft have been the refult of genius, as well as of juft reflections •, 
 although Mr. De Piles fays, he is in doubt whether Domenichino had any genius 
 
 or not. 
 
 That ingenious writer, feems willing to attribute every degree ofexcellence in 
 Domenichino' s performances, to labour, or fatigue, or good fenfe, or any thing 
 but penius ■, yet how any artift could (according to his own eftimate in the 
 baliance of painters) be on an equality with the Caracci, Nicolo Pouflin, and 
 ] ..ionardo da Vinci, in compofition and defign, and fuperior to them all by 
 fe\ -eral degrees in expreflion, and alio approach near to the fublime, without 
 havino- a genius, or even without having an extraordinary good one, feems to 
 me not caftly reconcilcable. If the productions of an artift, muft always be the 
 fecit evidence of his having, or wanting a genius, the compofitions of Domeni- 
 chino, muft ever afford fullicient proofs in his favour. 
 
 As to correctnefs of defign, exprefiion of the paflions and alfo the fimplicitj 
 find variety in the airs of his heads, he is allowed to be little inferior to Raphael ; 
 /yet, his attitudes are but moderate, his draperies rather ftifF, and his pencil 
 heavy. However, as he advanced in years and experience, he advanced 
 prot/ortionably in merit, and the lateft of his compofitions are his belt. There 
 is undoubtedly in the works of this eminent mafter, what will always claim 
 attention and applaufe, what will for ever maintain his reputation, and place 
 him among the number of the moft excellent in the art of painting. 
 
 One of the chief excellencies of Domenichino confifted in his painting 
 landfcapes •, and in that ftyle the beauty arifing- from the natural and fimple 
 elegance of his fcenery, his trees, his well broken grounds, and in particular the 
 character and expreflion of his figures, gained him as much publick admiration, 
 as any of his other performances. 
 
 The Communion of S. Jerom, and the Adam and Eve are too well known to 
 need a defcription, and they are univerfally allowed to be capital works, efpe- 
 cully in the expreflion. In the Palazzo della Torre at Naples, there is a picture 
 bv Domenichino, reprefenting a Dead Chrilt on the knees of the Virgin, 
 attended by Mary Magdalen and others. The compofition of this pkture is 
 wry good, antl t'le defign fimple and true ; die head of the Magdalen is full 
 X)f expreflion, the character excellent, and the colouring tolerable-, but, in 
 other refpects, the penciling is dry, and there is more of coldnefs than of 
 ■han-nony in the tints. But in the church of S. Agnes, at Bologna, is an altar- 
 piece which is conlidered- as one of the molt accomplift.ed performances of this 
 ». .jter, and fhews* the tafte, judgement, and genius of this great artift in a true 
 
 light. 
 
DOM [ 1S3 ] PON 
 
 light. Thcfubject is the Martyrdom of S. Agnes, and the defign is exttemely 
 correct, without any thing of manner. The head of the Saint hath an 
 expreflion of grief, mixed with hope, that is wonderfully noble ; and he hath 
 given her a beautiful character. There are three female figures grouped on the 
 right, which are lovely ; with an uncommon elegance in their forms, admirably 
 defigned, and with a tone of colour that is beautiful. Their drefs, and 
 particularly the attire of their heads, is ingenious and fimple •, one of this mailer's 
 excellencies confifting in that part of contrivance. In fhorr, it is finely compofed, 
 and unufually well penciled j though the general tone of the colouring partakes 
 a little of the greenifh call:, and the fhadows are rather .too dark; yet that 
 dafknefs may probably have been occafioned, or increafed, by time. 
 
 John DOMENI QJJ E. 
 
 Painted Landfcapc. 
 
 Died 1684. 
 
 This painter was. a difciple of Claude Lorraine. He lived moftly at Rome,, 
 and was remarkable for his wonderful exactnels in imitating the ftyle andi 
 colouring of his mafler. 
 
 Peter DONCKE R. 
 Painted Hijlory. 
 'Died 1668. 
 
 He was born at Gouda, and, was a difciple of Jacques Jordaens, with whom 
 he continued, till by his own induftry, and the direction of fo able a mailer, he 
 made a good progrefs in the knowledge of colouring and penciling •, but, beino- 
 defirous to eftabliuh himfelf in a better tafte of defign, than he found it pofilble 
 to acquire from the Fiemifh. artifls, he determined to direct hiscourie to Rome, 
 
 In> his tour he vifited Paris, and gladly laid hold of an opportunity which 
 very luckily prefented itfelf to hirn, of travelling to Italy in the train of the 
 Duke de Crequi •, and he refided in Rome for feven years, ftudying after the 
 antiques, and the moft celebrated paintings. 
 
 At his return to his own country his improvement was fo vifible, that it 
 procured him the approbation of the bell judges, and fufrkient employment 
 from perfons of the highefc rack. 
 
 John DONCKE R. 
 
 Painted Portrait. 
 
 Thispainter was born at Gouda, and proved a very excellent artHl ; but he 
 died in the flower of his age. 
 
 His great abilities in his profeffion, may be judged of by one picture preferved 
 in his native city •, in which are feveral portraits of perfons who at that time 
 were in the moil honourable flarions in Gouda 5 and it is painted with fo great 
 
 a free- 
 
DOR [184] DOU 
 
 a freedom of pencil, and ftrength of colour, that it looks more like the work of 
 an experienced and accomplifhed mailer, than the performance of fo youno- a 
 profefibr of the art. 
 
 Lewis DORIGNY. 
 
 Painted Hijlory. 
 Died 1742, aged 88. 
 
 He was born at Paris, in 1 654, and was taught the rudiments of the art by 
 his father Michael Dorigny, till he was ten years of age •, but being then 
 deprived of his inftructor, by the death of his parent, he became a difcipie of 
 Le Brim. 
 
 In that fchool he made a confiderable progrefs •, but, being difappointed in 
 his expectation, of obtaining the firft prize at the academy, he travelled to Italy, 
 and ftudied for feveral years at Rome, Venice, and Verona, but chofe the latter 
 for his place of refidence. He is highly commended by the French writers, 
 as having a ready and good genius, lively colouring, andafpirited pencil ; yet, 
 they acknowledge that a (ketch for a cieling which he produced at Paris, repre- 
 fenting the fall of Phaeton, was fomuch diicommended by Rigaud, Largilliere, 
 and others, that in great difguft he returned to Verona, where he ended his 
 days. 
 
 His principal work is the dome of the great church at Trent. 
 
 William DOUDYNS, or Dodoens. 
 
 Painted Hijlory. 
 
 Died 1697, aged 6y. 
 
 This mafter was born at the Hague, in 1630, and learned to draw and defign, 
 from one Alexander Petit, an inconfiderable artift ; but, as foon as he had 
 •acquired a competent degree of (kill, and a tolerable readinefs of hand, to 
 complete his knowledge, he was fent by his relations to Italy. At firft he 
 indulged his inclination to the art, only for an amulement, and not for a pro- 
 fefiion, his family being very rich •, but, at lalt the love of painting poffeffed 
 his mind fo effectually, that he determined to purfue it as a ible employment. 
 
 He continued at Rome for twelve years, copying and defigning fuch works 
 of the beft antients and moderns, as could moft conduce to his improvement, 
 particularly the ftatues, and bas-relieves, of the Greek artilts ; and by that 
 method of ftudy and practice, he formed a ftyle of compofition which gained 
 him the greateft approbation. It was his wifh to have (pent the remainder of his 
 days in Italy; but, the importunity of his family and friends fo far prevailed, 
 that he returned to the Hague. He there met with an honourable reception, 
 was immediately employed in feveral grand works, and appointed director of 
 the academy, more out of a refpec~t to his merit, than out of any regard to his 
 fortune or family. 
 
 Doudyns had a grand manner of defigning and compofinghis fubjects •, the 
 correctnels of his outline in the naked figures is remarkable, and he alfo gave 
 
 them 
 
DOU [ 185 ] D O U 
 
 them elegant and delicate forms. His draperies are well caft, broad, light, and 
 natural, and his peccil is free and firm •, fo that the ableft judges confidered his 
 pictures, as the product of an Italian invention, tafte, and defign. Among 
 many excellent compofitions of this mafter, at the Hague, one is exceedingly 
 commended, of which the fubject is the Wifdom of Solomon. 
 
 John Francis DOUVEN. 
 
 Painted Landfcapes, Animals, Portraits, and Hijlory. 
 
 Died 1727, aged 71. 
 
 He was born at Ruremonde, in 1656, and was placed as a difciple with 
 Gabriel Lambertin at Liege, who had relided for feveral years at Rome •, and 
 after Douven had learned defign and colouring under that mafter, for three 
 years, he ftudied under the direction of Chriftopher Puitlink, a nephew of 
 Lambertin's, who excelled in landfcape and animals ; from whom he acquired 
 the habit of painting thofe fubjects particularly well. But, he happened to meet 
 with an opportunity of improving himfelf much more, by the favour of Don 
 John de Velafco, iuperintendant of the finances at Ruremonde, for Charles II, 
 King of Spain. That nobleman pofleffed a valuable and curious collection of 
 the works of the beft matters of Italy, and he employed Douven for three years, 
 to copy the principal pictures of his cabinet ; by which that young painter 
 gained much more judgement, a much finer tafte, a more elegant ftyle of 
 compofition, a better manner of handling, and alfo a great deal of credit. 
 
 It feems probable, that Douven would have intirel'y purfued the hiftorical 
 ftyle, if he had not been invited to the court of Duficldorp •, where his firft 
 work was to paint the portraits of the Duke, and other noble perfonages. He 
 proved fuccefsful beyond his moft fanguine expectations ; which made him 
 abundantly more attentive to that branch of painting ever after. He was only 
 twenty-eight years of age, when he was appointed principal painter to that court. 
 He afterwards attended the Duke to Vienna, where he had the honour to paint 
 the portraits of the Emperor and Emprefs, for which he was amply rewarded, 
 and received a chain of gold and a medal, as a peculiar mark of the Emperor's 
 efteem. He was likewiie employed at the courts of Portugal, Denmark, Mo- 
 dena, and Tufcany ; and at the latter, fo far obtained the favour of the Grand 
 Duke, that he ordered the portrait of Douven, painted by the artift himfelf, to 
 be placed in the gallery of painters ; and, befide other princely gratuities, gave 
 him a rich gold chain and a medal. 
 
 It is remarked of this mafter, that his pictures are well coloured, and well 
 penciled ; that they have abundance of force, and fpirit, with a ftrong likenefs, 
 and a certain amiable and majeftic air •, principally occafioned by his placing the 
 eyes of his figures in fo natural a pofition, and yet with fo much judgement, 
 that they communicated dignity, life, thought, and expreffion to every 
 character. 
 
 Very frequently he painted hiftory in fmall, in which ftyle his comrpofition is 
 good, his defign correct, and very much in the tafte of the Italian fchool. It is 
 ebferved by the authors who have treated of this fubject, that he had the lingu- 
 lar honour, to paint after the life three Emperors, and the fame number of Em- 
 
 5 preiTe^-, 
 
IJOU [ 186 ] DOU 
 
 preffes, live Kings, feven Queens, and a great number of Princes, and 
 Rrinceffes . 
 
 Gerhard DOUW. 
 
 Painted Portraits, Conversations, and Subjecls of Fancy. 
 Died id"]\, aged 61. 
 
 This admirable artiit was born at Leyden, in 1613, and received his firfl in- 
 itructions in drawing, and defigh, from Bartholomew Dolendo, an encraver, and 
 alio from Peter Kouwhoorn, a painter on glafs 5 but at the age of fifteen he be- 
 came adifciple of Rembrandt. In that famous fchool he continued for three 
 years and then found himfelf qualified to ftudy nature, the moft unerring 
 director. 
 
 From Rembrant he learned the true principles of colouring, and obtained a 
 complete knowledge of the chiaro-fcuro •, but to that knowledge he added a de- 
 licacy of pencil, and a patience in working up his colours to the higheft degree 
 of neatnefs, fuperior to any other matter. He therefore was more pleaied with 
 thofe pictures of Rembrandt, which Were painted in his youth, than thole by 
 which he was diftinguifhed in his more advanced age •, becaufe the firft leemed 
 finifhed with more care and attention, the latter with more boldnels, freedom, 
 and negligence, which was quite oppofite to the tafte of Douw. But, although 
 his manner appears fo different from that of his mailer, yet it was to Rembrant 
 alone that he owed all that excellence in colouring, by which he triumhed over 
 ail the artifts of his own country. 
 
 His pictures uiually are of a linall fize, with figures fo exquifitely touched, Co 
 tranfparent, fo wonderfully delicate, as to excite aftonifhment, as well as plea- 
 lure. He defigned every object after nature, and with an exactnefs lb lingular, 
 t!.:.t each object appears as perfect as nature itfelf, in refpect to colour, frefhnefs, 
 and force. His general manner of painting portraits was by the aid of a con- 
 cave mirror, and fometiincs by looking at the Object through a frame with many 
 exact fquares of fine (ilk. But, the latter cuitom is difufed, as the eye of a good 
 artiit. fcems a more competent rule, though the ufe of the former is ftill practiced 
 by painters in miniature. 
 
 It is almolt incredible, what vail fums have been given, and are given at this 
 day, for the pictures of Douw, even in his own country ; as alio in Italy, and 
 every polite part of Europe ; for he was exceedingly curious in finiihing them, 
 and patiently aflkluous beyond example. Of that patience Sandrart gives a 
 ftrong proof, in a ciicumiiance which he mentions relative to this artiit. He 
 fays, that having once, in company with Bamboccio, vifited Gerhard Douw, 
 they could not forbear to admire the prodigious neatnefsof a picture, which he 
 was then painting, in which they took particular notice of a broom; and ex- 
 preflirig their furprize at the exceffive neatnefs of the finiihing that minute 
 object, Douw told them, he fhould fpend three days more in working on that 
 broom, before he fhould account it intircly complete. In a family pi&ure of 
 Mrs. Spiering, the fame author lays, that the lady had far five days, for the finiih- 
 ing one of her hands, that leaned on an rm •''. i or that reafon, not many 
 would fit to him for their portraits ; and he therefore indulged himfelf moftly 
 
 in 
 
D O U [ 187 ] D O U 
 
 in works of fancy, in which he could introduce objects of ftill life, and employ 
 as much time on them as fuited his own inclination. Houbraken teftifies, that 
 his great patron Mr. Spiering allowed him a thoufand guilders a year, and 
 paid befide whatever he demanded for his pictures, and purchafed fome of 
 them for their weight in filver ; but Sandrart, with more probability, allures us, 
 that the thoufand guilders a year were paid to Gerhard, on no other confidera- 
 tion, than that the artift mould give his benefactor the option of every picture he 
 painted, for which he was immediately to receive the utmoft of his demand. 
 
 Douw appears, inconteftably, to be the moft wonderful in his finilhing of all 
 the Flemifh mailers. Every thing that came from his pencil is precious, and 
 his colouring hath exactly the true and the lovely tints of nature-, nor do his 
 colours appear tortured, nor is their vigour lelTened by his patient pencil ; for, 
 whatever pains he may have taken, there is no look of labour or ftiffnefs ; and 
 his pictures are remarkable, not only for retaining their original luftre, but for 
 having the fame beautiful effect at a proper diftance, as they have when 
 brought to the neareft view. 
 
 The moft capital picture of this mafter in Holland was, not very long fince, 
 in the poffeffion of the widow Van Hoek, at Amfterdam ; it was of a iize larger 
 than ufual, being three feet high, by two feet fix inches broad, within the frame. 
 In it two rooms are reprefented ; in the firft (where there appears a curious 
 piece of tapeftry, as a feparation of the apartments) there is a pretty figure of a 
 woman giving fuck to a child ; at her fide is a cradle, and a table covered with 
 tapeftry, on which is placed a gilt lamp, and fome pieces of ftill life. In the 
 fecond apartment is a furgeon's fhop, with a countryman undergoing an opera- 
 tion, and a woman Handing by him with feveral utenfils. The folding doors 
 fhew on one fide a ftudy, and a man making a pen by candle-light, and on the 
 other fide, a fchool with boys writing, and fitting at different tables ; which parts 
 are lighted in a moft agreeable, and furprizing manner •, every part, and every 
 particular object, being expreffed with fo much beauty, truth, nature, and force, 
 as is fcarce to be comprehended. It was his peculiar talent, to fiiew in a fmafi 
 compafs, more than other painters could exprefs in a much larger extent. 
 
 I cannot forbear remarking, that, among a number of gentleman of fortune, 
 who travel to Paris, and any part of Italy, there are fome few who return 
 without any real refinement of tafte, to their own country ; and poflelTed 
 
 with vanity, conceit, or affectation, bring back with them no mere real know- 
 ledge of the art of painting, than they exported. Yet, in order to affume the 
 appearance of that judgement and fkill which they do not poffefs, their ufual 
 cuftom is to decry, and depreciate, all the works of the Flemifh painters ■, and to 
 defpife thofe particular excellencies in them, which are generally* above their ca- 
 pacities to difcern, and which the more judicious Italians readily acknowledge. 
 
 But, thofe imperfect connoiffeurs would act more wifely if thev obferved, that 
 perfons of the fineft tafte in Italy, prize the beft of the Flemifh mafters, accord- 
 ing to their proportional merit ; they do not rank them with their own country- 
 men, for elegance of tafte, for beautiful forms, for grace, or true grandeur of 
 deign ; but, they admire the beft of the Flemings, for their fweetnefs of co- 
 louring, for the charming effect of their chiaro-fcuro, for their delicacy o: 
 pencil, for their tranfparence, and their true imitation of nature, though it may 
 not be nature in her moft graceful appearance. And thev ought alio to obferve. 
 
 B b that 
 
D R I [ 188 ] D R O 
 
 that many of the moft elegant collections and cabinets in Italy, particularly the 
 celebrated Florentine collection, are repofitories for the works of fome of the 
 Flemifh mafters, fuch as Douw, Teniers, Hobbema, Mieris, Berchem, Vander- 
 werf, Ruyfdal, Brueghel, Rubens, Vandyck, Rembrant, Oftade, and others. 
 
 At Turin are feveral pictures by Gerhard Douw, wonderfully beautiful ; 
 efpecially one, of a doctor attending a fick woman, and furveying an urinal. 
 The execution of that painting is aftonifhingly fine, and although the fhadows 
 appear a little too dark, the whole has an inexprefiible effect. In the gallery at 
 Florence there is a night-piece by candle-light, which is exquifitely finifhed ■, and 
 in the fame apartment, a mountebank attended by a number of figures, which it 
 feems impofiible either fufficiently to commend, or to defcribe. 
 
 William Van DRILLENBURG. 
 Tainted Landfcape. 
 
 This painter was born at Utrecht, in 1626, and learned the art of painting* 
 only for his amufement, from Abraham Bloemart; but, he made it afterwards 
 his whole ftudy, and practifed it as a profeflion. When he had fpent fome 
 years under Bloemart, he quitted him, and aflumed a manner of painting very 
 different from that of his mafter •, for, he ftudied to imitate the ftyle of John 
 Both, in the choice of his fubjects, and fituations ; in his trees, fkies, and dif- 
 tances •, and he might have flood in competition with him, if his colouring had 
 more of the look of nature, or if his touch had been 3s light, free, and delicate, 
 as the touch of that excellent mafter. But, notwithftanding all his induftry, he 
 could never arrive at that beauty of colouring, which diftinguifh.es the land- 
 fcapes of Both, and gives them lb juft a preference to the landfcapes of moft 
 other painters. 
 
 He was very affiduous at his work, and generally drew thofe defigns at night, 
 which he intended for his painting the next day •, and took fo much delight in 
 the practice of his art, that he very often fuffered a whole month to pafs away, 
 without walking abroad even once in all that time. Houbraken Was the dif- 
 ciple of this mafter. 
 
 DROGSLOOT. 
 
 Painted Landfcapes, and Fairs. 
 
 Someperfons affirm, that this artift was born at Dort, and others fay, he was 
 born at Gorcum ; but, certainly the greateft part of his life was fpent at Dort, 
 where he was very much encouraged and employed. 
 
 His fcenes are all taken from nature, being views of towns, villages, or cities, 
 which are reprefented with fo much truth, and exactnefs, as to make them readily- 
 known at a firft view •, and his fubjects were all from the loweft life, fairs, 
 markets, kermeffes, with a multitude of figures, or parades for military exercifes. 
 His landfcape is fomeumes pleafant in the colouring, the fkies clear, the dis- 
 tances well obferved, and the perfpective of the buildings true ; but, his figures 
 always want elegance, and are for the moft part difagreeable forms ; yet ftill 
 ll.erc is a great deal of nature in their actions, attitudes, and occupations. 
 
 He 
 
DRO [ 189 ] DUB 
 
 He had a good pencil, and his touch is free and firm ; but, what exceedingly 
 depreciates his works, and diminifhes their value with perfons of tafte, is the re- 
 markable uncomelinefs of his figures-, theftrong refemblance that runs through 
 all his compofitions ; fomewhat that looks hard and dry ; and a tone of colour 
 that is often too yellow, and frequently too dark. But, in fome of his land- 
 fcapes he is much more happy than in others. 
 
 D R O S T. 
 
 Painted Hi/lory, and Portrait. 
 
 He was a difciple of Rembrant, and painted in the manner of that great 
 artift, with a bold pencil, and ftrong colouring ; but, when he quitted the 
 fchool of that matter, he fettled at Rome, and lived there for feveral years, in a 
 thorough intimacy with Carlo Lotti, and other eminent painters ; by whofe in- 
 ftructions, and his attention to the fineft productions of art, he acquired a tafte of 
 defign far fuperior to that of Rembrant. 
 
 A capital picture by this mafter, is a S. John preaching, which confifts of a 
 great number of figures, with good expreffion, well grouped, and excellently 
 coloured. 
 
 A art Janze DRUIVERSTEIN. 
 
 Painted Land/capes, and Animals. 
 Died 1 61 7, aged 53. 
 
 This artift was born at Haerlem, in 1564, and, according to the teftimony of 
 Van Mander, was a very fine painter of landfcapes, with fmall figures, and dif- 
 ferent kinds of animals. 
 
 He was a perlbn of fortune and diftinction in his country, who ftudied paint- 
 ing merely as an amufement, and praftiled it intirely out of love to the art, and 
 not to make it a profefiion for any pecuniary advantage. 
 
 Simon DUBOIS. 
 
 Painted Portraits, Battles, and Cattle. 
 
 Died 1708. 
 
 He was born at Antwerp, and proved a much better painter than his brother 
 Edward Dubois. At his firft arrival in England, he painted portraits of a fmall 
 fize in oil colour, which are commonly diftinguifhed by the laced cravats, the 
 fafhion of that time. However, portrait was not his excellence ; for, originally 
 he painted fmall battle pieces, in the tafte of the Roman fchool, and afterwards, 
 having received fome inftruftions from Wouwermans, he painted horfes and 
 cattle ; and whenever he painted figures, the faces were always neatly finilhed. 
 
 He fold feveral pictures of his own painting, for original pictures of Italian 
 matters ; faying, that fince the world would not do him juftice, he would take 
 care to do it to himfelf. He had fuch a demand for his works, that he grew rich, 
 and married the daughter of Vandervelde. 
 
 B b 2 John 
 
D U C [ 1190 ] D U L 
 
 John L e D U C. 
 Painted Animals. 
 
 This painter was bom at the Hague, in 1D36, and was a difciple of Paul 
 Potter, whole excellence in painting cattle is fo univerfally known ; and the mod 
 honourable teilimony that can be given to Le Due, is, that his pictures fo 
 ilrongly refemble thole of his mailer, that they are often miftaken for Potter's. 
 
 His fubjecls were the fame as thole of his mailer, cows, fheep, goats, and 
 horfes ; and he had the fame freedom of pencil, as well as the fame elegance and 
 truth in his defign, and finilhed his pictures very highly. He was appointed 
 director of the academy of painting, at the Hague, in the year 16719 but the 
 time of his death is undetermined. 
 
 Isaac DUCART, 
 
 Panned Flczvers. 
 
 Died 1697, aged 6 y. 
 
 He was born at Amllerdam, in 1630, and painted generally on fatin, giving 
 his objects great luftre and beauty, and representing every flower as exact as it 
 appears in its natural bloom •, no artift before him having brought fuch a kind of 
 painting to fo great a degree of ptrfeclion. He refided for a long time in 
 England, and from thence brought the art into Holland, where he practifed it 
 with extraordinary fuccefs. 
 
 H e y m a n DULLAERT. - 
 Painted Hijlory, and Portrait. 
 Died 1684, aged 48. 
 
 He was born at Rotterdam, in 1636, and from his infancy fhewed a ftrong ge- 
 nius to painting. His father, who was a picture merchant, obferved with great 
 fatisfaction the promifing talents of his fon, and to afford him the bell oppor- 
 tunity of cultivating them fuccefsfully, he placed him as a difciple with Rem- 
 brant ; whole manner of colouring, and ilyle of defign, he ever after happily 
 imitated. 
 
 He is reprefented by all writers, as an incomparable painter, and Houbraken, 
 as well as Weyerman, defcribe lome of the works of Dullaert, in terms of the 
 highell commendation, for their beautiful colouring, and the free, bold manner 
 in which they are handled. 
 
 Avery capital picture of this mailer, is a hermit on his knees, which is exe- 
 cuted with fo muchfpirit, that it might have been accounted the work of Rem- 
 brant himfelf, if the name of Dullaert had not been marked upon it. And a picture 
 reprcfenting Mars in armour, was fold at a public fale at Amllerdam, in 1696, 
 for an undoubted painting of Rembrant, though in reality it was painted by his 
 difciple Dullaeit. 
 
 \ '.EERT 
 
DUR [ 191 ] D U R 
 
 Albert DURER. 
 
 Painted Hiftory, Landfcape, and Portrait . 
 
 Died 1528, aged 57. 
 
 This memorable artift was born at Nuremberg, in * 147 1, and was adifciple- 
 of Michael Wolgemuth, with whom he continued for three years. 
 
 No painter could poffefs a more univerfal genius, nor had a more extenfive 
 knowledge of the principles of his art, in all its different branches. Anatomy,. 
 perfpedtive, geometry, civil and military architecture, were fo thoroughly under- 
 ftood by him, that he wrote treatifes on thofe feveral fubjects. It was a great 
 lofs to himielf, as well as to the world, that he was unacquainted with the- 
 antique ; which would have refined his tafte, and diverted it of that, which ap- 
 pears Gothic in his ideas, and compofitions. And Vafari does him the juftice 
 to affirm, that if Albert had been born in Florence, (and not in Germany) 
 where he might have been early converiant with the beautiful works of the an- 
 tients, which are difperfed through all parts of Italy •, he would have proved the 
 beft painter of the Italian fchool, as he now is the ornament of the Flemifh. 
 
 He only ftudied unadorned nature, and never attended to thofe graces, which 
 even the ftudy of nature might afford him, by a judicious, or an elegant choice. 
 However, his imagination was lively, his compofition grand ; his execution 
 happy, and his pencil was delicate. He finilhed his works with exact neatnefs, 
 and was particularly excellent in his madonna's, if he had encumbered them lefs 
 with loads of drapery. 
 
 But, notwithstanding the Gothic gufto of his defigns, there are beauties in. 
 them, by which the Italians themfelves have improved confiderably ; and it is 
 reported that even Raphael (who highly honoured the talents of Albert) received 
 both pleafure and inftruction from the prints of that extraordinary mafter. 
 
 Yet, although he far furpafTed the painters of his own nation in many particu- 
 lars, he could not avoid their defects •, fuch as, a drynefs and defe<5t in the con- 
 tours ; a want of the juft degradation of tints •, an exprefiion without an agree- 
 able choice •, and draperies, though caft in broad folds, which had an air of 
 dignity, yet, not luificiently, (in many of them) or not properly explaining the 
 naked. He was no obferver of the coftume, even in the fmalieft degree ; nor 
 did he underftand any thing relative to the aerial peripective ; but, as to his 
 compofition, it fhewed elevation of thought, and found judgement. The finiPn- 
 ing of his pictures was remarkably neat, and although he fpent a great deal of 
 time in engraving, he painted abundance of pictures. 
 
 Among the beft of this mafter, are. mentioned the Adoration of the Magi ; 
 the Virgin crowned with rofes by angels ; and Adam and Eve as large as life, 
 
 * Sandrart, De Piles, and the Chronological Tables agree, in fixing the birth of Albert Durer 
 in 1 47 1, and his death in 1528, at the age of 57 ; but the authors of the Abrege de la Vie des 
 Peintres firii, and after them Mr. Defcamps, a much later writer, agree unaccountably in a pal- 
 pable, miftake ; for, they fay he was born in 1470, and died in 1528, at the age of 57, which cannot 
 be fa&; becaufe 57 added to 1470, makes only 1527, yet, they allow that he died in 1528, 
 aged 57. 
 
 Jt is fuch a miftake as might be excufeable in the authors of the Abrege, who wrote lint ; but, a 
 fublequent writer, who negligently overlooks fuch a miftake, and adopts it, ca jnot appear as criti- 
 cally attentive as he ought to have been, from a refped to the public, and to his own credit. 
 
 K which 
 
D U S [ 192 ] D U S 
 
 which are preferved in the cabinet of the Emperor at Prague. In a chamber 
 at Munich is a picture by Albert, reprefenting the firft battle of Alexander 
 with Darius, which is accounted an admirable performance, painted in themoft, 
 finifhed manner, with incredible patience, and labour. It contains a prodigious 
 number of figures ; and yet, the hairs of their heads, and their beards, the fmalleft 
 joints of their armour, and other minutiae, are diftinctly exprefled. 
 
 At Venice, in one of the grand apartments, is an Ecce Homo, which hath a 
 great deal of merit •, and in the Grand Duke's palace at Florence, is another 
 picture of the fame fubject ; lefs dry, and more grand in the compofition, than 
 ufual ; yet, the defign and the colouring are but indifferent. But, in the gal- 
 lery of that palace, an Adam and Eve is excellent, as alfo are the pictures of 
 S. Philip, S. James, and his own portrait. 
 
 Cornelius DUSART. 
 
 Painted Converfations, Dancings, and Taverns. 
 
 Died 1704, aged 39. 
 
 He was born at Haerlem, in 1665, where he became a difciple of Adrian 
 Oftade, and made a near approach to the merit of his malter. He habituated 
 himfelf to obferve the manners, cuftoms, and paffions of the boors, and peafants, 
 at their feafts, fports, fairs, dancings, drinkings, and quarrellings ; and rendered 
 his compofitions entertaining, by a lively and true reprefentation of nature, as 
 it appeared in the characters, amufements, and expreffions of perfons in very 
 low life. 
 
 The imagination of Dufart was remarkably ftrong, and his memory amazing; 
 for, whenever he faw a ftriking original figure which he thought capable of 
 being introduced into any future defign •, he could, at any diftance of time, 
 recall the idea of it, and retain every trace of it fo diftinct, as to defcribe it with 
 the fame attitude, humour, and natural turn, as if the object had been then 
 preient before his eyes. 
 
 He was naturally of a weak conftitution, which was dill more impaired, by 
 his conftant application, and ftudy. He was of a fober and retired turn of 
 mind, being no farther fond of company, than as it might promote difcourfe on 
 his favourite topics, fuch as painting, drawing, defigns, or prints, as he had of 
 the latter a very large and curious collection. His mod intimate friend 
 was Adam Dingemans, who was a great collector of prints and draw- 
 ings, and a conftant vifitor of Dufart •, and that friend, having one 
 day fat with him for fome time, and leaving him only while he went 
 home to fetch a curious drawing for his amufement, at his return in about half 
 an hour, found Dufart lying dead on his bed. Whether that unexpected 
 fight affected Dingemans too violently, or whether grief for the fudden lofs of 
 his friend, made too ftrong an imprefiion on his mind, is uncertain •, but he 
 died on that very day, and the two friends were interred together in the 
 fame church. 
 
 Dufart had a great deal of merit ; his colouring is of the fchool of Oftade, 
 and he had rather more dignity and fpirit than his mafter ; but he never could 
 arrive at the perfections of Oftade, either in colouring, compofition, or hand- 
 ling. 
 5 
 
DUV [ 193 ] D U V 
 
 ling. His fubjects are full of humour, and they are all real pictures of nature 
 in low life. His figures, as well as thofe of Oftade, want elegance ; but there is 
 abundance of truth in his characters, and a competent degree of tranfparence in 
 his colouring ; his perfpective is very exact, and his local colours are true. 
 
 Nicholas DUVAL. 
 
 Painted Hifiory. 
 
 Died 1732, aged&8. 
 
 He was born at the Hague, in 1 644, and inftrudted in the art of painting by 
 Nicholas Wieling, a confiderable hiftory painter, with whom he made a good 
 progrefs. On his quitting that mafter, he travelled to Rome, and continued 
 there for fome time ; ftudying the beauties of the antiques, and alio the noble 
 compofitions of the modern great artifts j and from thence he vifited Venice, 
 where he acquired additional improvement, by ftudying thofe incomparable 
 models, which occurred to him in that cfty. 
 
 During his refidence in Italy, he became a difciple of Pietro da Cortona, to 
 whofe ftyle and manner of compofition and colouring, he ever after entirely ad- 
 hered ; and returned to his own country with the reputation of being an excel- 
 lent painter. His merit introduced him to the favour of the nobility, and at 
 laft recommended him to King William III. who employed him in feveral 
 works at Loo, and intrufted him to clean and put in order the celebrated 
 cartons of Raphael, and to place them in Hampton-court. He was afterwards 
 appointed director of the academy at the Hague. 
 
 It is much to be regreted, that fuch a mafter as Duval, porTefied of fuch ex- 
 traordinary talents, and fo capable of being an honour to his profeflion, fhould 
 have leftfo few of his works. But, his love of the art, was extinguished by the 
 affluence of his fortune, which ought rather to have proved the means of in- 
 creafing it. 
 
 The tafte of compofition and defign of Duval, is exactly like his mafter Cor- 
 tona ; and in the falon of the academy at the Hague, there is a cieling of his 
 defign, which fufficiently Ihews the genius and the merit of this artift. 
 
 Marc Van DUVENEDE. 
 
 Painted Hifiory. 
 
 Died 1729, aged c,^. 
 
 This painter was born at Bruges, in 1674, and went to Italy when he was 
 very young. Two years he fpent at Naples, diligently purfuing his ftudies ; 
 but, he derived his principal fkill and improvement, from being a difciple of 
 Carlo Maratti, with whom he continued four years ; nor did he withdraw him- 
 lelf from the inspection of that able inftructor, till he was thoroughly qualified to 
 merit the approbation of the public. 
 
 As his reputation had extended itfelf to his own country, no fooner was his 
 return thither known, than he was employed in feveral grand works for the 
 churches and convents ; but, in a few years he grew indolent, by having an eafy 
 
 income 
 
D U V [ 194 ] EEC 
 
 income independent on his profefiion •, and for feveral years before his death, 
 he performed not any thing of confequence. 
 
 His pictures, as to compofition and colouring, were entirely in the manner of 
 Maratti •, he had a good tafte of defign, an eafy and broad manner, full of 
 force •, but, it ought to be obferved, that thofe of his firft time, ibon after his 
 return from Italy, are very eafily diftinguifhed from thofe of his latter time, by 
 a very different degree of merit. 
 
 -At Bruges, in the chapel of S. Chriftopher, there is a capital picture of this 
 matter, representing the martyrdom of S. Lawrence ; and in that city alio, 
 there is a fine compofition, of Solomon offering incenle to idols. 
 
 D Y C K. Vid. Vandyck, 
 
 E. 
 
 Gerbrant Vander EECKHOUT. 
 Painted Portrait, and Hijlory. 
 Died 1674, aged 53. 
 
 He was born at Amfterdam, in 1621, and was a difciple of Rembrant; 
 whofe manner of defigning, colouring, and penciling, he imitated lo wonderfully, 
 that it is difficult to diftinguifh between feveral of his paintings, and thofe of 
 his mailer. 
 
 He painted after nature, and with fuch a force as only nature can equal •, his 
 touch, and his colouring, are the fame as Rembrant's ; but he rather excelled 
 him in the extremities of his figures. His principal employment was for 
 portraits, and in thofe he was admirable •, but he furpafied all his cotemporaries, 
 in the power he had of painting the mind in the countenance. His mafter-piece 
 in that ftyle, was the portrait of his own father, which had fo much force, re- 
 femblance, and life, as to aftonifii even Rembrant himfelf, when he faw it. 
 
 But, although Ecckhout painted portraits to fo great a degree of perfection, 
 that he was perpetually lblicited to work in that way ; yet was he much more 
 pleafed to paint hiftorical fubjects, as he executed them with equal fuccefs. In 
 that ftyle his compofition is rich, and full of judgement ; the diltribution of his 
 mafies of light and fhadow, is truly excellent •, and in the opinion of many con- 
 noifieurs, he had more tranlparence in his colouring, and better exprefiion, than 
 his mafter. Yet, that is ftrongly contefted by others. His back-grounds are 
 generally clearer, and more bright than thofe of Rembrant; and by all judges 
 he is allowed to be, by far, the belt difciple of that mafter ; little inferior to him 
 h moll particulars, and in fome refpects he is accounted to furpafs him. How- 
 
 r, it mud impartially be obferved, that if he attained to the perfections of 
 Rembrant, he alio fliared his defects; if he excelled in exprefiion, and colouring, 
 
 he 
 
EEC [ 195 ] E D E 
 
 he was likewife incorreft in his defign, he wanted elegance and grace, and was 
 totally negligent or" the coftume. 
 
 In the collection of the Elector Palatine, a picture of this matter is mentioned, 
 as having a ftrong, and an admirable expreffion ; the fubject is, Chrift among 
 the Doctors ; the principal figure being reprefented with an air, countenance, 
 and attitude, fo very expreffive, that a fpectator would imagine he knew what 
 they laid, or even what they thought. And another pifture of this mafter, re- 
 prefenpng Simeon with Chrift in his arms, is a moft excellent performance. 
 
 Anthony Vanden E E C K H O U T. 
 
 Painted Fruit, and Flowers* 
 
 Died 1695, aged 39. 
 
 He was born at BrufTels, in 1656, and it is not afcertained from what mafter 
 he learned the art of painting •, but he travelled to Italy with his brother-in-law 
 Eewis Deyfter, a very eminent artift, with whom he painted in conjunction, 
 during the whole time of his continuance abroad ; Deyfter painting the ficrures, 
 and Eeckhout the fruit and flowers. Yet, in the works of thofe aflbciated ar- 
 tifts, there appeared fo perfect a harmony and union, that the difference of their 
 pencils was quite imperceptible, the colouring and the touch feeming un- 
 doubtedly of the fame hand. 
 
 When he returned to BrufTels, he received many marks of refpect and dif- 
 tinction, and alfo an appointment to a very honourable ftation ; yet he foon 
 forfook friends, honours, and a certainty of being enriched, and embarked for 
 Italy, where he wiftied to fpend the remainder of his days. But, chance con- 
 ducted him to Lifbon, where his pictures fold for an exceeding high price, as 
 he painted all his fubjefts in the Italian tafte. 
 
 He diligently andcurioufly ftudied nature-, and during his refidence in Italy, 
 he had taken pains to fketch fo many elegant forms of fruits and flowers, that 
 he had a fufficient number for all his future compositions, and he difpofed them 
 with an infinite variety. He had lived at Lilbon not above two years, when a 
 young lady of quality, and of great fortune, married him ; but, his fuccefs and 
 affluence, unhappily excited the envy and jealoufy of fome abandoned ruffians, 
 who lhot him as he was taking the air in his coach, nor could the allaffins ever 
 be difcovered. 
 
 Gerard EDEMA. 
 
 Painted Land/cape. 
 
 Died 1700, aged 48. 
 
 He was born at Amfterdam, in 1652, and was a difciple of Everdino-en ; and 
 having made a good proficiency under that mafter, he applied himfelf to the 
 lhidy of nature. As his imagination was moft delighted with the magnificent 
 wildnefs of nature, he made his principal (ladies among the mountains of Swit- 
 zerland ; and the fcenes he chofe to reprefent, were tracts of rude uncultivated 
 countries, interfpeded with ropky hills, cliffs, cafcades, and torrents, which he 
 always expreiTcd well. 
 
 C c His 
 
E G M [ 196 ] ELL 
 
 His manner of painting is broad and bold, in imitation of the ftyle of hix. 
 mailer; his flues are fomevvhat warm, but, in the greateft part of his pictures, 
 they are rather fiery, and not very- agreeable to the eye ; and although there is 
 fomewhat ftriking in his compofitions, yec, even that which ftrikes us, is not 
 always pleafing. 
 
 He went to England in the year 1670, where he followed his profeffion as 
 Ion* as he lived. It is obferved, that neither his own works, nor the works of 
 Everdingen, are at prefent in as much efteem, as they were formerly. The- 
 figures in the landfcapes of Edema, were generally inferted by Wycke. 
 
 Justus Van EGMONT. 
 
 Painted Hijlory. 
 
 Died 1674, aged 72. 
 
 This painter was born at Leyden, in 1602 •, and by fome writers is mentioned 
 as having ftudied under Vandyck, though that circumftance in his education, 
 feems not to be inconteftably afcertained. For many years he refided in France, 
 in the fervice of Lewis XIII, and XIV, being one of thoie mafters who were dif- 
 tincuifhed by the Court, and employed in the eftablifliment of the royal 
 academy of painting and fculpture at Paris. 
 
 Fie affifted Vouet, in many of his grand undertakings, and painted hiftorical 
 'fubjects in lar^e, as well as in imall •, and at that time was very highly regarded- 
 bv the French monarch, who admired his compofitions extremely, and was very 
 liberal in rewarding him for his work. 
 
 Ottohar ELLIGER, or Elger, the Old. 
 Painted Fruit, and Fkzvers. 
 
 He was born at Gottenburg, in 1 633, and became a difciple of Daniel Segers, 
 whole manner of handling, and ftyle of colouring, he ftudied with an exact and 
 nice obfervation, and imitated him with the greateft fuccefs. 
 
 His extraordinary merit in his profeffion, procured him an invitation to the 
 Court of Berlin, where his performances received an univerfal approbation, and 
 they are as eagerly purchased as thofe of Segers, his mafter ; but, they are very 
 rarely to be met with in thefe kingdoms, moft of them being carefully preferved 
 in the German collections, among which they are accounted confiderable 
 ornaments. 
 
 Ottomar ELLIGER, or Elger, the Young. 
 
 Painted Hijlcry. 
 
 Lied 1732, aged 66. 
 
 He was born at Hamburgh, in 1666, the fon of Ottomar Elliger, a famous 
 flower painter at Berlin. At firft he learned the rudiments of the art from his 
 father, and then was placed as a difciple with Michael van Muddier. But, as 
 the works of Lairefie ieemed to him to have an uncommon degree of beauty, brf 
 
 entered 
 
ELL [i97] ELI 
 
 entered himfelf in the fchool of that matter; who .took all poflible care to im- 
 prove him, by making him copy the works of the mod eminent painters, and 
 directing him to ftudy nature attentively. Laireffe laboured with fo much ear- 
 neftnefs, to accomplifh Elliger, that in one year he was qualified to compofe 
 readily, without following the manner of any matter, except ftudying 
 fimple nature. 
 
 His ftyle is great, and his back grounds are elegantly enriched with architec- 
 ture ; in which one may obferve the noble remains of the antient Greeks, Egyp- 
 tians, and Romans ; for, if the fcene of his fubjecl was laid in any of thofe coun- 
 tries, he always contrived to introduce fome bas-relief, or monument, relative 
 to the times, in which the tranfactions of his fubject might hiftorically be fup- 
 pofed to happen. In his compofitions he ihewed lpirit, as well as genius, and 
 afforded equal pleafure to the profefled artifts, and to perfons of literature. 
 
 Several grand falons and apartments at Amfterdam, are painted by Elliger ; 
 and, for the Elector of Mentz he painted two very fine defigns, the one, the 
 Death of Alexander, and the other, the Nuptials of Peleus, and Thetis, which 
 are exceedingly admired, and applauded. For thole, Elliger was amply re- 
 warded, and received confiderable prefents from the Elector, who propofed to 
 appoint him his principal painter, with a large penlion, but he politely declined 
 accepting that intended honour. 
 
 He not only painted in large, but excelled equally in fmall eafel pictures ; 
 and even one of his compofitions, which reprefents the Banquet of the Gods, is 
 furficient to perpetuate his reputation. But, notwithstanding his great talents, 
 he gave himfelf up, in the latter part of his life, to drinking and difiipation ; 
 which impaired his powers, (as is generally the cafe) and made a vifible alteration 
 for the worfe, in all his future compofitions ; fo that, for the moftpart they are 
 very indifferent, and poorly coloured. 
 
 Matthew or Matthias ELIAS. 
 
 Painted Hiftory, and Portrait. 
 Died 1 741, aged S3. 
 
 He was born at Cartel, in 1658, of very poor parentage, and originally em- 
 ployed in attending cattle, while he was a youth ; but, as Corbeen, a painter of 
 hiftory, patted accidentally by, he faw the lad tracing out figures, and drawing a 
 fortification on the ground ; which induced him to defire the parents of Elias, 
 to let him have the boy to educate him, and teach him the art of painting, as he 
 faw fuch ftrong appearances of a promifing genius in him. The propofal v/as 
 accepted, Elias became his difciple, and foon gained the affection and cfteem of 
 his matter, by {hewing himfelf fuperior to all his companions. At the age of 
 twenty-, he was fent by his matter to Paris for farther improvement, from 
 whence he remitted fome of his performances to his benefactor Corbeen ; en- 
 deavouring by that means to repay him, to the beft of his ability, for the care he 
 had taken in his education. 
 
 For fome years he continued in Paris, 'outwent afterwards to Dunkirk, where 
 he painted a grand altar-piece representing the Death of S. Barbe, which is nobly 
 defigned, and it procured him many admirers. For the church of the Carme- 
 
 C c 2 lites 
 
ELS [198] ELS 
 
 lites alfo, he finifhed another, which is commended as an excellent compofitiorr,. 
 with great harmony, and a tone of colouring more true, and more warm, than 
 any of his ufual paintings. The beauty of the colouring in this work, gained' 
 him the approbation of all perfons of judgement in the art ; and their favourable" 
 opinion, excited him to exert himfelf ftill more to improve. 
 
 At firft his colour was raw, and cold, which is obfervable in a picture of his" 
 painting, in the church of Notre Dame at Paris; but, he acquired a different 
 manner in his latter works, and his draperies were more broad, more eafy, and 
 more natural. His defign is correct, and his compofition very good, although 
 he compofed with labour and difficulty ; and it took him up a confiderable time, 
 before he could fketch out a iubject, fo as to be ready for his pencil •, but td 
 conceal that labour from being obferved by others, he admitted not any to fee 
 him at work. 
 
 Some of his portraits of men, are well efteemed, but thofe of his women, 
 want elegance, as well in their drefs and attitudes, as in the airs of their heads ; 
 and even in his hiftorical pictures, the draperies of the female figures are not 
 -agreeable, nor are their heads attired with as much elegance, as could be wifhed. 
 
 Adam ELSHETMER, or Elzheimer. 
 
 Painted Landfcapes, and Moonlight with fmall Figures. 
 
 Died 1620, aged < 4.6 i- 
 
 Ke was born at Franckfort, in * 1574, and was a difciple of Philip Uffi?n- 
 bach ; but, as he, in a very lhort time, proved a much better painter than his 
 mafter, he determined, to complete his ftudies at Rome, to acquire that 
 knowledge, which he perceived to be not fo readily obtained in his now 
 country. 
 
 When he arrived in Italy, he commenced an intimacy with Pinas v Laftman, 
 Erneft Thomas of Landaw, and other very eminent painters-, and after 
 examining the greateft curiofities of Rome, in the works of the befl" antient 
 and modern artifts, he fixed upon a ftyle of painting peculiar to himfelf, of 
 defigning, landfcapes with hiftorical figures, in fmall, and in finifhing them in 
 l"o neat and exquifite a manner, as to be without a competitor ; and indeed, 
 far fuperior to any painter of that time in which he flourilhed, and perhaps to 
 any fubiequent artilt. 
 
 • The dates of the birth, death, and age of this matter, ar; unaccountably different, accordir.3 
 to different writers. 
 
 De Piles, Refta, and the hiftorical tables fix his birth in 1574, his death in 1610, and at the • 
 
 age of 36. ./-,-i- 
 
 Houbn.kcn fixes his birth at Alkmaar in 1621, and his death in 1675, at the age of 54, which is 
 beyond all probability, as might ealily be proved. 
 
 The authors of the Abrege de la Vie des Peirtres fix his birth truly in 1574, and his death in 
 1620, and yet fay he died at 56 ; though if he died at 56 he mull have died in 1630, and not in 
 1620 as thev alledgc; 
 
 Mr. Defc'amps has copied the very fame miftake, of which the other French authors are guilty, 
 without once rcile&ing that from 1574 to 1620, can only be 46 years, andnot56. 
 
 1 have therefore preferred the dates in the Mufeuin Floreniinum, hi> birth at Franckfort in 1574, 
 liis. death in 1620, aged 46. 
 
 The 
 
ELS [ 199 ] E M P 
 
 He defigned intirely after nature, and was remarkable for a moft retentive 
 memory ; being capable of recollecting every incident that pleafed him, and 
 making a beautiful ufe of it in his compofitions. But his excellence in his art, 
 did not enable him to purfue his profeffion with comfort, or affluence ; for, 
 notwithstanding his incomparable merit, his work went on fo How, by the 
 neatnefs of his finifhing, that he could fcarce fupport himfelf or his family, by 
 the producl: of his hand, and his genius. For his family was large, and the 
 time he fpent on every picture was fo extraordinary, that though he received 
 very confiderable prices for his work, he could not fubfift by what he earned ; 
 and being at laft overwhelmed with debts, and call into prifon, although he was 
 very foon releafed, the difgrace which he fuffered, even by that fhort confinement, 
 preyed upon his fpirits, and he funk under his complicated misfortunes. His 
 death was exceedingly regretted, even by the Italians, who honoured and 
 elteemed him ; and all the world' lamented the fevere fortune of fo' enlarged a- 
 genius, who deferved more felicity than he enjoyed. 
 
 It is impoffible to conceive any thing more exquifite in painting, than the- 
 productions of the pencil of Elfheimer ; for, whether we confider the fine tafte 
 of his defign ; the neatnefs, and correctnefs of the drawing in his figures •, the 
 admirable management and diftribution of his lights and Shadows ;■ the lighmefsj 
 the Spirit, and the delicacy of his touch ; or the excellence of his colouring ; 
 we are aftoniShed to obServe fuch combined perfections in one artift •, in whole 
 works, even the minuteft parts will endure the moft critical inspection, and the 
 whole together is inexpreSfibly beautiful; 
 
 Old Teniers and Bamboccio ftudied the works of Elfheimer accurately •, and 
 it was from what they obferved in his manner, that they arrived at that high 
 degree of merit, for which they are fo- celebrated. He understood the principles 
 of the Chiaro-Scuro, to the utmoft perfection ; ani he fhewed the Solidity of his 
 judgement, in the management of his Subjects, which for the moft part were 
 night-pieces by candle light, or torch light, moonlights, fun fetting, or fun 
 rifing •, and in all of them, he fhewed his combined powers of knowledge, and 
 execution. 
 
 While he was alive his pictures bore an exceffive high price, which was 
 amazingly enhanced after his death : and Houbraken mentions one of them, 
 representing Pomona, which was fold for eight hundred German florins. 
 
 Sandrartdefcribes a great number of his capital performances-, among which 
 are, Tobit and the Angel, Latona and her Sons, with the Peafants turned into 
 Frogs ; the Death of Procris •, and his moft capital piclure of the Flight into 
 Egypt ; which needs no defbiption, as there is a print of it extant, engraved by 
 Gaud, the friend and benefactor of Elfheimer. Some of his works are in. the 
 collection of the Grand Duke of Tuicany. 
 
 J A C OP O DA EMPOLI. 
 
 Painted Hiftory. 
 
 Died 1640, aged 86. 
 
 He was born at Empoli, in 1554, and learned defign and colouring in the" 
 fchool of- Tommafo di San Friano, a Florentine ; but after the death of his 
 
 I- mailer j 
 
E N G [ 200 ] E N G 
 
 mafter, being defirous to improve his ftyk, he ftudied the works of Andrea 
 del Sarto, and endeavoured to imitate not only the tafte of that great artift, 
 but alfo his correclnefs. Nor did he fail of fuccefs : for, he by that means 
 acquired an excellent manner of defign, and an agreeable tone of colouring. 
 
 This mafter had a fine imagination -, the airs of his beads are beautiful and 
 elegant, and his compofitions are full of life and fpirit. But, befidethe ac- 
 knowledged merit of Empoli, in the defigns of his own invention, he had a 
 peculiar power and excellence, in copying the works of the moft celebrated 
 maftcrs with fo perfect an imitation, and lb free a touch, as to puzzle the 
 belt Judges, and make it difficult to diftinguifh betv/een the originals and the 
 copies. 
 
 Cornelius ENGHELBRECHT. 
 
 Painted Hijlcry, and Portrait. 
 Died 1533, aged 65. 
 
 He was born at Leyden, in 1468, and formed his ftyle of painting by 
 imitating John van Eyck ; being the firft of his countrymen who painted in oil. 
 lie was excellently flailed in his profefflon, and worked, with equal reputation, 
 in oil and diftemper. He had a very commendable tafte of defign ; he difpofed 
 his figures with judgement •, and his draperies were rich, well caft, and lefs 
 hard and dry in the folds, than they appeared in the works of any cotemporary 
 artift. Lucas van Leyden who had been his difciple adopted his manner intirely ; 
 yet in many refpedls he was very much inferior to Enghelbrecht ; for, by the 
 ableft connoifleurs of that time, the latter was accounted a mafter of the firft 
 rank among the artifts. 
 
 His moft capital performance, according to Sandrart and Van Mander, is the 
 reprefentation of the Lamb in the Revelation of S. John, which he painted for 
 a chapel in the church of S. Peter at Leyden. It confifts of a great number of 
 figures, which are well difpofed •, the countenances are noble, and full of 
 exprefiion •, and the penciling is very delicate ; the whole together being an 
 admirable performance. 
 
 Cornelius ENGHELRAMS. 
 
 Painted Hijlory. 
 Died 1583, aged 56. 
 
 He was born at Mechlin, in 1527, and principally, if not intirely, painted 
 in diftemper, in which he was allowed to excel. 
 
 For the church of S. Rombout he painted the Works of Mercy, in which he 
 defigned a multitude of figures, in a good ftyle, and the character and exprefiion 
 are ib juftly marked, that, (as writers affirm) it is eafy to diftinguifh thofe who 
 are real objefts, from thofe who are otherwise. Many of this matters works are 
 to be fcen in Germany ■, and in the church of S. Catherine at Hambourg, there 
 is a grand and learned compofition, of which the fubjecl: is, the Converfion or 
 S. Paul. 
 
 F. REMIT A di Mont-e Senario. Vid. Stephaneschi. 
 
 C JE S A R 
 
EVE [ 201 J EVE 
 
 Cesar Van EVERDINGEN. 
 Painted Hiftory, Portrait, and Land/cape. 
 Died 1679, aged 73. 
 
 He was born at Alkmaer, in 1606, and placed as a difciple with John van: 
 Bronkhorft, being at that time very young ; yet when he had fpent but a few- 
 years in that ichool, his mafter had the fatisfaftion to obferve a ftrength of 
 genius in Everdingen, fuperior to all thofe who were under his direction. He 
 defigned with great readinefs, as he poffeffed a lively imagination, and excelled 
 equally in hiftory, and portrait. His colouring had abundance of force, and 
 his pencil was free, and firm. 
 
 Among a number of fine pictures of his painting, mentioned by writers on 
 this fubject, one is a noble compofition reprefenting, the Victory of David over 
 Goliath. It was painted on the folding doors of the organ in the great church 
 at Alkmaer; the fketchof it is hung up in the council chamber of that city, and 
 it is dated 1648. Another, is a picture of the principal perfons of the artillery 
 company, whofe portraits are as large as life •, it is extremely well defigned, 
 penciled, and coloured, and is a work, which of itfelf is fufficient toeftablifh 
 his reputation. Adrian Dekker, a very fine painter, was the difciple of this 
 mafter. 
 
 Aldret Van EVERDINGEN. 
 
 Painted Landfcape. 
 
 Died \6js, aged 54. 
 
 This artift was the nephew of Casfar van Everdingen, born at Alkmaer, in. 
 1621. His firft inftructor in the art of painting was Roland Savery, and after- 
 wards he became a difciple of Peter Molyn ; under whom he made fo remarkal V 
 a proficiency, that he added much to the honour of his inftructor, and by many 
 good judges was thought even to furpafs him. His merit was not confined to 
 one part of his profeffion, but he poffeffed a general knowledge of every branch 
 of it ; for, he not only excelled in landfcape, but his figures, animals, and 
 buildings, all which he uiually fketched after nature, have correctnefs, and 
 good difpofition. 
 
 He conducted his diftances with fingular judgement, and gave to his trees fo 
 natural and eafy a form, that they appeared from his pencil, the fame that they 
 appeared from the hand of nature. His expreffion of the impetuofity of 
 torrents, cataracts, and ftorms at fea, were invented, and executed, with great 
 fpirit •, nor did he omit reprefenting the thin light vapours and mills, that are 
 excited by the violent agitation of the waters ; in all which particulars he had 
 not a fuperior. 
 
 His particular excellence was in landfcape, which his ftudies after nature, or. 
 fometimes bis invention, readily furnifhed, and his pencil as happily executed. 
 But, he was moft pleafed with defcribing the wildneffes of romantic nature, 
 which he had obferved in a voyage he made up the Baltick, and on the coafts 
 of Norway. However, he frequently painted fcenes that were folemn, of groves 
 and forefts, where the eye was plcafingly deluded to diftances exceedingly 
 
 remote, 
 
EVE [ 202 ] E Y C 
 
 -remote, through extenfive vifta's ; and his compofitions recommended them- 
 felves, by affording an agreeable variety. 
 
 He finiflied an abundance of drawings, which (hew a good invention, and 
 great freedom of hand ; and it is much lamented that he was lb often engaged 
 in painting large pictures ; becaufe thole in a fmall fize, arc much (uperior in the 
 .penciling, and finiftiing •, and are very highly valued in Holland and Flanders 
 particularly. 
 
 John Van EVERDINGEN. 
 
 Painted Still Life. 
 Died 1656. 
 
 He was the youngeft brother of Cnefar van Everdingen, born alfo at Alkmacr, 
 -who painted fubje&s of ftill life, more for the delight he had in thofe kind of 
 objects, which he carefully copied after nature, than from any profpect of 
 advantage, as lie had been educated for the profeffion of the law. 
 
 Hubert Van E Y C K. 
 Painted Portrait, Hijlory, and Perfpefiives. 
 Died 1426, aged 60. 
 
 This memorable mafter was born at Maafeyk, on the borders of the Meufe, 
 in 1366, and is accounted the founder of the Flemifh fchool •, being an artilt 
 of Angular (kill, and genius. He was much eft-emed for feveral maiterly 
 performances in diftemper, and after the ufe of oil was happily found out, he 
 ^was celebrated, for his extraordinary and curious paintings in that way •, but, 
 for none independent on his brother John van Eyck, who is lb univerfally 
 revered, for being the firft difcoverer of the art of painting in oil, in 1410. 
 
 One work of Hubert, in conjunction with John, is ftill preferved in a church 
 at Ghent, and it is not only beheld with admiration, but with aftonifhment. 
 The fubjecl: is, the Four-and-twenty Elders adoring the Lamb, as delcribcd in 
 the Revelation of S. John. The defign contains three hundred and thirty- 
 figures, with fuch a diverfity of countenances, as excites wonder even to this 
 day •, and it is never (hewn except on feftivals, or to oblige princes, and am- 
 bafladors, who exprefs a defire to fee it. 
 
 Philip I. of Spain wifhed to purchafe that painting •, but finding it impracti- 
 cable, he employed Michael Coxis" to copy it, who lpent two whole years on the 
 work, and received four thoufand florins from the king, by whom it was placed 
 in theEfcurial. 
 
 John Van EYCK. 
 
 Painted Hijlory, Portraits, and Landfcapes. 
 
 Died 1 44 1 , aged 7 1 . 
 
 This painter, who is fo defervedly famous, was the younger brother of 
 Hubert van Eyck, born at Maafeyk in 1370, and was a difciple of his brother, 
 but proved his fuperiour in tlu rt. 
 
 Yet, 
 
EYK [ 203 ] E Y K 
 
 Yet, although his pictures were furprizingly finifhed, though his compofition 
 was extremely good, and the landfcapes which he introduced in his defigns, were 
 adorned with trees and plants copied from nature and beautifully imitated ; yet, 
 his great honour arifes from his inventing the ufe of oil in painting ; which after 
 many an ineffectual procefs, he difcovered in the year one thoufand four hundred 
 and ten. He had been very converfant in chemiftry, and being extremely 
 anxious to find fome varnifh, or chemical preparation, that might preferve his 
 colours in their purity ; upon repeated experiments he difcovered, that colours 
 prepared with linfeed or walnut oil, would retain their beauty and luftre, 
 without the affiftance of varnifh. And to John van Eyck the art of painting is 
 indebted, for the durable perfection, to which it has been conducted by fucceed- 
 ing artifts. 
 
 He finifhed his pictures with exquifite neatnefs, which hath greatly contributed 
 to the beauty of his works, as well as to their value. And although his tafte of 
 defign is not very elegant, yet his merit in other refpects, and particularly his 
 fortunate difcovery of a fecret, fo utterly unknown to former ages, willal wavs 
 recommend him to the juft admiration of the lateft poftericy. 
 
 In the collection of the Duke of Orleans, there is a picture by this mafter, 
 reprefenting the Wife Men's offering •, and it is faid, that a capital painting by 
 John van Eyck, of the Lord Clifford and his family, is at Chifwick, in the 
 collection of the late Earl of Burlington. 
 
 t 
 
 Peter*EYKENS, called the Old. 
 
 Painted Hiftory. 
 
 He was born at Antwerp, in 1599, anc ^ became eminent for his flyle of 
 compofition in hiftorical fubjects •, but the account which is given of him or his 
 works by Weyerman, is, by other judicious writers, accounted falfe and abfurd. 
 
 The compofitions of this mafter are full of fpirit ■, his figures have fome degree 
 of elegance ; his draperies are broad, and the back-grounds of his pictures are 
 enriched with architecture, and landfcape, in a good tafte. As he always 
 ftudied and copied nature, his colouring was warm, agreeable, and natural ; and 
 
 * Mr. Defcamps, by fome unaccountable overfight, in his fecond volume, page -35, mentions 
 Peter Eykens the Old, as being born in 1599, the year «of his death unnoticed ; and in the third 
 volume, page 286, he mentions the fame Peter Eykens the Old, as being born in 1650, and 
 appointed director of the academy at Antwerp, in 1639 ; and yet, although he makes one of thefe 
 painters older by half a century than the other, it is evident that he means, or at Ieaft defcribes, 
 but one and the fame perfon, as he enumerates their works, and afcribes the very fame works to 
 both ; which may appear from the following extracts. 
 
 According to Defcamps. 
 The works of Peter Eykens the Old. The works of Peter Eykens the Old. 
 
 Born 1599, vol. ii. p. 35. Born 1650, vol. iii. p. 286. 
 
 S. Catharine difputing againft the Pagans. S. Catharine difputing d°. 
 
 The Laft Supper. The Laft Supper. 
 
 S. John preaching, &c. S. John preaching, &c. 
 
 Xavier baptizing a Pagan King, which Xavier baptizing a Pagan King, which 
 is in the Jefuits church at Mechlin ; is in the Jefuits church at Mechlin ; 
 
 and another of Xavier reftoring a dead and another of Xavier reiloring a dead 
 
 body to life. body to life. 
 
 D d to 
 
FAB [204] FAB 
 
 to his carnations he always gave a great deal of delicacy, particularly to the 
 carnations of his nymphs, and his boys. 
 
 He painted Subjects in one colour, fuch as bafib-relievo's, and vafes of 
 marble, extremely well ; and frequently he was employed to infert figures in the 
 landscapes of other matters, as he defigned them correctly, and adapted them 
 to the different fcenes, with propriety, and judgement. 
 
 A fine compofition, reprefenting the Laft Supper, painted by Eykens, is to- 
 be feen in St. Andrew's church at Antwerp ; and in another church is a grand 
 altar-piece, of which the fubject is S. John preaching in the Defart, exceedingly 
 well executed. 
 
 F. 
 
 Gentile da FABRIANO. 
 
 Painted Hijiory. 
 Died 141 2, aged 80. 
 
 This mafter was born at Verona, in 1332, and was a difciple of Giovanni da 
 Fiefole. In that early age of painting he rendered himfelf very famous, and 
 was employed to adorn a great number of churches and palaces at Florence, 
 Urbino, Siena, Perufia, and Rome, but particularly in the Vatican •, and one 
 picture of his, reprefenting the Virgin and Child, attended by Jofeph, which is 
 preierved in the church of S. Maria Maggiore, was highly commended by 
 Michael Angelo. 
 
 By order ot the Doge and Senate of Venice, he painted a picture in the great 
 council chamber, which was confidered as fo extraordinary a performance, that 
 his employers granted him a penfion for life, and conferred on him the higheft 
 honour of their Hate, which was, the privilege of wearing the habit of a noble 
 Venetian. 
 
 His beft works, were thofe which he executed in the early, and middle part of 
 his life; becaufe, in the decline of his years, he grew paraly tick, and his pencil 
 became unfteady. Giacomo Bellini was his difciple. 
 
 Charles FABRICIUS. 
 
 Painted Perfpetfive, and Portrait. 
 
 Died 1654, aged 30. 
 
 He was born at Delft, in 1624, and was efteemed the beft artift of his time 
 in pcrfpective ; he was alfo accounted a good painter of portrait. As he had a 
 very promifing genius, the connoiffeurs conceived the higheft expectations of 
 his becoming an ornament to his profefifion ; but, unhappily having his dwelling 
 houfe at Delft, near the great powder magazine, itfuddenly blew up, and he was 
 killed in his chamber, while he was intent on his work; and along with him was 
 killed Matthias Spoors, his difciple. 
 
 1 Pietro 
 
F A C [ 205 ] F A C 
 
 Pietro FACHETTI. 
 
 Painted Portrait. 
 
 Died 1613, aged 78. 
 
 He was born at Mantua, in 1535, and went to Rome to ftudy after the works 
 of thofe great matters, whofe paintings have embellifhed and enriched that city. 
 His genius directed him principally to portrait painting, and he gradually 
 arrived at ib eminent a degree of merit in that branch, that he might almoft be 
 compared v/ith Scipio Gaetano. 
 
 Mod of the nobility of Rome, and particularly the ladies of diflinction, were 
 painted by his hand •, and his portraits were generally commended, for having 
 a lively refemblance of the perfons •, for being elegant in the defign j and for a 
 lovely tafte with which they were executed. 
 
 Pietro FACINI. 
 
 Painted Hijlory. 
 
 Died 1602, aged 42. 
 
 He was born at Bologna, in 1560, where he accidentally happened to be a 
 difciple of Annibal Caracci •, having acquired that advantage by an uncommon 
 incident, which introduced him to the acquaintance of Annibal, and eftabliihed 
 a durable friendfiiip between them. 
 
 As Facini palled by the houfe of Annibal, he had the curiofity to go into the 
 academy of that famous mafter, to look on his difciples, drawing, and defigning ; 
 and while he was attentively engaged in obferving their work, he feemed fo 
 wrapped up in deep meditation, that one of the fcholars, out of drollery, drew 
 the likenels of Facini with black chalk, and in a ftrong character of Caricature. 
 
 The drawing was immediately handed about among the difciples ; to the 
 univerfal mirth of the fociety, and the mortification of him who was made the 
 fubject for ridicule. But, when at laft the caricature was fhewn to Facini, and 
 he faw the real caufe of fuch extravagant buffoonery •, he took up a piece of 
 charcoal, and although he never had learned to draw, or defign, he fketched the 
 likenels of the perfon who had turned him to ridicule, fo ftrongly, and in fo 
 ludicrous a manner, that the fubject for laughter was intirely changed •, and 
 Annibal, ftruck with admiration, to fee fuch an uncommon effort of genius, 
 generoufly offered to be his inftructor in the art. 
 
 He foon made a wonderful progrefs, under fo ingenious a preceptor, and in a 
 fhort time furpaffed all the other difciples, fo as to become the object of their 
 envy, as he before had been the object of their contempt. He pofTefred a ready 
 and lively invention •, his colouring was exceedingly pleafing •, and his touch 
 was free. His attitudes werejuft, and well chofen •, the airs of his heads were 
 graceful, and genteel ; and in fome of his compofitions, he fhewed great fkill 
 in dilpofing a number of figures in proper groupes, and giving them actions 
 that were lively, and fpirited. The whole was excellently relieved byjudicious 
 mattes of light and fhaclow •, yet he was fometimes incorrect, and often fhewed 
 too much of the mannerift. 
 
 D d 2 At 
 
F A I [ 206 ] F A I 
 
 At Bologna is feen a large compofition painted by this matter. It reprefents 
 the Marriage of S. Catherine, who is attended by four Saints, the reputed 
 protectors of Bologna. This picture is excellently coloured, and touched in the 
 ityle of Baroccio •, but, it is incorrect in the defign, and there is an appearance 
 of too much of the mannerilt. The boys, in that compofition, are very finely 
 painted ; and their colouring is beautiful, and true. Alfo in the Pembroke 
 collection at Wilton, there is a picture of Pacini, of which the fubject is, Chrift 
 and three difciples, with Mary kneeling, and weeping on account of her brother 
 Lazarus who is dead. 
 
 Vander FAES, Vid. Lely. 
 
 Anthony FAISTENBERGER. 
 
 Painted Land/cape. 
 Died 1722, aged 44. 
 
 He was born at Infpruck, in 1678, and learned the art of painting from one 
 Bouritfch, who lived at Saltzbourg ; but he made the works of Gafpar Poufim 
 and John Glauber his models, and for his farther improvement ftudied nature 
 accurately. He was invited by the Emperor to the Court at Vienna ; where, 
 for a confiderable number of years, he was employed, and greatly refpected ; 
 and when he quitted Vienna, he was engaged fucceflively by feveral of the 
 Princes of the Empire. 
 
 His landfcapes are pleafing, particularly by the elegance of his buildings, 
 which are defigned in the Roman tafte. His fcenes are often folemn, and 
 enlivened by cafcades of water, rivers, and rocks ; his trees are natural, their 
 foliage is touched with fpirit, and his colouring is real nature. He was not 
 expert at defigning figures, and therefore he made ufe of Hans Graaf, and she 
 old Bredael, to paint the figures in thofe landfcapes, with which he adorned the 
 gallery of the Emperor ; and alfo in thofe eafel pictures, which were painted for 
 the cabinets of others. 
 
 Joseph. FAISTENBERGER. 
 
 Painted Land/cape. 
 
 This artift was the younger brother of Anthony, and alfo his difciple-, and 
 during the time that the latter was engaged at Vienna, Jofeph was his afiiftant •, 
 and they afibciated together in molt of the large undertakings, in which Anthony 
 was employed. 
 
 Glauber, and Gafpar Pouflin, were his models, as they had been always the 
 favourite painters of his brother ; and the ltyle, penciling, and colouring of 
 thefe two artifts were fo fimilar, that there is fcarce any difcernible difference in 
 their works. 
 
 Pa olo 
 
FAR [207] FER 
 
 Paolo FARINATO. 
 Painted Hiftory. 
 Died 1606, aged 84. 
 
 He was born at Verona, in 1522, and fuccefiively became the difciple of 
 Antonio Badile, and of Nicolo Golfino. 
 
 His tafteofdefign was excellent, his imagination was fruitful, and he had a 
 fine invention •, fo that in many refpects he was an admirable matter ; but he 
 was not often very happy in his colouring. Yet, the picture which he painted 
 for the church of S. George at Verona, which is carefully preferved there to 
 this day, is much fuperior in refpect of colouring, to molt of his performances, 
 and in many particulars is fo truly good, as to be accounted, by very able judges, 
 not inferior to the work of Paolo Veronefe. The fubject of the picture, is the 
 miraculous feeding of the five thoufand •, in which there are a multitude of 
 figures correctly defigned, judicioufiy difpofed, and the attitudes are ealy, 
 natural, and becoming. That picture was defigned, and executed, when he was 
 fcventy-nine years old ; and what is worthy of being remarked is, that he 
 pofiefied the lively powers of his imagination, and his ufual freedom of hand, at 
 fo advanced a period of his life ; and that he retained the ufe of all his faculties 
 to the laft, though he was eighty-four when he died. 
 
 In the Palazzo Sagredo at Venice, is an Ecce Homo by Farinato, in which 
 the head of Chrift hath a character that is inimitably fine. And at Verona, in 
 the church of S. Giovanni in Fonte, is a picture reprefenting the Baptifm of 
 Chrift by S. John, which is in a grand ftyle, and a brdad manner ; but the 
 defign is not very correct, and the colouring is but indifferent, being too brown. 
 
 Orazio FARINATO. 
 
 Painted Hiftory. 
 
 He was born at Verona, and was the fon and difciple of Paolo, whofe ftyle 
 and manner he ftudioufly imitated •, and by the promptnefs of his genius, he 
 compofed with fo much fpirit, and elegance, that the beft judges conceived the 
 moft fanguine hopes, of his arriving at a high degree of perfection j but, he 
 died very young, univerfally regretted. 
 
 In the church of S. Stephen at Verona, feveral noble paintings bythismafter 
 are preferved, and they are extremely admired. 
 
 Il FATTORE. Vid. Francesco Penni. 
 FELTRO. Vid. Morto da Feltro. 
 
 Francis Paul F E R G, or F e r g u e. 
 
 Painted Land/capes with Ruins, and Converfations. 
 Died 1740, aged 51. 
 
 This painter was born at Vienna, in 1689 •, and his father, who was a painter, 
 of very mean abilities, placed him with another artift, not much more capable 
 
 5 of 
 
PER [ 208 ] F E R 
 
 *of giving him profitable inftruclions ; under whom Ferg patiently practife.1 for 
 four years; till his father, apprehenfive of the inability -of his fon's director, 
 took him under his own care, and fet him to defign, and compofe, hiftorical 
 fubjects. He appeared particularly fond of the prints of Callot, and Le Clerc, 
 from which he certainly had received confiderable improvement ; but, he was 
 diverted from his attachment to thofe deli /nets, by perfons of tafte and 
 judgement, who reprei'ented to him, that the figures in thole prints were too 
 minute for a young artift to ftudy ; and that it would conduce more to his 
 advantage, to form his hand by defigning figures in a large, than in a fmall fize. 
 He learned afterwards from Hans Graaf at Vienna, the manner of defigning 
 figures ; but he preferred Orient, a fine painter of landfcape, to Graaf, and 
 lived with him for three years. 
 
 His tafte being thus fixed, by the afliftance of able mailers, and his own 
 happy genius being aided by conftant ftudy, and practice, he gained the efteem 
 of the bell judges, who wiftied to detain him in Germany, as an ornament to his 
 own country; but, his defire to travel induced him to quit Vienna, in 1718. 
 Hefpent fome time at the Court of Bamberg, where his merit foon procured 
 him admirers, riches, and credit; and afterwards he vifited Drcfden in company 
 with Alexander Thick a very dillinguilhed landfcape painter, in whole pictures 
 Ferg inferted the figures, and animals, which added extremely to their beauty, 
 as well as their value. 
 
 From Germany he went to London, where his extraordinary talents rendered 
 him univerfally admired ; and in that city he might have lived in the highefk 
 efteem, affluence, and honour, if, by an indifcreet marriage, he had not beea fo 
 effectually depreflcd, that he was ever after involved in difficulties. The 
 neceffities which aroie from his domeftick troubles, compelled him to diminiih 
 the prices of his paintings, to procure an immediate fupport ; and as thole 
 necefiities increafed, his pictures were ftill more lunk in their price, though not 
 in their intriniick value. Ey a feries of misfortunes he was overrun with debts, 
 and purfued by his creditors; but to prevent nimfelf from falling into their 
 hands, he v/as conllrained to fecrete himfelf in different parts of London, (jo that 
 his profecutors never difcovered him, till death put it out of their power to add 
 to his diftrefies. 
 
 It is reported, that he was found dead at the door of his lodging, apparently 
 exhaufted by cold, want, and mifery, to fuch a degree, that it feemed as if he 
 had wanted ftrength to open the door of his wretched apartment. 
 
 The ftyle of this matter was much in the tafte of Berchem and Wouwermans ; 
 his fubjects were the amufements, feafts, or employments of peafants, and 
 fometimes markets in publick ftreets, or on the ihores ; he adorned his landfcapes 
 with elegant ruins, fclected, and executed in a grand tafte ; and he was often fo 
 exact, as toexprefs perceptibly the difference between the hewn (tone, and the 
 polifhed furface of the marble. His colouring in his firft time, had all the force 
 and ftrength of the Italian mailers •, but, when he had ftudied nature with more 
 deliberation, he avoided the appearance of being a mannerift ; and in his 
 imitations adhered to that only, which feemed to have the greatcft truth. His 
 colouring is always fweet, clear, and agreeable ; his touch light, and delicate ; 
 his compofition full of fpirit ; and every figure hath exprefilon, and elegance. 
 His defign is con cot ; but, his horfes have riot the beauty, life, or correctnefs of 
 
 Wouwermans, 
 
FER [209] FER 
 
 Wouwermans, who was inimitable in the exactnefs of the outlines, actions, and 
 attitudes of thofe animals. 
 
 He etched well with aqua fortis, and his prints of that kind are fought for 
 eao-erly by the curious. The greateft part of his works are in London and 
 Germany, and they now bear fuch a price, as is the moft infallible evidence of 
 their real merit. 
 
 William FERGUSON. 
 Painted Dead Birds, and Still Life. 
 Died about the Tear 1690. 
 
 He was a native of Scotland, who learned the rudiments of the art in his own- 
 country, and fpent feveral years afterwards in Italy and France. The fubjects 
 which he generally painted were dead fowls, and particularly pigeons and par- 
 tridges ; and fometimes he painted dead animals, as hares, and rabbits, befides 
 other objects of ftill life. 
 
 No painter in thatftyle, could have a more neat pencil, nor finifh his pictures 
 with greater tranfparence. His objects, of whatever kind they are, have always 
 abundance of truth and force, as nature was his perpetual model ; they are 
 grouped with fingular eafe, and fkill ; and by his knowledge of the true prin- 
 ciples of the Chiaro-Scuro, he diftributed his lights in a powerful, and frequently 
 in a furprifing manner. 
 
 Nuzio FERAJUOLI. 
 Painted Land/cape. 
 
 This painter was a difciple of Luca Giordano, born in 1661 ; but, his genius 
 directed him to the ftudy of landfcape-painting, and enabled him to arrive at the 
 greateft excellence in it. Under that great mafter, he learned to defign hiftorical 
 figures, with remarkable correctnels •, and he adorned his own pictures with 
 figures of an elegant defign, which he dilpofed with tafte, and propriety. 
 
 He ftudied the different beauties of Paul Bril, Albano, Pouffin, Salvator 
 Rofa, and Claude Lorraine ; and by a commendable ambition to imitate thofe 
 admired artifts, he formed a ftyle of his own, that was exceedingly agreeable ; 
 and became univerfally admired, for the fweetnefs of his colouring •, for his 
 lovely fituations, and diftances -, for apleafing mixture of tendernefs and force ; 
 for the beauty of his flues, and the tranfparence-of ids waters. 
 
 Giovanni Andrea FERRARI, or de Ferrara. 
 
 Painted Hiftory, Land/cape, Animals, Fruit, and Flowers. 
 
 Died 1669, aged 70. 
 
 He was born at Genoa, in 1599, and was a difciple of Bernard Caftelli ; but, 
 in order to obtain a more extenfive knowledge in his profeflion, he ftudied 
 afterwards for fome time under Bernardo Strozzi. 
 
 His 
 
FER [210] FET 
 
 His application was attended with fuccefs, for he at laft attained to fuch a 
 degree of excellence, that he was equally expert in painting hiftory, landfcape, 
 fruit, animals and flowers ; and thofe fubjefts he finifhed in a fmall fize, but 
 with extraordinary beauty and exaftnefs, fo that few of the princes or nobility 
 of his time, were fatisfied without poffefiing fome of his compofitions. 
 
 Benedetto Cafliglione was his dilciple. 
 
 FERRATO SASSO. Vid. Saui. 
 
 Ciro FERRI. 
 
 Painted Hijiory. 
 
 Died 1689, aged 55. 
 
 This excellent painter was born at Rome, in 1634, and was a dilciple of Pietro 
 da Cortona •, in whofe fchool he very foon appeared in a diltinguifhed light, and 
 (hewed that he pofleffed an elevated and noble genius. He was indefatigable 
 in lludy, and in practice, and uncommonly attentive to improve his mind by 
 readiiv hiftory, (acred and profane ; by employing his hand incefiantly in 
 defigiwnd colouring •, and alio by treafuring up in his memory every precept 
 and C oblervation of his ingenious mailer. 
 
 The defigns of Ciro Ferri are very correct, and his ordonnance is truly great ; 
 his tafte, ftyle, ideas, compofuion, and colouring, are intirely like Cortona •, 
 of which he gave a furficicnt manifeftation, by finifliing one of that mailer's 
 delifns left itnperfecl: in the palace of Pitti at Florence ; and indeed, his works 
 are frequently taken for the hand of Cort )na. He had the fatisfaction, to 
 receive the highell prices for his paintings, which was a publick acknowledge- 
 ment of his merit •, and he had alfo as much employment, as he could poflibly 
 undertake, or execute. His works, as well as his reputation, are ipread through 
 every polite part of Europe ; and they are a principal ornament of the churches, 
 the cabinets, and grand apartments of the firft nobility. 
 
 By the Duke of Tulcany he was engaged in many confiderable defigns for 
 cielino-s, and l'alons ; and he had the h^nuiir of being intruded, to finifh feveral 
 noble°compofitions begun by Cortona •, which he executed fo much to his 
 mailer's honour, and his own, that the whole work appears to be only by one 
 hand. 
 
 Domenico FET I, or Fetti. 
 
 Painted Hijiory. 
 
 Died 1624, aged 35. 
 
 He was born at Rome, in 1589, where he became a dilciple of Ludovico 
 Cio-oli •, and in many parts of his art had an abundance of merit. From Rome 
 he went to Mantua, and having there obtained the patronage of the Cardinal 
 Gonzague, who generoufly iupported him, he applied himfelf afiiduoufly to 
 
 lludy 
 
F E V [ 211 ] F I A 
 
 ftudy the works of Julio Romano ; and by that means acquired a beautiful tafte 
 of defign, and a boldnefs in his characters, though he never arrived at the 
 correclnefs of that great genius. 
 
 There is a great deal of force in the works of Feti, yet he fometimes is too 
 black ; but, he exprefied the palTions of the foul, in a manner that was 
 remarkably ftrong ; and had a certain mellownefs in his colouring, which is 
 extremely pleating to a judicious eye. Moll of his performances are eafel 
 pieces, as he worked but very little for churches, or convents ; yet, his 
 paintings are moll exceedingly fcarce, and are as eagerly fought after by the 
 connoifleurs. 
 
 Roland le FEVRE. 
 
 Painted Portraits, and naked Figures. 
 Died 1677, aged 69. 
 
 He is diftinguifhed by the name of Le Fevre de Venice ; but, he was in no 
 great efleem either for his attitudes, or likenefles, in portrait. He was 
 accounted a better defigner than painter, and was molt remarkable for his 
 curious method of flaining marble. 
 
 Claude le FEVRE. 
 
 Painted Portraits, Flowers, and facredSubjecls. 
 
 Died 1675, aged 42. 
 
 He was a native of France, born in 1633, who principally painted portraits, 
 and was in much efleem among his own countrymen. He painted flowers 
 extremely well, and fometimes hiftorical fubjects, but, his greatell merit was in 
 the former ; however, he followed his profeffion in London with good fuccefs, 
 for feveral years, and died in that city. 
 
 Domenico FIASELLA, called Sarezana. 
 
 Painted Portrait, and Hijlory, 
 Died 1669, aged 80. 
 
 He was born near Genoa, in 1589, and was called Sarezana from the place 
 of his nativity. At firil he was a difciple of Aurelio Lomi, and afterwards of 
 Battifta Pagi ; but he went to Rome for his improvement, and there ftudied 
 after the bell of the modern mailers, and the ftatues of the antient. By that 
 judicious method he obtained an excellent tafle of defign, which enabled him 
 to paint in conjunction with Paffignano, and Giuieppe D'Arpino, and to 
 ellablifh a good reputation. However, his greatell excellence confided in 
 painting portraits, which he executed with a remarkable juilnefs of character, 
 and with abundance of life. 
 
 Giovanni da FIE SOLE. Vid. Giovanni Angelico. 
 
 Ec Ambrogio 
 
FIG [ 212 ] FLA 
 
 Ambrogio FIGINO. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1590. 
 
 This mafter was bom at Milan, and was a difciple of Giovanni Paolo 
 Lomazzo •, but, although he learned hiftorical compofuion under his director, 
 and was very well qualified to expect fuccefs in that Ityle ; yet he devoted his 
 whole (ludy and attention to portrait painting, in which at laft he eminently 
 excelled. Thofe fubjects he worked up to the greateft perfection, as well for 
 the refemblance, as for expreffion, and colouring •, and it is attefted by writers 
 that his pictures were valued at a very large price, the richeft princes of Italy 
 exprefling an ambition to be perpetuated by his pencil. At Wilton, in the 
 collection of the Earl of Pembroke, there is a Delcent from the Crofs, painted 
 by this mafter. 
 
 FIORAVANTI. 
 
 Painted Still Life. 
 
 The fubjects which were painted by this attift, were carpets, vafes, mufical 
 inftruments •, and fuch fort of objects •, and thole he imitated with fo great 
 truth, and refemblance of nature, fuchexactnefs of colour, fuch roundnels and 
 relief, that he was efteemed as one of the beft in his profeffion, in that ftyle of 
 painting. 
 
 FIORI. Yid. Mario Nuzzi. 
 
 Bertholet FLAMEEL, or Flamaei. 
 
 Painted Hijiory, and Portrait. 
 
 Died 1675, aged 61. 
 
 He was born at Liege, in 1614, and received his firft inftruction from one 
 Trippes an indifferent painter •, but afterwards he was more effectually improved 
 by Gerard DoufReit, who had juft returned to Liege from Italy. At the age of 
 twenty-four he travelled through Genoa, Milan, Florence, and feveral other 
 cities of Italy ; but his arrival at Rome amply recompenced him for the labour 
 of his journey. In that city he ftudied to great advantage, and copied the beft 
 works of the beft mafters ; by which he acquired a tafte fo elevated, that it 
 diftinguiftied him throughout Rome, and recommended him to the court of 
 Florence •, to which he was honourably invited by the Grand Duke, and' 
 employed in feveral magnificent works, which eftablifhed him in the efteem of 
 that prince, and procured him general applaufe. 
 
 After nine years abfence he returned to his native city, and to confirm the 
 high opinion which his countrymen had conceived of his abilities, he painted a 
 Crucifixion for the collegiate church of S. John, is which he introduced a. 
 
 pro- 
 
F L I [ 213 ] F L I 
 
 prodigious number of figures, officers, foldiers, and fpectators, yet the compe- 
 tition is not confufed. 
 
 In the midft of wealth, pofiefied of publick and private efteem, and of every 
 other circumftance that could render life comfortable, he was feized with an 
 unaccountable melancholy and dejection of fpirits, which inceflantly opprefled 
 him, till it occafioned his death ; and many perfons believed his diforder to 
 have been occafioned by poifon adminiftered to him by one Brinvilliers, who 
 had been his intimate companion. 
 
 This mafter had an excellent genius, a lively imagination, and a noble tafle 
 for hiftorical compofitions. He was Angularly lkilled in antiquities, and in all 
 his defigns ftrictly oblervant of the coftume. His pictures ufually are enriched 
 with portico's and colonnades, as he was an accomplished architect ; his choice 
 of nature was elegant, his expreffion lively, and his pencil delicate. His 
 colouring was exceedingly good, and his tafte of defign was intirely of the 
 Roman lchool, as well in regard to correctnefs, as to the objects which he chofe 
 to reprefent. 
 
 In the cupola of the barefooted Carmelites at Paris, he painted, in frefco, 
 Elijah afcending to Heaven in a Chariot of Fire, and Elifha below, with his 
 arms extended, to catch the mantle of the prophet. At Liege are feveral 
 grand altar-pieces, among which one in St. Paul's church, defcribes the Conver- 
 fion of that Saint ; and in the cathedral there is another by this mailer, 
 reprefenting the Refurrection of Lazarus. 
 
 Govert FLINK, 
 
 Painted Portrait, and Hiftory. 
 Died 1 660, aged 44. 
 
 He was born at Cleves in 1616, and by the appointment of his father was to 
 have been bred up in a mercantile way ; but neither the influence of his friends, 
 nor the profpect of making an immenfe fortune, could prevail with him to 
 abandon the art of painting, to which from his earlieft youth he felt an invincible 
 inclination. He was firlt placed with Lambert Jacobs •, under whom he made 
 an extraordinary proficiency, by being ftudioufly diligent, by having a ftrong 
 natural genius, and alfo by being emulous to excel Backer, who happened to 
 be a difciple of Jacobs at the fame time. When he quitted his mafter, he went 
 to Amfterdam, and entered himfelf in the lchool of Rembrant -, where he became 
 fo thoroughly captivated with the excellencies of that great artift, that he ftudied 
 the ftyle of compofition, the manner of colouring, and the penciling of 
 Rembrant inceflantly •, and at laft fhewed himfelf not only a good imitator of 
 him, but in fome refpects his equal, and in freedom of hand rather his 
 fuperior. 
 
 Very foon he rofe into high reputation, and was altnoft continually employed 
 in painting the portraits of princes, and illuftrious perfonages, although his 
 genius was abundantly more inclined to paint hiftorical fubjects ; and feveral of 
 his performances in that ftyle, were admired for the goodnefs of the defign, and 
 the beauty of the colouring. He remarkably excelled in imitating the manner 
 of Rembrant, and many of his paintings are fold at this day, for the work of 
 his mafter. 
 
 E e 2 But, 
 
f L I [ 214 ] FLO 
 
 But, as the Italian tafte began to be more noticed by the Flemifh artifts, and 
 much more efteemed after the death of Rembrant, Flink took great pains to. 
 alter his firft manner. For which purpofe he made a large collection of the 
 fined calls that could be procured from Rome ; of the bed drawings and defigns 
 of the artifts of Italy •, as alfo of feveral of their paintings •, and thofe he made 
 his principal ftudies. When he imagined himfelf to be competently improved, 
 he finifhcd a noble defign for the great hall of the lenate-houfe at Amfterdam, 
 reprefenting Solomon praying for Wifdom •, in which his difpofition, and 
 manner of grouping the figures, appear excellent, and the tone of the colouring 
 is ftrong, and lively. He likewife painted a grand hiftorical compofition, for the 
 artillery-company at Amfterdam, confifting of portraits of the mod dif- 
 tinguifhed perfons of that body. The figures were well difpofed, and every 
 part of the picture was painted by Flink, except the faces, which, at Flink's re- 
 commendation, were painted after the life by Vander Helft. 
 
 He died young, and much regretted ; and, after his death, his collection of 
 prints and drawings were fold for twelve thoufand florins. It is obferved, that 
 in the painting- room of this mafter, the light was admitted from above, through 
 a kind of dome. 
 
 Stephano FLORENTINO. 
 
 Painted Hiftory. 
 
 Died 1350, aged 4.9. 
 
 This very antient mafter was born at Florence, in 1.30 1, and became the dif- 
 ciple of Giotto ; but he ftudied at Rome after the antiques, and employed 
 himfelf particularly in defigning heads, and naked figures. By which means he 
 acquired the habit of giving a great variety of attitudes to his figures, as well as 
 a natural and ftrong expreffion, and agreeable airs to his heads. As he had ob- 
 ferved in die defigns of other mafters, a confiderable defect arifing from the 
 encumbrance of draperies, which too much concealed the limbs of the figures, 
 he ftudied to fhew the naked under its covering, and he is accounted the firft 
 of the modern painters who attempted that manner. 
 
 He had a fruitful invention, and defigned with extraordinary readinefs, and 
 freedom ; in which refpect he was fuperior to Giotto, or any of his cotempo- 
 raries, according to the judgement of Vafari -, and it is an addition to the fame 
 of Stephano, that he praftifed perfpective with a greater degree of regularity,., 
 than any other artift in that early age of painting. 
 
 At Pifa he finilbed in frefco, the Transfiguration •, in which the draperies of 
 the apoftles are diftributed in fuch folds, as difcovered the pofition of the limbs •„ 
 a circumftance, which at that time was confidered as a new, and elegant difco- 
 verv, unattempted by any preceding painter. And, in another defign, defcrib- 
 ing the difpoficiling of the Lunatic, he introduced a building, and a range of co- 
 lumns, apparently formed according to the rules of perfpective, of which few, or 
 none, of his predeceftbrs had any diitinct conception. 
 
 Francis 
 
FLO [215] FLO 
 
 Francis F L O R I S, called the Raphael of Flandres* 
 
 Painted Hiftory. 
 Died 1570, aged 50. 
 
 He was bom at Antwerp, in 1520, and till the twentieth yearof his age prac- 
 tifed as a fculptor ; but having a fuperior fondnefs for painting, he changed his 
 profefilon, and placed himfelf under the direction of Lambert Lombard ; whofe 
 manner he always followed, and imitated him fo well, that it is no eafy matter to 
 diftinguifh the work of one artift, from the work, of the other. When he had 
 continued for fome years with Lambert, he travelled to Rome, and there de- 
 figned after the antiques •, but principally ftudied the works of Buonaroti, and- 
 in particular his Laft Judgement, which he copied in a free, and bold manner, 
 his contours being finely marked ; and thole defigns which he made at Rome, 
 although often too fharp, and divided into too many minute parts, were not- 
 withftanding, often very delicate. 
 
 At his return to Antwerp, he furprized the artifts of his time, by his tafte of 
 defign, which was much more correcl, and by his manner of compofition, which 
 was very different from the manner of his countrymen •, and his performances 
 gained him the honour of being called the Raphael of Flandres. His works at 
 that time were in great efteem, he grew rich, and might have been continually 
 employed by moft of the Princes of Europe, if his love of excefllve drinking had 
 not funk him into contempt. 
 
 He generally gave great roundnefs to his figures ; and though they were fo 
 well handled, as to bear a near infpecf ion, yet, at a diftance, new beauties are 
 frequently to be difcovered. His readinefs of hand was remarkable, and his 
 pencil feemed as quick as his invention ; of which he gave an inconteftable 
 proof at the entry of Charles V. into Antwerp •, for, being engaged to paint the 
 triumphal arches for that grand ceremony, and having feven figures as large as 
 life to finifh in one day, he executed that number in feven hours. 
 
 In the confraternity-hall of S. Michael, at Antwerp, there is a noble defign of 
 Francis Floris. The fubjeft is the Fall of Lucifer ; and it is highly celebrated 
 for the goodnefs of the compofition and handling, for the variety of attitudes in 
 the fallen angels, and for the itrong expreffion of the mufcles in the naked 
 figures. Every part of it contributes to give the beholder a grand idea of the 
 merit of the mafter, the extenfivenefs of his genius, and the livelinefs of his ima- 
 gination. And in the fame church is preiecved an Afiumption of the Virgin, no 
 way inferior to the other,, either in defign or colouring, and the draperies are 
 well call. 
 
 He had a bold and ftrong manner like the model he chofe to imitate* and was 
 apt, like Buonaroti, to make the mufcular parts too full •, but his tone of co- 
 louring was very pleafing. He invented and compofed with eafe ; but he had 
 fomewhat dry in his manner, and his figures have a certain ftiffnefs, though 
 they alfo frequently have ari agreeable turn. 
 
 PR SP-E.R.O. 
 
F O N [ 216 ] F O N 
 
 Prospero FONTANA. 
 
 Painted Hijtory. 
 
 He was born at Bologna, in 1512, and derived his knowledge in the art o* 
 painting from Innocenzio da Imola. He was accounted to have a fine in" 
 vention, and his tafte of defign was elegant; but the moft remarkable honour 
 he acquired, arofe from his being the mafterof the two moft celebrated painters 
 of their age, Ludovico and Annibal Caracci. 
 
 He underftood perfpeftive thoroughly, and his ufual fubjefts were hiftories 
 taken from facred and profane authors, with which he adorned many churches 
 and chapels of Bologna, and other cities of Italy. 
 
 Lavinia FONTANA. 
 
 Painted Portrait, and Hijtory. 
 
 Died 1602, aged 50. 
 
 This paintrefs, the daughter of Profpero Fontana, was born at Bologna, in 
 1552, and learned the art of painting from her father. Her inclination led her 
 principally to paint portraits, and having obtained the honour of painting that 
 of Pope Gregory XIII, fhe fucceeded fo well, as to obtain the patronage of 
 that eminent perfon. 
 
 She was accounted to have a very high degree of merit in her profeflion ; 
 and being favoured by the Pope, fhe had an abundance of employment from 
 all the nobility of Rome. She alfo painted hiftorical fubje&s with extraordi- 
 nary applaufe ; for, it was confidered almoft as a prodigy, to fee fuch lovely 
 and natural colouring, fuch a tafte of compofition, and fuch expreflion in the 
 works of a female artift. 
 
 However, fhe happened to fail of fuccefs in one grand hiftorical fubjecl, which 
 made her determine to paint only portraits for the future, and in that ftyle fhe 
 had no competitor. 
 
 John Baptist Blain de F O N T E N A Y. 
 
 Painted Flowers, and Fruit. 
 
 Died 1 7 15, aged 61. 
 
 He was born at Caen in Normandy, in 1 654, and was taught the art of paint- 
 ing by John Baptift Monnoyer. He painted fruit, flowers, and infefts ex- 
 tremely well ■, and his general manner was, to paint vafes ornamented on the 
 lides with figures in bas-relief. Thofe vafes he likewife decorated with feftoons 
 of flowers in an elegant tafte, and grouped them with a great deal of judgement. 
 He was much employed by Lewis XIV, particularly at the Gobelins, and died 
 in the fervice of that monarch. 
 
 G 1 ROL A MO 
 
F^O R [ 217 ] F O S 
 
 Girolamo FORABOSCOJ 
 Painted Hijlory, and Portrait. 
 
 He was born at Venice, about the year 1600, and was efteemed an admirable 
 artift, as well for the lively and natural tint of his colouring, as for his exquifite 
 touch, and freedom of hand. 
 
 He was particularly remarkable for one excellence, which was, that with a 
 fingle call of his eye, on any perfon whofe portrait he intended to draw, he could, 
 by the power of his imagination, and the ftrengthof his memory, draw it lb ex- 
 ceedingly like, as to have that perfon known at the firft fight. His paintings 
 were fo furprizingly coloured and finifhed, that they were laid to be worked by 
 magick. Several hiflorical compofitions, and fome of his portraits, are pre- 
 ferved in Venice as curiolities. The laft of his performances which are men- 
 tioned, are a portrait of the Doge Contarini, painted in 1655, and another of 
 the Doge Peiaro, in 1659. 
 
 In the Palazzo Sagredo at Venice, among a great number of capital paintings 
 by the beft mailers, there is an old man's head, which feems to be a portrait of 
 fome perfon of eminence, painted by Forabofco ; and it is in every refpedl ad- 
 mirable, as to colouring, rinifhing, and character, full of nature, truth, and 
 expreffion. 
 
 John Baptist FOREST. 
 
 Painted Land/cape, and Hiftory. 
 Died 1 71 2, aged j6. 
 
 He was born at Paris, in 1636, the fon of a painter, who taught him the ru- 
 diments of the art ; but, being not far advanced in the knowledge of his pro- 
 feflion, by thofe inftruftions which he received at home, and alfo being very de- 
 firous to obtain farther improvement, he went to Rome, and placed himfelf as a 
 difciple with Francefco Mola. 
 
 He ftudied diligently, and formed his tafte of landfcape on the manner of 
 his mailer ; but, although he had, in fome particulars, a confiderable fhare of 
 merit, yet he proved very far inferior to his model. His trees were defigned 
 and touched in a mafterly ftyle, and moft of his fituations and fcenes were taken 
 from nature •, but his colouring was by no means agreeable, being often toe* 
 black, though his penciling was free, and very bold. 
 
 Charles la FOSSE. 
 
 Painted Hiftory, and Landfcape. 
 
 Died 1716, aged 76. 
 
 This painter was born at Paris, in 1 640, where he became a difciple of 
 Charles le Brun ; but, when he had been directed by that mailer for fome years,, 
 by the bounty of Lewis XIV, he was enabled to vifit Italy, and finifhed his 
 ftudies at Rome, and Venice. He had not as much fuccefs in acquiring cor- 
 rectnefs, and a true elegance of tafte in defign, in the Roman fchool, as he had 
 
F O S [ 218 ] F O U 
 
 in improving his ftyle of colouring in the Venetian ; for, thofe matters which he 
 particularly endeavoured to imitate, were Titian and Paolo Veronefe, and by at- 
 tending to their works, he became a good colon rift, and rofe intoefteem. 
 
 He was always fond of grand compofuions, and his abilities in that way pro- 
 cured him confiderable employment in the royal palaces, and among the nobility 
 of France •, and in London, he adorned Montaguc-houfe with fome of his com- 
 pofuions, in conjunction with Baptift, and RoufTeau. The defigns of two ciel- 
 ings painted by La Foffe, are the Apotheofis of Ifis, and an AfTembly of 
 the Gods. 
 
 Though he was confiderably employed at Verfailles, Trianon, and Marly, 
 vet he wanted grandeur in his tafte, and corre&ncfs in his defign; his ftyle of 
 compofition is rather heavy, and loaded ; his figures ufually are too fhort, and 
 his draperies but indifferently caft. The principal merit of La Fofie confifts in 
 his colouring, as in that particular part he aimed at an imitation of Veronefe, 
 and Rubens •, yet, even his colouring had but a very remote relemblance to that 
 look of nature, which is always obfervable in the works of thofe great artifts. 
 
 James F O U QJU I E R E S. 
 
 Painted Landfcape. 
 
 Died 1659, a l {i 79- 
 
 He was born at Antwerp, in 1580, and at firft was a difciple of Jodocus 
 Mompert, but afterwards of John Brueghel, called Velvet Brueghel ; however, 
 he formed to himfelf a manner more true than that of his mafter, and more like 
 nature, though much lefs highly finifhed. He became an incomparable painter 
 of landfcape, and, by fome good judges, his pictures are confidered, as being 
 worthy of ftanding in competition with thofe of Titian •, the principal difference 
 confifting in the difference of their fcenery, rather than in any difparity of co- 
 louring, or handling. Both artifts painted on the fame principles, and they both 
 had a tone of colouring which was true, regular, and very natural. 
 
 The genius of Fouquieres was excellent •, his figures were correctly defigned, 
 and in an elegant tafte ; and he introduced them in his landfcapes with abun- 
 dance of grace, and probability. He painted equally in a large and a fmall 
 fize; he ftudied and imitated nature happily ; and his paintings fhew a fine 
 effect, a great deal of force, and a proportionable degree of judgement > though 
 fometimes he is thought to be a little too green in his landfcapes. 
 
 He was engaged, and much careffed, at the court of the Elector Palatine, and 
 afterwards ipent feveral years of his life in France ; where his works met with 
 univerfal approbation, and he was proportionably well paid for his paintings. 
 Yet, by fome mifcondud, he funk into poverty, ar.d died in the houfe of an in- 
 confiderable painter, named Silvain, who lived in the fuburbs of Paris. 
 
 He had refided for feveral years at Rome, and Vt nice, where he acquired that 
 excellent ftyle of colouring, and defign, for which he is fo defervedly dif- 
 
 tinmjiftied. 
 
 Bertram 
 
F O U [ 219 ] F R A 
 
 Bertram d e FOUCHIER. 
 
 Painted Portraits, and Converfations, 
 
 Died 16 7 4, aged 65. 
 
 He was born at Bergen-op-Zoom, in 1609, and having difcovered an early 
 genius to painting, his father placed him as a difciple with Anthony Vandyck at 
 Antwerp. But, that matter not having fufficient leifure to attend to the careful 
 inftruction of his pupils, by his inceffant employment ; Fouchier went to 
 Utrecht, and ftudied under John Bylart, with whom he continued for 
 two years. 
 
 When he found himfelf competently advanced in his knowledge of the art, 
 under thofe mailers, he travelled to Rome ; where he ftudioufly examined the 
 curious productions of antient and modern artifts, and attached himfelf to the 
 tafte of Tintoretto, both in compofition and colouring. It is highly probable, 
 that he would have reaped considerable advantage by his fludies at Rome, as 
 he wanted neither abilities, nor affiduity, if he, and his friend Yfendoren, had 
 not been compelled to fly from that city, and retire to Florence ; being threatned 
 by ibme of the inquifitors, to have them punifhed as heretics. 
 
 When he returned to his own country, and followed his profefiion, he foon 
 perceived that the manner of Tintoretto, in which he painted, was not as 
 acceptable to his countrymen, as it had been in every part of Italy, through 
 which he had travelled ; he therefore changed it entirely, and aflumed the ftyle 
 and manner of Brouwer, in which he had extraordinary fuccefs •, and hiscompo- 
 fitions in that way were held in very great efteem. 
 
 Antonio FRANCHI. 
 
 Painted Portrait, and Hijlory. 
 Died 1 yog, aged 71. 
 
 He was born at Lucca, in 1638, and was at firft a difciple of Pietro Paolini, 
 a painter of very good account in that city ; but, when he had ftudied for fome 
 time under him, he preferred the ftyle of Rofelli, and Pietro daCortona, to that 
 of his mafter, and made their works the objects of his mod ftudious attention •, 
 yet, from a defire to improve himfelf full farther, he went to Florence, to place 
 himfelf under the direction of Baldaffare Francefchini. There he acquired a 
 fine tafte of defign, correctnefs of outline, a lovely and natural tint of colour- 
 ing, and rendered himfelf a diftinguifhed painter, both of portrait and hiftory. 
 
 At Florence he was employed to paint the pictures of the Grand Duke, and 
 Dutchefs •, and by the latter was honoured with the title of being her principal 
 painter. Several of the chapels in that city have their altar-pieces painted by 
 him, and moft of the nobility employed him, not only for their portraits, but 
 for hiftorical compofitions. 
 
 F f • Pietro 
 
F R A [ 220 ] F R A 
 
 PlETRO DELLA FRANCESCA, DAL BoRGO SAN SePULCHRO. 
 
 Painted Hijlory, Battles, Portraits, and Night-Pieces. 
 
 * Died 1458, aged 86. 
 
 lie was born at Florence, in 1372, and at the time when he flouriihed, his 
 works were highly eitcemed-, though afterwards two of his belt performances, 
 which were painted in the Vatican by order of Pope Nicholas V, were takea 
 down by Julius II, to make room for two others which were painted by Ra- 
 phael, of which the fubjefts were S. Peter in Prilbn, and the Miracle of 
 Boliena. 
 
 The battles of this antient matter have uncommon fpirit, in the attkudes of 
 his horfes, as well as of his figures •, each of them have good action, good ex- 
 preflion, and a very judicious dilpofition. Moil of his paintings are in Flo- 
 rence, Rome, and Arezzo. One of the mod celebrated of his compofitions, is 3 
 night-piece, in which he reprefents the Emperor Conltantine as adeep in his pa- 
 vilion, attended by his chamberlain, and a few of his guards ; and an angel ap- 
 pearing to him as in a vifion, (hewing him that fign under which he mould 
 fight, and conquer. The light is diffufed from the angelic glory, and diftributed 
 with the utmoft judgement •, fo that the whole had a fine effect, and every 
 thing preferved the appearance of truth and nature. 
 
 He was an author, as well as an artift, and wrote feveral treatifes on geometry,. 
 and other branches of the mathematics, which are repofited in the library of the 
 Duke of Urbino. 
 
 Marc Antonio FRANCESCHINI. 
 
 Painted Hijlory. 
 Died 1729, aged 81. 
 
 Me was born at Bologna, \n< 1648, and was a difciple of Ferdinand Galli, 
 called Bibiena; but heftudied after the naked in the academy, and there gave 
 curly proofs of his ability, and execution. When he had continued under Bi- 
 biena for three years, he determined to improve himlelf, by ftudying the works 
 of thole painters, who are jultly placed in the firlt rank. But, difcreetly consi- 
 dering, that in his future ftudies, he mould Hand in need of a competent guide, 
 to direct him to choofe what might be moll worthy of his notice, and avoid what 
 might be detrimental, he refolved to place himlelf under the care of Carlo 
 Cignani. 
 
 That matter, who fooa difcerned the talents of his pupil, took pains to form 
 him to an elegant tafte of compoficion, correctness of defign, and goodnefs of co- 
 louring. To confirm his judgement, he let before him feveral models of human 
 figures, which had been wrought by different matters of eminence, that he might 
 habituate his eye to what was truly beautiful and elegant in each. By that 
 method of initruction, aided by genius and afiiduity, Francefchini became an 
 
 • The authors of the Chronological Tables fix his death in 1443, at the age of 70, but Vafari 
 fays be died in 145^, at the age of S6. 
 
 excellent 
 3 
 
F R A [ 221 ] F R A 
 
 ■excellent artift, in frefco as well as in oil, being equally applauded for his correct 
 defign, and his admirable colouring, in the manner of Cignani. 
 
 He was employed in embellifhing many churches, and convents, in his native 
 city Bologna, and in other parts of Italy ; and particularly, at Modena, he 
 painted the grand hall of the Duke's palace, fo much to the fatisfaction of that 
 Prince, that he wifhed to retain him at his court by an offer of a large penfion, 
 and fiich honours as were due to his uncommon merit. But, Franceichini pre- 
 ferred his freedom and eafe to the greateft acquifitions, and, with polite reipect, 
 refuied the offer. At Genoa he painted, in the great council-chamber, a defign 
 that at once manifefted the fertility of his invention, and the grandeur of his 
 ideas ; for mod of the memorable actions of the Republic were there repre- 
 fented, with a multitude of figures, nobly defigned, judicioufly grouped and dif- 
 pofed, and correctly drawn. And in the Palazzo Monti at Bologna, is a fmail 
 gallery painted by him, of which the colouring is exceeding lovely, though the 
 figures appear to want roundnefs •, but, his defign is always correct, and truly 
 excellent. 
 
 His figures had as much of nature and truth, as poffibly could be defcribed ; 
 and in all his works, one fees a prevailing elegance, united with a great force of 
 colour, and great fweetnefs. No painter feems to have comprehended the beau- 
 tiful forms of nature, better than Francefchini •, nor to have expreffed the pal- 
 fions of the foul, with more exactnefs and truth. Fie preferved the powers of 
 his mind, and his pencil, unaltered, at a very advanced age ; and when he was 
 even feventy-eight years old, he defigned and coloured his pictures with all that 
 fire and fpirit, for which he had been diftinguifhed in his beft time. 
 
 Baldassare FRANCES CHIN I, called Volterrano. 
 
 Painted Hiftory, Land/cape, and Portraits. 
 
 Died 1689, aged 68. 
 
 He was born at Volterra, in 1 62 1 , and derived his firft knowledge of the art 
 of painting from Matteo Sorella-, but afterwards he became a difciple of Ro- 
 ielli, and fuccefsfully imitated the graceful tafte of defign, as well as the colour- 
 ing and penciling of that great mafter. However, having obferved fomewhat 
 itill more engaging in the colouring of Giovanni da San Giovanni, he ftudied 
 under him for fome time, and at lalf. completed his knowledge, by carefully 
 copying the works of Correggio at Parma. 
 
 He was employed in a vaft number of grand defigns for religious houfes, 
 and chapels •, and was allowed to have a fine invention, either for hiftorical or 
 poetical fubjecls ; a fenfible, and ftrong exprefiion •, and an agreeable manner of 
 colouring. 
 
 He alfo painted portraits in a noble ftyle •, and his landfcapes were univerfally 
 admired, for the delightful fituations which he chofe, and the elegance of his 
 figures, which are always introduced with fingular judgement, and propriety. 
 
 FRANCESCHINO. Vid. Caracci Francesco. 
 
 F f 2 Francesco 
 
FRA [222] FRA 
 
 FRANCESCO, called Franceschiello della Mura. 
 
 Painted Hijlory. 
 
 He was the difciple of Solimena, and fpent fcveral years under his direction ; 
 but, although he had fo admirable an example and inftructor, he did not 
 acquire many of the excellencies of that mafter. His manner of defign was 
 correct, and his touch fpirited •, yet his colouring was but indifferent, and though 
 not difagreeable, it had no great effect. 
 
 Three paintings by this mafter are in the principal church at Capua •, but 
 the molt confiderable of them is the grand altar-piece, reprefenting the An- 
 nunciation, which hath many imperfections, though feveral parts are worthy of 
 commendation. The attitudes and drefs of his figures fhew ingenuity and ele- 
 gance ; the folds of the draperies are large and full, and the groupes are well 
 connected ; yet the whole colouring is rather too gaudy, and too much like fan- 
 painting, a defect very frequently obfervable in the works of other modern 
 Italian artifts. 
 
 Francesco FRANCIA. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1 5 18, aged 68. 
 
 The real name of this antient mafter, was Francefco Raibolini •, though he 
 was generally called Francia. He was born at Bologna, in 1450, and was at 
 firft bred to the trade of a goldfmith ; but, his genius directed him to painting 
 in preference to every other profeffion, and, by conftant application and ftudy, 
 he arrived at a great degree of perfection in the art, fo as to be efteemed one of 
 the beft painters of his time. 
 
 As he happened to be a cotemporary with Raphael, he coveted impatiently to 
 fee the works of that fublime genius ; but his age and infirmities disqualified 
 him for taking a journey to Rome. Yet, at lafthe had an opportunity of gra- 
 tifying his curiofity ; for, Raphael had painted a S. Cecilia for the church of 
 S. Giovanni in Monte at Bologna, and wrote a friendly letter to Francia, re- 
 quefting him to fee it fixed in its appointed place. The letter was received with 
 a degree of rapture not to be defcribed, and the picture with all poffible expedi- 
 tion taken out of its cafe ; but the fight of fo much perfection in defign, grace, 
 expreffion, and exquifite finifhing, (truck Francia with fuch aftonifhment, that 
 it threw him into an- invincible melancholy, as that fingle performance con- 
 vinced him, how far Raphael was fuperior not only to himfelf, but to all others ; 
 and he pined himfelf into a decay, which occalioned his death. 
 
 The reputation of this mafter was eftablifhed, by a picture of S. Sebaftian ; 
 in which the true and elegant proportion of the limbs, the gracefulnefs of the 
 attitude, and the delicacy of the colouring, were equally admired ; and it was 
 very highly commended by Annibal Caracci, who was indifputably a competent 
 judge of merit. 
 
 FRANSIS QJJ E. Vid. Francesco Mile. 
 
 Fran- 
 
FRA [ 223 ] F R A 
 
 Franciscus FRANCKEN, or FRANCKS, called 
 
 the Old Franck, 
 
 Painted Hijlory. 
 
 Died 1 61 6, aged 72. 
 
 Very few circumftances relative to this mafter, are handed down by hifto- 
 rians, who treat of this fubjecl:, although his works are as generally known in 
 thefe kingdoms, as they are in the Netherlands ; nor are the dates of his birth, 
 death, or age, thoroughly afcertained. For, Mr. Defcamps fuppofes him to be 
 born in 1544,10 be admitted into the fociety of Painters at Antwerp in 1 561, 
 which was at feventeen years of age ; and he fixes his death in 1666, by which 
 computation, Franks mull have been 122 years old when he died, which ap- 
 pears utterly improbable ; though others fix his birth in 1544, and his death 
 in 1 6 16, aged yz, which feems to be neareft the truth. 
 
 This mafter painted hiftorical fubjecls taken from the Old or New Tefta- 
 ment, and was remarkable for introducing a great number of figures into his 
 compofitions, which he had the fkill to exprefs very diftin&ly. He had a 
 fruitful invention, and compofed readily, but he wanted grace and elegance in 
 his figures, and was apt to crowd too many hiflories into one fcene. His touch 
 was free, and the colouring of his pictures generally tranfparent ; yet a predo- 
 minant brown or yellowifh tinge appeared over them, which neither looked na- 
 tural, nor agreeable. But, in feveral of his beft performances, the colouring is 
 clear and lively, the defign good, the figures tolerably correct, and the whole to- 
 gether very pleafing. 
 
 Vandyck often commended the works of this mafter, and efteemed them 
 worthy of a place in any collections. Many of them are frequently feen at 
 public fales, which render him well known, though feveral are alio to be met 
 with in thofe places, which are unjuftly afcribed to Franks, and are really un- 
 worthy of him. 
 
 Franciscus FRANCKEN, or FRANCKS,, called ; 
 
 the Young Franck. 
 
 Painted Hijlory. ■ 
 Died 164.2, aged 62.' 
 
 He Was the fon of the old Francifcus Francks, born in 1580, and inftructed 
 in the art of painting by his father, whole ftyle and manner he imitated in a large 
 and fmall fize ; but, when he found himfelf furficiently fkilled to be capable of 
 improvement by travel, he went to Venice, and there perfected his knowledge of 
 colouring, by ftudying and copying the works of thofe artifts who were moft 
 eminent. And it hath feemed furprizing, that a painter fo capable of great 
 things in his profemon, fhould devote his pencil to the reprefentation of carni- 
 vals, and other fubjects of that kind, preferably to the defigrt'mg hiftorical 
 fubjects of a much higher rank, which might have procured for him abundantly- 
 more honour. 
 
 However, at his return to Flanders, his works were greatly admired and co- 
 veted, being fuperior to thole of his father in many refpects 3 his colouring was 
 
 more 
 
FRA [224] FRA 
 
 more clear, his pencil more delicate, his defign had fomewhat more of elegance, 
 mid his expreflion was much better. The talte of compofition was the fame in 
 both, and they feemed to have the fame ideas, and the fame defects, multiplying 
 too many hiitorical incidents in one fubjeft, and reprefenting a feries of actions, 
 rather than one principal action, or event. The fubjefts of both painters v/ere 
 ufually taken from the Old and New Teftament, and alfo from the Roman hif- 
 tory, (except the fubjefts of young Francks while he continued in Italy) and it 
 might have'been wifhed, that each of them had obferved more order and pro- 
 priety in the difpofition of their fubjefts. 
 
 He had a great particularity in touching the white of the eyes of his figures, 
 which appears as if a fmall lump of unbroken white was touched on, with the 
 point of a fine pencil, and it gives the figures a great deal of fpirit. Even that 
 particularity, well attended to, may be a means of determining the hand of this 
 mafter. It ought to be obferved, that from the fimilarity of names, tafte, ftyle, 
 and colouring of the Old and Young Francks, their works are often miftaken, 
 And mifcalled, and the work of the one purchafed for the work of the other. 
 The mod: capital performance of this painter, is a fcriptural fubjeft in the 
 <. lunch of Notre Dame at Antwerp ; and an excellent pifture, in the fmall fize, 
 is Solomon's Idolatry ; in which, that King is reprefented as kneeling before an 
 altar, on which is placed the ftatue of Jupiter. There is a noble exprefiion in 
 the figure of Solomon, and the drapery of the figure is broad, and flowing •, the 
 altar is exceedingly enriched with fine bas-relief in the Italian ftyle, and is ex- 
 .quiiitely finifhed •, the penciling is neat, the colouring clear and tranfparent, 
 .and the whole pifture appears to have been painted on leaf gold. 
 
 Sebastian FRANKS, or Vranx. 
 Painted Ccnverfaticns, Hiftory, Landfcapes, and Battle-Pieces. 
 
 He was born at Antwerp, in 1573, was a difciple of Adam Van Oort, and 
 fheweda itrong genius to painting. His general ftyle was landfcapes with imall 
 figures and cattle, and, according to Van Mander, he feems to have been the 
 author of a peculiar ftyle of painting in that way, which was imitated by feveral 
 fubfequent matters, but not with equal fuccefs. 
 
 He frequently painted hiftorical lubjefts on copper, and the fubjeft of one of 
 thole, which was executed with extraordinary neatncls, was the prophet Elifha 
 infulted by the children ; the outline of his figures in that compofition is cor- 
 rect, the attitudes agreeable, and the draperies loofe. He had a peculiar ge- 
 nius to paint battles, and fucceeded well in all fubjefts where horfes could be in- 
 troduced •, but his chief merit was feen in his landfcapes, as he had a light 
 touch, and an agreeable ftyle of colouring. Two fine pictures of this matter's 
 hand are in the cabinet of the Eleftor Palatine ; the one reprefents the works of 
 mere)-, and the other is a converfation. 
 
 John Baptist FRANKS, or Vranx. 
 Painted Hiftory ... Conver/ations. 
 
 This painter was born at Antwe p, ; n 1600, and is fuppofed to have been 
 the fon raid difciple of Sebaftian Franks. At fint he painted in the manner of 
 
 his 
 
F R A [ 225 ] F R A 
 
 his father, but having afterwards Studied the works of Vandyck, and Rubens, 
 he made them his models, and by that means corrected his Style, and improved 
 his colouring confiderably. 
 
 For a long time he painted hiStory, but after finishing feveral compositions of 
 that kind, he painted eafel pictures, representing the infixes of galleries, or grand 
 apartments, furnifhed with Statues, buflos, paintings, and other elegancies ; 
 with perfons differently employed either in conversation, at play, or with 
 concerts of mufic. Thofe Subjects he defigned extremely well ; his colouring 
 was agreeable, and he finished his works with a neat and delicate pencil ; but 
 his error was, that he did notjudicioufly diftribute his light and Shadow, fo as to 
 afford a pleafing repofe to the eye of a Spectator ; but gave the whole too equal 
 a degree of brightnefs. 
 
 His beft performance is defcribed by Houbraken, as being truly excellent in 
 its kind. It repreSents a grand apartment, or cabinet of a curious perSon, de- 
 corated with bulls, and other ornamental furniture, elegantly diSpoSed •, and ar- 
 ranged along the wall, are pictures hung up, which are fo admirably finifhed, 
 that the different tafte of thoSe mafters, whole works are SuppoSed to be there r 
 may at firft fight be distinguished by the peculiar defign, composition, and co- 
 louring. There are only two figures in that apartment, Vandyck, and Rubens -, 
 who Seem to be engaged in playing at tables-, and it is exceedingly commended 
 for the Striking likeneis of thofe artifts, as alfo for the delicacy of the touclu 
 
 Battista FRANCO. 
 
 Painted Hiftory. 
 
 Died 1 561, aged 63. 
 
 He was born at Venice, in 1498, and having learned to draw and defiW, 
 under the direction of Some Venetian artifts, till he was twenty years old, °he 
 then travelled to Rome. ' Where having examined and confidered the works 
 the moSt applauded mafters, he devoted himSelf entirely to the ftyle and tafte of 
 Michael Angelo Buonaroti •, and at laft was allowed to be the belt of the young 
 defigners, who frequented the chapel, that had been enriched by the composi- 
 tions of that great painter. 
 
 However, although his manner of defigning was like that of Buonaroti •, and' 
 though he imitated him Successfully in correftneSs of outline, and in a ftronp- ex- 
 pression of the muScuiar parts of the human body, yet, in his colourino- he" was 
 So dry, So black, and So hard, that his pictures Seemed to have no other merit tc 
 recommend them, than the tafte of drawing and defign, which, in particulali 
 parts, appeared very mafterly. 
 
 Lucas FRANCOIS, called the Old, 
 Painted Hiftory, and Portrait, 
 Died 1643, a g e d~ 69. 
 He was born at Mechlin, in 1574, and for fix years was employed by the: 
 Kings of France and Spain-, in which kingdoms many excellent paintings oi 
 
 b ; s 
 
FRA [ 226 ] F R A 
 
 his hand arc (till preferved, and well efteemed. He was equally eminent for 
 hiftory, and portrait ; and by his profcfllon, was enabled to live in affluence, 
 and to die poflefied of riches, with an cftablifhed reputation. 
 
 Lucas FRANCOIS, called the Young; 
 
 Painted Hijfory, and Portrait. 
 
 Died 1654, aged 4$. 
 
 He was born at Mechlin, in 1606, and was the fon and difciple of Lucas 
 Francois -, who inftructed him early in the art of painting, and took all pofllble 
 care to cultivate the promifing talents of his fon. He made a great progrefs 
 under the direction of his father •, but, as foon as he had acquired a competent 
 Jhare of knowledge, he placed himfelf as a difciple with Gerard Segers, who 
 was at that time in high reputation. 
 
 He generally painted in a fmall fize, and finifhed his works with fingular 
 neatnefs. He alio applied himfelf to portrait painting, with great fuccefs, 
 being employed to paint many noble perfonages of the higheft rank ; and he 
 had the uncommon fatisfaction of gaining their approbation, and what is ftill 
 more, the friendfhip and efteem of all his employers. He compofed well, and 
 his defigns in general ftiewed a very happy genius, and much correctnefs, united 
 with a tone of colouring that was clear and natural. 
 
 This mafter was not only eftimable for his merit, as a painter-, but, for the 
 valuable qualities and accomplifliments he pofTefled •, having an amiable difpo- 
 fition of mind, and a knowledge of all the polite arts, and particularly 
 of mufic. 
 
 Simon FRANCOIS. 
 Painted Portrait. 
 Died 1 67 1, aged 65. 
 
 He was was born at Tours, in i6c6, and had no particular mafter; but ob- 
 tained the knowledge of the art of painting by great labour, exerted in copying 
 the works of others, who were confelfedly eminent. 
 
 He ftudied for feveral years in Italy, and returning through Bologna to his 
 own country, he happened to contract an intimacy with Guido, who painted his 
 portrait ; and when he arrived at Paris, he had the good fortune to be the firft 
 who drew the portrait of the Dauphin, foon after that Prince was born. In that 
 he fucceeded fo happily, and fo much to the fatisfaction of the King's Minifters, 
 that he flattered himfelf it would prove a means of eftablifhing his fortune, and 
 reputation-, but finding himfelf undefervedly difappointed, he was fo fenfibly 
 affected with the treatment he had received, that he retired from the world, to 
 enjoy a life of privacy, and quiet. 
 
 I l F R A R I. Vid. Bianchi. 
 
 Lorenzo 
 
FRA [227] FRA 
 
 Lorenzo Maria FRATELLINI. 
 
 Painted Portrait, Hijiory, Animals, and Land/cape. 
 Died 1729, aged %g. 
 
 He was the fon of the celebrated Giovanna Fratellini, born at Florence, in 
 1690 : and appearing to have a good genius to the art of painting, his mother 
 placed him as a difciple with Domenico Gabbiani, whofe admirable method of 
 inftruction (lie had herfelf fufficiently experienced, when fhe ftudied under his 
 direction. He continued with Gabbiani for feveral years ; and with clofe appli- 
 cation copied the works of the belt mafters, and likewife defigned after the 
 naked in the academy. 
 
 Having thoroughly formed himfelf, by the judicious precepts of his mailer 
 and his own induftry, to handle the pencil with eafe, and freedom •, to defign 
 correctly ; and paint in oil ; Giovanna taught him to paint in miniature, and 
 with crayons, (for (he excelled in both) and he became very eminent in his pro- 
 feflion. His general fubjects were portraits, which he finifhed in a delicate 
 ftyle; but, his genius was univerfal, and with equal readinefs he defigned hif- 
 torical fubjects ; in which his figures were well difpofed, and fhewed great va- 
 riety in their actions, and attitudes ; and he alio defigned animals of all kinds, 
 flowers, and landfcapes, with equal elegance, and equal applaufe. 
 
 He applied himlelf too clofely to his work, and having a conftitution not fuf- 
 ficiently firm to endure fo conftant a fatigue, he funk under it, and died of a 
 confumption in his fortieth year - y and Giovanna became lb inconfolablefor the 
 lofs of her fon, that fhe furvived that fevere affliction but a fhort time. 
 
 Giovanna FRATELLINI. 
 
 Painted Hijiory, and Portrait. 
 Died 1 7 31, aged 65. 
 
 This very famous paintrefs was born at Florence, in 1 666, where fhe was pre- 
 fented to the Arch-dutchefs Victoria, when fne was very young •, and that 
 Princefs, admiring her fpirit and vivacity, took her under her own care, and 
 caufed her to be educated at court. Giovanna discovered great readinefs of ap- 
 prehenfion, and quicknefs of parts; and learned mufic, and drawing, with fuch 
 incredible aptnefs, that the Princefs en aged Hipolito Galantini, a famous painter 
 in miniature, to inftruct her in that art. Her proficiency was rather fupe'rior to 
 expectation-, and being foon eftabliihed in miniature, the Pi incefs ordered that 
 fhe mould ftudy defign, and the art of painting in oil, under the direction of Do- 
 menico Gabbiani •, and crayon painting under Domenico Tempefti ; artiffo who, 
 at that time, were in the highefr. reputation at Florence. In a very fhort time 
 fhe acquired fuch a command of th: pencil, that fhe furpaffed her inftructors, as 
 well in elegance, as in beauty of coburing •, and to all her other accomplifn- 
 ments, added that, of painting delicately in enamel. 
 
 Her works gained her the greateit commendation, not only through Italy, 
 but in every part of Europe ; for fhe was conflantly employed by the Grand 
 Duke, and Dutchefs, to paint their portraits •, which they tranfmitted to dif- 
 
 G g fere at 
 
FRE [ 228 ] F R E 
 
 ferent courts ; and by that means every nation became acquainted with her ex- 
 traordinary merit. At the command of" her patrons fhe painted feveral icrip- 
 tural fubjefts •, as, the Baptifm of Chrift ; the Laft Supper ; and the Cruci- 
 fixion, in water colours 3 and in oil, fhe copied in a large fize an Kcce Homo, 
 after a fine original painting of Baroccio. She alio painted many portraits of. 
 the moft diftinguifhed perfons at the Florentine court ; and of thole muficians 
 or comic performers, who were favourites of the public for their charming exe- 
 cution, for fweetnefs of voice, or for their propriety of action. 
 
 Martin F R E M I N E T, Chevalier.. 
 Painted Hiftory. 
 Died 1619, aged 52. 
 
 He was born at Paris, in 1567, and was taught the art of painting by his- 
 father, who was but an indifferent artifl ; but he travelled to Italy, and lpent 
 fifteen or fixteen years at Rome, Venice, and other cities of note, principally 
 ftudying the works of Michael Angelo Buonaroti ■, and it was imagined that he 
 endeavoured to imitate the tafte of Parmigiano, in the contours of his figures, 
 and in the airs of his heads. But, although he worked after fuch models, yet 
 his figures, though defigned in their manner, are abundantly more heavy, lefs 
 elegant, and by no means agreeable. The action of the limbs is too violent, 
 and the mufcular parts are often foftrongly marked, as even to appear under the 
 draperies. The merit of this painter confifled, in his invention and defign, in 
 his knowledge of anatomy and architecture. 
 
 However, he was much employed, and efteemed, by Henry IV. of France, 
 and Lewis XIII. for whom he executed the principal part of the paintings in the 
 chapel at Fontain-bleau, and had the honour of the order of S. Michael being 
 conferred upon him. 
 
 Dirk, or Theodore FRERES.. 
 
 Painted Hiftory. 
 Died 1693, aged 50. 
 
 He was born at Enkhuyfen, in 1643, and went early to Rome -, where he de- 
 voted his whole time to ftudy,and practice, and acquired an excellent manner of 
 defigning the naked. He preferred that pleafure, and that advantage, which 
 arifes from application, to the unprofitable amufements. of company, and 
 excefs ; and by that difcreet method of conducting himlelf, obtained the friend- 
 fhip of perfons of worth, and fuch ability in his profeffion, as enabled him to 
 compofe his fubjects with tafte, and elegance. 
 
 He ftudied for feveral years in Italy, after the antiques, and the moft capital 
 paintings at Rome-, and in his own compofitions, fhewtd how ftrongly he had 
 imbibed the tafte of the Roman fchool. But, his principal merit confiftcd in 
 his drawing, and defign-, having negltfted to improve himlelf as he ought, in 
 the beauty of colouring -, though, had his colouring been equal to his tafte of 
 defign, he would have txen furpalfed by very few. 
 
 Sir 
 
F R E [ 229 ] F R I 
 
 Sir Peter Lely had encouraged Freres to vifit London, from an expectation, 
 that he might have been employed at Windfor ; but Freres, foon after his ar- 
 rival, finding the preference was given to Verrio, returned again to Holland. 
 In one of the palaces of the Prince of Orange, there are feveral noble pictures 
 of this mafter ; and in Amfterdam, a grand hall is entirely furnifhed with his 
 works ; which, Houbraken fays, are much admired, for a free and fine tafte of 
 compofition, and an elegance of defign. 
 
 Charles Alphonse d it FRESNO Y. 
 
 Painted Hi/lory, Portrait, and Land/cape. 
 Died 1665, aged 54. 
 
 He was born at Paris, in 161 1, where he was inftructed by Perrier, and 
 Simon Vouet. But he did not long adhere to the manner of colouring, pe- 
 culiar to Vouet •, for, as foon as he fixed himfelf at Rome, he made the works of 
 Titian the model for his imitation. 
 
 He was more celebrated as a poet, than as a painter, and yet no artift could 
 have a more extenfive knowledge of the excellencies, refinements, or delicacies 
 of the art, than he was univerfally allowed to pofiefs ; nor could any one have 
 better abilities, to direct others how to excel. His precepts are admirable, and 
 demonftrate the ftrength of his genius •, the clearnefs of his judgement ; and his 
 induftry, in carefully exploring every path, which leads to perfection in the art of 
 painting. 
 
 There are but few pictures of his hand, mentioned by any writers •, and among 
 the number, are four landfcapes, in which the figures are painted by Mignart. 
 It is only remarked, that in his ityle of colouring, he endeavoured to imitate 
 Titian ; and in his tafte of defign, the ftyle of the Caracci. 
 
 Tomaso da San FRIANO. Vid. Tomaso Manzuoli. 
 
 Peter FRITS, or FRITZ. 
 
 Painted Apparitions, Enchantments, and Emblematical Piclures. 
 
 He was born at Delft, but ftudied at Rome, where he refided for a long 
 time. Flis imagination was lively and ftrong, and the fubjects which he gene- 
 rally chofe to paint, were apparitions, and the wildnefies of fancy, fuch as the 
 temptations of S. Anthony, as alfo fhips and barks filled with fpectres ; in which 
 fubjects he fhewed a very whimfical variety of forms, and figures. Sometimes 
 he painted emblematical defigns, which were held in good efteem. 
 
 In his return from Italy to his own country, he vifited feveral courts of Eu- 
 rope, where the novelty of his ideas, and the Angularity of his compofitions, 
 rather excited laughter, than approbation -, and at laft he fettled at Delft. Yet, 
 even in his native city, the injudicious choice of his fubjects had no fuccefs ; and 
 he found but few purchafers, although his work was executed with a great deal 
 of force, and fpirit. 
 
 G g 2 Philip 
 
F R U [ 230 ] FUR 
 
 Philip F R U Y TIERS. 
 Painted Portraits, and Ccnverfations, in Miniature. 
 
 This mafter was born at Antwerp, and although he was at firfl taught to paint 
 in oil, yet he foon difcontinued it, and preferred the painting in water colours ; in 
 which manner he became lb excellent, that it was doubted whether any cotem- 
 porary mailer equalled him in it, particularly in refpect of defign. His invention 
 was ready, and he compofed his iubjects extremely well •, the airs of his heads 
 have a confiderable degree of grace, his draperies are broad, and the folds are in 
 a s;ood tafte. 
 
 Rubens fhewed a great deal of efteem for the work of Fruytiers, and had the 
 portraits or himfelf and his family, painted by him in one picture •, in which the 
 compofition, the attitudes, and the colouring, are worthy of Rubens himfelf. 
 Weyerman law this picture, and commends it highly. 
 
 Isaac FULLER. 
 
 Painted Hiftcry, and Portrait. 
 
 Died 1676. 
 
 He was born in England, but he fpent feveral years in France, ftudying 
 under Perrier as a difciple. His mailer was much employed in drawing de- 
 figns after antique ftatues, which probably afforded Fuller an opportunity of 
 copying them •, and gave him alfo a fondnefs for exprefling the navicular parts, 
 with more hardnels than he ought, in his own compositions, imitating rather the 
 llrength, than the grace of the originals. 
 
 As to his compofition of hiftorical fubjecls, it was but mean ; his invention, 
 and difpofition, being indifferent; and his colouring raw, and unlike nature, 
 though in portrait painting, he had a bold and maflerly pencil. 
 
 In the chapel of All Soul's college at Oxford, there is a Refurreclion painted 
 by this mailer, of which feveral parts are accounted to have fome degree of 
 merit ; and in Wadham College, in the fame univerfity, is an hiftorical picture, 
 which by many is efteemed a good performance. 
 
 Francesco FURINI. 
 
 Painted Hiftory. 
 
 Died 1646, aged 42. 
 
 This painter was born at Florence, in 1604, and received his firfl inftruclion 
 from his father Pippo Sciamerone, a painter of no contemptible talents -, but he 
 was farther improved by Paffignano, and Rolelli, till at laft he went to Rome. 
 While he continued there, he purfued his ftudies with fuch diligence, that he 
 acquired a fine tafte of defign, and affociated with that eminent artift Giovanni, 
 di fan Giovanni. He was particularly fond of designing naked figures, as in 
 thofe he fhewed the utmoft delicacy ; and he principally chofe to paint thofe 
 fubjecls, in which they could be introduced with elegance, and propriety ; fuch 
 as Adam and Eve ; Lot and his Daughters ; Noah's Drunkennefs, and fuch 
 
 5 like i 
 
F Y T [ 231 ] G A A 
 
 like •, or fimilar fubjects from poetical hiftory, as, the Death of Adonis ; Diana 
 and other nymphs bathing-, the Judgement of Paris, &c. 
 
 His works were excefiively praiied, and allowed to pofiefs abundance of grace 
 in the contours of his figures, as well as in the airs of the heads. Many of his 
 paintings are in Florence, which are deemed to add honour to the valuable col- 
 lections of the nobility of that city. 
 
 John F Y T T. 
 
 Painted Live and Dead Animals, Birds, Fruits, Flowers, and Land/cape. 
 
 He was born at Antwerp, about the year 1625, and was an excellent painter 
 of all kinds of animals ; to which he gave a natural, a bold, and elegant expref- 
 fion. He ftudied nature incefiantly, and imitated her with the utmoit truth, and 
 exactnefs. His colouring is ftrong, and his touch firm ; and in all the pictures 
 of this matter, we fee a wonderful freedom of hand, and a manner of penciling, 
 peculiar to himfelf, which eafily diftinguifh the works of Fytt, from thofe of any 
 other mafter. 
 
 He was one of the belt artifts of his time, and frequently painted in con- 
 junction with Rubens, and Jordaens ; and whatever fubject he chofe to repre- 
 fent, in the ltyle which he adopted, was always defigned, and finifhed, in a maf- 
 terly manner. His general fubjects were, live and dead game, wild boars, 
 hares, dogs, fruits, flowers, and birds, particularly partridges ; which he de- 
 fcribed with furprizing truth, nature, and ftrength. 
 
 He likewife imitated fuccefsfully the bas-relieves on vafes of marble, or por- 
 phyry ; and gave uncommon frefhnefs to his fruits, and flowers •, and in objects 
 of the animal kind, he defcribed even the hairs of the animals, and the plumage 
 of his fowl, with wonderful fpirit, exactnefs, and freedom of pencil. 
 
 G. 
 
 Barent GAAL. 
 Painted Land/capes, Battles, Fairs, and Inns. 
 
 He was born at Haerlem, about the year 1 650, in which city he was placed as 
 a difciple with Philip Wouwermans ; and by carefully ftudying the works of 
 his matter, as well as by diligently practifing his precepts, he became a painter 
 of confiderable diftinction. 
 
 He had a good manner of penciling ; he underftood the principles of per- 
 fpective •, and managed his lights and fhadows in all his compofitions with 
 great judgement. His figures and cattle are generally well defigned, and well 
 difpofed, and are alio tolerably correct ; though, as he defigned his figures after 
 nature, and after mean models, they ufually want grace, and elegance. There 
 is much freedom in his trees, and many of his pictures are touched with fpirit, 
 the Ikies clear, and pleafant, and his grounds well broken. 
 
 He 
 
GAB [ 232 ] GAB 
 
 He affociated in his work with Ifaac Koene, the landfcape painter, for whom 
 'lie always inferted the figures •, and although he cannot be accounted an artift 
 of the firft clafs, yet have his works a great deal of merit, and are every where 
 well regarded. 
 
 Antonio Domenico GABBIANI. 
 
 Painted Hijlory, and Portrait. 
 Died 1726, aged 74. 
 
 He was born at Florence, in 1652, and at firft was intended for the pro- 
 fefiion of phyfick •, but his father Antonio Domenico obferving his predominant 
 inclination to defigning, placed him, while yet very young, under the care of 
 Valerio Spada, who excelled in drawing with a pen •, and had him likewife 
 inftructed, by Remigio Cantagallina, who was very famous for painting in 
 miniature. 
 
 Having thus obtained fome knowledge of defign, he fuccefllvely became a 
 difciple of Subtermans, and of Vincentio Dandini •, and by the inftructions of 
 thofe great matters, he foon acquired fuch a readinefs, and correclneis in 
 defigning, as his preceptors could not obferve without aftonifhment ; and 
 therefore, in order ftill to improve his hand, Dandini caufed him to copy all 
 the compofitions of Pietro da Cortona, which are in the Palazzo Pitti at 
 Florence. While he was employed in that work, the Grand Duke Cofmo III, 
 happening to fee his performance, and being pleafed with the exactnefs of the 
 imitation, encouraged him, and condefcended to become his patron ; and by fo 
 unexpected an act of benevolence, animated the young artift to exert all his 
 powers, to attain the higheft perfection in his art. The Duke foon after, fent 
 him to the Florentine academy at Rome, to be under the direction of Ciro 
 Ferri ; with whom he continued for three years, defigning the beft works of the 
 beft mafters. 
 
 Yet ftill unfatisfied with the progrefs he had already made, he vifited Venice, 
 to obtain a thorough knowledge of colouring ; and as foon as he thought 
 proper to offer his compofitions to the publick view, they were purchafed by 
 the principal Venetian nobility, on the recommendation of Sebaftian Bombelli, 
 a very eminent painter, with whom Gabbiani had an intimate friendlhip. 
 
 At his return from Venice, where he had particularly ftudied portrait paint- 
 ing, after Titian, and Tintoretto, the Grand Duke Ferdinand fat to him for 
 his portrait ; and as it was exceedingly admired, he was appointed to paint the 
 Grand Princefs Violante, and Anna Louila the Duke's fifter. He likewife 
 finifhed feveral noble compofitions for altar-pieces, in the churches of Florence, 
 which effectually eftablifhed his reputation. He had alio the honour of being 
 invited to the cuiirt ot Vienna, where he painted the portraits of the Emperor, 
 and the King of the Romans -, and received the higheft commendation, for the 
 beautiful colouring, as well as the noble attitudes, and ftrong reiemblance of 
 his pictures. 
 
 That climate happening to disagree with his conftitution, he returned in a bad 
 ftate of healt.i to Florence ; and as foon as he felt himfelf reftored by his native 
 air, he was employed in the palaces of the prime nobility, every new work 
 addLng to his fame, which was Ipread through all the cities of Italy. 
 
 Among 
 
GAB [ 233 ] GAD 
 
 Among many admirable paintings of this matter, three are particularly men- 
 tioned, as being capital performances ; one is, the Rape of Ganimede ; another 
 Erminia alighting from her Steed; and the third, the Repofe in Egypt. Each 
 of thefe are exceedingly beautiful in the colouring, and in a fupreme degree, 
 correct and elegant in the defign. And among his grander works, is mentioned 
 an incomparable altar piece ; of which the fubject is, the Afiumption of the 
 Virgin, who appears above, furrounded with glory ; and below, are reprefented 
 the Apoflles, larger than life, with a wonderful variety of graceful and proper 
 attitudes. 
 
 His ideas were very elevated ; his invention was noble ; his difpofition, 
 judicious ; his defign extremely correct ; his attitudes well chofen -, and always 
 full of dignity, and character. He had a lively imagination, and an extraordi- 
 nary readinefs in his execution ; his pencil being free, and yet delicate ; and his 
 touch, fpirited. He is ranked in the firtr. clafs of modern great mafters, and 
 accounted one of the ornaments of his time. 
 
 Unfortunately, he was killed by a fall from a fcaffold, where he had been at 
 work.. 
 
 William GABRON. 
 Painted Still Life. 
 
 He was born at Antwerp, where he learned the rudiments of the art ; but, 
 his principal infirucfion and improvement he received in Italy, particularly at 
 Rome, in which city he refided for a confiderable number of years. 
 
 He was much admired, for his delicate imitation of thofe objects, which he 
 painted after nature •, fiich as gold and • filver vafes, cups, and dimes, Chin.i 
 and pcrcelaine ware, fruits, flowers, and infects ; and thofe fubjects he exprefled i 
 with lb great truth, as to afford the eye a very pleafing deception. 
 
 Gaddo GADDI. 
 
 Painted Hificry. 
 
 Died 1 3 12, aged 7 3. 
 
 He was born at Florence, in 1239, and was one of the firit painters wh<> 
 imitated Cimabue, or defigned in the Grecian uile ; being alfc an expert artiffc 
 in works of Mofaick. He defigned better than all the other painters of his 
 time ■, and performed feveral great works at Rome, and other parts of Italy, 
 but particularly in Mofaick. . 
 
 Taddeo GADDI. 
 
 Painted Hiftcry. 
 Died 1350, aged 50. 
 
 He was born at Florence, in 1300, and instructed in the art by his father' 
 Gaddo ; but, he was afterwards a difciple of Giotto. He had a good genius, 
 which he ftrengchened by great application - t and acquired fuch a manner of 
 1 colouring, 
 
GAD [ 234 ] G A E 
 
 colouring, as rendered him very much fuperior to his mafter. His figures 
 were lively, and his expreffions highly commendable, confidering the early age 
 in which he painted ■, his invention was ingenious, and his defigns were executed 
 with great freedom, and eafe. 
 
 The moft memorable picture of this antient artift, is the Paffion of our 
 Saviour, which is preserved in the church of the Holy Ghoft at Arezzo. 
 
 Acnolo GADDI. 
 
 Painted Hijlory. 
 
 * Died 1387, aged 64. 
 
 He was the fon and difciple of Taddeo, born at Florence, in 1323, and 
 received his firft inftruction from his father, though he afterwards was affifted in 
 his ftudies by Giotto. His manner of painting was like that of his father ; but 
 he was particularly i'olicitous to exprefs the paffions with propriety. 
 
 Alexander Van GAELEN. 
 Painted Battles, Huntings, and Animals. 
 Died 1728, aged 58. 
 
 This painter was born in 1670, and learned the art of painting, under the 
 direction of John van Huchtenburg •, who befides his profeflion as a painter, 
 was alio a considerable picture-merchant ; and Van Gaelen, before thole pictures 
 were expofed to fale, exerted himielf in copying fuch of them as were ol the 
 beft clafs, and of greatelt value. Yet he did not conunt himfelf with obferving 
 their imitations of nature, but ftudied nature itfelf, in uther countries as well as 
 his own. His tafte of compofition and defign, was formed from the works of 
 the many eminent artifts which he had ftudied ; and he obtained fo great a 
 freedom of hand, and fuch correctness of outline, that his pictures rofe into very 
 high efteem. His fubjects were ufually reprefentations of the chace •, huntings 
 of the fox, the ftag, or the wild boar ; and his animals were extremely 
 commended, for their action and fpirit. 
 
 The Elector of Cologne employed him for a long time ; and he alfo vifited 
 London, where his paintings procured him many marks of favour, as his merit 
 feemed to be very well known in England. While he continued in that 
 kingdom, he was appointed to reprefent in a picture, Queen Anne drawn in a 
 coach by eight horles, attended by her guards ; and that lubject he executed 
 with lb great fuccefs, that it contributed to the advancement of his fortune, and 
 
 * There appears to be a remarkable inaccuracy in the Hillorical Tables publiihed by Mr Harms, 
 in regard to Taddeo and Agnolo Gaddi ; for, although Agnolo is inconteliably the ion of Taddeo, 
 yet the year of their birth, and their death, are precisely the fame, in thole Chronological Tables. 
 Table II. Taddeo Gaddi , born in 1300, died in 135O. 
 Table II. Agnolo Gaddi, born in 1 500, died in 1350. 
 Whereas Agnolo died in 1 387, and was born in 1323. 
 
 De Piles is alio guilty of the fame error ; for, he fets doivn the year of Agr.olo's death, in 1350, 
 and his birth in 131-0, which dates only agree with the father J addto, and cannot poliibly agtee 
 v.ith the nut daics or me ton. 
 
 his 
 
GAB [ 235 ] GAL 
 
 his reputation. He alfo was engaged by an Englifh nobleman, to paint three 
 battle-pieces, representing engagements between King Charles I, and Oliver 
 Cromwell, and a very large defign, of the decifive battle at the Boyne, between 
 the armies of King William III, and James II. 
 
 Scipio GAETANO. 
 
 j Painted Portrait, and Hijlory. 
 Died 1588, aged 38. 
 
 He was born at Florence about the year 1550, and was a difciple of Jacopino 
 dal Conte, an excellent painter of portrait ; under whom he improved to fuch 
 a degree, as not only to become far iuperior to his mafter, but fuperior to all his 
 cotemporaries. His attitudes were defigned in an elegant, and fine tafte ; the 
 heads were lively, graceful, and as exprefiive as life itfelf ; and his draperies 
 were diftributed in large, broad folds, with abundance of eafe and nature. He 
 excelled alfo in the hiftorical ftyle, and adorned feveral of the churches and 
 palaces at Rome with his compofitions. By a proper mixture of ultra marine, 
 he gave unufual clearnefs to his colours ; and he finifhed his pictures, with excef- 
 five neatnefs, and care. 
 
 In the Ambrofian Library at Milan, is a beautiful head of the Virgin by 
 Gaetano ; it is exquifitely well defigned,. the colouring is remarkably clear, and 
 the frefhnefs of the whole is truly admirable. 
 
 G A L A N I N O. Vid. A l l 1 s r. 
 
 Hipolito GALANTINI, called Cappuccino, and 
 
 Preti Genoese. 
 
 Painted Hijlcry, and Portrait in large, and in Miniature. 
 
 Died 1706, aged yg. 
 
 This artift was born at Genoa, in 1627, and was inftructed in the art of 
 painting in miniature, by Stefanefchi •, in which ftyle he became very eminent, 
 and {hewed an equal degree of merit, in his larger compofitions. He was 
 called Cappuccino, from his having entered into orders, among the Capuchins 
 at Florence •, and by undertaking that profeffion, he was obliged to travel into 
 Afia as a mifiionary, and on that account is called Preti Genoefe. 
 
 At his return to Europe, happening to pafs through Paris, he was known to 
 be a famous miniature painter, and introduced to the King of France, who 
 requefted Hipolito to paint feveral pictures for him ; and from that monarch he 
 received many extraordinary marks of favour, as from the publick he received 
 a general approbation. He had wonderful patience^ and application, and was* 
 remarkable for correctnefs, and elegance ; his ftyle was agreeable, his colouring 
 very delicate, and his expreffion exact , and full of life. 
 
 In the Duke's palace at Florence there is an admirable picture by this mafter, 
 in which the figures are only at half length, but as large as life. The fubjecfc 
 is the, Payment of the Tribute Money ; it is accounted one of the moil capital 
 
 H h performances 
 
GAL [ 236 ] G A N 
 
 performances of Galantini •, and is executed with uncommon freedom, and 
 neatnefs of pencil. The colouring is lively, true, and has great force y and 
 although the tints are bright, and clear, yet the whole has abundance of 
 harmony. The defign is in a fine tafte ; the heads, efpecially thofe of the old 
 men, are excellent ; the ftiadows have all the force of Valentino, without the 
 blacknefs j and the head of one figure of a boy, feemsreal nature. 
 
 Filippo Maria GALETTI. 
 
 Painted Hijtory, and Portrait. 
 
 Died 1742, aged 78. 
 
 He was an ecclefiaftick, of the order of Theatlnes, born in 1 664, and was a 
 difciple of Ciro Ferri. He became excellent in thofe branches of the art, which 
 he ufually praftifed, and painted a great number of eafel-pi&ures, and portraits, 
 through every part of Italy ; but, particularly in Florence, where he was em- 
 ployed by the Grand Duke, and gained univerfal commendation, for the neat- 
 nefs of his finilhing, and the beauty of his colour. 
 
 G A L L I. Vid. Bibiena. 
 
 Gioseffo GAMBARINL 
 
 Painted Hijlory. 
 
 This mafter was born at Bologna, in 1679, and educated in the fchool of 
 Lorenzo Pafiinelli, with whom he made a considerable progrefs in defign, and 
 handling •, and was qualified to improve himfelf ftill farther, by ftudying' at 
 Rome, and Venice, where he acquired a more correct tafte of compofition, and 
 colouring. He worked with great applaufe in feveral parts of Italy, efpecially 
 at Rome •, where in the chapel of S. Petronius, is to be feerf one of his moil 
 capital performances. In many refpects he was efteemed a very great mafter, 
 but he was principally regarded for the excellence of his colouring, which was 
 not only beautiful^ but it had alfo abundance of force. 
 
 James GANDY. 
 
 Painted Portrait. 
 
 Died 1 6Sg, aged 70. 
 
 This painter, although he was a very able artift, is but little known. H* 
 was born in the year 1619, and inftrucled by Vandyck ; and his works are a 
 fufficient proof, of the fignal improvement he received, from the precepts and 
 example of that great mafter. 
 
 The caufe of his being fo totally unknown, was, his being brought into 
 Ireland by the old duke of Ormond, and retained in his fervice. And as Ireland 
 was at that time in a very unfettled condition,, the merit, and the memory, of 
 this mafter would have been intirely unnoticed, if iome of his performances, 
 which ftill fubfift, had not preferved him from oblivion. There are at this time 
 
 in 
 
GAR [ 237 ] GAR 
 
 in Ireland, many portraits painted by him, of noblemen, and perfons of fortune, 
 which are very little inferior to Vandyck, either for exprefllon, colouring, or 
 dignity ; and feveral of his copies after Vandyck, which were in the Ormond 
 collection at Kilkenny, were fold for original paintings of Vandyck. 
 
 Lorenzo GARBIERI. 
 
 Painted Hiftory. 
 
 Died 1 654, aged 64, 
 
 He was born at Bologna, in 1590, where he was placed as a difciple in the 
 academy of Ludovico Caracci, whofe tafte of defign he very ftudioufly 
 endeavoured to imitate. But, he was of a grave and phlegmatick dilpofition, 
 which always influenced him to choofe thofe kind of fubjects, that gave the 
 mind of a fpectator a melancholy turn ; fuch as peftilences, martyrdoms, &c. 
 However, he had a bold manner of defigning, nor were his figures without a 
 degree of grace, whenever his fubject required it. The principal works of this 
 mailer, are at S. Michael in Bofco, and they are executed in fuch a ftyle, as will 
 always fupport his reputation. 
 
 Rafaellino del GARBO. 
 
 Painted Hiftory. 
 Died 1534, aged 58. 
 
 He was born at Florence, in 1476, and learned the principles of defign 
 from Filippo Lippi. He gave fuch proofs of genius in his early attempts, that 
 there was the higheft expectation of his being exceedingly eminent in a more 
 advanced age-, for, his defigns were executed with unufual freedom, and fpirit, 
 and he loon appeared fuperior to his inftruftor. In his beft time, he painted the 
 fubjecf. of the refurrection of Chrift, which was exceffively admired ; the 
 figures were well defigned, the characters of the foldiers judicioufly marked, 
 the airs of the heads were graceful, and the whole compofition was full of 
 fpirit ; but, he afterwards altered fo much for the worfe, that all his latter 
 p odudions were the objects of contempt, and ridicule ; nor did they feem the 
 work of the fame mafter. 
 
 In his beft time his pictures were highly laboured, and the tint of his 
 colouring, in frefco as well as in oil, was foft and pieafant ; but, before his 
 death, he loft all the reputation which he had defervedly obtained, by his more 
 early performances, and he died in poverty, and difefteem. 
 
 Benvenuto GAROFALO. 
 
 Painted Hiftory, and Land/cape. 
 
 Died 1559, aged 78. 
 
 He was born at Ferrara, in 1481, and having fhewn evident tokens of an 
 early fondnefs, as well as a very ftrong genius, to painting, his parents had 
 him inftrufted in drawing, and defign, by one Domenico Laneto, a painter 
 
 H h 2 w ho 
 
GAR [ 238 ] GAR 
 
 who was in fome credit at Ferrara, though his manner was but dry, and poor ; 
 but, on feeing the works of Boccacino Boccaci at Cremona, he placed himfelf 
 under the direction of that mailer for two years, and advanced his knowledge 
 confiderably. At the age of nineteen he quitted Cremona, in purfuit of 
 improvement, and went to Rome, where he ftudied incelTantly, devoting the 
 whole day, and the greateft part of the night, to defigninc, having Giovanni 
 Baldini a Florentine painter for his director, and he afterwards practifed under 
 Lorenzo Cofta at Mantua for two years. 
 
 At lail his curiofity to fee the works of Raphael, and Buonaroti, influenced 
 him to return to Rome ; and there he was filled with inexpreflible aftonifhment 
 and delight, to obferve the elegance, and grace of the one, and the profound 
 fkill difplayed in the defign of the other. Immediately he defpifed that manner 
 of the Lombard fchool, which had coft him the application of fo many years 
 to acquire, refolving to dived himfelf of it as foon as poflible •, and being 
 fortunate enough to gain the friendihip of Raphael, that illuflrious artift 
 inflrucled Garofalo in his own true principles of delign, and colouring ; till, bv 
 the induftry of a few years, he refined his tafte, and (hewed himfelf worthy of 
 the favours conferred on him by Raphael. 
 
 Unwillingly he quitted Rome and Raphael, being obliged to return to 
 Ferrara, on account of his domeftick affairs ; but, he there met with every 
 encouragement from the Duke, and his fellow citizens, as they foon perceived 
 his new, and nobler manner, which appeared in the difpoiition, the attitudes, 
 and the elegance of his figures ; in his lively and agreeable tone of colour; and 
 in the correctnefs of his outline ; the whole compofition having a confiderable 
 air even of Raphael himfelf. 
 
 In a chapel of the church of S. Francis, at Ferrara, he painted the Refurrec- 
 tion of Lazarus ; which, for the variety and correctnefs of the figures, as well as 
 for the beauty of the colouring, was excefTively admired ; and alfo another 
 fubject in the fame chapel, reprefenting the Murder of the Innocents ; in which 
 the attitudes, the aclions, and the expreffion of the figures are admirable. Of 
 that performance a judicious writer fays, that one would certainly call it 
 Raphael's ; for, there is fo much of the fpirit, and manner, of that great 
 mailer in it, that the miftake would almoft do honour to the perfon who made 
 it. But, the moil capital work of Garofalo in oil colours, is in the chapel ofS. 
 George, near Ferrara. The fubject is the Adoration of the Magi ; and the 
 excellence of that work eitablifned his fame, and procured him as much 
 employment as he could poiTibly execute. He had the misfortune to lofe the 
 fight of one of his eyes, and yet he painted with as much delicacy as ever, till 
 his fixty-ninth year; when he was totally deprived of his fight, and in that Hate 
 he lived nine years. 
 
 In the Palazzo Zampieri at Bologna, there are two landfcapes painted by 
 Garofalo, which are in a fine tafte, and have abundance of force, but they are 
 rather too dark. 
 
 Ludo- 
 
GAR [239] GAU 
 
 Ludovico GARZI, Romano. 
 
 Painted Hiftory, and Portrait. 
 Died 172 1, aged 81. 
 
 He was born at Rome *, in 1640, and was a difciple of Andrea Sacchi ; and 
 in particular parts of his art, pofleffed a great deal of the merit of his mafter. 
 The airs of his heads had grace and elegance, not inferior to thofe of Carlo Ma- 
 ratti, to whom he was a cotemporary ; and he was very defervedly placed in com- 
 petition with that efteemed mafter, as the ftyle and tafte of defign of Garzi was fo 
 very fimilar to that of Carlo, that the works of the former are eafily miftaken 
 for thofe of the latter. 
 
 Ludovico defigned correctly, and for invention and colouring might be com- 
 pared with any mafter. His figures are finely turned, his draperies are natural 
 and elegantly caft, and his groups of boys and angels are fingularly excellent. 
 
 Mario GARZI. 
 
 Painted Hijiory, and Portrait. 
 
 He was the fon and difciple of Ludovico, born alfo at Rome, and became an 
 extraordinary good painter. His ftyle in compofition and defign, was entirely 
 in imitation of his father ; and in his manner of colouring and handling there 
 appeared a ftrong reiemblance. 
 
 He died before his father. 
 
 Hendrick GAUD. 
 
 Painted Landscapes, and fmall Figures. 
 Died 1639, aged 69. 
 
 He was born at Utrecht, in 1570, of an illuftrious family, and refided at 
 Rome when Elfheimer followed his profeflion in that city. He contracted a 
 moft intimate friendihip with that excellent artift •, ftudied his manner of pencil- 
 ing, defigning, and colouring ; and made the works or Elfheimer models tor his 
 own imitation. He pre-engaged all the pictures that his friend an-' favour e 
 could finifh, and even payed liberally for them before-hand ; by which means 
 he found himfelf in pofieffion of a moftdefirable treaiure. 
 
 Thofe pictures which Gaud himfelf painted were neatly, and delicately 
 touched, in colour and pencil refembling Elfheimer ; but, they were in no 
 degree equal to the paintings of that admirable matter, nor would they admit of 
 even being compared with them. He practifed engraving, as well as painting, 
 and made feveral prints after the pictures of Elfheimer, which are well known 
 to the curious, and are to be met with in moft collections of prints. 
 
 * The authors of the Abrege de la Vie des Peintres fay, he was born in 1638, at Piftoia, and 
 went to Rome when he was fifteen years of age ; but other writers affirm that he was born at Rome 
 in i6jjo, and was diftinguifhed by the name of Ludovico Garzi Romano, as Julio Romano had been 
 in the rime of Raphael. Thefe autl.crs are alfo guiky f another fmall n.iudkc, in faydngrh? was 
 born in 1638, and was 81 when he died in 1721, wjhereas from tho e dates he mult have been §3 ; 
 and to make the dales truly coincide with his age, they mult be as above, burn in ixfi, d fed 1711, 
 aged 81. 
 
 1 Wi 
 
GAU [ 240 ] G A Z 
 
 GAUDENTIO. 
 
 Painted Hiftory. 
 
 He was born at Milan, about the year 14S0, and flourifhed at the fame time 
 •with Raphael, and Titian ; and even at that period, when fome of the nutt cele- 
 brated matters that ever appeared, were enriching Italy with their compositions, 
 Gaudentio was very highly efteemed, for the fertility of his invention, and his 
 extraordinary freedom of hand. 
 
 He painted equally well in frefco, and in oil •, and finifhed a great number of 
 paintings in his native city, which were accounted exceedingly good ; particu- 
 larly, in the church of S. Celius, he painted the grand altar-piece ; and in .1 
 chapel belonging to the church of S. Maria della Gratia, he painted the hiftory 
 of Chrift's Pafiion, with figures as large as life. 
 
 Giovanni Battista GAUL I, called Baccici. 
 
 Painted Hiftory, and Portrait. 
 Died 1709, aged 70. 
 
 He was born at Genoa, in 1639, where he was inftructed in defign, and co- 
 louring. But, under the protection of the Genoefe Envoy, in whofe train he 
 -was compaMionately taken to Rome, he was accidentally made known to Bernini, 
 and Mario Nuzzi, da Fiori ; who not only directed him, in obtaining a better 
 knowledge of his art-, but, promoted him by their recommendation, and laid 
 the foundation of that fortune, and reputation, at which he afterwards arrived. 
 
 He became excellent in portrait painting, though his genius and talents were 
 much better adapted to hiftory •, but, he was lb eagerly foliated to paint por- 
 traits, that he finifhed an extraordinary number of thofe fubjects, among which 
 were the portraits of five Popes, and all the Cardinals of his time. 
 
 His invention was good; his tone of colour lively, and agreeable; and his 
 touch was fpirited. He underftood the art of forelhor.tening his figures, to a 
 wonderful degree ; and gave them fuch force, that they feem to come forth 
 from the cielings which he painted. Thofe works which he finifhed in the 
 angles of the dome of S. Agnes, in the Palazzo Navona, had fuch ftrength of 
 .colour, that they made the colouring of Ciro Ferri look feeble; and it is re- 
 ported, that the death of that great artift, was occafioned through chagrin, on 
 feeing the effect of Gauli's performances, fo far fuperior to his own. However, 
 although he had great merit in many parts of his art, it muft be confefied, that 
 he fometimes is incorrect:, and heavy, and his draperies have too much of a 
 .manner in their folds. 
 
 Benozzo GAZZOLI. 
 
 Painted Portrait^ Animals, and Land/cape. 
 
 Died 1478, aged 78. 
 
 He was a very antient mafter, born at Florence in 1400, and the difciple of 
 •Giovanni Angelico da Fiefole, who diftinguifhed him above all his difciples, for 
 
 expert- 
 
GEE [ 241 ] GEL 
 
 cxpertnefs of hand, as alfo for a copious invention ; and he proved fuperior to 
 any of his cotemporaries in defign. He gave a fufficient evidence of his abili- 
 ties in hiftorical compofition, by defigning the principal fubjects of the Bible ; 
 and by the multitude and variety of his figures, he evidenced the extenfivenefs of 
 his genius, as well as the goodnefs of his tafte. 
 
 He painted all kinds of fubjects with equal freedom and eafe : he gained z- 
 general approbation by his performances, not only in hiftory, but in portrait, 
 landfcape, animals, perfpective, and ornaments of architecture ; and was em- 
 ployed at Rome, Florence, Milan, and many other parts of Italy. His princi- 
 pal work is in the dome of the great church at Pifa, in which he has repreiented 
 Chrift difputing with the Doctors, which confifts of a great number of figures,- 
 well defigned, and with good expreflion. 
 
 John Van G E E L. 
 
 Painted Hiftory, and Conversations. 
 
 This mafter painted in the manner of Metzu, and with lb great exactnefS' 
 that the work of the one frequently pafies for the work of the other. Hou- 
 brakendeicribes a picture of Van Geel, in which he has repreiented a woman 
 fitting with a child in her lap. The figures in that defign are very judicioufly 
 difpofed, and the drapery, which is of yellow fattin, falls in eafy, natural folds ; 
 it is painted with a thin, delicate colour ■, and the touch is light, neat, and fpi- 
 rited. The picture is in every refpect fo like Metzu, that it is generally taken 
 for his work. 
 
 There are alfo fea-ports, on which the name of John Van Geel is infcribed, 
 which are coloured with a great character or nature and truth, being alfo ex- 
 cellently defigned, well penciled, and very transparent. The figures are intro- 
 duced with propriety, and judgement •, they are in general neatly handled, but 
 iometimes the figures appear rather too large for perfpective proportion ; bur 
 the whole together is plcafing, and mafterly. Yet, whether theie are by the 
 hand of that Van Geel who imitated Metzu, or by another artift of the fame 
 name, is not pofitively determined by the writers on this fubject. 
 
 Arent, or Arnold de GELDER. 
 
 Painted Portrait, and Hiftory. 
 
 Died 1727, aged 82. 
 
 He was born at Dort, in 1645, ar >d learned defign in the fchool of Samuel 
 van Hoogftraten, but afterwards he went to Amfterdam, and became a diicipk 
 of Rembrant ■, under whom he made fo great a proficiency, that he approached 
 near to the merit of that famous artiit. Nor is it any way furpnzing, that in his 
 colouring:, handling, and freedom of pencil, he ihould fo exactly imitate his 
 mafter, lince he reiembled him as ftrongly as poffible in his manner of thinking. 
 And, although many of Rembrant's difciples, quitted his ftvlc, in feme time 
 after they had quitted his fchool ; yet, it is obierved of Be Gelder, that he con>- 
 ftantly adhered to it as long as he lived. He ipent two years under the direction 
 
 of 
 
CEL [ 242 ] GEL 
 
 of Rembrant, but he accomplilhed himfe'f in his art, by a curious and attentive 
 ftudy of nature. 
 
 In imitation of his matter, he alfo had a repolitory of fuch objects of ftill life, 
 as he might at any time have occafion to paint ; as armour, lire-arms, fpears, 
 and old draperies, and the wads of his room were covered with fluffs, filks, or 
 cnfigns, tattered and whole-, from which antique fcores, he dreffed his figures, 
 and furnifhed the back-grounds of his pictures. When he repreiented fringes, 
 or embroideries, he frequently laid on a mafs of colour, and only broke it into the 
 form he defigned with the flick of his pencil, which generally produced a bold 
 and good effect:, if the work was viewed at the proper diflance. 
 
 Among his principal works are mentioned the laic fcene of David's life, when 
 Bathfheba requefls him to make Solomon his fucceflbrj and Jacob the patriarch 
 bleffing his children. His laft work was the fufferings of Chrift, in twenty-two 
 pieces, which Houbraken commends, for having a true and flrong exprcflion, 
 a furprizing variety of figures, and an excellent chiaro-fcuro. 
 
 Gualdorp Gortzius, called GELDORP, 
 Painted Portrait^ and Hijlory. 
 Died 1618, aged 65. 
 
 This painter was born at Louvain, in Brabant, in 155^; and finding no fuf- 
 ficient mailers in his own city, he went to Antwerp, to feek cut others bemr 
 qualified to inftruct him in the art of painting j and placed himfelf under the di- 
 rection of Francifcus Franks. But that matter dying in a fhort time after, Gel- 
 dorp became the difciple of Francis Pourbus. 
 
 His principal employment was to paint portraits, in which flyle he received 
 great encouragement, and was reckoned among the good, artiits of his time ; yet 
 Sandrart fays, he was not capable of drawing a whole- figure, nor was he expert in 
 defigning the hands, or the extremities, with correctnefs, or elegance ; but, in 
 the execution of both, was affifled by other painters. 
 
 However, Defcamps and other writers affirm, that he compofed hiftorical Sub- 
 jects with fome degree of credit, and alfo heads, which had a great deal of merit. 
 At Cologne there is a Danae of his defign, which is much praiied; and two 
 heads, one of Chrift, and the other of the Virgin, which by fome connoiffeurs 
 have been efleemed little inferior to Guido. 
 
 Certainly, one might be induced to believe, there muft have been two dif- 
 ferent painters of that name, as the merit afcribed to the paintings of Gortzius, 
 by writers who had feen them, and were competent judges, feems to be incompa- 
 tible with the character given of Geldorp by Sandrart, and by De Piles, who for 
 the moil part tranflar.es Sandrart. 
 
 Jacob G E L L I G. 
 
 Painted Fijb, and Still Life. 
 
 He was born at Utrecht, about the year 1636, where he learned defign, and 
 colouring ; but he (ludied after nature entirely. The fubjects which he chofe to 
 paint, were thofe kinds of fiili peculiar to rivers ; as fuch objects were moit fre- 
 quently ken and fold at Utrecht. 
 
 As 
 
GEM [243] GEM 
 
 As he never painted by the ftrength of imagination, or memory, but always 
 copied every object as it was placed before him, his imitations were proportion- 
 ably exact ; and he defigned them with a great deal of truth, and gave them the 
 colour of nature. However, he had no great elegance in the difpofition, nor had 
 he any remarkable tranfparence in the colouring of his objects ; though in other 
 refpects he had merit, and a free, firm manner of penciling. On the irruption 
 of the French into Holland in 1 672, he found fo fmall a demand for his pictures, 
 that he applied himfelf intirely to the painting of portraits. 
 
 Vincentio r>i S. GEMIGNANO, called Vincentino. 
 
 Painted Hiftory. 
 
 Died 1530, aged 40. 
 
 He was born at San Gemignano, in the territory of Tufcany, in 1490, but he 
 became a difciple of Raphael, and fuccefsfully imitated the ftyle of that inimi- 
 table artift, in his tafte of defign, and compofition, as well as in his colouring. 
 He was employed by his mafter, in many of the works in the Vatican -, as alio 
 in thole, which were painted in frefco at the Pope's palace. Several of his own 
 compofitions which he painted in Rome, were defigned in the manner of Ra- 
 phael, and delicately coloured ; yet, when he quitted Rome in 1527, at the 
 plundering of that city, and returned to Tufcany, he did not perform any thino- 
 worthy of that reputation which he had acquired at Rome, under the guidance 
 of Raphael. 
 
 Giacinto GEMIGNANO, or Geminiani. 
 
 Painted Hiftory. 
 
 Died 168 1, aged 70. 
 
 He was born at Piftoia, in 1 61 1 , but travelled to Rome, and placed himfelf as 
 a difciple with Pietro daCortona •, under whom he proved an hiftorical painter 
 of fingular merit. He continued at Rome for fome years, and finiihed feveral 
 fine compofitions for the churches and convents ; by which he gained an efta- 
 blilhed credit, and then returned to his native city. 
 
 Luigi GEMIGNANO, or Geminiani. 
 
 Painted Hiftory. 
 
 Died 1697, aged 45. 
 
 He was the fon and difciple of Giacinto, born at Piftoia, in 1652; but, he 
 perfected his ftudies at Rome, where he alfo followed his profeffion, and ob- 
 tained the reputation of being an excellent artift ; for, he not only defigned, and 
 compofed, with much greater fpirit than his father, but he excelled him in the 
 beauty of his colouring, although he was not quite fo correct. 
 
 Ii GlROLAUO 
 
GEN [ 244. ] GEN 
 
 Cirolamo G E N G A. 
 
 Painted Hijiory, and Perfpeflive.. 
 
 * Died 1 55 1, aged 75: 
 
 lie was born at Urbino in 1476, and at the age of fifteen, was placed in the- 
 fchool of Luca Signorelli of Cortona, a painter who at that time was in great 
 cfteem ; under whom he ftudied forfeveral years, and afiifted his mafter in moll 
 of his undertakings in different parts of Italy, but particularly at Orvieto •, being 
 acknowledged the beft difciple of that fchool. Afterwards he fpent three years 
 with Pictro Perugino, at the fame time that Raphael was under the care of that 
 artift ; and that intercourfe laid the foundation of a moft cordial friendfhip, be- 
 tween Raphael and Genga, which never was impaired. 
 
 As he had made perfpeclive and architecture his particular ftudy, he excelled 
 in both ; and was employed by the Duke of Urbino to paint the fcenery of his 
 theatre, which Genga executed in an admirable manner, to his own honour, and 
 the fatisfaction of the Duke ; and his extraordinary abilities in the feveral 
 branches of his art, procured him ample employment at Rome, and Florence (as 
 well as at Urbino) where his performances were held in great efteem. 
 
 Bartolomeo GENGA. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1558, aged 40. 
 
 He was the fon and difciple of Girolamo Genga, born at Urbino, in 1:518. 
 He was reputed an able artift, and painted entirely in the manner of his father ; 
 but, belide his merit as a painter, he. was alio an architect, and a ftatuary. 
 
 Benedetto GENNARI, called Benedetto. 
 
 Painted Hi/lory, and Portrait. 
 
 Died 1 71 5, aged 82. 
 
 This painter was born at Bologna, in 1633, being the nephew and difciple 
 of Guercino, under whofc direction he learned colouring, and defign. He gave 
 up his whole attention and ftudy to imitate the ftyle of his uncle, and his appli- 
 cation was attended with proportionable fuccefs. For feveral years he con- 
 tinued with Guercino, aflifting him in his works ; but when he introduced 
 himielf to the world, by compofitions of his own, he received all poffible marks 
 of public approbation. 
 
 By the advice of his friends he vifited France, and was there eminently dif- 
 tinguifhed by Lewis XIV, who appointed him to paint feveral pictures for one 
 of his palaces, and rewarded him honourably ; he alio fucceeded happily in a 
 portrait of the Duke of Orleans, which added abundantly to his reputation. 
 
 • Vafari fays hedicdin '55 I , aged 75, and confequently he muft have been born in 1476; yet 
 the author of the Chronological Tables fays, he was born in 1496, and died in 155 1, making him 
 only 55 at his death, which is undoubtedly a miltake. 
 
 While 
 
r -1 
 
 EN [ 245 ] GEN 
 
 "While he refided at Pans, he was engaged by a perfon in high ftation to com- 
 pofe a defign of Endymion fleeping •, but, being aflured that his employer 
 ■would not reward him in proportion to his labour, or the merit of his perform- 
 ance, he privately retired from Paris with his picture, which he had finifhed 
 with his utmoft (kill, and went to London, where he knew the arts and fciences 
 were always molt liberally encouraged. 
 
 No fooner was Benedetto known in that city to be the nephew of Guercino, 
 than he found admirers and friends, by whom he was introduced to King 
 Charles II; and he had the honour of prefenting to that monarch the picture of 
 Endymion, as a proof of his ability. The King viewed it with pleafure, and 
 rewarded the artift in a princely manner •, and at the fame time, Benedetto had 
 the fatisfaction to receive the univerfal applaufe of the bed judges of painting 
 in the Englifh court. 
 
 He continued for a confiderable time in England, very much carefled and 
 employed ; and on his leaving that country, retired to his native city Bologna, 
 where he ended his days. In a chapel belonging to the church of S. Giovanni 
 in Monte at Bologna, there is an hiftorical picture by Benedetto, which is 
 efteemed a fine performance, and extremely in the manner of Guercino. The 
 fubject is, a King receiving Baptifm from S. Annian. 
 
 Cjesare GENNARL 
 
 Painted Land/cape, and Hijiory^ 
 
 Died 1688, aged 47. 
 
 He was a nephew and difciple of Guercino, born at Bologna, in 1641. In 
 hiftorical compofitions he had a bold and noble ftyle of painting, which was ex- 
 ceedingly admired ; but his landfcapes in particular were in a fine tafte, and his 
 trees touched with a free and firm pencil, much refembling the manner of 
 his mailer. 
 
 Abraham GENOELS. 
 Painted Land/cape, and Portrait. 
 
 He was born at Antwerp, in 1640, and at firft was a difciple of Jacques Bak- 
 kereel, with whom he continued four years •, but then having a great defire to 
 learn perfpeflive, he placed himfelf under the direction of Nicholas Firelans at 
 Boisleduc, who was accounted the bell artift of his time, in that branch, When 
 he had thoroughly eftablifhed himfelf in the beft principles of painting, and per- 
 fpective, and made a confiderable proficiency in mathematical knowledge, he 
 grew defirous to travel, in order to his further improvement, and directed his firft 
 journey to Paris. 
 
 In that city he met with Francifco Mile ; and the fame love to the art, parti- 
 cularly to landfcape, united them in the ftricleft intimacy. Their greateft plea- 
 fure confided, in communicating to each other their obfervations, their reflec- 
 tions, and their difcoveries, which highly contributed to their mutual advantage. 
 Genoels foon became known, and his work procured him refpec}, and efteein ; 
 
 I i 2 f« 
 
GEN [ 246 ] GEN 
 
 fo that, De Seve engaged him to paint the landlcape, in thofe deligns for ta,- 
 peftrv which he was preparing for Mr. Louvois. Afterwards, lie was ex- 
 tremely favoured by Le Brun, who procured him an employment in the King's 
 fervice, with an honourable penfion, and an apartment in the Gobelins ; and 
 alio engaged him to paint the landlcape, in thofe celebrated pictures of the 
 battles of Alexander. 
 
 When Genoels quitted France, he had an impatient longing to vifit Italy •, 
 and after he had lpent a few years at Antwerp, where his paintings were very 
 much admired, he went to Rome. For fome years he refided in that city, and 
 devoted feveral months annually to retire to the villas about Rome, in order to 
 ftudy after nature. He obferved the trees, flues, rocks, ruins, villas, and build- 
 ings •, from which he made fketches, to fupply him with materials for his future 
 compofitions. And while he was at Rome, he painted the portrait of Cardinal 
 Rofpigliofi, and alfo a few landfcapes for the Spanifh Ambaffador. 
 
 Having finifhed his ftudies in Italy, he returned to France, and complimented 
 Le Brun, and Colbert, with many of thofe curious defigns which he had fketched 
 near Rome ; and notwithftandingthe large offers of thofe great men, to induce 
 him to continue with them; the love of his native country prevailed over all 
 other confiderations •, and he fpent the latter part of his life in his native city, 
 greatly honoured and efteemed, having lived to a very advanced age. 
 
 There certainly cannot be a more convincing proof of the abilities of Genoels, 
 than to obferve, that De Seve, and Le Brun, as well as other eminent mailers, 
 employed him for the landfcape in their works. The pictures which he de- 
 figned, and finifhed, fhew tafte and genius •, and it is eafy to perceive, by the 
 truth of every object he reprefents, that he had carefully and curioufly ftudied 
 nature. As to his portraits, they will not defervedly admit of much commen- 
 dation-, but in landfcape, which was his chief excellence, his colouring was na- 
 tural, and ftrong, and the execution eafy, and free ; nor had he any thing of the 
 manneriil in any of his works; for, every touch of his pencil varies according 
 to the difference of the objects he reprefents. 
 
 Luoovicus GENTILE. 
 Painted Hi/lory, and Portrait* 
 Died 1670, aged 64. 
 
 This painter was born at Bruffels, in 1606, and learned the rudiments of the 
 art in that city ; but, he travelled to Italy, and lived at.Rome for thirty years. 
 I le was remarkable for a peculiar politenefs of manners, and genteelnefs of drefs, 
 r.nd likewife for alfociating with perfons of the firil rank, who, on account of 
 his talents, and accomplishments, fblicited his acquaintance. And it was princi- 
 pally on that account, that he acquired the name of Gentile, by which he is 
 generally known •, for, his real name was Ludovicus Primus, or Prima •, though 
 lome writers think, it was given him by way of diftinclion, on account of the 
 eiepant forms of his figures. 
 
 He painted portraits in a neat and delicate ftyle, and finifhed them exqui- 
 fuciy ; yet he poffeffed fo much (kill and power of his pencil, as to conceal that 
 abundant labour, which he beftowed on every one of them. The portrait of 
 
 5 Po P e 
 
 
GEN [247] GEN 
 
 Pope Alexander VII, gained him very high applaufe •, and while he lived iir 
 Rome, moil of the Cardinals, and Nobility, were painted by him ; his pictures 
 being accounted worthy of a place in the richeft collections, among the beft 
 m afters of Italy. 
 
 It feems lbmewhat unaccountable, that this artift fhould fo particularly apply 
 himfelf to portrait painting, when he was extremely well qualified to compofe 
 hiftorical fubjects, with equal merit, and fuccels. In that ftyle, his tafte of. 
 defign was good, his penciling free, and broad, and his colouring ftrong •, but, 
 in every refpect fo different from his portrait manner, that one could with dif- 
 ficulty be induced to believe, that the fame pencil executed the one, and the 
 other. In the pariih church of S. Michael at Ghent, there is a grand altar- 
 piece, reprefenting the Crucifixion, which will convince every judicious eye, that: 
 Gentile was an extraordinary great mafter. 
 
 Orazio GENTILESCHI.. 
 
 Painted Hiflory. 
 
 Died 1647, a i £ d 84.- 
 
 He was born at Pifa, in 1563, and was a difciple of Aurelio Lomi, his half 
 brother. He diftinguifhed himfelf greatly, by his works at Florence, Genoa, , 
 and Rome, as likewife in France, and Savoy •, and fo great was his reputation, 
 that he was invited by King Charles I, to the Court of London, where he had a 
 considerable appointment, together with apartments in the palace ; and was em- 
 ployed in feveral works for that monarch, particularly at Greenwich in painting 
 cielings. 
 
 Sandrart, who was his moft intimate friend, and who happened to be in 
 London, when Gentilefchi was there, defcribes a few of his pictures, which were 
 painted for the King, in the higheft terms of commendation, having feen them, 
 and carefully examined them. One was the picture of Mary Magdalen, pro- 
 ftrate on the ground •, with fuch a character of devout compunction, and divine 
 meditation, as could not be more feelingly expreffed by any artift. Another 
 picture, was a holy family, reprefenting the Virgin fitting on the ground, with 
 the infant at her breaft, and Jofeph in a fupine attitude refting his head on a 
 fack; which picture, in regard of the drawing, the defign, the colouring, and 
 the difpofition, as alfo for the appearance of nature, and truth, was juftly to be 
 admired. The third which Sandrart mentions, was Lot, fleeping on the bofom 
 of one of his daughters, while the other is attentively obferving them ; and the 
 whole was fo happily executed, as to be equal to the performance of any mafter. 
 
 After the death of the King, when the valuable collection of that unfortunate 
 Monarch was pillaged, and expofed to fale, by Cromwell, nine pictures of 
 Gentilefchi, which were in the palace, were fold for fix hundred pounds ; and 
 are now faid to be the ornaments of the hall at Marlborouo-h-houie. He at- 
 tempted to paint portraits, but was very unfuccefsful, as his greateft power lay 
 incompofing hiftorical fubjects, with figures as large as the life. The mcft ca- 
 pital performance of this mafter, is the portico of the palace of Cardinal Benii- 
 
 Yoglio, at Rome 
 
 Artemisa, 
 
GEN [ 248 ] G E R 
 
 Artemisia GENTILESCHI. 
 
 Painted Portrait, and Hijlory. 
 
 She was the daughter and difciple of Orazio Gentilefchi, and proved far fu- 
 perior to him in portrait painting, though fhe did not equal him in hiftory •, yet 
 lbme connoiffeurs accounted her, even in hiftory, very little inferior. 
 
 In hiftorical compofitions, her ftyle was like that of her father, with figures as 
 large as life •, and the moft celebrated pi&ure of her hand, is the victory of 
 David over Goliath. She had the honour to paint the portraits of fome of the 
 Royal family at London, and a great number of perfons of the firft rank. 
 
 Sir Balthasar GERBIER. 
 
 Pointed Portraits in Miniature. 
 
 Died 1 66 1, aged 69. 
 
 He was born at Antwerp, in 1/592, and arrived at a confiderable degree of 
 merit in his miniature paintings. He was employed by Charles I, who exprefled 
 a great efteem for his works ; and at the recommendation of the Duke of 
 Buckingham, conferred on him the honour of knighthood, and appointed him 
 his refident at Brufiels ; in which employment he was for a long time continued, 
 and he difcharged that office with credit, and probity. 
 
 Simon GERMYN. 
 
 Painted, Fruit, and Land/capes. 
 
 Died 1 7 19, aged 6y. 
 
 He was born at Dort, in 1650, and was a difciple of Godfrey Schalcken, 
 though afterwards he ftudied under Lodowick Smits, called Hartcamp, of 
 whom he learned a peculiar manner of painting fruit, as is mentioned in the ac- 
 count of Smits. And in reality, he made great advantages by his works in that 
 ftvle, at the beginning-, as his mafter Smits had done before him. However, 
 the fuccefs was not of any long continuance ; for by his method of fcumbling, 
 blending, and torturing his colours, mixing thole that were durable with thofe 
 that were perilhable, his paintings, like thofe of his mafter, foon faded, and 
 loft their original luftre ; and his pictures funk into difefteem. For which 
 reafon he applied himfelf intirely to the painting of landfcapes, which he prac- 
 .tifed as long as he lived. 
 
 G E R R A R D of. Haerlem. 
 
 Painted Hiftory. 
 
 Aged 28. 
 
 He was born at Haerlem, and was a difciple of Albert van Ouwater, one of 
 the firft, after John Van Eyck, who painted in oil ; and when he had pra&ifed 
 under that mafter for a fliort time, he fhewed fuch freedom of hand, fo firm an 
 
 out- line 
 
GER [ 249 ] G E R 
 
 out-line, and fuch an expeditious manner of colouring,, that his mafter ufed to 
 fay he was born a painter. In many parts of his profeiTion he was equal to his 
 mafter ; but, in defign, expreffion, and the difpofition of his fubjects, he was far 
 fuperior. He underftood peripeclive extremely well, and was confidered by his 
 cotemporaries, as one of the belt painters of his time. 
 
 For the church of S. John at Haerlem, he painted a defcent from the crofs, 
 which was efteemed an exquifite performance. The exprefiion of the different 
 paffions in the countenances of the Virgin, and the Apoftles, is admirable; and. 
 the whole is furprizingly beautiful. Albert Durer, who went to Haerlem to 
 fee the works of Gerrard, faid that he muft have been a remarkable favourite o£ 
 nature, who could fo early arrive at fo great a degree of perfection. 
 
 Christofaro GERARD I, called D'al Borgo 
 
 S. Sepulchro. 
 
 Painted Hijlory, Land/cape, and Grotefque. 
 
 Died 1556, aged 56.. 
 
 He was born at Florence, according to the teftimony of fome authors, and at 
 Borgo San Sepulchro according to others, in the year 1 500. From his infancy he 
 indulged himielf in the practice of drawing, and defigning; and without any in- 
 ftruction, or afTiftance, except that of his own natural genius, he had at the age of 
 fixteen, made fuch a progrefs in painting, and defigning different fubjects, and alfo 
 fhewed fomewhat fo graceful in his manner, that he was confidered as a prodigy. 
 Some of his performances happening to fall under the obfervation of Raphael 
 dal Colle, that artift was fo much pleafed, and furprized, with the tafte and exe- 
 cution of them, that he took Chriftofaro under his own care; admitted him as 
 one of his difciples •, and directed his hand and his judgement, till his pupil 
 proved a very eminent mafter. 
 
 Chriftofaro fpent fome years in the army, but he forfook the military life, to 
 devote himielf to painting •„ and became an univerfal artift, in not only defio-n- 
 ing hiftorical figures, but alfo landfcapes, birds, beafts, fifties, and particularly 
 excelled in grotefque. He finifhed a great number of works at Rome, Naples, 
 and Florence, which are greatly admired ; and, in conjunftion with Giorgio Va- 
 fari, executed many noble defigns in frefco, as well as in oil, that were an equal, 
 honour to both artifts. 
 
 Ma rk GERARD S. 
 
 Painted Portrait, Hijlory, and Land/cape. . 
 
 Died 1635, aged 74.. 
 
 This painter was born at Bruges, in 1561-; and ■' about the year 1580 went. 
 to England, where he was appointed principal painter to Queen Elizabeth. 
 
 His pictures are generally neatly handled, and his carnations thin, light*, and 
 of a bluifh tint. He painted the proceffion of the Queen,, and Knights of the 
 Garter in 1584 r and although the portraits were fmall, they had a great refefn— 
 
 bianco. 
 
 2 
 
GER [ 250 ] G H E 
 
 blance of the perfons reprefcnted, with an uncommon fidelity as to their air, 
 and ftature. 
 
 Gerard Pietersz van Zyl, called GERRARDS. 
 
 Painted Hijiory, Portrait, and Ccnverfations. 
 
 Died 1667, aged 60. 
 
 This artift was born at Amfterdam, as fome writers affirm, or at Leyden, ac- 
 cording to others, in the year 1607, and is known by the name of Gerrards. He 
 learned the art of painting in his own country, but went to England to practife 
 it ; and happened to live in the fame houfe with Vandyck, with whom he culti- 
 vated an intimate friendflrip. By his having fo fortunate an opportunity of ob- 
 ferving the penciling of that inimitable matter, he ftudioufly laboured to imitate 
 his manner of handling, and colouring; and proved fo happy in his endeavours, 
 that after the death of Vandyck, he returned to Amtterdam, and rofe into fo high 
 a reputation, that he was diftinguifhed by the name of the fccond Vandyck. 
 
 His moil ufual fubjects were portraits, which he generally defigned in the hif- 
 torical ftyle, after the manner of conversations •, and he always gave his figures 
 fuch draperies as were fuitable to the modes of the times. The hands of his 
 women are particularly excellent, as well for the roundnefs, and fine out-line, as 
 for the delicacy of the colouring •, a circumftance which is peculiarly obfervable 
 in the works of Vandyck. 
 
 One of the beft pictures of this matter, is the Prodigal Son, which has a fen- 
 fible, and ftrong expreffion, and is alio excellently coloured. 
 
 Pier Leone GHEZZI, called Cavalier Ghezzi. 
 
 Painted Hijiory, and Portrait. 
 Died 1755, aged 81. 
 
 He was born at Rome, in 1 674, and inftructed in defign by his father, 
 (Giufeppe Ghezzi, who was a painter) till he was properly ettablifhed in that 
 knowledge ; and then he was taught the art of colouring, and penciling, not 
 only in oil, but in frefco. And there are feveral paintings, executed by him in 
 his early time, in which may be feen an exact obfervance of thole rules pre- 
 ferred by Giufeppe, which are cuftomarily praftiled by the belt, and moil 
 correct, artifts of the Roman fchool. 
 
 His merit recommended him to the favour and protection of Cardinal Al- 
 bani, who employed him in feveral confiderable works ; and that Cardinal, 
 being afterwards elected Pope, became the patron of Ghezzi, and appointed him 
 to adorn the gallery of Caftel Gandolfo ; as alfo to paint the prophet Micah, one 
 of the twelve, in the church of S. John Lateran. By thole, and other grand 
 performances, his reputation was fo effectually ettablifhed through all Italy, that 
 Francis I, Duke of Parma, engaged him in his fervice ; and was fo exceedingly 
 pleafed with his performances, that he created him a Count, and conferred on 
 him the order of the Golden Spur. 
 
 If 
 
G H I [ 251 ] G H I 
 
 If at any time he painted portraits, he undertook them unwillingly ; for, 
 where he could difengage himfelf without difobliging, he always endeavoured to 
 do it ; and yet, thofe portraits which he did finifh, might (land in competition 
 with thofe of the beft artifts in that ftyle. His principal works are in the apart- 
 ments and chapels of the Pope, the Cardinals, and the prime nobility of Rome j 
 by whom he was held in the higheft efteem. 
 
 Domenico GHIRLANDAIO. 
 
 Painted Hijlory, and Portrait. 
 Died 1493, aged 44. 
 
 He was born at Florence, in 1449, and originally bred to the trade of a Gold- 
 fmith ; but having a ftrong natural inclination to painting, and a good tafte, he 
 applied himfelf with fingular induftry to arrive at the knowledge of the art, and 
 placed himfelf as a difciple with Aleffandro Baldovinetti. After fome years 
 fpent in clofe application, he proved a very eminent artift, and gradually in- 
 creafed his reputation, till he was confidered as one of the beft painters of 
 his time. 
 
 The firft work by which he diftinguifhed himfelf, was in a chapel belonging 
 to the Vefputian family •, in which he introduced the portrait of Americus Vef- 
 putius, the celebrated navigator, after whom the weftern world is named. Va- 
 fari enumerates a multitude of his works at Florence, Rome, Pifa, Lucca, and 
 Siena, in all which cities he was exceffively applauded, and careffed. However, 
 although he juftly deferved to be refpefted on account of his own merit, yet he 
 derived a ftill greater degree of honour from his being the mafter of Michael 
 Angelo Buonaroti. 
 
 His invention was fertile, and ready ; his compofition judicious ; and he 
 painted architecture perfectly well. But, he had fomewhat dry, and ftiff, in his 
 manner; with which the eye of a connoifieur muft ever be difplealed. He 
 rarely painted any hiftorical lubjecl, without introducing portraits after the life ; 
 and fome particular parts in his compofuions, that were perfpectively repre- 
 fented, had a very good effect, making all reafonable allowance for the time in 
 which he flourished. 
 
 He was fond of defigning all the curious antiquities of Rome, the baths, 
 columns, obelifks, arches, aqueducts, and amphitheatres ; which he drew fo ex- 
 actly, only by looking at them, that the proportions of every Angle part, or 
 member, had as true a proportion to the whole, as if he had executed the draw- 
 ing, by a fcale, and compaffes. And, it is mentioned as an extraordinary in- 
 flance of the accuracy of this mafter, that having made a drawing of the Colof- 
 feum, he defigned one upright figure fo truly proportioned to the building, that 
 when, out of curiofity, that figure and the building were critically meafured by 
 rule, the whole, and every part, was found to correfpond with the proportion of 
 that figure. 
 
 'O 
 
 Kk RlDOLFO 
 
G H I [ 252 ] GIB 
 
 Ridolfo GHIRLANDAIO. 
 
 Painted Hijlcry, and Portrait. 
 
 Died 1560, aged 75. 
 
 He was born at Florence, in 1485, and having been inftructed by his uncle 
 David Ghirlandaio, in defign and colouring, he went to Rome ; where he had 
 the happinefs of being beloved by the incomparable Raphael, of being alio a fa- 
 vourite of Michael Angelo Buonaroti, and of being lb much improved in his. 
 tafte of compofition, as to be accounted, at his return to Florence, one of the 
 beft defigners of his time. 
 
 His colouring was excellent, but he acquired that perfection, not from the 
 inftruclion or example of his uncle, but from having been the dikiple of Barto- 
 lomeo di S. Marco. At Rome he was extremely admired, and conftantly em- 
 ployed by the Pope, and the principal nobility •, and in Florence alio he was. 
 as highly favoured by the Grand Duke, in whofe palaces there are feveral noble 
 compofitions by Ridolfo. 
 
 Giovanni G H I S O L F I, or G 1 s o L f ;. 
 
 Painted PerJpeBwe Views, and Sea Ports. 
 
 Died 1 68 3, aged 60.. 
 
 This matter was born at Milan, in 1623, and received his firft inftruction in 
 painting, and peripeftive, from Girolamo Chignolo ; but learned architecture 
 from Antonio Volpini ; though he feemed always proud to acknowledge him- 
 felf deeply indebted to Salvator Rofa for his tafte, and his method of 
 penciling. 
 
 He gave the firft proof of his wonderful abilities, by defigning and painting 
 ihe o-rand triumphal arches, for the reception of the Archdutchefs of Auftria, 
 when lhe was to pals through Milan •> and loon after he went to Rome ; where, 
 with inexpreffible pleafure 3nd induftry, he defigned all the beautiful remains of 
 antiquitv, the edifices, ruins, columns, or theatres. Of thofe fketches he made 
 an elegant ufe in his own compofitions, and introduced hiftorical figures fuitable 
 to thole veftiges of antient magnificence, or to the different fituations which he 
 chofe •, fo that, the whole together appeared full of harmony, and every part was 
 excellent. 
 
 The lightnefs and grandeur of his buildings, the beauty of the perfpective, 
 the judicious difpofition of the figures, the correctnefs and tafte of his defign, and 
 the truth, nature, and force of his colouring, rendered his works juftly precious 
 in every part of Europe, and they maintain their reputation, and high value, 
 yen to this day. 
 
 Richard GIBSON.. 
 
 Pah: ted Portrait.. 
 
 Died 1690, aged 75. 
 
 He was born in England, in 161 5,. and was placed as a difciple with Francis 
 de Cleyne, from whom he learned to paint portraits, in water-colours, and in 
 
 3 oil i. 
 
GIL [ 253 ] G I O 
 
 oil •, but he principally worked in the former. He perfected himfelf, however, 
 by copying the works of Sir Peter Lely, and at laft gained a considerable- 
 reputation. Nor was he morediftinguifhed asanartift, than he was remarkable 
 for the minutenefs of his fize ; his heighth being reputedly no more than three 
 feet ten inches •, and what was very fingular, he married a woman of the fame 
 heighth as himfelf. 
 
 It is reported by fome writers, that a picture of this matter's hand, reprefenting 
 the Good Shepherd, being fhewn to King Charles II, was fo much admired by 
 that Monarch, that it occafioned the death of Vander Dort the painter. 
 
 He drew the portrait of Oliver Cromwell feveral times ; and had the honour 
 of inftructing Queen Mary, when Princefs of Orange, and Princefs Anne 
 (afterwards Queen of England) in drawing. 
 
 GILLEMANS. 
 
 Painted Fruit, and Still Life. 
 
 He was born at Antwerp, about the year 1672, and ftudied after nature 
 thofe objects which he delighted to imitate. His fubjefts were fruits of various 
 kinds, particularly grapes, which he always painted in a fmall fize, but with a 
 great deal of truth, and often with a great deal of roundnefs, and relief. 
 
 He had a free, and fpirited touch •, his objects were well grouped, and his 
 colouring was frequently very natural, and lively •, but, being of fo much 
 fmaller a dimenfion, than what the eye is accuftomed to fee in nature, his 
 pictures have not an effect equal to the neatnefs of his handling. 
 
 Luc a G I ORDANO, called * L u c a Fa Presto. 
 
 Painted Hijlcry, and Portrait. 
 
 ■f Died 1705, aged 7 6. 
 
 This mafter was born at Naples, in 1629, and at firft was the diiciple of 
 Giufeppe de Ribera, called Spagnoletto, but he ftudied afterwards, under 
 Pietro da Cortona. When he quitted the fchool of the latter, he went to 
 Lombardy, to examine the aftoniihing productions of the pencil of Correggio ; 
 and then travelled to Venice, to improve himfelf by ftudying the beautiful 
 colouring, and grand compofitions of" the belt Venetian artilts. There the 
 works of Titian, and Paolo Veronele, principally engaged his attention ; from 
 
 * The appellation of Luca fa Prefto was accidentally applied to Giordano ; not on account of 
 the fame he had acquired by his expeditious manner of painting ; but, from the mercenary eager- 
 nefs of his father, who fold at a high price, thedefigns of Luca, which he made after the compo- 
 fitions of the great mafters, while he purfued his ftudies. The father of Luca fcarce allowed him 
 time to refrefh himfelf, but ftill faid to him while he was at his meals as well as at his work, Luca 
 fa Prefto, or Luca make halle ; from which exprcflion perpetually uttered, his companions gave 
 him the nick-name of Fa Preito. 
 
 f Authors difagree in the dates of the birth, age, and death of Luca Giordano. The writer of 
 the Chronological Tables fixes his birth in 1626, his death in 1694, and his age at 68. In the 
 Abrege de la Viedes Peintres, it is faid he was born in 1632, died in 1705, aged 73 ; but Velafco 
 affirms that he was born in 1629, and died in 1705, at the age of 76, and his authority feems to 
 me to have the greateft weight, though the reader is at liberty to determine, as his own judgement 
 may direct him. 
 
 K k 2 the 
 
G I O [ 254 ] G I O 
 
 the former he learned the force of the chiaro-fcuro, and from the latter, the 
 o-randeur and majefty offcyle, which lie united with the- harmonious colouring 
 of Cortona ; but he chiefly propofed to himfelf Veronefe as his model. 
 
 He had a fruitful and fine i 1, and a moil lurprizing readinefs, and 
 
 fo xlom of hand ; his tone of colouring is 3 -ve-ible, and his defign correct 
 He ftudied the manners, and p Ties, of the greateft matters, with fuch 
 
 care and judgement, and pdflefled §b happy a_ memory, that he not only 
 retained in his mind a d lea of the ftyle of every celebrated mafter, but 
 
 had the fkill and power to imitate them with fuch a critical exaetnd's, as to 
 deceive even the airieft coondiffeuis. 
 
 ItLs a known circumfhnce of Giordano, that when he was employed at the 
 Spanilh court, the King fhewed him a picture printed by Giacomo Baffan, for 
 which that monarch feemed defirous to have a companion ; and Luca painted 
 one in the manner of Baffan, fo amazingly exact, that the king appeared equally 
 pleafed, and furprifed. For which extraordinary performance, as alio on 
 account of a number of other excellent paintings, the king, to fhew apublick 
 teftimony of his efteem for Giordano, conferred on hyn the honour of knight- 
 hood, and favoured him with feveral honorary, and valuable employments. 
 
 It is very lingular, that in this mafter we fee fo true a genius, ftoop to become 
 a mimick of others. In his early time it might have been the effect of ftudy, 
 and an attempt to arrive at excellence ; but, we may obferve the fame 
 difpolition of mind, in thole pictures which he painted in the belt periods of hrs 
 life, many of them being in the peculiar manner of Titian, Tintoretto, Guido, 
 and Baffan. Some of thole paintings (fays an ingenious modern * traveller,) 
 are fo like, that I am well allured, I could point out in the moft capital 
 collections in England, fome called Titian's, which are inconteftably no more, 
 than the fportings of Giordano's pencil. 
 
 In one of the galleries of the marquis Peralta at Milan, are to be feen feveral 
 heads by Giordano, in the different manners of the Italian mafters. They are 
 emely fine, and one in particular of S. Gregory, in the manner of Guido. 
 The crand altar-piece in the church of theafcenlion at Naples, is accounted one 
 of thcTbeft performances of Giordano. It reprefents the Battle of the Angels, 
 and the Fall of Lucifer •, S. Michael ftands in a noble attitude, with his feet 
 upon Lucifer, both figures being fupported by the air ; two of the evil fpirits 
 fcem loaded with the throne of their prince, which is tumbled along with them 
 Towards the abyfs ; and there are a multitude of figures below, which appear 
 already driven into punifliment. The colouring of this picture is wonderfully 
 beautiful, frefh, and brilliant, and has a moft ftriking effect, by the brightnefs of 
 the local colours. There are likewife in the Palazzo Durazzo a dying Seneca 
 in the Bath ; the Martyrdom of a Saint ; and the conteft between Perfeus and 
 Demetrius ; which juftify all the honours and riches beftowed by monarchs on 
 this great painter. 
 
 * Letters from the Eaft. 
 
 G I O R g r- 
 
G I O [ 255 ] G I O 
 
 GIORGIONE, del Castel-Franco. 
 Painted Hiftcry, Portrait, and Landfcape. 
 Died 1 5 1 1 , aged 3 3 . 
 
 He was born at Caftel-Franco, in the Venetian territory, in the year 14*785 
 and learned the art of painting from Giovanni Bellini ; though, in.a few years he 
 proved far fupcrior to his matter. Fie carefully ftudied and defigned the 
 works of Lionardo da Vinci, and from them derived his firft notions of the 
 force of well adapted lights and lhadows, to add life and fpirit to the figures ; 
 till by frequent experiments, he produced fuch a new, and animated, ftyle of 
 colouring, as rendered him more admired than all the preceding artifts ; and, 
 he ftill added to his tafte, and judgement, by a diligent ftudy of nature, which 
 he imitated with remarkable fidelity, in all his compofitions. He was one of 
 the molt eminent painters of his time •, and the firft who obferved the powerful 
 effeft, of ftrong lights oppofed by ftrong fliadows, which he pra&ifed with 
 aftonifhing fucceis •, and from him, Titian ltudied and improved that enchanting 
 part of painting, till he excelled Giorgione. 
 
 His tafte of defign is delicate, fomewhat refembling the gufto of the Roman 
 fchool ■, though he frequently feems more attentive to the roundnefs, than to the 
 correclnefs of his figures. De Piles very juftly remarks, that it is a matter of 
 wonder to confider, how all of a fudden he foared, from the low dry manner of 
 Bellini's colouring, to the fupreme heighth to which he raifed that lovely part 
 of painting, by joining an extreme force, with an extreme fweetnefs. However, 
 when we reflect: that nature, and da Vinci, were his models, and that he had a 
 genius happily qualified to ftudy them judiciouily, we may more eafily account 
 for that excellence, by which he was fo eminently diftinguifhed. His pencil 
 was light, eafy, and free ; his knowledge of the chiaro-fcuro very extenfive-, and 
 his carnations had more the appearance of real flefh, than of bein°- a fine imitation. 
 of it. He frequently painted figures at half length ; and in the portrait ftyle r 
 thofe of the Doges Loredano and Barbarigo, are excellent ; and his fi<mres 
 cannot but be admired for their bold relief, as well as for the harmony of his 
 colouring, and the charming force of his light and fhadow. 
 
 His landicapes are exquifite, both for tafte and colouring, and he found out 
 fome fecret, to keep his colours frefh and lively •, efpecially the greens. His 
 works are held in the higheft efteem •, the greateft part. of them were grand 
 compofitions in frefco -, but his eafel pictures were few, and as well on account 
 of their fcarcity, as of their merit, they are exceedingly valuable. 
 
 At Venice there is a picture by Giorgione, reprefenting Chrift bearing his 
 Crofs, which is held in a kind of veneration ; and in the Palazzo Sagredo in the,- 
 fame city, is preferved a portrait, painted in a ftyle that is wonderfufty grand. 
 
 GIOSEPPINO. Vid. Arpino. 
 
 GIOTTO. 
 
 Painted Hi/lory, Portrait, and Mofaick. 
 
 Died 1336, aged 60. 
 
 This antient artift was born at Vefpignano, in 1276, and was a difciple 0$ 
 Cimabue ; but, he was far fuperior to his mafter in the airs of his heads, the 
 
 attitudes 
 
G I O [ 256 ] G I O 
 
 attitudes of his figures, and in the tone of his colouring. He had fufficient 
 judgement, to divert himlelf of the ftifthefs of his own mafter, and of thofe 
 Greek artifts who had been the inftruftors of Cimabue •, but, could hot arrive 
 at fuch a degree of perfection in the art, as to exprefs the tendernefs of the flefh, 
 the ftrength of the mufcles in the naked, or the different partions of the human 
 mind in the countenances of his figures ; except in the Mofaick, which is 
 remarkable for expreffion. 
 
 He was principally admired for his works in Mofaick, the beft of which is 
 over the grand entrance of S. Peter's church at Rome. The obfervation of 
 Alberti on that picture is, that in the fhip of Giotto, the expreffion of the fright 
 and amazement of the difciples, at feeing S. Peter walk on the fea, is fo excellent, 
 that each of them feems to give fome peculiar mark of the terror of his mind, 
 and alio of his particular thoughts, by a different attitude of his body. 
 
 At Florence is the famous Mofaick of the Death of the Virgin, fo highly 
 commended by Michael Angelo Buonaroti ; and Vafari fays, that his works 
 were univerfally admired, for the correctness of the figures, for their proper 
 difpofition, and for eafy, natural, attitudes. In a chapel at Padua, there are 
 feveral fubjects taken from the New Teftament, particularly a Crucifixion ; and 
 the carting lots for the vefture of Chrift ■, which are painted in frefco. Nothing 
 of the ftiff manner of Cimabue, or of the Greek painters, appears in this work ; 
 the attitudes arejuft, and many of them graceful ; but the naked figures, are 
 by no means equal to thofe that are cloathed. 
 
 Tomaso GIOTTINO. 
 Painted Hijlory. 
 Died 1356, aged 32. 
 
 He was born at Florence, in 1324, and his name was originally Tomafo di 
 Stefano, being the fon of Stefano Florentino ; but he was called Giottino, from 
 the great relemblance between his rtyle, and that of Giotto. He received his 
 firrt inftruclion in the art of painting from his father, but he was fo enamoured 
 with the works of Giotto, and at laft imitated his manner with fo much fuccefs, 
 that in many refpects he furpaffed him. His tafte of defign, his ideas, and his 
 invention, were fo exactly like that great artift, that it was a matter of fome 
 difficulty and fkill to determine between the works of the one, or the other ; fo 
 that it was ufually faid, the foul of Giotto animated Tomafo. 
 
 The pains he took, to finifh his pictures as high as poffible, with an 
 extraordinary neatnefs, and harmony of colour, procured him general applaufe, 
 and made his performances exceedingly admired ; for, he was fo peculiarly 
 delicate as to make the different fluffs of his draperies eafily difcernible ; and 
 yet, he preferved in thofe parts, as alio in the difpofition of his figures, grace 
 united with judgement. 
 
 GIOVANNI da San Giovanni. Vid. M a n n o z z i. 
 
 A n t 0- 
 
G I U [ 257 ] G L A 
 
 Antonio GIUSTI. 
 Painted Hijlory, Land/cape, and Animah, 
 Died 1 705, aged 8 1 » 
 
 He was born at Florence, in 1624, and fucceflively became a difciple of 
 Casfare Dandini, and Mario Balafll. 
 
 His invention was uncommonly fruitful and lively, and his genius univerfal ; 
 for with equal fpirit and beauty he painted landfcapes, animals, and hiftory ; 
 and in the latter, his figures were not only elegant, but correctly defigned, and ad- 
 mirably coloured, with a free, and a firm pencil.. 
 
 John GLAUBER, called Polidore. 
 
 Painted Land/cape. 
 
 Died 1726, aged 80. 
 
 He was born at Utrecht, in 1646, and placed as a difciple with Nicholas. 
 Berchem ; under whom he made a very rapid progrefs. Yet he was not more 
 charmed with the works of his celebrated matter, than with the landfcapes of the 
 great artifts of the Italian fchool ; which he had an opportunity of feeing with 
 Vylenbourg, who traded in pictures. With him therefore Glauber fpent lb me 
 years, in ftudying and copying the works of the beft painters of Italy, which, 
 were in the poffeflion of Vylenbourg. 
 
 He then determined on a journey to Rome, and took along with him a 
 younger brother, who was only fifteen years of age. In his rout he flopped at 
 Paris, and {laid one year with Picart, a flower painter •, and at Lyons, he- 
 fpent two years with Adrian Vander Cabel •, nor would he have quitted the 
 latter for fome years longer, if the great concourfe of people who were going to 
 the jubilee, had not tempted him directly to Rome. In that city he (tudied for 
 two years, not neglecting any diing that might conduce to his improvement r 
 and continued as long at Venice, to perfect himfelf in colouring,. 
 
 At his return to his own country, he fettled at Amfterdam, and lodged with 
 Gerard Laireffe •, and thole two artilts having the fame love to their profefiioii, 
 the fame elevation of fentiments, and a fimilarity of genius, improved by 
 travelling through the fame countries, became united in the firmed bonds of 
 friendfhip •, and there are beautifuljandfcapes of Glauber's, painted at that time,, 
 which are enriched with elegant figures by Laireffe. 
 
 Glauber is accounted one of the fineft landfcape painters among the Flemings ; 
 his tafte, and manner, are entirely of the Italian fchool ; his fcenes are generally 
 taken from the lovely viewsin the neighbourhood of Rome, and fcmetimes from 
 fituations near the Alps. His colouring is warm, true, and excellent •, his- 
 invention fertile ; his pictures ekquilitely finifhed, and at the fame time, there 
 is fuch an appearance of eafe and freedom, that they do not feem to have colt 
 much pains. His touch is fo particularly neat, that every diftinct fpecies of 
 trees, or plants, may be diftinguifhed, by the exactnefs of the leafing ; and- 
 by, a happy management of the aerial perfpxctive, his diftances recede in a 
 
 natural: 
 
G L A [ 258 ] G L A 
 
 natural and pleafing manner. Many of h'n paintings, and defigns, are in the 
 ftyle of Gafpar Pouffin. 
 
 His pictures ufually bear a confiderable price, efpecially when they have that 
 additional merit, of the figures by the hand of Lairefife. 
 
 John Gotlief GLAUBER. 
 Painted Sea-ports, Land/capes, and Architecture. 
 Died 1 703, aged 47. 
 
 He was the brother and difciple of John Glauber, born at Utrecht in 1656, 
 and was alfo a difciple of Jacob Knuyf at Paris. He travelled with his brother 
 to Rome, and refided there for two years, diligently obferving whatever he 
 thought worthy of his ftudy, or imitation •, and afterwards vifited Venice, where 
 he devoted all his hours to his improvement, painting after nature, and after the 
 beft pictures of the moft eminent in theprofeffion. At his return to Holland his 
 works were foon noticed, and much admired, as well for their tafte of defign, 
 as the excellence of their finifhing-, and his pictures are very often miilaken for 
 thofe of his brother. 
 
 Although this painter had a neat touch, and a delicate pencil, when he 
 employed himfelf on cabinet pictures ; yet, he fhewed a noble freedom of 
 hand, and a touch full of fpirit, in thofe large works which he executed in grand 
 halls, and falons. One of his capital landfcapes, is in the palace of the Prince 
 of Orange at Soefdyk ; which is exquifitely defigned and finiflied, the figures 
 bring painted by LairefTe. For feveral years he followed his profefiion at 
 Vienna, and afterwards at Prague, but he fettled at Breflau ; and the greater!: 
 part of his eafel pictures, are in different parts of Germany. In his landfcapes, 
 his fituations are pleafant, and well chofen •, and generally they are taken from 
 nature. The Italians were very fond of his defigns, and they gave him the 
 name of Myrtillus, on account of the paftoral fubjects which he delighted to 
 paint. 
 
 Frequently he painted fea-ports, in the manner of Knuyf his mailer •, and 
 likewife pieces of architecture, which he adorned with figures correctly defigned, 
 and well difpofed. His colouring is warm and true, and his reputation is fo 
 thoroughly eftablifhed in Germany, and the Low Countries, that he is ranked 
 among the number of the beft artifts of his time. 
 
 Diana GLAUBER. 
 
 Painted Portrait, and Hijiory. 
 
 She was the filter of John and Gotlief Glauber, born at Utrecht, in 1650. 
 She principally profeffed portrait painting, and in that ftvle rofe to a degree of 
 diftinction ; but (lie alio defigned hiftorical fubjects, till (lie was rendered 
 incapable of handling the pencil, by being accidentally deprived of her fight. 
 
 P I E T X O 
 
 
GOB [ 259 ] GOD 
 
 Pietro Paolo Cortonese, called GOBBO. 
 
 Painted Fruit, and Land/cape. 
 
 Died 1 640, aged 60. 
 
 This eminent painter was born at Cortona, in 1580, and learned the 
 principles of defign from his father ; but was afterwards the difciple of one 
 Crefcentio at Rome, and perfected himfelf in the moll eflential parts of his 
 profeffion, by ftudying after nature, with judgement, and accuracy. His merit 
 foon recommended him to the notice, and efteem, of the molt able judges at 
 Rome ; and as he excelled equally in painting fruit, and landfcape, he found a 
 generous patron in Cardinal Borghefe, who employed him to adorn his palace. 
 
 The fruit which he painted, hadfo true and exprefiive an imitation of nature, 
 that nothing could poflibly be more exact ; and by his thorough knowledge of 
 the Chiaro-Scuro, he gave an extraordinary roundnefs, and relief, to every object. 
 But, his greateft excellence confided in his colouring, for, in deilgn he was not 
 remarkably fuperior to others. 
 
 No painter can be more admired than this matter, as all the fubjefts he 
 painted are admirably relieved, touched with a fpiriced and free pencil, and 
 charmingly coloured. However, molt of the Italian writers on this fubjedt, 
 feem rather a little too florid in their commendation of his works, when, as a 
 part of their encomium, they compare him to Zeuxis among the antient 
 artifts of Greece. 
 
 Andrea GOBBO. 
 
 Painted Hijlory. 
 
 Died 1517, aged 57. 
 
 He is fuppofedto have been born at Milan, about the year 1470, and is only 
 memorable for his agreeable manner of colouring, for theneatnefs of his pencil, 
 and the labour he bellowed on finifhing his pictures very highly. 
 
 GOBBO. Vid. C a r a c c i. 
 
 Margarita GODEWYCK. 
 Painted Land/capes, and Flowers. 
 Died 1677, aged 50. 
 
 She was born at Doit, in 1627, and was inftrucled in the principles of 
 painting by Nicholas Maas. She acquired a fine tafte for painting landfcapes, 
 which flie ingenioufly diverfified with views of rivers, cafcades, villages, groves, 
 and diftant hills, that rendered her compofitions very pleafinq-. 
 
 This lady was not more admired for her paintings in oil, than fhe was for her 
 working with a needle, the very fame kind of fubjecls which fhe exprefted by 
 her pencil, with an equal appearance of nature, and truth, in both ; particularly 
 fhe worked flowers in embroidery, to the greateft: perfection. 
 
 LI Hugo 
 
GOE [260 ) GOL 
 
 Hugo Vander GOES. 
 Painted Hijlory. 
 
 H« was bom at Bruges, and became a difciple of John van Eyck, from whom 
 he learned the art of painting in oil ; and according to Sandrart, he flourifhed 
 about the year 1480. 
 
 Me had an extraordinary genius, and gave a great deal of elegance and grace 
 to the heads of his figures, eipecially to the female ; and finifhed his pictures 
 with almoft inexpreffible neatnefs of pencil. The fore-grounds of his paintings 
 are ufually enriched with plants, pebbles, and herbage or various kinds, imitated, 
 from nature, in a curious and exact manner. A great number of his works are 
 prelerved at Bruges, particularly, a picture of Abigail and her Maids in the 
 pretence of David ; in which the compofition, and expreflion, are wonderfully 
 fine ; and the becoming modefty of the women, cannot be fufficiently commend.- 
 ed, or admired. 
 
 Hubert GOLTZIUS. 
 
 Painted Hijlory. 
 
 Died 15S3, aged 63. 
 
 He was bom at Venlo, in 1520, and was a difciple of Lambert Lombard; 
 but having copied feveral defigns from the antique, under the direction of his 
 mailer, it infpired him with an ambition to ftudy after the originals, and for 
 that purpofe he travelled to Rome, where he refided for a confiderable time. 
 
 That city furnifhed his genius, with ample materials for future compofitions 
 in painting, and added abundantly to his literary knowledge, which enabled him 
 to inveftigate many curiofities in coins, and medals, and he afterwards learnedly 
 digefted, and published them, with critical annotations. At Antwerp, he painted 
 the hiftory of Jafon ; but his pictures are exceedingly rare, although it is 
 imagined, that he painted a great number. 
 
 It was obferved by fome of his cotemporaries, that he had the talents, the 
 knowledge, the patience, and the domeftick vexations of Socrates. 
 
 Henry GOLTZIUS. 
 
 Painted Hijlory, and Portrait. 
 
 Died 161 7, aged 59. 
 
 He was born at Mulbrack near Venlo, in 1558, and at firft, was inftructedby 
 his father, who painted on glafs, though afterwards he learned defign from 
 Jacques Leonhard ; but his own genius and application raifed him to that 
 confiderable rank, which he held among the beft artifts of his time, for 
 painting, and alio for engraving. He travelled through feveral parts of Italy, 
 having an eager defire to accomplifh himfelf by his ftudies at Rome ; and on 
 his arrival in that city, he aiTumed the name of Henry Bracht, to conceal 
 himfelf, and his talents, as much aspoffible, in order to avoid interruption •, till 
 he thought himfelf capable of appearing to advantage. He was indefatigable 
 
 2 in 
 
GOL [ 261 ] G O L 
 
 in examining, ftudying, and defigning the fined of the antiques, and devoted his 
 whole attention to that one point. That he might not omit any thing, that 
 could poflibly contribute to his improvement, he frequently Tailed in the Pope's, 
 and the Neapolitan gallies, to oblerve the fwellings and depreffions of the 
 mufcles of theflaves, and the turn of their limbs, as they laboured at the oar ; 
 and alfo, made many defigns after Raphael, and Polidoro, as well as after the 
 antique. Yet, notwithftanding all thofe affiftances, his invention cannot be 
 much commended •, his tafte of defign is neither elegant, nor natural ; and very 
 often there is fomewhat irregular, and wild, in his manner. His colouring is 
 clear, but it is rather cold ; and the extremities of his figures are generally 
 extravagant, or at leaft very Angular, and conftrained, as well as his attitudes. 
 
 Although he did not begin to paint, till he was fo far advanced in life, as to 
 be near forty •, yet, it is incredible what a number of pictures he finifhed. He 
 had an art, peculiar to himfelf, of giving a delicate glazing and tranfparence to 
 his colours ; and he afterwards touched them in fuch a manner, as to give them 
 a great effect. One picture of Goltzius, is mentioned with high commendation - t 
 thefubject of it is Danae -, on one fide of her is a figure reprefenting Mercury, 
 and another of an old Woman. In that picture the naked is well underftood, 
 and the colouring is natural. 
 
 As his works were very numerous, his execution muft have been remarkably 
 ready ; for, it is thought that no artift, in fo fhort a compafs of years, ever drew* 
 as many defigns, as came from his hand. He engraved feveral prints after his 
 own paintings, and imitated in that way, the manners of many different mafters ; 
 fuch as Floris, Hemfkirk, Blockland, or Sprangher •, and after the latter, he 
 engraved the grand compofition of the Banquet of the Gods. 
 
 I cannot deny a place to a memorable adventure of this matter, as it may 
 afford the reader fome evidence of his talents, and his fpirit. Goltzius had 
 been told, that fome connoiffeurs depreciated his works, and would not allow 
 them by any means to be compared with thofe of Albert Durcr. Being 
 therefore piqued by a cenfure which appeared to him very unmerited, he 
 engraved a defign of the Circumcifion, in theftyle and manner of Albert ; and 
 took care not to lofe a fingle proof. When the plate was finifhed to his 
 fatisfaction, he ftruck off only one print, which he difcoloured with fmoke, to 
 give it an appearance of age, and burned the part where the mark of the 
 engraver is ufually fixed -, and the print he fent among others to the fair at 
 Franckfort. 
 
 The connoiffeurs faw with furprize that print, and immediately concluded it 
 10 be of Albert's own hand ; declaring that the fuite of his works was incomplete 
 without it. But, when Goltzius had fufficiently amufed himfelf with their 
 conjectures, and pofitive declarations about it ; to mortify them effectually, he 
 fhewed them the plate of his own engraving ; to let them fee what incompetent 
 judges they were of the works of artifts, and how imperfect their boafted 
 difcernment muft appear to all the world. 
 
 L 1 2 John 
 
G O Y [ 262 ] GO* 
 
 John Van GOYEN. 
 
 Painted Pandfcapes, Cattle, and Sea-pieces. 
 Died 1656, aged 60. 
 
 He was born at Leyden, in 1596, and was for fome time inftructed by Ifaac 
 Nicholai, who was reputed a good painter ; but afterwards, he fucceflively 
 became the difciple of William Gerretfen, and of Efaias Vandervelde, the moft 
 celebrated landfcape painter of his time. Van Goyen very foon rofe into 
 general efteem, and his works are more univerfally fpread through all Europe, 
 than the works of any other mailer -, for, in painting he was indefatigable, and 
 he poffeffed an uncommon readinefs of hand, and freedom of pencil. 
 
 It was his conftant pleafure and practice, to (ketch the views of villages and 
 towns, fituatedon the banks of rivers, or canals ; of the fea-ports in the Low 
 Countries ; and fometimes of inland villages, where the fcenes. around them 
 appeared to him pleafing or picturefque. Thofe he afterwards ufed as 
 fubjects for his future landfcapes, enriching them with cattle, boats, and 
 figures in character, juft as the livelineis of his imagination directed. He 
 underftood perlpective extremely well, and alio the principles of the Chiaro- 
 Scuro, which branches of knowledge enabled him to give his pictures a ftrong 
 and agreeable effect. 
 
 His ftyle of painting was natural, and his ufual fubjects were lea-pieces, or 
 landfcapes with views of rivers, enlivened with figures of peafants either ferrying 
 over cattle, drawing their nets in Hill water, or going to, or returning from, 
 market. Sometimes he reprefented, huts of Boors on the banks of rivers, with 
 overhanging trees, and a beautiful reflexion of their branches from the 
 tranfparent lurface of the waters. Thefe were the fubjects of his beft time, 
 which he generally marked with his name, and the year ■, and the high fin'lhed 
 pictures of Van Goyen will be for ever eftimable. But, as he painted abundance 
 of pictures, fome are flight, fome too yellow, and fome negligently finifhed, 
 though all of them have merit, being marked with a free, expeditious, and 
 eafy pencil, and a light touch. 
 
 His pictures frequently have a greyifh caft, which did not arife from any 
 mifmanagement of the tints, or any want of (kill in laying on the colours \ but, 
 was occafioned by his ufing a colour called Haerlem blue, much approved of 
 at that time, though now intirely difufed, becaufe the artifts found it apt to fade 
 into that greyifh tint ; and it hath alio rendered the pictures of this matter 
 exceedingly difficult to be cleaned, without injuring the finer touches of the 
 finilhing. His beft works are valued fo highly, in moft parts of Europe, and 
 efpecially in the Low Countries, that they defervedly afford large prices, being 
 ranked in Holland, with die pictures of TenLers ■, and at this time are not 
 eafily procured, particularly if they are undamaged, though his (lighter 
 performances are furficiently common. 
 
 The rapid execution of this mafter cannot be more effectually defcribed, than 
 by a ftory which is related by Hoogftraten, in the fourth book of his School of 
 Painting. He tells us that Van Goyen, Knipbergen, and Parcelles, had agreed 
 to paint a picture in one day, in the prefence of other artifts their friends, for a 
 
 con- 
 
GRA [ 263 ] G R A 
 
 confiderable wager ; thofe artifts were to determine which was the beflr, and to 
 give the money that was depofited, as a premium to the mod deierving. 
 
 As foon as Van Goyen took the panel, without having made any previous 
 fkt tch, he firft laid on the light colour for the fkv, and then he rubbed on feveral 
 different fhades of brown, laying on mafles of light in the fore-ground in feveral 
 fpots. Out of that confufed appearance, he touched every part with wonderful 
 celerity and fpiric, fo as to produce trees, buildings, water, diftant hills, veffels 
 lying before a fea-port •, and boats filled with figures properly employed. He 
 finifhed it perfectly before the limited time, to the aftonifhment of the fpectators j 
 and it was declared to be an excellent performance. 
 
 Knipbergen proceeded with his work in a quite different manner •, for inftead 
 of beginning to colour his canvas, he fketched on his palette the defign which he 
 had formed in his imagination, and took pains to give it as much correctnefs as 
 he poffibly could ; every rock, tree, waterfall, or other object, was difpofed in 
 the manner it was intended to be finifhed in the painting, and he ventured no 
 farther, than to transfer each part, from the fketch to the canvas^ That 
 picture alio was executed within the time, and allowed by the artifts to be 
 extremely good, as well for the defign, as the colouring, and handling. 
 
 But the method obferved by Parcelles, differed from both ; for, when he 
 took his palette and pencils in his hand, he fat for a longtime ruminating, and 
 reflecting on his fubjedt ; becaufe, it was his opinion, that fedate thought and 
 reflection, were full as requifite, before any mafter began his work, as the 
 management of the pencil was afterwards. His compofition was a fea-piece, 
 admirably defigned, and delicately finifhed, within the time appointed. 
 
 When the judges deliberated on the merits of each, the voices were united in 
 favour of Parcelles •, for, they obferved, that though the pictures of Van 
 Goyen, and Knipbergen, were full of fpirit, tafte, and good colouring •, yet, in. 
 the picture by Parcelles, there was equal merit as to the handling and colouring,, 
 and more truth, as being the refult of attentive thought, and judicious preme- 
 ditation. 
 
 A lovely picture by Van Goyen, of his beft time and manner, on which his 
 name, and the year are inferibed, is in this city. It reprefents a river "or canal ; 
 the water remarkably tranfparent, and affording a beautiful and natural 
 reflexion of the trees, huts, and other objects on the banks, fo that the whole 
 fcene is ftill, and folemm In different parts are introduced boats, either filled' 
 with cattle, or with fifhermen drawing their nets ; but they are kept down fo 
 judicioufly, as not to difturb the eye, but contribute to its repofe. This 
 picture is in the poflemon of the lady Vifcountefs Kingfland. 
 
 Dorothea Henrietta GRAAF. Vid. Sybilla Meri an. 
 
 B a rent GRAAT, or GRAET. 
 
 Painted Land/tape, Cattle, Portrait, and Hiftory.. 
 
 Died 1709, aged Si. 
 
 He was born at Amfterdam, in 1628, and received his inftruction in the art: 
 of painting from his uncle, a painter of animal? , who was known by the name- 
 
GRA [264] GRA 
 
 of Matter John. Graat foon {hewed the ftrengthof his genius, by his proficiency-, 
 and grew indefatigable in his ftudies, particularly in his (Indies after nature. 
 He ipent many hours in the fields, obferving the different effects of light on all 
 the objects around him, either at fun rifing, at noon, or the clofe of the day ; he 
 defigned every animal with care, and great exactnefs, efpecially horles, fheep, 
 and goats •, and the ideas with which his mind was furnifhed, by that conftant 
 imitation of nature •, were fo ftrongly impreffed, and fo frefh and lively, that he 
 compofed his fubjects with eafe, and defigned every thing with fpirit, correctnefs, 
 and truth. 
 
 He preferred the ftyle of Bamboccio to all others ; and ftudiedthe manner of 
 that matter, in regard to his animals, trees, and rural fcenery, with fo great 
 accuracy, that his paintings frequently patted for the works of Bamboccio. And 
 it is related by Houbraken and Weyerman, that a picture of this matter was 
 publickly bought, and allowed by all the connoifieurs to be indiiputably of 
 Bamboccio's hand, till fome years after, an infeription was difcovered in one 
 corner of it, B. Graet fecit. 
 
 Notwithftanding the applaufes he conftantly received for the performances 
 in his firft manner, yet he quitted it for hittory painting, in which he was 
 ambitious to fucceed. And to accompliih himfelf in that ttyle, he had deter- 
 mined to vifit Rome ; but, having married in his own country, that plan of 
 improvement was difconcerted •, although to compenfate in fome degree for that 
 lofs, he provided for himfelf the beft drawings, prints, and defigns of the great 
 Italian matters, and all his fubfequent compolitions, as well in portrait as 
 hittory, were evidences of the refinement of his tafte. 
 
 He held an academy, in the manner of the royal academy at Paris, for fifteen 
 years, to which the belt artifts of his time reforted, to ftudy after the naked, 
 from living models ; by which means he confiderably improved the tafte, as 
 well as the fkill, of his cotemporaries. As to himfelf, he had a ready manner 
 of painting, with a touch that was free, light, and fpirited ; his colouring was 
 ftrong and agreeable •, and he particularly excelled in painting horfes, goats, and 
 fheep. There is a great deal of union and harmony in his compofitions ; and 
 he was equally eminent in hittory, and porcrait ; being correct in his defign, and 
 fhevving in every object, how carefully he had ftudied after nature. 
 
 One of his moft capital pictures, is the hittory of David and Bathlheba ; and 
 his moft diftinguiftied difciple was John Hendrick Roos. 
 
 Henry GRAAW. 
 
 Painted Iliftory. 
 Died 1682, aged 55. 
 
 He was born at Hoorn, in North Holland, in 1627, and received his firft 
 inttruction from Peter Grebber ; but he afterwards became a difciple of Jacques 
 vanCampen, with whom he continued for eight years-, and gained fo much 
 credit by being reputed the beft difciple in that fchool, that Prince Maurice of 
 Naflau engaged him, to paint feveral cielings in the palace near the Hague. 
 
 But, he was not content with the knowledge which he had hitherto acquired, 
 and therefore travelled to Rome, where he ftudied for three years, endeavouring 
 
 to 
 
G R E [ 265 ] G R B 
 
 to refine his national tafte, by defigning and copying the works of the great 
 matters, and the antiques. He at length fucceeded fo well, by induftry and 
 an apt genius, that Nicolo Poufiin, looking over fome of the ftudies of Graaw, 
 declared that he never faw a Fleming of whom he had higher expectations, nor 
 any one of more promifing talents. At his return from Italy, he lived 
 alternately at Amfterdam and Utrecht, enriched by his works, and exceedingly 
 admired. 
 
 He had a fine invention, his manner of compofing was grand, and his difpofi- 
 tion fhewed tafte and judgement. His draperies were large, his colouring good, 
 his defign correct, and he particularly excelled in naked figures, in which his 
 choice was elegant, and the contours graceful. He left not many pictures, 
 but, what he finiftied, will ferve to eftablilh his reputation as an eminent mafter. 
 
 Peter GREBBER. 
 Painted Hiftory, and Portrait. 
 
 He was born at Haerlem, about 1590, and was taught the firft principles of 
 the art, by his father Francis Peter Grebber •, but, he was afterwards a difciple 
 of Henry Gokzius, and became an artift of considerable efteem in his native 
 city, where many of his performances are to be feen, and are ftill very much 
 admired. 
 
 It is not certain whether this painter had ever been in Italy ; but, by his tafte 
 of defign, it appears, that he muft have been converfant with excellent models. 
 He had the felicity of being the mafter of feveral very diftinguifhed artifts,, 
 whole reputation reflected the higheft honour on their instructor. 
 
 Maria GREBBER. 
 
 Painted Architecture, Perfpetlive, and Portrait. 
 
 She was the daughter and difciple of Peter Grebber, born at Haerlem. Her 
 genius particularly directed her, to the painting of perfpective and architecture •, 
 in which branches of her art, flie arrived at an extraordinary degree of excellence,. 
 
 GREGHETTO. Vid. C as t i g l ion e. 
 
 John GREENHILL 
 
 Painted Portrait. 
 Died 1660, aged 20. 
 
 He was an Englifh artift, born at Salilbury in 1 649, and became a difciple of 
 Sir Peter Lely ; whofeftyle of painting he imitated fuccefsfully, in crayons, as 
 well as in oil. He was accounted very little inferior to his mafter, and probably, 
 would have flood in competition with him, if Sir Peter would have allowed 
 him free accefs to his painting room, and permitted him to fee the method of his 
 ufinghis colours,' and his manner of penciling. But, by the moft authentick 
 accounts,. Lely grew jealous of the abilities of Greenhill, and confidered him as 
 
 ariyal ?,. 
 
G R I [ 266 ] G R I 
 
 a rival ; and except one time when he flood at his matter's back, while, he was 
 painting the portrait of Mrs. Greenhill, he never was admitted to fee him paint. 
 He had a. very promifing genius, and copied the picture which Vandyck 
 painted of Killigrew with a dog, fo extremely well, that it was miftaken for the 
 original ; and his portraits in crayon were much admired. At firft he was very 
 induftrious •, but afterwards, he gave himfelf up to an irregular and diflblute 
 courfe of life, and died by an accidental fall, as he returned from the tavern, 
 in the bloom of his years. 
 
 John GRIFFIER, called the Old. 
 
 Painted Land/cape, Cattle, and Ruins of Italian Buildings. 
 Died 1 71 8, aged 73. 
 
 This painter was born at Amfterdam, in 1645, and was a difciple of 
 Roland Roghman. By his induftry to learn the art of painting, and having the 
 appearance of a ready genius, he gained the affection of his mafter, and alio of 
 all thofe artifts, who were intimate with Roghman ; among whom were, 
 Rembrant, Ruyfdael, Adrian Vandervelde, and Linglebach, who allowed 
 Griflier the liberty of feeing their works, and added to that kindnefs their 
 advice, and inftruction. He made feveral attempts to be admitted into the 
 fchool of Rembrant, but that mafter ftill objected, that he would not deprive 
 his friend Roghman of any of his pupils. 
 
 He very early obferved, that in landfcape, clearnefs is commendable; and 
 faw that Adrian Vandervelde, and Linglebach, gave a frefhnefs and brightnels 
 to their pictures, that made them appear with more truth, and more like nature ; 
 and therefore, he quitted the dark and dufky manner of his mafter, and ftudied 
 the works of thofe two excellent painters, fo thoroughly, that he imitated them 
 with great fuccefs, and excited fome degree of envy in Roghman. At laft, he 
 grew defirous to fee England •, and having vifited his friend John Loten, who 
 at that time was much efteemed in London for painting landfcapes •, Griffier 
 liked the country, the inhabitants, and the encouragement he met with, and 
 from thofe inducements fettled in London, and followed his profeffion with 
 fufficient advantage. 
 
 The fubjects lie generally painted were Italian ruins ; views of the Rhine, and 
 the Thames ■, profpects of London, and the Villa's in the environs ; and thofe 
 he executed with a rich look, and neatnefs in the colouring ; enlivening his 
 landfcapes with elegant fmall figures and cattle, with boats, and different kinds 
 of veffels, well deligned, and correctly drawn. He had an uncommon command 
 of his pencil, which enabled him to adapt it to the ftyle of feveral diftinguifhed 
 rnafters. Sometimes he imitated Rembrant, and at other times Poelemburg, 
 Ruyfdael, and Teniers, juft as his fancy directed ; and in all his imitations he 
 (hewed extraordinary merit, and good obfervation. So that, many of his works 
 have been fold, for the genuine paintings of thofe rnafters, in whofe ftyle he 
 deligned them •, but particularly thofe which he copied after Teniers, orpainted 
 in imiution of his manner. 
 
 He ieemed to have a very unfettled turn of mind, by which he almoft ruined 
 his fortune, and his family ; for, he bought a yacht, in which he failed to 
 
 Holland 
 
G R I [ 267 ] G R I 
 
 Holland, having embarked on board it all his paintings, his fubftance, and his 
 family ; but unfortunately, he was caft away near the Texel, loft every article 
 of his effects, and would have been reduced to beg, if he had not been relieved 
 by the difcretion of his daughter, who prudently fewed up fome guineas in her 
 girdle. And in another voyage he was thrown upon a fand bank, where he 
 ftuck for eight days, till a very high tide providentially cleared him from that 
 dangerous fituation. 
 
 The works of this Griffier were extremely efteemed in his own country, as 
 well as in England, during his life ; and they were fo peculiarly admired by the 
 Duke of Beaufort, that he purchafed as many as he could procure, nor would 
 he permit Griffier to paint for others, as far as it was in his power to prevent 
 him. 
 
 Robert GRIFFIER, called the Young. 
 Painted Land/capes, and Cattle. 
 
 He was the fon of old Griffier, born in England in 16S8, and learned the art 
 of painting from his father •, to whom he was efteemed not inferior, as well in 
 relpecl of his tafte, and defign, as of his colouring, and pencil. 
 
 When his father returned to London, after his fhipwreck on the coaft of 
 Holland, Robert went to fettle at Amfterdam ; where he followed his profeffion 
 with very great reputation. His fubjedts were often in the ftyle of thofe, which 
 his father was fond of painting ; but, he diftinguifhed himielf extremely, by 
 his views of the Rhine, in which he introduced a number of figures, very 
 delicately touched, in the manner of Herman Sachtleven. He was alive in 1713. 
 
 G R I M A L D I. Vid. Bolognese. 
 
 Hubert GRIMANI, or Hubert J a cobs z. 
 
 Painted Portrait. 
 Died 1629, aged 30. 
 
 This painter was born at Delft, in 1599, an< ^ having been taught the 
 rudiments of painting in his own country, he travelled to Venice when he was 
 very young, and ftudied there after the beft matters of that celebrated fchool. 
 His name was originally H bert jacobfz, but having refided for nine years at 
 Venice, and lpent that time in ftudy and practice, he afterwards afforded fo 
 many proofs of fingular merit, that he was taken into the family of the Doge 
 Grimani, and affirmed the name of his patron, which his own pofterity retained 
 ever after. 
 
 He was excellent in panting portraits, and made himfelf remarkable in the 
 firft years of his praftice ; but, by having frequent opportunities, of painting 
 the portraits of leveral Engliih noblemen, who were impatient of fitting a 
 competent time, to admit of finifhing their pictures, equal to the artift's 
 inclination, or ability, he habituated himfelf gradually to a more expeditious 
 
 M m manner 
 
G R I [ 268 ] GUI 
 
 manner of painting •, but it was alfo more flight, and more negligent. For 
 which reafon, his latter works, arc in no degree comparable with thofe of his 
 earlier time. 
 
 Jacques GRIMMER. 
 
 Painted Land/cape. 
 
 Died 1546, aged 36. 
 
 He was born at Antwerp, in 1510, and at firft was in (trucked by Matthew 
 Kock, though he afterwards became the difciple of Chriftian Queburg. His 
 genius was totally inclined to paint Landfcapes, and to qualify himfelf mod 
 effectually for that branch of his art, he applied himfelf diligently to ftudy 
 nature, till he was able to imitate it with fuccefs. His diftances, and his 
 fkies were admirably coloured, his trees touched with fpirit and freedom, and 
 his buildings were well chofen. He had a ready manner of finifhing, and the 
 whole together had a natural, and pleafing effect. 
 
 GUERCINO da Cento. Vid. Barbieri. 
 
 GUIDO R e n 1. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1642, aged 63. 
 
 This memorable artift was born at Bologna, in 1574, and at an early age 
 became the difciple of Denis Calvart, a Fleming of great reputation ; but 
 afterwards, he entered himfelf in the fchool of the Caracci. He carefully 
 ftudied the ftyle of thofe great mailers, but imitated that of Ludovico, preferably 
 to that of Annibal, or Agoftino ■, becaufe, there appeared more of grandeur and 
 grace in his compofitions, than in thofe of the others, and his firft performances 
 were intirely in the manner of that mafter. 
 
 However, being as yet undetermined what ftyle to fix on, for his future 
 works, he went to Rome ; where he examined every thing worthy of his 
 attention, and particularly the works of Raphael, with which he feemed 
 enraptured. Fie was alio ftruck with the furprifing effect: of the paintings of 
 Caravagio, and for fome time adopted that manner •, till he found that it v 
 not generally approved, and required too much labour to facceed in it. He 
 then fixed on a manner peculiar to himfelf, which waseafy, graceful, great, and 
 elegant •, which fecured to him the univerfal applaufc of the whole world, and 
 the admiration of pofterity ; fo that, he is ranked among the firft, and beft 
 af.tifts, or any ape fince the revival of the art. 
 
 the excellencies of painting fcem united in this fuperior genius ; for, 
 
 whether we confidcr the grand ftyk of his compofition, the delicacy of his 
 
 '• , the . :i of his objects in general, or the beautiful turn of his 
 
 female forms, his colouring, or his graceful airs of the heads, all are admirable, 
 
 411J fill the mind with a kind of exxaly. All fubjects, indeed, were not 
 
 5 equally 
 
GUI [ 269 ] GUI 
 
 equally adapted to the genius of Guido. The tender, the pathetick, the devout, 
 in which he could manifeft the fweetnefs, and the delicacy of his thoughts, 
 were thofe, in which he peculiarly excelled ; thofe, which diftinguifh him from 
 every other painter •, and almoft give him precedence to all. 
 
 In expreffing the different parts of the body, he had a remarkable particularity; 
 for he ufually defigned the eyes of his figures large, the noftrils fomewhat clofe, 
 the mouth fmall, the toes rather too clofely joined, and without any great variety, 
 though that was not occafioned by any want of fkill, but out of choice, and to 
 avoid affectation. The heads of his figures are accounted not inferior to 
 Raphael, either for corre&nefs of defign, or an engaging propriety of expreftion ; 
 and De Piles very juftly obferves, that the merit of Guido confifted in that 
 moving and perfuafive beauty, which did not io much proceed from a regularity 
 of features, as from a lovely air which he gave to the mouth, with a peculiar 
 modefty which he had the art to place in the eye. 
 
 His draperies are always difpoied with large folds, in the grand ftvle ; and 
 with fingular judgement contrived tafill up the void ipaces ; free from fciffhefs, 
 or affectation ; noble and elegant. Though he did not undcrftand the principles 
 of the Chiaro-Scuro, yet he fometimes practifed it, through a felicity of genius. 
 His pencil was light, and his touch free, but very delicate ; and although he 
 took pains to labour his pictures highly, y r et, it is laid, he generally gave fome 
 free and bold ftrokes to his work, in order to conceal the toil and time he had 
 bellowed upon it. His colouring is often aftonifhingly clear, and pure •, but 
 fometimes alio, his pictures, and more efpecially thofe of his latter time, have a 
 greyifh cart, which changed into a livid colour, and his fhadows partook of the 
 green. But his works have ever been defervedly admired through ail Europe, 
 and to this day increafe in their value, and efteem. 
 
 Many of his latter performances, are not to be placed in competition with 
 thofe, which he painted before he unhappily fell into diftreffed circumftances, 
 by an infatiable appetite to gaming ; for, his necefiities compelled him to work 
 for immediate fubfiftence, which gave him the habit, of painting in a more flight 
 and negligent manner ; without any attention to his honour, or his fame. 
 
 In the church of S. Philip Neri at r'ano, there is a grand altar-piece by Guido, 
 representing Chrift delivering the Keys to S. Peter. The head of our Saviour 
 is exceeding fine, that of S. John admirable, and the other ApofHes are in a 
 grand ftyle, full of elegance, with a ftrong exprefiicn, and it is well preferved. 
 In the archie piicopa! gallery at Milan is a S. John, wonderfully tender in the 
 colouring, and die graces diffufed through the d#£ign, excite the admiration of 
 every beholder. At Bologna, in the Palazzo Tanaro, is a moll beautiful picture 
 of the Virgin, the Infant Jefus, and S. John-, in which the heads are exquiiitely 
 graceful, and the draperies in a grand ftyle. But, in the PJazzo Zampieri, is 
 preferved one of the mod capital paintings of Guido. The fub)cct is, the 
 penitence of S. Peter after denying Chrift, with one of the Apoftles feeming to 
 comfort him. The figures are as large as life, and the whole is of an aftonifhing 
 beauty ; the painter having fhewn, in that fingle performance, the art of 
 painting carried to its higheft perfection. The heads are nobly defigned ; the 
 colouring clear, and precious; and the expreflion inimitably juft, and natural. 
 There is alio in the collection of the Earl of Moyra, in Dublin, a fine head by 
 Guide, repreftnting Chrift crowned with Thorns •, it has a graceful and 
 
 M m 2 affecting 
 
GUI [ 270 ] G Y Z 
 
 affecting expreflion, and fhews, in an amiable ftyle, all the dignity and refigna- 
 tion of the fufferer. 
 
 GUIDO Cagnacci. 
 Painted Hijtory. 
 Died 1680, c.ged 80. 
 
 He was born, according to the t.ftimony of fome writers, 'at Caftel Durante, 
 in the year 1600, but according toothers, at Bologna-, where he ftudied the art 
 of painting in the fchool of Guido, and for feveral years continued under his 
 direction. He took extraordinary pains, to obferve the method of handling, 
 and colouring, which his mailer practifed •, and he ftudied to mix his colours in 
 the fame manner, that, if pofiible, he might appear a difciple worthy of his 
 director. But, he failed of fuccefs, by endeavouring unfkilfully, to add more 
 force than was uiually remarked in the pictures of Guido. However, he had 
 great merit in many parts of hisprofefiion •, and fpentthe greateft portion of his 
 life at Vienna, where he met with fufficient encouragement. 
 
 There are feveral paintings by this mafter, at Bologna. The fubject of one, 
 is an emblematical reprefentation of human life ; and although the defign is 
 but poor, yet the heads are in a good tafte, and it is well coloured. Another 
 is in the Palazzo Zambeccari, reprefenting a Man {tabbing a Woman ; the 
 figures are as large as life ; the colouring is frefh, and the whole together 
 extremely good. 
 
 o 
 
 GU LI ELMO. Vid. William van Aelst. 
 
 Peter GYZEN. 
 
 Painted Land/cape. 
 
 He was born at Antwerp, about 1636, and became a difciple of John 
 Brueghel, whofe manner he induftrioufly imitated. His fubjedts were views of 
 villages, on the banks of rivers, efpecially views of the Rhine, in the ftyle of 
 Sachtleven ; and he adorned his landscapes with figures, well defigned, and 
 neatly penciled. In his larger pictures, he was not lo happy as in thole of a 
 final 1 fize, like his mafter ; which occafioned the latter to be abundantly more 
 elteemed, as they were touched with fpirit, and without his general drynefs. If 
 this painter, could but have found out the art of uniting his colours, he might 
 have equalled his mafter ; but the reds, greens, and yellow, predominate in his 
 pictures too much, and deftroy the effect, and the harmony. 
 
 JOH N 
 
H A A [ 271 ] H A C 
 
 H. 
 
 John Van HAANSBERGEN. 
 Painted Land/cape, Hiftory, and Portrait. 
 Died 1705, aged 63. 
 
 He was born at Utrecht, in 1642, and was a difciple of Cornelius Poelem- 
 burg, with whom he at once had the advantage of an excellent inftruftor, and 
 as excellent an example. When he quitted that fchool, in order to follow his 
 profeiTion, he was for fome time undetermined what ftyle to fix on •, or, what 
 manner of painting, might be attended with the greateft probability of fuccefs. 
 But, obferving that the prodigious demand for the works of Poelemburg, excited 
 a number of artifts to imitate, and copy him, he fixed on that method to acquire 
 reputation and fortune. 
 
 He proved one of the beft copyers of his mailer ; mewed the fame tafte of 
 landfcape, figures, back-grounds, and ornaments ; and imitated his manner fo 
 happily in his own compofitions, that his work was frequently taken, by good 
 judges, to be the work of Poelemburg. However, his productions were not held 
 in the fame efteem •, for, although there appeared a ftrong refemblance in their 
 compofitions, yet he was accounted inferior to his mailer in corredtnefs of 
 drawing, in the delicacy of his figures, and in the neatnefs of his touch. And 
 for that reafon, he was advifed by his friends to undertake portrait painting, for 
 which he feemed to be extremely well qualified •, efpecially for female forms, as 
 the tint of his colouring was exceedingly well adapted to delicate complexions ; 
 and therefore, he applied himfelf intirely to that branch, and his fuccefs was 
 anfwerable to the moft fanguine expectations. 
 
 The fubjecls of his firft time were the fame as thofe of Poelemburg, naked 
 figures of Nymphs or Deities, with which he enriched the fcenes of his land- 
 fcapes -, his defigns were taken from true, as well as fabulous hiilories, and he 
 always finiflied them with neatnefs, and care. 
 
 John HACKAERT, or Hakkert. 
 
 Painted Landfcape. 
 
 This mailer was born at Amflerdam, about the year 1635, and, through the 
 Netherlands, was highly admired, for the delicate manner of handling obfervable 
 in his landfcapes. The 'fcenes he chofe for his fubjecls, were broken grounds, 
 with caverns, grottos, and mountainous views, which he defigned after nature ; 
 and to furnifh himfelf with fuch objects as had an agreeable wildnefs, he travelled 
 through the moft romantick fcenes of Germany and Switzerland, and fkctched 
 every thing that pleafed his particular tafte, or that could be introduced into his 
 future compofitions. And by that means, his pictures recommended themfeh es 
 5 w 
 
H A E [ 272 ] HAG 
 
 to all the lovers of painting, by affording a Spectator a view of what is grand, 
 uncommon, and pleafing, and at the fame time, what cannot but be deemed a 
 true, and exact, representation of nature. 
 
 As he fpent a great deal of time, in roaming about the mountains and vales 
 of Switzerland, it happened that fome of the peaSants, and miners, obferved 
 him Sketching his defigns ; and being furprized at the novelty of thofe characters 
 which were ftruck out by his pencil, they concluded him to be a magician ; and 
 therefore feized, Secured, and dragged him with violence before a magistrate. 
 But, the judge knowing Hackaert, and his profeffion, and finding upon inquiry, 
 the cauSe of his being fo ignominioufly treated, he protected him from any 
 farther ir.Sult, and Shewed him every mark of reSpect, and friendship. 
 
 Hackaert was not very expert at defigning figures, and therefore, at his 
 return to Holland, he aSfociated with Adrian VanJervelde, who generally 
 painted the figures for him ; and by that means, the pictures of this mafter 
 acquired a considerable additional value. 
 
 Corneljus van H A E R L E M. Vid. Cornelius Cornelisz. 
 
 Theodore Van HAERLEM. 
 
 Painted Hijicj. 
 
 Died 1470, aged 60. 
 
 He was born at Haerlem, about the year 1410, and by Studying nature 
 diligently, he rendered himSelf a painter of diitinction. And that he had a large 
 portion of merit, for the age in which he flourished, there is a very competent 
 proof in a picture of his painting at Utrecht. It is leis hard, and dry, than molt 
 of the works of his cotemporary artifts, and very highly laboured in the 
 finishing. The picture is an altar-piece, with two folding doors, as was 
 cuftomary at that time ; on the infule appears the representation of (Thrift, and 
 on the doors the figures of S. Peter, and S. Paul, as large as life. On the 
 picture there is the following inscription written in golden letters-, I'heodcrus 
 Haerlemenf. fecit me, Lovatiii, anno 1462. 
 
 John Van H A G E N. 
 
 Taivtei Land/capes. 
 
 This painter was of the country of Cleve •, and moft of his works confift of 
 views, and Scenes, which he Sketched after nature, in the neighbourhood of 
 Cleve, anil Nineguen. His manner was pleafing, and his colouring natural ; 
 but, there is one circumftance which leSSens the' value of the works of this 
 mafter exceedingly; and that is, the fading of the blues and greens of his 
 pictures, by fome defect in the colours, ind too freely afing fph.dium •, for by 
 that means, they are tu;ned black, and are now very remote fro n their original 
 tint, i he d fign which he made after nature, are very highly efteerncd, and 
 molt o. ihetn are ma ked between the yean 1650, and 1662; a; alio are Some 
 
 of 
 
HAL [ 273 ] HAL 
 
 of his beft paintings •, of which a few were expofed to fale in the year 1715, at 
 the Hague, and bought by aperlbn well (killed in painting, who gave for them, 
 a very large fum. 
 
 Francis HALS. 
 Painted Portraits. 
 Died 1666, aged 82. 
 
 He was born at Mechlin, in 1584, and (according to the Chronological 
 Tables) was a difciple of Charles van Mander. He had a lively and prompt 
 genius, and applied himfelf diligently to the ftudy of nature, as well as to 
 explore the true principles of his art, in refpeft of colouring, and penciling ; 
 till he fo effectually confirmed his hand, and his judgement, that he became an 
 admirable painter of portraits. No artift of his time was fuperior to him, 
 except Vandyck, in that branch of his profeffion ; and but very few painters 
 could be admitted into competition with him. 
 
 He painted in a beautiful manner, and gave his portraits a ftrong refemblance, 
 -a lively expreffion, and a true character. His colouring was extremely good, 
 and natural •, and he mixed his tints in a peculiar manner, fo as to give a 
 furpnfing force to his pictures, by the freedom, and boldncfs of his pencil ; it 
 being profeffedly his opinion, that a mailer ought to conceal, as much as 
 ■pOiTible, the labour and the exaclnefs, requifite in portrait painting. 
 
 Vandyck had conceived fo high an opinion of the merit of Hals, by having 
 examined feveral or his perrormances, that he went to Haerlem where that artilc 
 lived, with no other intention than to pay him avifit; and introduced himfelf 
 as a gentleman on his travels, who wifhed to have his portrait painted, and yet 
 had but two hours to ipare for that purpofe. Hals, who was hurried away from 
 the tavern, took the hVit canvas that lay in his reach, and fat clown to work in a 
 very expeditious manner. In a fhort time he had proceeded fo far, that he 
 deiired Vandyck to look at what he had done, and that artift not only ieemed to 
 be much pieafed, hut told Hals, that fuch work ieemed to him fo very eafy, 
 he was penuuded he could do it himfelf. 
 
 Immediately he took the palette and pencils, made Franck Hals fit down, and 
 fpent a quarter of an hour in painting his portrait •, but, the moment Hals cad 
 his eves on it, he cried out in aftonifnment, that no hand except that of Vandyck 
 could work !o wonderfully, and he embraced him with a degree of tranfport not 
 to be deicribed. 
 
 Vandyck endeavoured to prevail on him to go as his aflbciate to England, and 
 engaged to enrich him ; but Hals declined that honourable propofal, and told 
 him, that his happinefs confided folcly in the enjoyment of his friends and his 
 bottle, and while he poffefied thole, he was fully content with his condition, and 
 his country. Thofe cekbrated artiils quitted each other with mutual regret ; 
 and Vandyck u'.'ed ;o fay, that Hals would have been t.:e belt in his profeihon-, 
 if he had given more tendcrnefs to his colours ; i'or, as to his pencil, he knew 
 aot one who was lb perfeft'Iy mailer of it.. 
 
 Dirk. 
 
HAL [ 274 ] H A R 
 
 Dirk HALS. 
 
 Tainted Conversations, and Animals. 
 
 Died 1656, aged 67. 
 
 He was the brother of Franck Hals, born at Mechlin, in 1589, and was a 
 difciple of Abraham Bloemart, under whofe direction he principally praclifed 
 the painting of animals ; but, when he quitted that mafter, he chofe for his 
 general fubjects, drolls, converfations, fealts, or merry-makings, which he 
 defigned with a great deal of low humour, and fpirit •, but he was in no degree 
 comparable with his brother, either in corrcclnefs, colouring, or excellence of 
 handling. 
 
 ■&■ 
 
 John HANNEMAN. 
 
 Fainted Portrait, and Hiftory. 
 Died 1 6 So, aged 6 9. 
 
 He was born at the Hague, in 1 6 1 1 , and according to the teftimony of fome 
 writers, was a difciple of Vandyck ; but, with much more probability according 
 to others, he was a difciple of Hubert Raveftcin. However, he formed his 
 tafte, and his manner of penciling, by ftudying and copying the works of 
 Vandyck, obferving particularly the airs of the heads, which he very happily 
 imitated •, and in the tints of his carnations, he had fomewhatfo extremely fofc 
 and delicate, as to give them an appearance little inferior to thofe of Vandyck. 
 Several of Hanneman's copies after that illuftiious painter's works, fhewed luch 
 exactnefs, and at the fame time fuch a freedom of hand, that they are frequently 
 miftaken for originals. 
 
 Although he was ufually employed in portrait painting, yet he fometimes 
 defigned hiftorical, and allegorical fubjects. Of the latter kind there is a large 
 picture in the hall of the States of Holland, reprefenting Peace, under the figure 
 of a beautiful woman feated on a throne, holding a dove on her knees, and 
 crowned with wreaths of laurel by two genii. The compofition is rich, and it is 
 painted with a great deal of force ; the carnations approaching very near to the 
 tints of Vandyck. He continued in England for fixteen years, and at his return 
 to theHague, became the favourite painter of thePrinccfs Mary of Orange. 
 
 Peter HARDIME. 
 
 Painted Fruit, and Flowers. 
 
 Died 1 748, aged 70. 
 
 He was born at Antwerp, in 1678, and inftructed in the art of painting by 
 his brother Simon Hardline, a flower painter, who died at London in 1737. 
 Peter imitated the manner of his brother, but he had fuperior talents, and 
 excelled "him to a very great degree-, though he withdrew himfelf from his 
 direction when he was only nineteen years old, and at that age fet up in his 
 profefiion. He fixed on the Hague for his place of refidence, and found 
 iufficient employment among the principal perfons in that city, which increafed 
 
 his 
 
HEC [ 275 ] H E C 
 
 his reputation daily fo far, that his works were distributed through all the Low 
 Countries. In themonaftery of the Bernardines near Antwerp, in the year 1718, 
 he painted four large defigns, reprefenting the four feafons ; in which he 
 introduced all the fruits, and flowers, peculiar to each. That is accounted 
 the moil capital of his performances ; the objects are well grouped, the fruits 
 and flowers are fine imitations of nature, freely handled, with an agreeable tone 
 of colouring, and are well finifhed. 
 
 Terweften employed him to paint the flowers and fruits in his compofitions, 
 which before had been undertaken by Verbruggen ; but, at laft, the tafte for 
 thofe kind of fubjects and ftill life, declining through all Europe •, and his 
 bufinefs not being as conftant, as it had been formerly ; he fell into a fixed 
 melancholy, imagining himfelf and his works to be dilefteemed, and he died 
 through difcontent and defpondency. 
 
 HARTCAMP. Vid. Lodowick S m i t s. 
 
 John Van HECK. 
 
 Painted Landfcapes, Animals, Fruit, Flowers, and Still Life. 
 
 He was born at the village of Quaremonde, near Oudenarde, about the year 
 1625, and went early to Rome, where he induftrioufly purlued his ftudies, and 
 refided for feveral years. He produced lb many publick proofs of his merit, 
 in many parts of the art of painting, that the Duke of Bracciano became his 
 patron, and engaged him for a confiderable time in his fervice. But, his 
 reputation increaied the demand for his works, and moil of the cardinals, and 
 princes at Rome, were folicitous to procure fome of his paintings. 
 
 He painted flowers and fruit in a good ftyle, and finifhed them with neatnefs ; 
 but, his genius enabled him alfo to paint landfcapes, which he defigned after the 
 beautiful fcenes in the neighbourhood of Rome, and he enlivened them by fmall 
 figures, very correctly and delicately defigned. He likewife painted vafes 
 of filver, agate, porphyry, marble, or bronze in imitation of the antique ; and 
 other objects of ftill life, in which he fhewed an agreeable choice, and good 
 compofition. Though the Italians were fond of the works of Van Heck, and 
 readily purchafcd them, yet, he fpent the latter part of his life at Antwerp, 
 where he lived in the higheft efteem. 
 
 '£ 
 
 Nicholas V a n d e r HECK. 
 
 Painted Landscape, and Hijlory. 
 
 This painter was born in Holland, about the year 1580, and learned the art 
 of painting from John Naeghel at the Hague. He diftinguifhed himfelf as a 
 good compofer of hiftorical fubjects, but his greateft' excellence was feen in his 
 landfcapes. His manner of penciling was ftrong, and firm ; his colouring 
 natural, and lively ■, and his knowledge of the Chiaro-Scuro, enabled to give his 
 pictures a bold and ftriking effect. 
 
 Three hiftorical compofitions of this matter, are preferved in the Town-H 
 at Alkmaer. In the firlt is reprefented the beheading of the Bailiff of South 
 
 N n Holi 
 
HEC [276] HEE 
 
 Holland, by order of Count William the Good, for an aft of opprefilon, exerted 
 againft apoorpeafant ; the fubjeft of the fecond is the punifhment of an uniuft 
 judge, who was flayed alive by order of Cambyfes ; and the third, is the judge- 
 ment of Solomon. Each of thofe paintings, fhew a good invention, anddefign ; 
 and they are all extremely well executed. 
 
 Martin Hemskerk vander HECK. 
 Painted Buildings, and Landfcapc. 
 
 He was the nephew of Martin Hemfkirk, and the fon of Nicholas vander 
 Heck, under whom he was taught the principles of drawing and defign, and the 
 art of colouring; but, although he had the advantage of fo able an inftruftor, 
 he had neither the genius nor the execution of that eminent artift, and in 
 landfcape, appeared to be very much his inferior. 
 
 Molt frequently he chofe for his fubjefts, old caftles, and other antiquated 
 buildings, in the ftyle of Roland Roghman ; and he was obferved, to be 
 particularly fond of painting the caftle of Egmont, in its different views. 
 
 William, and Vigor Van HEEDE. 
 
 Painted Hijlory. 
 Vigor died 1708, aged 49. William died 1728, aged 68. 
 
 Thefe painters were brothers, fuppofed to be born at Fumes in the years 
 1659, and 1660 ; but, by their having lived for a long time in Italy, where 
 they perfected themfelves in the knowledge of their profefiion, they have 
 left very few of their belt works in their own country. Vigor returned to 
 Furnes before his brother, but William continued longer at Rome, where his 
 clofe application improved him to i'uch a degree, as to occafion an extraordi- 
 nary high price to be given for his piftures. His merit obtained him the uni- 
 verfal approbation of the beft judges, and procured to him the honour of 
 being ranked by them among the ableft mafters of his time. And whoever 
 will deliberately view, and confider, the works of this artift, which are at 
 Rome, Venice, and Naples, will find an evident proof, that the high com- 
 mendations they received, were juftly due to their merit. 
 
 On accounc of his eftablifhed reputation, he was invited by the Emperor to 
 Vienna ; and was engaged to work for other princes of Germany, who exprefled 
 a ftrong defire to detain him at their different courts. In the church of S. 
 Valburg at Furnes, there is a capital picture of this mafter, repreienting the 
 Martyrdom of a Saint. It is defigned in the manner of Laireffe, full of ipirit 
 and genius in thecompofition, with a tone of colouring that is very natural ; and 
 through the whole, the Chiaro-Scuro is judiciouffy obferved. The works of 
 thefe brothers are very rarely to be met with, even at Furnes, where they both 
 lived tor a great many years ; from whence it is conclude), that they were 
 purchafed by ftrangers, who knew how to prize their merit, better than their 
 own countrymen. 
 
 John 
 
HEE [ 277 ] H E E 
 
 John David de HEEM. 
 
 Painted Fruit, Flowers, and Still Life. 
 Died 1674., aged 74. 
 
 He was born at Utrecht, in 1600, and was taught the art of painting by his 
 father David de Heern, a good painter of fruit and flowers -, who guided the 
 tafte of his fon to the fame fubjects, and had the fatisfaction to fee himfelf 
 abunoantly furpafied by him. 
 
 The fubjects in which he excelled, were fruit, flowers, vafes of gold and filver 
 richly embofied, mitfical inftruments, Turky carpets, and fuch like objects of 
 ftiil life. Heftudied nature minutely, and might juftly be faid rather to have 
 embellifhed, than to have imitated nature ; every thing he painted being not 
 only truly, but elegantly exact. A peculiar tranfparence of colouring, diftin- 
 guifhes his pictures from thofe of molt others -, but particularly, when he 
 reprefents tranfparent bodies, fuch as cryftal, glafs, or gems ; nor can a 
 judicious eye confider the union, the harmony, or the frefhnefs of his tints, 
 without admiration. 
 
 Although fubjects of the ftill life kind, are not in fo great requeft as they 
 formerly have been ; yet the genuine works of De Heem, are lb generally 
 admired, that they are bought up at confiderable prices, and are thought to 
 delerve a place, among the works of the greateft mailers, even at this day. 
 During his life, his paintings were fold for incredible fums, which rendered 
 them icarce purchafeable, by any who had not immenfe fortunes ; and by that 
 means, he was enabled to live in a degree of affluence, proportionable to the 
 excellence of his taicnts, and his merit. 
 
 The true pictures of this mafter, may be determined without much difficulty ; 
 for, they are executed with aftonilhing neatnefs ; with a free, broad, and a light 
 touch ; they are exquifitely finifhed, judicioufly grouped, and admirably 
 coloured ; and thofe infects which are often interfperfed among his fruits, and 
 flowers, afford an agreeable deception to the eye, and appear to be real. It 
 was remarked of him, that his lad pictures, were rather more excellently finifhed, 
 than thofe of his early time ; and perhaps, no eminent painter hath been more 
 injurioufly treated than John tie Heem, by having works afcribed to him, which 
 are abfolutely unworthy of him. His father David, and his fon Cornelius, both 
 painted the fame fubjects, but they were inferior to him in an extraordinary 
 degree ; yet, their works are frequently palled on injudicious purchafers, as 
 genuine pictures of that great man, though, by a true eonnoifleur, the difference 
 is very eafily perceptible. 
 
 He painted a garland of fruits and flowers, for John Vander Meer, exceedingly 
 delicate, for which the pofleffor refufed two thoufand guilders ; and he prefented 
 it to King William III, who in return bellowed on Vander Meer, an employ- 
 ment of confiderable value, and carried the picture along with him to 
 England. 
 
 n 
 
 N n 2 Cor- 
 
H E E [ 278 ] H E E 
 
 Cornelius de H E E M. 
 
 Painted Fruit, and Still Life. 
 
 He was born at Utrecht, about the year 1623, the fon and difciple of John 
 David de Heem •, and being very carefully inftructed by his father, he became a 
 good painter, delighted in the lame fubjecls, compofed, coloured, and penciled 
 in the fame ftyle and manner, but never arrived at the excellence of his father, 
 although he had in many refpe&s abundance of merit. His principal power 
 confilted in painting vales, carpets, and fuch objects of (till life •, which, from 
 a fimilarity of colouring, difpoiition, and touch, are frequently taken for the 
 work of David. 
 
 Lucas de HEERE. 
 
 Painted Portrait, and Hijlory. 
 
 Died 1584, aged 50. 
 
 He was born at Ghent, in 1534, the fon of John de Heere, the beft ftatuary of 
 his time, and Anne Smyters •, who had the reputation, of being a moft 
 furprifing paintrefs of landfcapes in miniature. Van Mander gives almoft an 
 incredible account, of one performance of that female artift. 
 
 That writer fays, fhe painted a landfcape, reprefenting a windmill with the 
 fails bent ; the miller appeared, as if mounting the flairs, loaded with a fack ; 
 upon the terrace where the mill was fixed, was feen a cart and horfe, and on the 
 road feveral peafants. The whole was highly finifhed, and penciled with 
 wonderful delicacy, and neatnefs, and was alio accurately diftincl ; yet, the 
 painting was fo amazingly minute, that the furface of it might be covered with 
 one grain of corn. 
 
 From fuch parents, de Heere had a fair profpeel, of gaining every neceflary 
 part of inltruclion ; and having, under their direction, learned to defign, and 
 handle the pencil with eale and freedom, he was placed as a difciple with 
 Francis Floris. With that mailer he improved fo expeditioufly, as to become 
 in fome refpecls his equal, but in composition, and invention, his fuperior. 
 
 On his quitting the fchool of Floris, he travelled to France, where he was 
 employed for fome years by the Queen mother, in drawing defigns for tapeftry ; 
 and while he continued at Fountainbleau, he fludied after the antique ftatues, 
 preferved in that palace, though he never made fo happy a ufe of that ftudy, in 
 his fubiequent compofitions, as might have been expected from his genius, and 
 talents. At his return to his native city, he painted a great number of portraits 
 with applaufe ; and he was remarkable for having fo retentive a memory, that 
 if he faw any peribn, but once, he could paint his likenefs as llrong, as if he 
 had his model before his eyes. 
 
 On the fhutters of the altar-piece in the church of S. Peter at Ghent, he 
 painted, the Defcent of the Holy Ghoft on the Apoftles •, in which, the draperies 
 are extremely admired ; and in the church of S. John, he painted an altar-piece 
 reprefenting the Refurreftion. 
 
 His 
 
H E I [ 279 ] H E L 
 
 His manner was ftiff, refembling that of his matter •, but in the colouring of 
 the heads of his portraits, there appears a great deal of nature, and clearnefs ; 
 and he is very commendable for his high finifhing, as well as for givino- a 
 fulnefs to his draperies. This artift refided for feveral years in England, where 
 many of his portraits of the nobility, are ftill preferved, and they are very 
 much efteemed. 
 
 Daniel Van HEIL. 
 
 Painted Land/cape, Fro/}, and Houfes on Fire. 
 
 He was born at BrufTels, in 1 604, and ftudied after nature. As a painter 
 of landfcapes he had a great reputation ; but, he difcontinued that manner, 
 being more pleaied with fubjedts which excited pity and terror, fuch as 
 conflagrations of cities, villages, or palaces ; and thole he reprefented with 
 abundance of truth, and often with a terrible exaclnefs. 
 
 The pictures of this mafter are very frequent, and fome of them are extremely 
 well coloured, and freely and firmly penciled. Among his capital performances 
 are mentioned, the deftruction of Troy, the burning of Sodom, and an excellent 
 winter-piece, which is in the collection of Prince Charles of Lorraine. He had 
 a light touch, a natural tone of colouring, and a very great variety in the fcenes 
 of his landfcapes. 
 
 John Baptist Van HEIL, 
 
 Painted Hijlory, and Portrait. 
 
 He was born at BrufTels, in 1609, being the brother of Daniel and Leonard 
 van Heil, and principally devoted himfelf to paint facred and poetical fubjects 
 from hiftory, which were much efteemed ; though fometimes he painted 
 portraits. His invention was fertile, and lively •, he had a good manner of 
 penciling ; and was accounted much fuperior to either of his brothers. 
 According to De Bie, all thofe three artifts were alive in 1661. 
 
 Leonard Van HEIL, 
 
 Painted Flowers, and Infefts. 
 
 He alfo was born at BrufTels, in 1603, and thofe objects which he chofe to 
 paint, were imitated from nature, and defcribed with the utmoft exaftnefs. 
 He generally painted in a fmall fize, but in an exquifite manner, and with a 
 neat and delicate pencil. 
 
 Theodore HELMBREKER, 
 
 Painted Hiftcry, and Converfations. 
 
 Died 1694, aged 70. 
 
 This painter was born at Haerlem, in 1624, and was a difciple of Peter 
 Grebber ; but after the death of that mafter, lie applied himfelf to the ftudy 
 of nature, and likewife to a careful obfervation of the works of the moft famous 
 
 artifts. 
 
HEL [ 280 ] H E L 
 
 artifts. Having at laft obtained as much improvement as he poffibly could in 
 his own country, he went to Venice, Rome, Naples, and Florence, and ipent 
 feveral years in Italy ; where his works procured him univerfal admiration. 
 After ibme years of abfence, he returned to Haerlem ; yet, he could not be in- 
 duced, by the moft importunate felicitations of his friends, to continue there 
 for any length of time ; but went again to Rome, where he fpent the principal 
 part of the remainder of his life. 
 
 He had an excellent manner of painting ; his invention was lively -, his com- 
 polition good ; his figures were defigned with tafte, and elegance ; they had a 
 fine expreffion, and good relief-, his fubjects were difpofed with fingular judge- 
 ment -, and his colouring was agreeable. His landfcapes have abundance of 
 truth, variety, and nature, producing a very ftriking effect ; and whatever ani- 
 mals, or figures, he introduced, are finifhed with a delicate and free pencil, and 
 a fkilful management of the chiaro-fcuro. So that the harmony, the variety, 
 and the fpirit of his compofitions, afford the eye a fingular degree of pleafure. 
 
 His extenfive genius qualified him, not only to compofe hiflorical lacred Sub- 
 jects, which he always painted with great fuccefs, but he had alio a particular 
 talent for painting converfations, fairs, beggars, receiving alms, and the march- 
 ing of troops ; by which compofitions he procured the approbation of the bed 
 judges. He fometimes painted in the ftyle of Bamboccio, and was accounted 
 not inferior to him ; but, the tints of his colouring were rather more clear, efpe- 
 cially thofe of his latter time. 
 
 As he made Rome his refidence for fo many years, the Italians poffefs moft 
 of this matter's performances ; and value them fo highly, as to retain them in 
 their own country, For which reafon, his works are very rarely to be met with 
 in any other part of Europe. He frequently painted in large, but his moft ap- 
 plauded pictures, are thofe of the fmaller fize. 
 
 At Rome, in the Jefuit's church, is a noble landfcape, in which is introduced 
 the Temptation of Chrift in the Defart. At Naples, in the refectory of the Je- 
 fuit's college, are three facred fubjects, admirably executed ; Chrift in the 
 Garden, Chrift carrying his Crofs, and Chrift crucified •, and at Amfterdam, in 
 the poffeffion of Mr. Klock, is an incomparable picture, reprefenting a convent, 
 of which the architecture is intirely in the Italian tafte, excellently defigned, and 
 highly finifhed •, and before the building appear a great affemblage of men, 
 women, and children, who are ferved with victuals by pilgrims. The whole is 
 admirably handled, with good expreffion, with a free and neat pencil, and very 
 agreeable colouring. 
 
 Matthew Van HELMONT. 
 
 Painted Markets, and Fairs. 
 
 Fie was born at Bruffels, but he principally refided at Antwerp. It is not 
 mentioned under what matter he learned the art of painting •, yet it is fuppofed 
 fchat he travelled through Italy, by the tafte obfervable in all his compofitions. 
 His ufual fubjects were markets, fairs, fhops with fruits and vegetables, or elabo- 
 ratories of chymifts, in the Italian ftyle-, and his works were much prized by 
 Lewis XIV, who enriched France with the paintings of many foreign artifts, 
 among which the works of this mafter held a considerable rank, 
 
 e Se c r 1 $ 
 
H E L [ 281 ] H E L 
 
 Segres Jacques Van HELMONT. 
 
 Painted Hiftory. 
 Died 1726, aged 43. 
 
 He was the fon of Matthew van Helm^nt, born at Antwerp, in 1683, and 
 from his birth was of a weak and tender conftitution, which continued during 
 his whole life. His father, who was a painter in great reputation, took unufual 
 care to inftrud him, and he had the fatisfiftion to fee him poffefTed of great 
 abilities, at an age when others only begin to learn. He had the misfortune to 
 be deprived of his father, whilft he himielf was very young; but, by that por- 
 tion of knowledge which he had already acquired, and by the ftrength of his 
 own genius, he was enabled to ftudy nature, and alio to improve himfelf by de- 
 figning after noble models. The city of BrufTels afforded him fufficient oppor- 
 tunities to exert his talents, and eftablifh his reputation ; for, he was perpetually 
 employed, and painted almoft without intermiffion. But, by too cioie an appli- 
 cation for one of fo tender a frame, he fhortened his days •, and died when 
 he had only arrived at his forty-third year. 
 
 His compofnions were in the grand ftyle ; his colouring is true ; his defigrt 
 correct ; and among the Flemifh artitts, he is confidered as a painter of dis- 
 tinction. The great altar-piece in the church of the Carmelites at BrufTels, 
 which is accounted a capital performance, was of Van Helmont's compofition ; 
 and the Subject of that painting, is Elijah facrificing before the Priefts of Baal. 
 A great number of his works are in the churches, convents, palaces, and public 
 edifices of the Low Countries, of which they are allowed to be the principal 
 ornaments. 
 
 Bartholomew Vander HELST. 
 
 Painted Portrait, and Hiftory. 
 
 Died 16 jo, aged 57. 
 
 He was born at Haerlem, in 161 3, and proved an excellent colourift and de- 
 signer; fo that in Holland, he is accounted one of the beft portrait painters of 
 his time. He fometimes employed his pencil on hiftorical Subjects, and the 
 landfcapes which he introduced in thofe compofitions are always in a good tafte, 
 and deligned with a great deal of truth, and nature. But, his chief merit con- 
 fided in portraits, which he defigned in an agreeable ftyle, with a light, free 
 touch, and a mellow pencil; with broad draperies, and beautiful colouring. 
 Many of his countrymen, out of a national partiality, do not hefitate to compare, 
 him even with Vandyck ; but, when the works of both are infpected by a ju- 
 dicious eye, they cannot certainly be admitted to ftand in any degree of com- 
 petition. 
 
 Several paintings of this mafter are to be feen at Amfterdam, which are ex- 
 ceedingly admired ; one, that is his mofl capital performance, is in the Chamber 
 of Juftice in the Town-Houfe of that city. It reprefents the principal officers 
 of the Trained Bands as large as life ; the carnations, the attitudes, the drape- 
 ries, are finely defigned, and executed ; the local colours are good, and the orna- 
 ments, with the vales of gold and filver, are delicately finifhed, aJid imitated to. 
 great perfection. Sir Godfrey Kneller was profule in his commendation of thar 
 picture, and alio in praifing the abilities of the artift ; and the judgement of fa 
 
 eminent 
 
HEM [ 282 ] HEM 
 
 eminent a matter in the fame ftyle, is a fufficient atteftation of the merit of 
 Van deHelft. 
 
 Martin HEMSKERCK. 
 Painted Hiftory. 
 Died 1574, aged 76. 
 
 He was born at the village of Hemfkerck, in 1498, and at firftlearned defign 
 from John Lucas ; but afterwards became a difciple of John Schoreel. His 
 beginnings were unpromifing, and heavy ; yet, by the dint of uncommon in- 
 duftry and afliduity, he overcame every difficulty, and dilcouragement, and ob- 
 tained the character of being a very confiderable mafter. 
 
 After he quitted the fchool of Schoreel, he imitated the manner of that 
 painter intirely ; and finifhed a picture for the chapel of the artifts at Haerlem, 
 reprefenting S. Luke painting the portrait of the Virgin, which was lb exactly in 
 the ftyle of Schoreel, that itieemed impoffible to determine, whether it had not 
 really been executed by that mafter. However, although he had competent 
 employment in his own country, to detain him there, yet he was eagerly defirous 
 to fee Rome •, and having procured letters of recommendation, he travelled 
 thither, and met with a very favourable and honourable reception. There he 
 applied himfelf to ftudy the antique, and the works of Michael Angelo Buona- 
 roti, and copied many of the fuperb ruins in the environs of Rome, intending 
 thofe defigns for the ornament of his future compofitions. 
 
 After an application of three years, he returned to his native country, and 
 changed his manner of defigning -, though, by many able judges, his early 
 manner after Schoreel, was preferred to his latter •, the mufcular parts not 
 being expreffed fo fharp in his firft defigns, as they were afterwards. His in- 
 vention was fruitful, which qualified him to paint all kinds of fubjects •, and 
 his defign, though dry, was eafy, and learned. His compofition was good, and 
 he was fond of introducing pieces of architecture in his back-grounds •, but he 
 wanted grace in the countenances of his figures, and in the airs of his heads •, 
 the mufcles of the body were abundantly too hard and dry, efpecially in the 
 naked •, his figures are generally too long, his draperies heavy, and his works 
 fufficiently prove, that he had very little, or no knowledge of the chiaro-fcuro. 
 
 Egbert HEMSKERCK, called the Old. 
 Painted Drolls, and Converfations. 
 
 It feems very extraordinary, that no circumftance relative to the time in 
 which this great painter flounfhed, or to the fchool in which he was taught, 
 mould be taken notice of by any of the writers on the fubject of painting ; 
 although, perhaps, through all Europe no painter is more univerfally known, 
 and few have had more admirers. 
 
 Undoubtedly, the tafte of his competition, compared with that of the Italian 
 artifts, is but low ; yet, it ought to be confidered, that he took his fubjects from 
 nature ; from perfons of the meaneft occupations, employed in the meaneft 
 offices, whole figure, drefs, actions, or manners, could not furnifti the imagina- 
 tion with any idea of elegance ; and that he ftudied no farther, than to exprefs 
 the variety of humours, obfervable in the characters of that booriih clais of 
 people, with whom lie was moft conveifant. 
 
 5 To 
 
HEM [ 283 ] HE M 
 
 To ftudy nature in its undifguifed appearances, and to trace every pafTion of 
 the human mind, in the lineaments of the face, and in the attitudes of the body, 
 feems to have been the utmolt of his ambition ; and for that purpofe, he fre- 
 quented all places of public reibrt, inns, taverns, gaming-houfes, fairs, feafts, 
 or merry-makings •, and by that means acquired a furpnzing power of expref- 
 fing every humourous incident, that promoted his own mirth or amufement, or 
 that might contribute to the mirth or amufement of others. 
 
 He defigned and drew correctly, his colouring is extremely natural and tranf- 
 parent, and his pictures have a ftrong effect, from his accurate management of 
 the chiaro-fcuro. His touch is free, firm, and full of fpirit, and his exprefiion 
 is admirable. Some of his pictures appear rather too dark, particularly in the 
 back-grounds ; though perhaps that defect might have been occafioned by the 
 colours having changed from their original tint, or perhaps from the fevere treat- 
 ment of unfkilful cleaners, or varnifliers. But his genuine works, when intire, 
 and well preferved, have a clearnefs and force equal to any of the Flemirn artifts. 
 The great reputation of Hemfkerck hath excited fo great a number of painters 
 either to imitate his manner, or to copy his works, that abundance of pictures 
 are fold for his real performances, which are a difhonour to his genius, and 
 his pencil. 
 
 The picture of a fick woman, at prefent in the poffefliori of the author of 
 this book, affords a manifeft proof of the merit and excellence of Hemikerck. 
 The patient is reprefented as in her bed-chamber, attended by a nurfe-keeper, 
 a boy apparently in great affliction, and a phyfician examining an urinal. The 
 back-ground is clear, the perfpecYive of the room, and its furniture very exact ; 
 and the principal figure is unulually bright, to attract the attention of the fpec- 
 tator. On the right hand is the bed, at the fide of which the woman is placed 
 in an elbow-chair, refting her hands on the arms of it. Sicknefs and pain appear 
 in the limbs, and the whole body exprefTes feeblenefs, and laffitude. Her form 
 is defigned in aftyle fuperior to the Flemifh taite ; it is eafy, elegant, and grace- 
 ful, and fhe turns her eyes with a melancholy anxiety on the doctor, as if waiting 
 for his opinion, and dreading it. The light is very judicioufly thrown on the 
 principal figures, and as to the fhape, limbs, and attitude of the woman, they are 
 worthy of any artilt of the Roman fchool. 
 
 Egbert HEMSKERCK, called the Young. 
 
 Painted Drolls, Enchantments, and Devils. 
 
 Died 1704, aged 59. 
 
 He was born at Haerlem, in 1645, and was a difciple of Peter Grebber ; but 
 he imitated the manner of Brouwer, and alio of the Elder Hemikerck. He 
 quitted his own country to fettle at London, where for a long time his compo- 
 fitions were exceedingly efteemed, though now they are much funk in 
 their value. 
 
 He had abundance of humour, and a very lively and whimfical imagination ; 
 which caufed him to delight in compofing the molt wild, fanciful, and uncom- 
 mon fubjects •, fuch as the nocturnal intercourfe of witches, devils, and fpectres, 
 temptations of S. Anthony, and enchantments ; and thofe fubjects he executed 
 
 O o with 
 
HER [ 284 ] HER 
 
 with a free pencil, and a fpirited touch. His drawing was tolerably correct, and 
 in fome of his compofnions extremely good ; and his colouring was generally 
 commendable, though fometimes it appears difagrceable by its foulnefs. 
 
 It was cuftomary with him, to introduce his own portrait, among the drolls 
 and converfations which he defigned •, and for that purpofe, he had always a 
 fmall looking-glafs placed near his ealel. 
 
 Henry HERREGOUTS, the Old. 
 Painted HiJIory. 
 
 He was born at Mechlin, about the year 1666, and learned the principles of 
 his art in his native city •, but he formed his ftyle of painting, from ftudying the 
 works of the beft mailers, and improving his knowledge by an accurate ftudy 
 afi.er nature. 
 
 In all his compofitions he fhewed a fertile invention, and a ready genius •, his 
 ftyle of painting was grand, his defign full of lpirit, and his colouring agreeable. 
 His figures had exprefilon, and character, and his draperies were eafy and na- 
 tural ; he painted with great freedom of pencil, and his touch was broad and 
 firm. His general fubjects were defigned in a large fize, and in fome of his 
 compofitions the figures were abundantly larger than life. Frequently he was 
 engaged to infer: the figures in the landfcapes of other artifts, and particularly 
 in many of the landfcapes of John Aflelyn. 
 
 Mo ft of the churches at Antwerp, and Bruges, are adorned with the paintings 
 of this matter •, but his moft capital performance, is in the parifh church of 
 S. Anne at Bruges •, of which the fubjeft is, the Laft Judgement •, and the com- 
 position, as well as the execution, afford fufficient evidence of the merit of 
 this mafter. 
 
 He had a fon, 
 
 '. HERREGOUTS, the Youn ? , 
 
 Who, though a very confiderable artift, was much inferior to his father. How- 
 ever, many of his paintings are Ln the churches at Bruges, and are greatly 
 etteemed ; one of which is in the church of the Bare-footed Carmelites, and re- 
 prefents the Prefentation of Chriftin the Temple. 
 
 William d e HEUSC H. 
 
 Painted Landfcapes, and Animals. 
 
 He was born at Utrecht, in 1638, and learned the firft rudiments of the art in 
 his native city •, but he went early to Rome, and placed himfelf as a difciple with 
 John Both. As he had the advantage of fuch an inftruclorto direct him in his 
 ftudies, he foon made a very great proficiency, and adhered to the beautiful 
 his mafter; not only in the tints of his colouring, but alfo in the 
 h: ndling, and in t lie agreeable choice of his fubjefb. 
 
 1 entirely after nature, and fketched the views of the Rhine, 
 the 'i ti, and Tivoli, from which he compofe ipes •, al- 
 
 ways ; fuch fcenes and fitu.t'uns, as were uncommonly ftri 
 
 beautiful ; 
 
HEU [ 285 ] H E U 
 
 beautiful •, fo that his pictures were exceedingly admired in Rome, and bought 
 at large prices. He enriched his landfcapes with excellent figures, and animals 
 of different kinds, which were elegantly defigned, and finifhed with neatnefs; 
 and he generally'chofe for his fubjects, huntings, harveft-time, or fhepherds and 
 villagers, employed in different occupations, or amuicments. 
 
 Jacob de HEUSCH. 
 
 Painted Land/cape, and Animals. 
 Died 1 70 1, aged 44. 
 
 This painter was nephew to William de Heufch, and was born at Utrecht, in 
 1657. He was carefully inftructed by his uncle, and after he had practifed for 
 fome years, approached fo near to the tafte of defign, the touch, and the co- 
 louring of his mafter, that there was fcarce any perceptible difference in 
 their works. 
 
 When he had for fome time painted in that ftyle, he went to Rome by the 
 advice of his uncle ; and there attended the academy, to improve himfelf in 
 drawing and defign, and diflinguifhed himfelf above all the artil'cs of his time. 
 At his intervals of leiiure, he ltudied the works of the great matters, examining 
 their perfections, and detecls ; but, in his own judgement, preferred Salvator 
 Rofa to them all. He therefore fixed on him for his model, particularly in his 
 fmall figures •, and to imprefs on his mind ftrong ideas of that mailer's manner 
 of defign, he viewed every fcene around Rome, and its neighbouring villages, 
 which could furnifh him with a fufficient variety. 
 
 At laft he furpaffed his uncle, and his works were bought eagerly, by perfons 
 of the beft tafte in Rome, and Venice •, which enabled him to live in a fplendid 
 condition, while his amiable perfonal qualifications procured him refpect, and 
 efteem. His landfcapes are true reprefentations of beautiful and elegant nature ; 
 the fites are agreeably chofen ; the grounds and trees well coloured, and touched 
 with freedom ; and the figures, fheep, oxen, and other animals, defigned with 
 abundance of truth, correftnefs, and fpirit. 
 
 Abraham de HEUSCH. 
 
 Painted Plants, and Infelits. 
 
 He was born at Utrecht, about the year 1650, and learned the art of painting 
 from Chriftian Striep. His favourite fubjects were plants, and herbs of dif- 
 ferent kinds, infects, ferpents, and poifonous reptiles •, all which he copied from 
 nature, with very fingular neatnefs, and truth. It was impoffible to behold fuch 
 exactnefs of imitation, and fuch exquifite finiftiing as he bellowed on his pictures, 
 without being aftonifhed at his patience, as well as the fkill he fhewed in the dif- 
 pofition of his objects. Not many of the works of this mafter are to be feen, as 
 he fpent a great deal of time in giving them as much perfection as he could ; 
 and as he quitted painting, for a commiffion in the navy. 
 
 O o 2 John 
 
HEY [ 286 ] H I L 
 
 John Vander HEYDEN. 
 
 Fainted Land/cape, Palaces, and Buildings., and en t and modern. 
 
 Died 17 12, aged 75. 
 
 This extraordinary artift was born at Gorcum, in 1637, an d derived hisearly 
 knowle tainting'ftorh p. painter on glais, of no great note ; but his genius 
 
 enabled him to i nprove byitudying after nature, and his tafte directed him to 
 the choice of fuch fubjefts as are very rarely feen in fo great perfection, as they 
 have been reprefented by his pencil. He painted churches, temples, palaces, 
 s of cities, and country-hovlcs •, which hedefigned with ail imaginable pre - 
 ci ter nature, and added new beauties to them, by the landscapes, the 
 
 tree,, and lovely diftances, which he introduced with great propriety, and 
 judgement. 
 
 His pictures are finiflied with inexpreffible neatnefs, and amazing patience ; 
 and he had one particularity, which can fcarcely be found in any other mailer, 
 which was, that he painted his buildings fo minutely exact, as to admit of 
 counting even the (tones or bricks employed in their construction. Yet, the 
 objects in his pictures, form admirable mafles of light and fhadow ; the chiard- 
 liuro is well underftood •, the perspective excellent ; and the union and harmony 
 are not injured, by the furprizing care, and delicacy of the handling. 
 
 Several matters have finiflied their works as highly as Vander Heyden •, bur, 
 few of them have poffeffed the art of uniting meUownefs with high finifhing. 
 Nothing appears laboured, or fervile •, nothing hard, ftiff, or dry •, but the more 
 minutely and critically we examine his paintings, we cannot avoid being the 
 more allonilhcd, toobferve the tafte and conduct vilible through the whole. 
 
 Among other confiderable buildings, he painted the view of the Royal Ex- 
 change, and Monument, at London ; of the Town-houfe at Amfterdam ; the 
 Rome, Cologne, and Delft, and many churches and palaces which are 
 filled with a multitude of figures, all buiy, and in motion, and very judicioully 
 dilpofed ; and all thole figures being painted by Adrian Vandervelde, (till 1672, 
 in which year Adrian died) they add ftill a greater degree of value to the 
 pictures of thi i 
 
 It is recorded of Vander Heyden, that his penciling was fo wonderfully nice, 
 as to enable him to paint the picture of a Bible lying op;n, only of the lize of a 
 maa's palm, in which the writing wa ; ex :eedipgly fmall, and yet fo clear in the 
 character, that every letter was diftinctly legible. 
 
 Nicholas II I I, L I A R D. 
 
 Paint \l Portraits in Miniature. 
 
 Lied 1 619, aged 72. 
 
 He Wfl9 ;he fon of Nicholas Killiard of Exeter, born in that city in 1547 ; znd 
 for want of a proper inftrnctor, he Studied the works of Hans Holbein, which to 
 him feeined preferable to all others. But, although he copied the neatnefs of 
 his model, he was incapable of acquiring the force, and nature, which that great 
 mailer imprefied on all his fmaller performances. He could never arrive at any 
 
 ftrength 
 
H I R [ 287 ] H I R 
 
 ftrens;th of colouring ; his carnations were always pale, and void of 
 any variety of tints ; yet his penciling was exceedingly neat, the jewels, and or- 
 naments of his portraits, were exprefied with lines incredibly (lender, and even 
 the hairs of the head, and of the beard, were almoft diftinctly to be counted. 
 He was exact in defcribing the drefs of the times, but he rarely attempted more 
 than a head ; and yet his works were much admired, and highly prized. He 
 painted the portrait of the Queen cf Scots, which gained him univerial ap- 
 plaufe •, and Queen Elizabeth honoured him fo far, as to fit to him for her 
 portrait feveral times. 
 
 One of his moft capital limnings was a whole length of that Queen in her 
 robes, fitting on her throne ; and two other pictures are mentioned in very high 
 terms of commendation, the one being the portrait of his father, the other a 
 portrait of himfelf. 
 
 Lawrence de la HIRE. 
 
 Painted Land/cape, and Hiftory. 
 
 Died 1656, aged 50. 
 
 Fie was born at Paris, in 1606, and devoted to the profeffion by his father, 
 who was a painter in fome degree of credit. He was the only artift of his time in 
 France, who did not endeavour to imitate the manner of Vouet-, though that, 
 which he afllimed, was not at all fuperior, and he continued a mannerift. His 
 tafte was but indifferent, and if it was more natural, and finifhed, than that of 
 Vouet, yet it was not agreeable. 
 
 His landfcapes were undoubtedly the mofc pleafing part of his works •, for, he 
 finifhed them with great care •, but his figures, either in hiftorical Subjects, or in 
 landicape, were not to be commended ; being not truly natural, either in the 
 airs of the heads, the contours of the limbs and bodies, or in the fingers, which 
 were too long, and too much contorted. The keeping (as it is termed) in his 
 pictures, was exceedingly faulty, from an improper and injudicious ufe of the 
 aerial perspective ; for, inftead of making his objects apparently die away per- 
 rpectively, Lis diftances were involved in a coniufed miftinefs, which was ex- 
 tremely difagreeable •, and his figures, in proportion as they receded from the 
 Bafe line, were clouded and indiitinct. That defect rendered the works of this 
 matter generally lefs eftimable, though they are itill commended by many of his 
 own countrymen. 
 
 Philip d e la HIRE. 
 
 Painted Lc.;nif capes, and Convcrfations. . 
 
 Died 1 7 19, aged 42. 
 
 Fie was born at Paris, in 1677, and it is uncertain under what mailer he 
 fcudied the art of r ing; but he chofe to imitate the ftyle of compofition, 
 and the manner or V. atteau. Fie painted the fame kind of fubjects with great 
 fuccefs, and fame of his pictures are accounted to have a good degree 
 of merit. 
 
 M 1 N D e r h u x. 
 
HOB [ 288 ] HOE 
 
 MlNDERHOUT II O B B I M A. 
 
 Feinted Landfcr.pe. 
 
 This eminent painter is fuppofed to be born about the year 161 1, at 
 Antwerp, but the matter from whom he received his instruction is not known. 
 I Ie Studied intirely after nature, Sketching every fcene that afforded him plcafure, 
 and his choice was exceedingly picturefque. His grounds are always agreeably 
 broken, and he was particularly fond of defcribing dopes diverfified with fhrubs, 
 plants, or trees, which conducted the eye to fome building, ruin, grove, or piece 
 of water •, and frequently, to a delicate remote diftance ■, every object peripec- 
 tively contributing to delude our obiervation to that point. 
 
 The forms of his trees are not unlike Ruyfdael, and Dekker •, and in all his 
 pictures he fhews an admirable knowledge of the chiaro-fcuro. His colouring is 
 extremely good, and his ikies evidently fhew that he made nature his principal 
 director, by the fhape and difpolition of his clouds, as alio by thofe peculiar 
 tints, by which he expreffed the rifing and fitting of the fun, the morning and 
 evening. His touch is light, free, and firm ; and his paintings have a very 
 Striking effect, by the happy distribution of his light and Shadow. The figures 
 which he himfelf defigned, are but indifferent, which was a defect imputable to 
 Claude Lorraine, and Gafp.ir Pouffin, as well as to Hobbima •, but, the latter, 
 conlcious of his inability in that relpect, admitted but few figures into his 
 defigns, and thofe he ufually placed fomewhat removed from the immediate 
 view, at a prudent diftance from the front line. However, mod of his pictures 
 were Supplied with figures by Oftade, Teniers, and other very famous mafters, 
 which muft always give them a great additional value. 
 
 The works of Hobbima are now exceedingly fcarce, and induftrioufly fought 
 for ; and his paintings were fo highly prized a very few years ago in London, 
 that one of them was fold for above an hundred pounds ; and it is probable, 
 the works of this celebrated artift are as eftimable at this day. Not many of 
 his pictures' have appeared in this kingdom, although he has often been disho- 
 noured, by having many mean performances alcribed to him. But, one of rhe 
 moil genuine landfcapes of Hobbima, perfectly well preserved, is in the poflef- 
 fion of Thomas Cobbe, ESq; in Dublin, which has been often examined 
 with fingular pleafure ; and on the picture is inferibed, Minderbout Ilob- 
 bima, 1663. 
 
 John Van H O E C K, or II o u k. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1650, aged 50. 
 
 He was born, according to Defcamps, about the year 1600, but according to 
 t 1 e Chronological Tables, the year of his birth is erroneoufly fixed in 1578. 
 His native city was Antwerp, and his early time of life was cultivated with ex- 
 traordinary care by his parents; who had him inftruded in rhe Iciences, and 
 polite literature, before his genius determined him to choofe painting for his pro- 
 feflion. He was then placed under the direction of Rubens, whole education 
 
 had 
 
 3 
 
HOE [ 289 ] HOE 
 
 had been formed in tie fame manner, and a fimilarity of difpofition eftablifhed a 
 reciprocal affection between them. 
 
 When he had continued in the fchool of Rubens, till he diftinguifhed himfelf 
 as an able artift ; to acquire ftill greater improvement, he vifited Rome, and 
 refided there for fome years, ftudying after the beft models. Plis merit foon 
 procured him the favour of the prime Nobility and Cardinals, and his works 
 were admired not only in Rome, but in other parts of Italy through which he 
 travelled. At the folicitation of the Emperor Ferdinand II, he went to Vienna •, 
 where he had an opportunity to exert his talents, by painting the portraits of the 
 Imperial family, and alio by adorning the churches, convents, and cabinets of 
 the Nobiliy, with a variety of excellent cempofitions. He continued in Ger- 
 many, till the Arch-duke Leopold tcok him in his retinue to Flanders, having 
 before honouied him with the title of his principal painter ; but he died in his 
 own country, univerially regretted, and efteemed. The portraits which he 
 painted were remarkable for their refemblance : and are accounted to be net 
 much inferior to Vandyck. His compofition was good, his manner of design- 
 ing ingenious, his colouring ftrong, clear, and natural, and his pencil, though. 
 delicate, was yet equal to the grandeft works in which he was employed. 
 
 The portraits of the Arch-duke Albert, and Ifabella, which are in the cabinet 
 of Prince Charles of Lorraine, at Bruffels, will always be acknowledged as a 
 competent proof of his merit in that ftyle ; and the altar-piece which is pre- 
 ferved in the church of Notre Dame at Mechlin, reprefenting a dead Chrilt, 
 with the figures of the Virgin, S. John, and Mary Magdalen, beautifully ex- 
 ecuted, fufficiently evidences the ftrength of his genius for hiftorical com- 
 pofuions. 
 
 Robert van II O E C K. 
 Painted Battles, Encampments, and Skirmijhings of Armies. 
 
 He was born at Antwerp, in 1609, and became an artift of very uncommon 
 diftinction, favoured in the higheft degree by the King of Spain, and by that 
 Monarch appointed Comptroller of the Fortifications throughout all Flanders. 
 
 The pictures which he painted were generally of a fmall fize, with abundance 
 of figures ; and he particularly excelled in thole fubjects which admitted of in- 
 troducing the greateft number of them, fuch as battles, plundering of villages, 
 marchings of armies, or encampments. 
 
 His works are truly eftimable, his defign was exceedingly correct ; his touch 
 had unufual neatnefs, and his colouring was delicate. In all his compofitions 
 he defigned an inconceivable multitude of figures, in a fmall compafs ; fothat it 
 feemed difficult even to the eye to obferve the variety, though every figure, 
 when nicely examined, appeared diilin<ft, and correctly defigned. 
 
 Gerard II O E T. 
 
 Tainted, Hiftory, and Land/cape. 
 
 Died 1733, aged 85. 
 
 He was born atBommri, in 1648, and was a difciple of Warnard van Ryferi, 
 an excellent painter, who had been bred in the fchool of Poelemburg ; but, his 
 
 g< mus 
 
HOE [ 290 ] H O L 
 
 genius Toon exerted itfelf in fuch a manner, that he was enabled to proceed hap- 
 pily in his profeffion, without being indebted to any inftructor. 
 
 When he commenced artift, he was at firft invited to Cleve, where his paint- 
 ings procured him very great credit ; but he was afterwards prevailed on to 
 vifit France, yet in that kingdom he had not the good fortune to meet with en- 
 couragement, in any degree proportioned to his merit ; and therefore he turned 
 his attention to England, whither he certainly would have directed his courfe, 
 had he not been difluaded by Vofterman, who at that time was preparing to 
 leave the Court of London. At laft he fettled at Utrecht, and in that city, and 
 its neighbourhood, found a fufficient number of admirers, and friends, whocon- 
 ftantly employed his pencil ; and afforded him continual opportunities, to 
 difplay his abilities, in executing feveral grand and beautiful defigns, for cielings, 
 falons, andfuperb apartments, and alfo in finifhing a great number of eafel pic- 
 tures for their cabinets. 
 
 The reputation of Hoet, for knowledge and (kill in his profeffion, was fo uni- 
 verfally eftablifhed at Utrecht, that he was appointed director of an academy for 
 drawing and painting, which he conducted with great honour to himfelf, and 
 remarkable advantage to his pupils. He had a lively imagination, a very ready 
 invention, and a fine genius for compoiition ; as alio a nice adherence to the 
 coftume. His manner of painting was clean and neat, and he was thoroughly 
 mailer of the true principles of the chi&ro-fcuro. His figures in general are de- 
 figned with elegance, and drawn with correctnefs •, his colouring is lively, na- 
 tural, and full of harmony, from the judicious oppofition of his light and 
 ihadow ; his touch is light, and firm, and his pictures have a great deal of tranf- 
 parence. His frnall eafel paintings are exceedingly delicate in the touch, and 
 the finifhing ; and yet his larger works are always penciled with a freedom that 
 is fuitable to thofe grander compositions. 
 
 Many capital pictures of this mailer are in the palace of Slangenberg •, and 
 his eminent talents may be feen in the grand flair cafe at Voont, the feat of the 
 Earl of Albemarle. In Holland, and alfo in our kingdoms, feveral charming 
 pictures of Hoet are prefcrved •, fome of them in the manner of Poelemburg, 
 and others in the ftyle ofCarcldu Jardin. 
 
 Jon n, or Hans H O L B E I N. 
 
 Painted Portrait, and Hifiory. 
 
 Died 1554, aged 56. 
 
 This admirable painter was born at Bafle, in 1498, and infirncted in the art by 
 his father !< hn Holbein. In the early part of life, he purfued his fludies with 
 inceJTant afiiduity, and bei ■:• poffefled of an elevated geniir, his progrefs was 
 exceedingly rapid-, fo that he loon became far fuperior to his >r. He 
 
 excelled all hi >raries in portrait; and in that ftyle arrived at fo high a 
 
 ree of perfection, that Zucchero, who certainly was well qualified to judge of 
 his merit, did not hefitate to compare his portraits, with thole of Raphael, 
 and Titian. 
 
 in oil, water-colours, and ditemper, in large, and in 
 miniature; but he had never practifed the art of painting in miniature, till he 
 
 refided 
 
 3 
 
H O L [ 291 ] HO L 
 
 refided in England, and learned it from Lucas Cornelii •, though he afterwards 
 carried it to its higheft perfection. His paintings of that kind, have all the 
 force of oil colours, and are finifhed with the utmoft delicacy. In general he 
 painted on a green ground, but in his fmall pictures frequently he painted on 
 a blue. 
 
 The invention of Holbein was furprizingly fruitful, and often poetical ; his 
 execution was remarkably quick, and his application indefatigable. His pencil 
 was exceedingly delicate •, his colouring had a wonderful degree of force ; he 
 finifhed his pictures with exquifite neatnefs ; and his carnations were life itfelf. 
 His genuine works are always difbinguifhable by the true, round, lively imita-. 
 tion of flefh, vifible in all his portraits, and alio by the amazing delicacy of his 
 finifhing. 
 
 He vifited London at the requcft of Erafmus, who recommended him to Sir 
 Thomas More •, and Sir Thomas immediately employed him, fhewed him every 
 mark of refpect and real friendfhip, entertained him at his own table, allowed 
 him an apartment in his houfe, and detained him for three years. In which, 
 time he painted the portraits of his patron, and all the family of Sir Thomas ; as 
 alfo feveral portraits of his relations and friends, which were hung up in a grand 
 hall. As foon as King Henry VIII, beheld thofe performances, he was fo ftruck. 
 with their beauty, their life, and admirable likeneis, that he took Holbein into 
 his fervice, and favoured him highly as long as he lived. 
 
 It is oblerved by mofl authors, that Holbein always painted with his left 
 hand-, though one modern writer objects againft that tradition, (what he con- 
 fiders as a proof) that in a portrait of Holbein painted by himielf, which was in 
 the Arundelian collection, he is reprefented holding the pencil in the right hand. 
 But, with great deference to the opinion of that ingenious connoifTeur, that evi- 
 dence cannot be fufficient to let afide fo general a teftimony of the molt authentic 
 writers on this fubject •, becaufe, although habit and practice might enable him 
 to handle the pencil familiarly with his left hand ; yet, as it is fo unuiual, it 
 mull have had but an unfeemly and aukward appearance in a picture ; which 
 probably might have been his real inducement for reprefenting himielf without 
 fuch a particularity. Befides, the writer of Holbein's life, at the end of the trea- 
 dle by De Piles, mentions a print by Hollar, Hill extant, which delcribes Hol- 
 bein drawing with his left hand. Nor is it fo extraordinary or incredible a cir- 
 cumftance ; for, other artifts mentioned in this volume are remarked for -the 
 very fame habit ; particularly Mozzo of Antwerp, who worked with the left ; 
 and Amico Afpertino, as well as Ludovico Cangiagio, who worked equally 
 well with both hands. 
 
 The genius and excellence of this matter were fufficiently fhewn in the hifto- 
 rical flyle, by two celebrated compofitions which he painted in the hall of the 
 Steel-yard Company ; and they were univerhlly admired for the richnels of the 
 colouring, as alfo for the ftrong character in the figures through the whole. 
 Zucchero, on feeing thofe pictures, expieffed the higheft eiteem for Holbein, 
 and even copied them in Indian ink. 
 
 Abbe du Bos obferves, that the altar-piece at Bafle painted by Holbein may 
 be compared with the belt productions of Raphael's diiciples for compofition, 
 and preferred to them with refpect to colouring -, that he fhews a greater degree 
 of knowledge of the chiaro-fcuro, and particular incidents of light that are truly 
 
 P p mar- 
 
HOL [292] HON 
 
 marvellous. That obfervation of Du Bos, may perhaps be confidered by fome 
 judicious readers as a juft defcription of the perfections of Holbein •, and to 
 others of equal tafte and judgement, it may appear as an encomium a little too- 
 high ftretched. Holbein undoubtedly had many excellencies, which procured 
 him, very defervedly, the admiration of all Europe -, but to equal him in portrait 
 with Raphael and Titian, as Zucchero did, or to place him on an equality with 
 the belt of Raphael's difciples in compofition, as Abbe du Bos has done, feems 
 to be not altogether juftifiable •, for, notwithftanding the abundant merit of this 
 mafter in many refpects, it cannot be denied, that the German gout predominates 
 through moft, if not all of his compofitions. 
 
 It is indeed to be lamented, that fuch a number of pictures are pcfitively af- 
 fcrted to be of the hand of Holbein, which are a difhonour to his pencil-; but 
 any judicious perfon, who hath oblerved one genuine picture, will not eafily be 
 impofedon. 
 
 In the Florentine collection are the portraits of Holbein, Luther, Sir Thomas 
 More, and Richard Southwell, all painted by this mailer ; and in the cabinet of 
 the King of France, befide feveral portraits, there is an hiftorical fubject by 
 Holbein, reprefenting the Sacrifice of Abraham, which is accounted a fine per- 
 formance. 
 
 Cornelius HOLSTEIN. 
 
 Painted Hi/lory. 
 
 He was born at Haerlem, in 1653, the fon and alfo the difciple of Peter Hol- 
 ftein, a painter on glafs, by whole careful inftructionhe became an artifl of con- 
 iiderable eminence. 
 
 Among many applauded pictures of this mafter, Houbraken mentions one 
 which he had the opportunity of examining •, it reprefented the Triumph of 
 Bacchus 5 and feveral naked figures, particularly of boys, were introduced in the 
 defign. He defcribes it as being well compofed, correctly drawn, and pleafingly 
 coloured •, and although a large fum had been paid for it, yet even that large 
 fum feemed to be far fhort of its value. He alfo mentions the deling of the 
 Treafury at Amfterdam, as being exceedingly well defigned and executed.. 
 
 Gilles HONDEKOETER. 
 
 Painted Land/capes, and Live Fowl. 
 
 He was born at Utrecht, in 1583, and imitated the ftyle of compofition, and 
 the manner of colouring, of Roland Savery, and David Vinckenbooms. He 
 ftudied after nature thofe views which he intended for his landfeapes, and in ge- 
 neral made an agreeable choice. The forms, and leafing of his trees, are more 
 in the tafte of Vinckenbooms than Savery, but they are well handled, and firmly 
 penciled •, though fometimes perhaps they are a little too brown, or too yellow. 
 
 He painted different kinds of fowls, with fingular truth and exactness, and 
 frequently filled his imall landfeapes with no other objects •, but thofe he finiihed 
 highly, and with great tranfparence of colouring. 
 
 G Y SBRECHT 
 
HON [ 293 J HON 
 
 Gysbrecht HONDEKOETER. 
 
 Painted Fowls. 
 
 He was born at Utrecht, in 1 6 1 3, the fon of Gilles Hondekoeter, from whom 
 he learned defign and colouring. The fubjects he painted were cocks, hens, 
 ducks, and other domeftic fowls, which he defcribed in a lively and ftrong 
 manner, giving his obje<5h agreeable attitudes, and colouring them exactly after 
 nature. The works of this mafter are very often injudicioufly afcribed to his 
 fon, although the paintings of Gyfbrecht are in every refpect abundantly inferior 
 to thofe of Melchior Hondekoeter. 
 
 Melchier HONDEKOETER. 
 
 Painted Fowls. 
 Died 1695, aged 59. 
 
 He was the fon of Gyfbrecht Hondekoeter, born at Utrecht, in 1636, and 
 from his infancy was carefully trained up to the profeffion by his father. He 
 chofe the fame fubjects, but in his manner of painting them, he furpaffed not 
 only his mafter, but even the beft of his cotemporaries in a very high degree. 
 Till he was feventeen years of age, he practifed under the direction of Gyfbrecht, 
 and accuftomed himfelf to paint feveral forts of birds ; but particularly he was 
 pleafed to reprefent cocks, hens, ducks, chickens, and peacocks, which he de- 
 fcribed in an elegant variety of actions, and attitudes. 
 
 After the death of his father, which happened in 1653, he received fome in- 
 ftructions from his uncle John Baptift Weeninx •, but his principal, and beft in- 
 ftruftor, was nature, which he ftudied with intenfe application, and that enabled 
 him to give to every animal he painted fuch truth, fuch a degree of force, ex- 
 preffion, and life, as feemed to equal nature itfelf ; nor did any artift take more 
 pains, to ftudy every point that might conduce to the perfection of his art. His 
 pencil was wonderfully neat, and delicate ; his touch light, his colouring ex- 
 ceedingly natural, lively, and remarkably tranfparent ; and the feathers of his 
 fowls were expreffed with fuch a fwelling foftnefs, as might readily and agree- 
 ably deceive the eye of any fpectator. 
 
 It is reported, that he had trained up a cock to ftand in any attitude he 
 wanted to defcribe, and that it was his cuftom to place that creature near his 
 eafel -, fo that at the motion of his hand, the bird would fix itfelf in the proper 
 pofture, and would continue in that particular pofition, without the fmalleft per- 
 ceptible alteration, for feveral hours at a time. 
 
 The landicapes which he introduces as the back grounds of his pictures, are 
 adapted with peculiar judgement and fkill, and admirably finifhed •, they har- 
 monize with hisfubject, and always increafe the force and the beauty of his prin- 
 cipal objects. His touch was very fingular, in imitating the natural plumage of 
 the fowls he painted •, which not only produced a charming effect, but alio may 
 prove ferviceable to an intelligent obferver, to affift him in determining which 
 are the genuine pictures of this mafter, and which are impoiitions. The works 
 of Hondekoeter are juftly in very great requeft and eftimation, and they gene- 
 rally afford a large price, almoft in proportion to their value. 
 
 Pd2 Abraham 
 
HON [ 294. ] HON 
 
 A B R A H A M II ONDIU S. 
 
 Painted Landfeapes, Animals, Huntings, and Con-verfations. 
 Died 1691, aged 5 j. 
 
 This painter, who is well known in our kingdoms, was born at Rotterdam, 
 in 163S, according to the molt authentic writers, though Defcamps fixes his 
 birth in 1 650, twelve years later. He appears to have been an univerfal 
 matter, painting with equal readinefs landfcapes, animals of all kinds, particularly 
 dogs, huntings of wild animals, boars, deer, wolves, and foxes, as alfo con- 
 verfa'tionfs, and fowls •, but his favourite fubjedts were huntings. 
 
 His manner feems peculiar to himfelf; it was bold and free, and' except 
 Rubens and Snyders, few matters have painted animals in a greater ftyle, or 
 with more (pint. There is certainly a great deal of fire in his compofitions, but 
 his colouring is often extravagant, and his drawing extremely incorrect. In 
 general his penciling was harfh, and he delighted in a fiery tint ; yet, fome of 
 his fmall pictures are very neatly finifhed. There is a great inequality as to the 
 merit of the works of Hondius ; fome of them being in every refpect abundantly 
 fuperiot to others •, but there is fcarce any mafter whole compofitions are lb 
 ealilv diitinguifhable, as thofe of Hondius, by certain particularities in his touch, 
 his Cafte of defign, and his colouring. 
 
 Several of his pictures of dogs are much efteemed, and one elpecially is 
 ■mentioned, in which he reprefented thirty different fpecies of thole animals, all 
 -being well defigned, and every dillinct animal being characterized with fome 
 peculiar air, action, exprefiion, or attitude. As he was exceedingly haralled 
 and tormented with the gout, the works of his latter time are more negligently 
 executed, than thofe which he finifhed in his prime ; and therefore, they very 
 much contribute to lefTen the reputation he had acquired by fome of his more 
 ftudied, and better finifhed performances. 
 
 His moft capital picture is the burning of Troy, in which there are a variety 
 of figures, many of them well defigned, and difpofed with judgement. 
 Houbraken alio mentions a candlelight of this mailer's hand, in which appeared 
 a fine oppofition of light and fhadow, and the figures were extremely well 
 defigned, and well coloured. 
 
 G E r a r d II O N T II O R S T. 
 
 Painted Uijlory, Portrait, and Candlelight Pieces. 
 Died 1660, aged 68. 
 He was born at Utrecht, in 1592, and was placed as a difciplewith Abraham 
 Bloemart : but when he quitted that mailer, he travelled to Rome, and 
 proceeded fo happily in his ihidies, as to be accounted one of the belt artilts of 
 his time. He continued at Rome for fcveral years, being employed there by 
 perfons of the firft rank, and particularly by Prince Jultiniani, for whom he 
 performed many confiderablc works. 
 
 His particular excellence was fhewn in his night-pieces, reprefenting figures 
 
 by candlelight, which ufually were as large as life. Even Rubens profefied 
 
 ifelf an admjrer of his paintings in that ftyle ; and Sandrart highly commends 
 
 a picture of the Decollation of St. John by torch-light, which he faw at Rome, 
 
 in the church of Madonna della Scala. He alio mentions another in the 
 
 3 Julliniani 
 
HON [ 295 ] H O O 
 
 Juftiniani gallery, of which the fubject is, Chrift brought bound before Pilate 
 in a white Robe ; and in that compofition, the light proceeding from the 
 flambeau and torches produced fo uncommon a luttre, and lb bold an effect 
 that no preceding artift had performed any thing in that ftyle that could be 
 compared with it. Sandrart alfo obferves, that Honthorft was as much diilin- 
 guifhed while he refided at Rome, for his night-pieces in large ; as Eliheimer 
 was, for his manner of defigning the fame iubjects in final]. 
 
 Soon after his returning to his own country he vifited London, and obtained 
 the favour of King Charles I, by feveral grand performances, and portraits •, 
 efpecially by one allegorical picture, in which he reprefented the portraits of the 
 King and Queen, in the character of two deities, and the portrait of the Duke 
 of Buckingham in the character of Mercury, introducing the liberal arts to that 
 monarch and his confort. For that compofition, which was well drawn and 
 extremely well coloured, the king prefented him with three thoufand florins, a 
 fervice of plate for twelve perfons, and a beautiful horfe •, and he had afterwards 
 the honour to inftruct the Queen of Bohemia, and the Princefs's her children 
 in drawing. 
 
 His pencd is Tree and firm, and his colouring hath a great deal of force, 
 although it often is not pleafing, by a predominancy of the yellow and brown 
 tints ; yet undoubtedly Honthorft would have been an excellent painter, if he 
 had known how to give more grace, and more correcTnefs to his fio-ures. ' 
 
 At his return from London to Holland, he adorned the pleafure houles of the 
 Prince of Orange with many poetical fubjects, which he executed in frefco as 
 well as in oil ; but, he principally was employed in painting portraits, which 
 are defcribed as having good exprefficn, and extraordinaryTife and force, by 
 their broad maffes of light being contralted by ftrong fhadows. 
 
 William HONTHORST. 
 
 Painted Hiftcry, and Portrait. 
 
 Died 1 6 S 3 , aged 79. 
 
 This painter, who was brother to Gerard Honthorft, v/as born at Utrecht in 
 1 604, and learned the art of painting from Abraham Bloemart. The portrait'; 
 which he painted were very much efteemed, and in reality thofe were his mi 
 commendable performances ; for the hiitorical fubjecls of his hand, which 
 generally were painted in a large fize, are in no degree equal to thofe of Gerard, 
 either in refpeft of the compofition, the handling, or the colour, although they 
 are frequently fold for the works of that matter. 
 
 Peter de HOOGE. 
 
 Painted Converfations. 
 
 Bom about the Tear 1643. 
 
 Neither the native city, nor the matter of this painter are afcertained by anr 
 of the writers on this ilibjeet ; but, by his manner of painting, Deicamps 
 accounts him to have been one of thebeft difciples of Berchem. However, he 
 fee.ned to admire and imitate the manner of Mieris, Metzu, and Slingeland, 
 
 although 
 
HOO [296] HOO 
 
 although in the finifhing of his pictures, he did not arrive at the perfection of 
 thole great artifts. 
 
 The heads and hands of his figures, have fometimes a degree of force, fcarce 
 unworthy of being compared to Vandyck ; but, his touch is more broad and 
 free than either Metzu or Mieris, and he falls far (hort of their exquifite 
 neatnefs. His pencil is light and firm •, his defign correct and in a good tafte, 
 as if he had been inftructed in fome celebrated fchool. His ufual fubjects are 
 converfations, in which the draperies of his figures are taken from the modes of 
 the times •, and as to his colouring, it is extremely good, natural, and ftrong. 
 
 Dirk, or Theodore van HOOGESTRAETEN. 
 Painted Land/capes, and Still Life. 
 Died 1640, aged 44- 
 
 He was born at Antwerp, in 1596, and at firft was bred to the goldfmith's 
 bufinefs and engraving ; but, having by accident gained the friendfhip of fome 
 Flemifh painters, who inftructed him in the rudiments of the art, he very foon 
 became fuch an extraordinary proficient, that he quitted his original profefiion, 
 and devoted himfelf intirely to painting. 
 
 He acquired a free manner of handling, and defigned his fubjectsin a good 
 tafte, diftinguifhing himfelf above many of thofe artifts, who had from their 
 infancy been regularly trained to the profefiion •, and as he made it his conftant 
 practice to ftudy after nature, the fcenes of his landicapes, and all the objects he 
 chofe to paint, were reprefented with great truth and exactnefs. 
 
 Samuel van HOOGESTRAETEN. 
 
 Painted Portrait, Hi/lory, Land/capes, Statues, and Perfpeftive. 
 
 Died 1678, aged 51. 
 
 He was born at Dort, in 1627, and learned the firft principles of the art from 
 his father Theodore van Hoogeftraeten, who took all pofiible care of his 
 education -, and when by ftudy and practice he feemed qualified for greater 
 improvement, he was placed as a difciple with Rembrant. For fome time he 
 retained the manner of that mafter, particularly in his portraits, and painted with 
 fuccefs •, but he difufed it gradually, and adopted another from which he never 
 afterwards departed. 
 
 He had a fpirit fo emulous, that in whatfoever fubjects he faw others excel, 
 he was felicitous to imitate them, and felt an ambition to arrive at an equal degree 
 of eminence in every particular branch ; whether it was landfcape, animals, 
 architecture, calms at lea, ftorms, fruit, or flowers ; and each of thofe fubjects 
 he painted agreeably. He was employed by the emperor at Vienna, to whom 
 he prefented three pictures of his own painting ; one, a portrait ; another, 
 Chrift crowned with Thorns •, and the third, a piece of ftill life, highly finiftied ; 
 with which that monarch feemed to be exceedingly pleafed, and lie honoured 
 
 the artift with a chain of gold and a medal. 
 
 From 
 
HOC [ 297 ] H O S 
 
 From Germany he vifited Rome, with a defire of improvement; and after fome 
 time fpent in contemplating the curiofities of that city he went to England, 
 where he received fo much encouragement and kindnefs, as enabled him in a 
 few years, to return to his own country extremely enriched, as moft foreigners 
 do, who vifit that land of liberality and munificence, if they have merit in any 
 profefllon. His portraits were remarkable for good handling, for an agreeable 
 tekenefs, and a good tone of colouring, as well as for retaining their original 
 ftrength and lufixe, for a long time. The hiftorical pictures of his hand are 
 well defigned, but the colour of his draperies does not pleafe the judicious; and it 
 muft be confefied, that there is fomewhat dry and ftiff in his manner.. 
 
 John HOOGZAAT. 
 
 Painted Hijiory. 
 Died 1 712, aged 58. 
 
 He was born at Amfterdam, in 1 654, was placed as a difciple with Gerard 
 LairefTe, and accounted one of the beft of thofe artifts who were formed in that 
 fchool. LairefTe was always profufe in his praife, and recommended him to the 
 favour of the principal nobility, who foon afforded him opportunities of 
 eftablifhing his reputation. 
 
 He was equally qualified to paint in large, or in fmall ; and in all his works 
 Ihewed a good genius, a great deal of fpirit, and a mafterly execution. King 
 William III. efteemed him highly, and employed him to adorn feveral apart- 
 ments in his palace at Loo. 
 
 John HOSKINS. 
 
 Painted Portrait. 
 Died 1664. 
 
 He was taught to paint portraits in oil, when he firft applied himfelf to ftudy 
 the art of painting, and followed that manner for fome years ; but afterwards 
 he praclifed miniature, and in that way exceeded any of his performances in oil. 
 King Charles, the Queen, and many of the nobility fat to him ; and he had the 
 fatisfaction to form two diftinguiihed d'nViples, Alexander and Samuel Cooper, 
 the latter of whom proved far fuperior to his matter, and extended his reputation 
 through all Europe. 
 
 In the heads painted by Hofkins, there is a great character of nature, and 
 truth, but the carnations want variety of tints, and appear too much of a brick- 
 colour. However, Mr. Walpole, (who is a very competent judge,) mentions. 
 one work of Hofkins, which he fays may be accounted perfect ; it is a portrait 
 ef a man, rather young, in which he thinks the colouring equal to Oliver, and 
 the hair is touched with, exquifite freedom. It is_ in. the poflefilon of Mr.- 
 Fanfhaw. 
 
 C QR-» 
 
H O U [ 298 ] H O U 
 
 Cornelius HOUSEMAN, or HUYSMAN. 
 
 Painted Landfeapes, and Animals. 
 Died 1727, aged 79. 
 
 He was born at Antwerp, in 1648, but lived moftly at Mechlin, and for 
 that reafon, he is diftinguifhed by the appellation of Houfeman of Mechlin. 
 He was the fon of an eminent architect •, and being deprived of his parents 
 while he was very young, his uncle, who took care of his education, placed him 
 with Gafpar de Witt, from whom he learned to paint landfcapes •, though he 
 was principally indebted to the ftudy of nature, for his talte of defign. But, 
 while he was under the direction of that mailer, happening accidentally to fee 
 fome of the works of Artois, they affected him to fuch a degree, that he went 
 directly to Bruffels in fearch of that painter, and became his difciple. 
 
 No lboner had lie commenced artift, than he attracted the eyes, the attention, 
 and the approbation of the beft judges j and particularly of the celebrated 
 Vander Meulen, who was at that time on his journey through Flanders. That 
 great artift, to fliew how highly he efteemed the merit of Houfeman, ofFered 
 him a considerable penfion, and every encouragement to engage him in the 
 ferviceof the French King. But, as his abilities were well known in Mechlin, 
 and through all the Low Countries, which furnifhed him with iufficient 
 employment at home, he politely declined all thofe generous offers, and lived 
 intirely at Mechlin. 
 
 For fome vears he retained the manner of his mailer Artois, in all his 
 compofitions,' and with great fuccefs ; but afterwards he formed a manner 
 peculiar to himfelf, that wiis much fuperior. Houfeman is confidered as one of 
 the beft among the Flemifh painters of landfcape ; his ftyle is extremely in the 
 Lille of the Italian fchool •, his colouring is bold, and his touch free, and 
 excellent-, and in mod of his pictures he is fond of introducing a ftrong, warm 
 mafs of light, breaking on fome part of his fore-ground, which is ufually much 
 enriched with plants and herbage. He always painted the figures and animals 
 In his own landfcapes, and defigned them well ; and frequently he was employed 
 by other artifts, to adorn their landfcapes with cattle and figures, Minderhout, 
 Achtfchellings, and Artois, being of the number. 
 
 He alio painted the landfcapes in the back-grounds of hiftorical pictures, for 
 other artifts of confiderable eminence. 
 
 In all his compofitions he produced a fine effect, by the oppofition of his 
 lights and ihadows, judicioufiy contrived ; and he had a remarkable happinefs 
 in reprelepting the hilly grounds, or diftant mountains. His buildings, trees, 
 and ikies are all copied horn nature, and they muft always afford pleafure, as 
 they have abundance of truth, and excellent penciling. 
 
 James HOUSE M AN, or H U Y S M A N. 
 
 Painted Hijlcry, and Portrait. 
 
 Died 1696, aged 40. 
 
 He was born at Antwerp, in 1656, and ftudied under Backereel •, who had 
 been a difciple of Rubens, and afterwards became a competitor with Vandyck. 
 
 But 
 
HUB [ 299 ] HUB 
 
 But Backerecl being perfecuted by the Jefuits, on account of fome fatirical 
 verfes which he had wrote againft them, and obliged to fly from his country ; 
 Houfeman, left deftitute, went to England, and painted both hiftory and portrait 
 fuccefsfully, being accounted to rival Sir Peter Lely in the latter. Several of 
 his works are ftill to be feen, which are as highly finifhed, and coloured with as 
 much force as any of Sir Peter's. 
 
 In his own judgement he preferred the portrait which he painted of Queen 
 Catherine, to all his other performances •, but certainly the mod capital work 
 of this mafter was over the altar of the Queen's chapel at S. James's •, and fomc 
 Cupids of his painting, have beenjuftly and extremely admired. 
 
 John Rudolph HUBER. 
 
 Painted Portrait, and Hiftory. 
 Died 1 748, aged 80. 
 
 He was born at Bade, in Switzerland, in 1668, and learned the rudiments 
 of the art from Gafpar Meyer, an indifferent painter; but in a fhort time he 
 furpaffed his inftructor, and placed himfelf as a difciple with Jofeph Werner, 
 where he changed his early manner ; and by ftudying after fome good calls, 
 takenfrom antique ftatues, he proved avery good defigner. At the age of nineteen 
 he went to Italy, and flopped firft at Mantua, where he ftudied the works of 
 Julio Romano, and copied them carefully, before he vifited any other cities of 
 Italy. At -Verona and Venice, he particularly ftudied Titian, and was fo 
 indefatigable, that he was confldered as a pattern to thofe of his own profefllon. 
 
 While he refided at Venice, he was exceedingly carefled by Tempefta, and 
 painted the figures in the landfcapes of that eminent mafter, as long as he 
 continued in that city. He alio copied many of the works of Baffin, Titian, 
 Tintoretto, and Paolo A^eronefe, during three years which he fpent with 
 Tempefta ; and likewife critically obferved what peculiarity of tafte, colouring,. 
 or pencil, conftituted the excellence of each. From Venice he vifited Rome, 
 where he found new opportunities of improving, by the amazing productions 
 of Raphael, Guido, and the Caracci •, and what ftill added to his advantage, was, 
 that he obtained the friendfhip of Carlo Maratti. That great mafter appeared 
 pleafed with Huber's manner of colouring and defign, he took delight to promote 
 his knowledge, and affifted him freely, with his advice and inftruclion on every 
 occafion. But, having obferved him to be very much inclined to paint portraits 
 in miniature, he took pains to diffuade him from it ; and wifhed him to referve 
 himfelf for works of a nobler character. 
 
 After a refldence of fix years at Rome, which he fpent in defigning the 
 antiques, attending the academy, and purfuing his ftudies day and night with 
 unwearied diligence, he returned to his native city -, where his merit foon 
 procured him every mark of diftinction. His firft remarkable work, was a 
 family-piece for the Marquis of Baden Dourlach, of a very large fize -, by 
 which he gained the greateft applaufe, and his reputation was fpread through all 
 Germany. He was alfo employed by the Duke of Wirtemberg, who appointed 
 Huber his principal painter, and gave him furficient opportunity to exert his 
 genius, in hiftorical compofitions for the cielings ar.d walls of his grand 
 
 Q^q apartrnenrs 
 
HUG [ 300 ] HUG 
 
 apartments ; nor was there a Prince in Germany, who did not feem folicitous 
 to poffefs ibme of Huber's performances. 
 
 It is remarked of him, that he painted three thoufand and fixty-five portraits, 
 befides a great number of hiftorical pictures •, all of them finifhed by his own 
 hand, unaffifted by any other artift ; and, by way of diftinction, he was 
 Commonly called the Tintoret of Switzerland. The colouring of this mafter is 
 bold and ftrong, his touch light, and he fhewed great freedom and readinefs of 
 hand in all his beft works. Yet, it ought to be obferved, that among the 
 paintings of Huber, there are feveral of a very inferior degree of merit ; which 
 probably might have been occafioned, by the prodigious number of paintings in 
 which he was engaged, and his unwillingnefs to difoblige by a refufal •> therefore, 
 his character is drawn only from thole works, which he finifhed with a proper 
 degree of attention and care. He defigned correctly, having acquired that 
 habit by his ftudies at Rome, and his obfervation of nature ; and though he 
 lived to the age of fouricore, yet the vigour of his genius fubftfted to the Lilt 
 year of his life. 
 
 Lu<s-as HUGENSE. Vid. L u c a s Van Ley din. 
 
 John Van HUGTENBURGH. 
 
 Painted Battles, Encampments, and Huntings. 
 * Died 1733, aged 87. 
 
 This eminent mafter was born at Haerlem, in 1646, and it is afTerted by fome 
 Writers, that he received his firft inftruction from his father, who was an artift 
 in good efteem. But it is allowed by moft, that his intimate connexion with 
 John Wyck, was what chiefly contributed to give him an early fondnefs for the 
 profeffion ; and that by the frequent opportunities he had, of obferving the 
 manner of that matter's working, aided by excellent inftrudtions, he made fo 
 rapid a progrefs, as immediately difcovered the ftrength and the fire of his genius. 
 
 He had a brother, Jacques van Hugtenburgh, who lived at Rome, and had 
 been a difciple of Nicholas Berchem, which determined John to undertake a jour- 
 ney to Italy to vifit him •, and when he arrived in that city, he was amply reward- 
 ed for his fatigue and expence, hy having the moft admirable models to form 
 his tafte of defign, and the directions of his brother to guide his judgement ; 
 and his improvement was proportionably evident. But the death of his brother 
 compelled him to difcontinue his ftudies, and leave Italy •, and returning 
 through France, he fpent fome time with Vander Meulen at Paris, in which 
 artift he had the happinefs to find a friend and an inftructor, who freely 
 communicated to him every fecret of his art. 
 
 At his return to Holland, his works very foon raifed him to the higheft rank 
 of credit, and recommended him to the particular favour of Prince Eugene ■> 
 
 * There appears a considerable difference among writers, in the dates of the death and age of 
 this mailer ; for according to Delcamps he died in 1733, aged 87 ; according to the Chronological 
 Tables, he died in 1730, aged 84 ; and according to lioubrxken, ke died in 1719, aged 73 ; bm i 
 have preferred the, authority of Mr. Dd'camps. 
 
 who 
 
HUG [ ' $01 ] H U L 
 
 who employed him to paint all thofe battles and fieges, which he had fo happily 
 conducted. So that Hugtenburgh had the honour, to defign all the operations 
 of that war, (the victories of that great general, and the Duke of Marlborough) 
 with the utmoft exactnefs, and with univerlal applaufe. He was alio engaged 
 for fome time in the fervice of the Elector Palatine, who teftified the efteem he 
 had for this artift, by prefenting him with a chain of gold, and a medal. 
 
 Hugtenburgh had an elegant tafte of compofition and defign ; he ftudied 
 nature accurately, and by that means, not only gave great correctnefs to his 
 figures and cattle, but the expreffion, action, motion, and attitude that belt 
 fuited every character, and every object. The countenances of his figures are 
 fkilfully and properly diverfified, according to the different people which his 
 fubject required him to reprefent ; the features of a Turk, a Sclavonian, or a 
 Coffack, are diftinguifhable in his paintings from thofe of other kingdoms, as 
 much as their draperies ; and one nation in its habits and air, might at firft 
 fight be obferved to differ as it does in nature, from the air and habits of 
 another. His pencil is very delicate, his colouring remarkably tranfparent, 
 his keeping exceedingly good, and by the aerial perfpective his diflances are as 
 beautifully thrown off, as thofe of Wouwermans. His fkies are ufually bright 
 and clear, but they are always well adapted, and he managed the Chiaro-Scuro 
 with extraordinary (kill •, fo that with great juftice, he is accounted one of the* 
 beft battle painters of the Low Countries. 
 
 Jacqjjes Van HUGTENBURGH. 
 
 Painted Views of Rome, and Animals. 
 
 Died i66g, aged 30. 
 
 He was the elder brother of John, born at Haerlem in 1639, an< ^ learned the 
 principles of painting in his own country, from the celebrated Nicholas 
 Berchem, to whom he was a difciple ; but, he left Haerlem when he was a very 
 young man, and travelled to Rome, where he followed his profeffion with great 
 credit; and if he had not been cut off in the very bloom of life, would 
 probably have been an honour to his country. 
 
 Peter Vander HULST. 
 
 Painted Land/capes, Converfations, Kermes's, Flowers, and Reptiles. 
 
 Died 1708, aged 56. 
 
 He was born at Dort, in 1652, and having been inftructed by different 
 mailers in his native city, he determined on a journey to Rome ; where, not 
 finding his genius adapted to grand compofitions in the hittorical ftyle, he 
 contented himfelf with fubjects of a lower kind : and being exceedingly pleafed 
 with the pictures of Mario da Fiori, he felt an invincible ambition to imitate 
 them, and from that time applied himfelf to paint flowers, infects, and reptiles. 
 The flowers which he chofe to paint, were of a wilder fort than thofe of De 
 Heem, or Segers ; and among thofe flowers he generally introduced toads, and 
 frogs, and particularly lizards and ferpents, with infects of various kinds •, 
 all which he painted inperfection. When he had fpent fome years in Italy, he 
 
 Q^q 2 attempted^ 
 
H U Y £ 302 ] H U Y 
 
 attempted to paint portraits, but he fucceeded not in that ftyle, as he had 
 constantly done in painting other fubjects. 
 
 His colouring is lively and agreeable, his touch very free, and his manner 
 of defign is intirely in the tafte of the Italian fchool. His works are not fo 
 highly finished as thofe of Mignon or De Heem ; but they fhew a particular 
 genius in the defign, character, and diipofition, rarely feen among the Flemifh 
 painters of thofe fubjects, who are always moit attentive to the neatnels of their 
 finifhing. 
 
 It is reported, that a great encourager of artifts, propofed a prize of a 
 diamond worth three hundred florins, to fix eminent painters ; which prize was 
 to be given to that perfon whole work fhould be adjudged the beft. The 
 fix competitors were, Jardin, Potter, Slingeland, Vander Heyden, Weeninx, 
 and Vander Hulft, and the prize was adjudged to the latter. Suppofing that 
 account to be a fact, it muft appear a demonitrative proof, of an extraordinary 
 degree of merit in this matter. 
 
 ■o" 
 
 Justus Van HUYSUM, the Old. 
 
 Painted Land/capes, Battles., and Flowers. 
 Died 1 7 16, aged 57. 
 
 He was born at Amfterdam, in 1659, an ^ was a difciple of Nicholas 
 Berchem. ■ While he was yet young, he gave early promifes of his having an 
 apt genius, and it is to be wifh-:d, that he had always adhered to the ftyle, and 
 colouring of his mafter. But it afterwards appeared, that by an unaccountable 
 levity of temper, and through an ambition to excel in feveral branches, fuch as 
 hiftory, portrait, battles, fea-pieces, and flowers, he with difficulty made himfelf 
 only regarded for the latter, and without any extraordinary merit in any one of 
 them. 
 
 While he employed himfelf in painting landfcapes, they were laboriously high 
 finilhed, and there was lbmewhat very pleafing and picturefque in his fcenery ; 
 yet there was rather an appearance of ftiffneis in his manner, with too great a 
 predominancy of a yellowifn tint, and his trees and fhrubs have often too pale 
 or bright a verdure. The fubjects in which he was allowed to make the beft 
 appearance, were flowers ; in which ftyle he had the honour to inftruct his 
 fon John Van Huyfum, who proved an ornament to his profeffion, and almoft 
 above a poffibility of being equalled by any future aitift. He left three fons who 
 became painters, and were very eminent artifts, and a fourth, who teaches in 
 Holland the art of drawing and defign. 
 
 Justus Van HUYSUM, the Young. 
 Painted Battles. 
 
 Aged 2 2. 
 
 I le was born at Amfterdam, the brother of the celebrated John van Huyfum, 
 and died when he had arrived only at his twenty-fecond year. He painted 
 battles in a large and a frnall ftze, with exceeding readinefs and freedom, without 
 
 having 
 
HUY [ 303 ] HUY 
 
 1 
 
 having recourfe to any models •, and he compofed his fubjects, merely by the 
 power of his own lively imagination, dilpofing them alfo with judgement, and 
 tafte. 
 
 Jacob Van HUYSUM. 
 
 Painted Copies of his Brother John's Works. 
 Died 1740, aged 60. 
 
 He was born at Amfterdam, in 16S0, and died at London, where he had 
 refided for feveral years. His merit chiefly confifted, in imitating the works of 
 his brother John ; which he did with fuch critical exactnefs, beauty, and delicacy, 
 as frequently to deceive the moft fagacious connoifleurs ; and he ufually had 
 twenty guineas for each copy. 
 
 He alio compofed fubjecls of his own invention, in the fame ftyle, which were 
 very much prized ; and his paintings increafed in their value, like thofe of his 
 brether John. 
 
 John Van HUYSUM. 
 
 Painted Flowers, Fruit, and Landfcape. 
 
 Died 1 7 49, aged 6y. 
 
 This illuftrious painter hath furpafled all who have ever painted in that ftyle; 
 and his works excite as much furprize by their finifhing as they excite admiration 
 by their truth. 
 
 He was born at Amfterdam, in 1682, and was a difciple of Juftus van 
 Huyfum his father. He fet out in his profefiion with a moft commendable 
 princip e, notfo much to paint for the acquifition of money, as of fame •, and 
 therefore he did not aim at expedition, but at delicacy, and if poflible to arrive 
 at berfe&ion in his art. Having attentively ftudied the pictures of Mignon, and 
 all odier artiftf cf uiflinction who had painted in his own ftyle •, he tried which 
 manner would fooneft lead him to imitate the lightnefs, and Angular beauties 
 of each flower, fruit, or plant, and then fixed on a manner peculiar to himfelf, 
 which feems almoft inimitable. He foon received the moft deierved applaufe, 
 from the ableft judges cf painting; even thole who furnifhed him with the 
 loveheit Hewers, confefiing, that there was fomewhat in his colouring and penciling 
 that render'ed every object more beautiful, if poflible, than even nature inch'. 
 His pictures are finifheu with inconceivable truth •, for he painted every thing 
 after nature, and was fo Angularly exact, as to watch even the hour of the day 
 in which his model appeared in its greateft perfection. 
 
 By the judicous he was accounted to paint with grerter freedom than 
 Mignon, or Brueghel •, with more tendernefs, and nature, than Mario da Fiori, 
 Michael Angelo di Carnpidog'io, or Segers ; with more mellownefs than De 
 Hecm •, and greater force of colouring than Baptifl. His refutation role to fuch 
 a height at laft, that he fixed immoderate prices on his works ; lb that none but 
 Princes, or thofe of princely fortunes, could pretend to become purchafers. Six 
 ofhis paintings were fold, at a publick faje in Holland, for prices that were 
 
 almoft 
 
HUY [ 304 ] H U Y 
 
 almoft incredible. One of them, a flower-piece, for fourteen hundred and fifty 
 guilders •, a fruit-piece for a thoufand and five guilders, and the fmaller pictures 
 for nine hundred. 
 
 The vaft fums which van Huyfum received for his works, caufed him to 
 redouble his endeavours to excel ; no perfon was admitted into his room while 
 he was painting, not even his brothers ; and his method of mixing the tints, and 
 prelerving the luftre of his colours, was an impenetrable fecret, which he never 
 would difclofe. Yet this conduct is certainly not to his honour ; but rather an 
 argument of a low mind, fearful of being equalled or furpafled. From the 
 fame principle, he would never take any difciples, except one lady, named 
 Haverman, and he grew envious and jealous even of her merit. 
 
 By feveral domeftick diiquiets his temper became changed, he grew morofe, 
 fretful, and apt to withdraw himfelf from fociety. He had many enviersof his 
 fame, which hath ever been the fevere lot of the moft deferving, in all profef- 
 fions •, but, he continued to work, and his reputation never diminifhed. It is 
 univerfally agreed, that he has excelled all who have painted fruit and flowers 
 before him, by the confefled fuperiority of his touch, by the delicacy of his 
 pencil, and by an amazing manner of finifhing •, nor does it appear probable, 
 that any future artift will ever become his competitor. The care which he took 
 to purify his oils, and prepare his colours, and the various experiments he 
 made to difcover the moft luftrous, and durable, is another inftance of his 
 extraordinary care, and capacity. 
 
 From having obferved ibme of his works that were perfectly finifhed, fome 
 only half finifhed, and others only begun, the principles by which he conducted 
 himfelf may perhaps be difcoverable. His cloths were prepared with the 
 greateft care, and primed with white, with all poffible purity, to prevent his 
 colours from being obfcured, as he laid them on very lightly. He glazed all 
 other colours except the clear and tranfparent, not omitting even the white ones, 
 till he found the exact tone of the colour ; and over that he finifhed the forms, 
 the lights, the fliadows, and the reflexions, which are all executed with 
 precifion and warmth, without drynefs, or negligence. The greateft truth, 
 united with the greateft brilliancy, and a velvet foftnefs on the furface of his 
 objects, are vifible in every part of his compofitions ; and as to his touch, it looks 
 like the pencil of nature. 
 
 Whenever he reprefented flowers placed in vafes, he always painted thofe 
 vafes after fome elegant model, and the bas-relief is as exquifitely finifhed as any 
 of the other parts. Through the whole, he fhews a delicate compofition, a fine 
 harmony, and a moft happy effect of light and fhadow. Thofe pictures which 
 he painted on a clear ground, are preferred to others of his hand, as having 
 greater luftre ; and as they demanded more care, and exactneis, in the finifhing ; 
 yet, there are fome on a darkifh ground, in which appears rather more force, 
 and harmony. 
 
 It is obferved of him, that in the grouping of his flowers, he generally 
 deiigncd thofe which were brighteft in the centre, and gradually decreafed the 
 force of his colour from the centre to the extremities. The birds nefts and 
 their eggs, the feathers, infects, and drops of dew, are exprefled with the 
 utmoft truth, fo as even to deceive the fpectator. And yet, after all this merited 
 and juft praife, it cannot but be confefled, that fometimes his fruits appear like 
 
 wax, 
 
 
J A C [ 305 ] JAN 
 
 wax, or ivory, without that peculiar foftnefs and warmth, which is conftantly 
 obfervable in nature. 
 
 Befide his merit as a flower painter, he alfo painted landfcapes with great 
 applaufe. They are well compofed ; and although he had never feen Rome, he 
 adorned his fcenes with the noble remains of antient magnificence, which are in 
 that city. His pictures in that ftyle are well coloured, and every tree is diftin- 
 guifhed by a touch that is proper for the leafing. The grounds are well broken, 
 and difpofed with tafte and judgement •, the figures are defigned in the manner 
 ofLairefie, highly finiflied, and touched with a great deal of ipirit ; and through 
 the whole composition, the fcene reprefents Italy, in the trees, the clouds, and 
 the fkies. 
 
 I. 
 
 Jurian JACOBS Z. 
 
 Painted Huntings, Anitnals, Portraits, and Hijlory. 
 Died 1664, aged 54. 
 
 He was born in Switzerland, in 1610, and became a difciple of Francis 
 Snyders. At firft he imitated the ftyle and manner of his mafter, painting 
 huntings, and chaces of wild animals, with a great deal of fuccefs ; but 
 afterwards he devoted himfelf intirely to paint portraits and hiftory, and in all 
 the hiftorical fubjefts of this mafter, the animals he introduced, and the manner 
 of his defigning and penciling, Ihew the fpirit and tafte of Snyders. 
 
 The hiftory of Venus and Adonis, and fome other com pofitions ofjacobfz, 
 are exceedingly commended by the Flemifh writers •, and his works were in 
 fuch efteem, that he was engaged in feveral grand defigns, by which he 
 probably would have advanced his reputation, as well as his fortune, if he had 
 not unhappily died of the plague, which fwept away his whole family. 
 
 Hubert JACOBS Z. Vid. G r i m a n i. 
 Lang JAN. Vid. Remee. 
 
 Abraham JANSSENS. 
 
 Painted Hijlory. 
 
 He was born at Antwerp in 1569, and had an admirable genius to painting. 
 He was cotemporary with Rubens, and alfo his competitor, and in many of 
 the fineft parts of the art, was accounted not inferior to that celebrated mafter. 
 It is reported, that having wafted his time, and his lubftance, by a life of 
 difiipation and pleafure, and falling into neceflitous circumftances, which he 
 
 imputed 
 
 3 
 
JAN [ 306 ] JAN 
 
 imputed more to ill fortune, than to his own neglect of his bufinefs, which 
 was the real caufe, he grew envious at the grandeur in which Rubens appeared, 
 and impatient at his merit and fucccls ; and with peevifli infolence challenged 
 him to paint a picture with him only for fame, which he was willing to fubmit 
 to impartial judges. But Rubens rejected the propofal, anfwering with modefty, 
 that he freely fubmitted to him, and the world would certainly do juftice to 
 them both. 
 
 He was excellent in colouring, and in that refpect had no fuperior, except 
 Rubens •, his compolitions have abundance of ipirir, and as he defigned all his 
 figures after living models, thofe figures were molt commonly correctly drawn, 
 and had a ftriking appearance of truth and nature. His defign is elegant, his 
 touch free, his draperies in general are well caft, and his difpofuion is extremely 
 commendable ■, the whole together having a ftrong effect, by a judicious 
 management of the Chiaro-Scuro. Sandrart, who had feen feveral of his works, 
 afTures us, that he not only gave a fine roundneis and relief to his figures, but 
 alio fuch a warmth and clearnefs to the carnations, that they had all the look of 
 real flefh ; and his colouring was as durable, as it was beautiful, retaining its 
 original luftre for a number of years. 
 
 His paintings which adorn the church of the Carmelites at Antwerp, are 
 fufficient to afford a juft idea of his merit, and to eftablilli his reputation. The 
 fubject of one, is the Virgin holding the Infant in her arms, attended with 
 other figures •, the other is, the reprefentation of Chrift laid in the Tomb. The 
 compofition in thofe pictures is extremely rich and grand, the figures are larger 
 than life, and the defign and colouring are equally excellent. In the cathedral 
 church at Ghent, is to be feen a Defcent from the Crofs, worthy of Rubens, 
 and it is often taken for his work •, but his mod capital performance is the 
 Relurrection of Lazarus, which is in the cabinet of the Elector Palatine, and 
 is juftly an object of admiration to all who behold it. 
 
 Victor Honorius JANSSENS. 
 Painted Hijiory. 
 
 Died 1739, aged 75. 
 
 He was born at BrufTels, in 1664, and was a difciple of one Volders, under 
 whofe direction he continued for feven years ; in which time, he gave many 
 proofs of a genius far fuperior to thofe who were inftructed in the fame fchool. 
 By applying himfelf induftrioufly to ftudy and practice, he became a good 
 painter ■, and was received into the fervice of the Duke of Holftein, with a 
 pcnlion of eight hundred florins, in which ftation he worked for four years. 
 At length be foliated his patron to permit him to improve himfelf in Italy, 
 that he might render himfelf more worthy of his favour •, and that benevolent 
 Prince not only indulged him, but alio enabled him to purfue his ftudies without 
 uneafinefs, by prefenting him with fix hundred florins at his letting out. 
 
 On his arrival at Rome, he attended particularly to the works of Raphael, he 
 
 defigned after the antiques, and fketched the beautiful fcenes around that city ; 
 
 and in a ihort time his paintings rofe in eiteem, and the principal nobility of 
 
 Rome were defirous to employ him. He afibciated with Tempefta, the celebrated 
 
 3 landfcape 
 
JAN [ 307 ] JAN 
 
 Iandfcape painter, for feveral years, and painted the figures in the works of that 
 great mailer, as long as they refided together. 
 
 JanlTens compofed hiftorical fubjects, both in a fmall and a large fize •, but 
 he found the demand for his fmall pictures fo confiderable, that he was induced 
 to paint moft frequently in that fize. He chofe Albano for his model, and in 
 the ftyle he formed, he was not equalled by any of his cotemporaries. His 
 paintings were fo eagerly bought up, that there was no poffibility of procuring 
 any of them, unlefs they were befpoke a confiderable time before they were 
 expected. During eleven years he continued at Rome, which barely fufficed 
 for his finifhing thofe pictures for which he was engaged ; nor could he have 
 been even then at his liberty, had he not limited himfelf to a number, and 
 determined not to undertake more. 
 
 When Janffens returned toBruffels, his performances were as much admired 
 as they had before been in Italy •, but having married, and gradually become 
 the father of eleven children, he was compelled to change his manner of 
 painting in fmall, and to undertake only thofe of the large kind, as being more 
 lucrative, more expeditious, and alib more agreeable to his genius and 
 inclination. He adorned moft of the churches and palaces of his own country, 
 with his compofitions, and his extraordinary readinefs of execution, may be ma- 
 nifefted by that vaft number of pictures, which he finifhed in Bruffels, and 
 in the neighbouring cities. 
 
 The invention of this artift was fruitful-, he defigned correctly, his colouring 
 is natural and pleafing, his pencil free, and the airs of his heads have beauty and 
 elegance. As to the difference between his large and fmall paintings, it is 
 obierved, that in correctnefs and tafte'they had an equal degree of merit; but, 
 the colouring of the former appears more raw, and cold, than the colouring of 
 the latter ; and it is agreed, that for fmall hiftorical pictures, he was preferable 
 to all the painters of his time. 
 
 Cornelius JANSSEN, called Johnson. 
 
 Painted Portrait. 
 Died 1665. 
 
 He was born at Amfterdam, (though in the Chronological Tables, and in 
 Sandrart, it is improperly afferted, that he was born in London) and he refided 
 in England for feveral years ; where he was engaged in the fervice of King 
 James I, and painted feveral excellent portraits of that monarch, as alio of his 
 children, and of the principal nobility of his court. 
 
 His ftyle of colouring is clear, lively, and natural ; his touch is light •, his 
 pencil truly delicate ; his pictures have a peculiar foftnefs and fweetneis in the 
 carnations, and they are finifhed with remarkable neatnefs. Janffen had not 
 the freedom of hand, nor the grace of Vandyck ; but in other refpects he was 
 accounted his equal, and in the finifhing his pictures fuperior. His paintings 
 are eafily diftinguifhed by their fmooth, clear, and delicate tints, and by that 
 character of truth and nature with which they are ftrongly marked. He 
 generally painted on board, and, for the moft part, his draperies are black ; 
 probably, becaule the oppofition of that tint, made his flefh colours appear 
 
 R r more 
 
JAR [ 3o8 ] JAR 
 
 more beautifully bright, efpecially in his female figures ; and the fame practice 
 of black draperies, may be obkrved in many of the portraits of Rubens and 
 Vandyck, which feem to add roundnefs, relief, and livelinefs to the figures. 
 
 It is laid that Janfl'en ufed a quantity of ultra marine in the black colours, as 
 well as in his carnations -, which may be one great caufe of their preferving their 
 original luftre even to this day. Frequently he painted in a fmall fize in oil, 
 and often copied his own works in that manner. His fame began to be fomewhat 
 obfeured, on the arrival of Vandyck in England •, and the civil war breaking 
 out fome time after, induced him to return to his own country, where his 
 paintings were in the higheft efteem. 
 
 A very lovely picture of Princefs Elizabeth, Queen of Bohemia, and fifter to 
 King Charles I, in perfect condition, and as clear as when it came from his 
 ealel, is in the pofleflion of the author of this book ; and. it fufficiently proves 
 the extraordinary merit of this mailer. 
 
 Karel du JARDYN, or JARDIN. 
 
 Painted Ccnverfations, Landfeapes, Roman Fairs, and Animals. 
 Died 1678, aged 38. 
 
 He was born at Amfterdam, in 1640, and was a difciple of Nicholas 
 Berchem. The ftrength of his genius appeared very early, and he diftinguifhed 
 himfelf, above all thole who were educated under that eminent mafter. However, 
 he continued only a few years in that fchool, and travelled to Italy whilft he was 
 yet a young man. 
 
 When he arrived at Rome, he gave himfelf up alternately ro ftudy and 
 difllpation ; and if he fpent the day in forming his hand, and improving his 
 tafte, the night was waited in pleafure and extravagance, among the joyous 
 companions of die Bentvogel fociety. And yet, amidft this irregularity of 
 conduct, his proficiency in the art was furpriiing, and his paintings rofe into 
 iiich high repute, diat they were exceedingly coveted in Rome, and bought up 
 at great prices ; as the Italians preferred the tafte of Jardyn, to the tafte of every 
 other artift of his country. With an intention to vifit his native city, he at laft 
 left Rome ; but paffing through Lyons, and meeting fome agreeable companions, 
 they prevailed on him to ftay there for fome time, and he found as much 
 employment in that city, as he could pofilbly undertake or execute. 
 
 But, the profits which arofe from his paintings, were not proportionable to 
 his profufion •, his manner of living created immoderate expences, and by 
 that means he was fo encumbered with debts, that in order to extricate himfelf 
 from the diftrefled lituation, in which his extravagance had involved him, he 
 was compelled to have recourfe to a moft defperate remedy, and to marry his 
 hoftefs, who was old and difagreeable, but very rich. Mortified,, and afhamed 
 of that adventure, he returned as expeditioufiy as poHible to Amfterdam, 
 accompanied by his wife ; and there for fome time followed Ids prcfeffion, with 
 full as much fuccefs as he had met with in Italy, or at Lyons. Yet, he appeared 
 discontented, and being invited by an intimate friend, who was going to 
 embark for Leghorn, only to accompany him as far as the Texel, he laid hold of 
 the opportunity, and returned to Rome the fecond time, and after a year or 
 
 two 
 
I N G [ 309 ] I N G 
 
 two fpent there, in his tribal extravagant manner, he fettled at Venice. In that 
 city his merit was well known before his arrival, which procured him a very 
 honourable reception. He lived there highly careiTed, and continually employed ; 
 and at his death, which happened at Venice, he was fumptuoufly interred, out of 
 refpect to his talents ; and although a proteftant, permitted to be laid in 
 confecrated ground. 
 
 This painter, in his colouring and touch, refembled his mailer Berchem ; 
 but he added to that manner, a force, which diltinguifhes the great matters of 
 Italy. It is obferved, that molt of his pictures feem to exprefs the warmth of 
 the fun, and the light of mid-day. His pictures are not much incumbered •, a 
 few figures, fome animals, and a little landfcape for the back-grounds, generally 
 comprize the whole of his compofition. However, fome of his fubjects are often 
 more extenfive, containing more objects, and a larger defign. Probably it was 
 to gratify the multitude of perfons who demanded his works, and perhaps alio 
 from a difiike to too intenfe application, he chofe not uiually to comprehend too 
 many objects in his defign. 
 
 In all his compofitions he mewed a good genius, and a good tafte, with 
 correctnefs and fpirit ; and his works are as much fought after, as they are 
 difficult to be met with. He underftood the true principles of the Chiaro-Scuro 
 extremely well ; and in fome fcriptural fubjects, particularly in a picture of the 
 Crucifixion, he has (hewn abundance of merit, as well in the light and fnadow, 
 as in the clearnefs of the colouring, and the powerful force and effect which it 
 produces. 
 
 A very capital painting of Jardyn is at Amfterdam ; the fubject is, a 
 Mountebank Handing among a crowd of fpectators, who are attentively liltening 
 to his harangue. Through the whole compofition, the figures are well defigned; 
 they are grouped with a great deal of judgement ; and handled in a very neat, 
 and mafterly manner. 
 
 William van I N G H E N. 
 
 Painted Hi ft cry. 
 
 He was born at Utrecht, in 1651, and having difcovered an early fondnefs 
 for the art of painting, he was placed as a diiciple with Anthony' Grebber. 
 When he had made a fufficient progrefs under the direction of that matter, to 
 enable him to Trudy after nature, and after elegant models, he determined to 
 improve himfelf at Rome, by defigning after the antiques ; and fortune was 
 kind enough, to furnifh him with a convenient opportunity. For, a Bifhop, 
 who was Vicar General of the Netherlands, having a call 'to Rome, took the 
 young artift in his retinue, and on his arrival at that city, recommended him to 
 the care of Carlo Maratti, who received him as a difciple. 
 
 Although Inghen continued only one year in that famous fchool, yet, by clofe 
 itudy, and the excellent precepts of Maratti, he was rendered capable of 
 executing feveral grand works in the churches at Rome, by the recommendation 
 of his matter ; who was fo much pleated with the abilities of his pupil, that he 
 did him every friendly office in his power. His drawing, which was firm •, his 
 defign, which had a great portion of elegance •, and the pleafing tone of his 
 colouring, very foon procured him the favour of the nobility, and of the mod 
 
 R r 2 eminent 
 
JON [ 310 ] J O R 
 
 eminent ecclefiafticks, who employed him for many of the convents and palaces •, 
 and at his return to Amfterdam, where he followed his profeflion as long as he 
 lived, his works were much coveted, and admired. 
 
 LUDOLPH DE JONG. 
 
 Painted Portraits, Battles, and Huntings. 
 
 Died 1697, aged 81. 
 
 He was born at Overfchie, between Rotterdam and Delft, in 161 6. His 
 father, who was a fhoemaker, intended him for his own trade •, but having, on 
 fome occafion, treated Ludolph with extraordinary feverity, he ran away from 
 his father •, and finding in himfelf a predominant inclination to painting, he 
 became a difciple of Cornelius Sachtleven. From that mafter he learned the 
 principles of the art ; but afterwards, he placed himfelf with Anthony Pahmedes, 
 a portrait painter at Delft, who took no pains to inftruct him as he ought to have 
 done, and therefore he quitted him, and went to Utrecht, to ftudy under John- 
 Bylaert ; where he made a good progrefs, and qualified himfelf to appear with 
 credit in his profeflion. 
 
 He vifited France, in hope of meeting encouragement, and had the good 
 fortune to find bufinefs enough to detain him there for feven years ; but, then 
 he retired to Rotterdam, where many of the chiefeft families engaged him, and 
 he gained reputation and riches. In the apartment of the artillery company 
 at Rotterdam, may be leen a capital picture of this mafter's hand ; it is very 
 much admired, and affords an evident proof of his abilities in portrait painting. 
 
 He alio frequently painted battles, and huntings, in a fmall fize, which are 
 well penciled, and well defigned. 
 
 Jacques JORDAENS. 
 
 Painted Hiftory, and Allegorical Subjects, and Bacbanals. 
 
 Died 1678, aged 84. 
 
 This remarkable artift was born at Antwerp, in 1594, and was a difciple 
 of Adam van Oort, but he was indebted to Rubens, for the principal part of 
 his knowledge in the art of painting •, and by fome authors it is afferted, that he 
 was admitted into the fchool of Rubens, and became one of his moft famous 
 diiciples. He had always a. longing delire to fee Rome, in order to refine his 
 tafte, and acquire the belt manner of defigning •, yet he was prevented from 
 carrying that project into execution, by an early marriage with the daughter of 
 his mafter Van Oort ; and had then no refource, but to ftudy and copy the beft 
 pictures he could procure of the greateft Italian mafters, which he did with 
 indefatigable affiduity. With an oblervant and judicious eye he examined the 
 works of Caravaggio, Paolo Veronefe, Giacomo Bafian, and Titian, particularly 
 the latter, to dilcover the peculiar excellence of each of thole mafters ; and 
 having a ready genius, he received fo much improvement by that conduct, that 
 it became evident, he only wanted to have feen Rome, to make him equal to 
 the bell among the Flemilh artifts. 
 
 Sandrart 
 
JOR [ f 3*1 ] JUL 
 
 Sandrart fays, and from him De Piles and other authors affert, that Ruben? 
 jealous of the colouring of Jordan ns, and apprehenfive of being rivalled in a 
 point wherein his own excellence confifted, employed him for a confiderable 
 time to paint defigns for tapeftries in diltemper, after his fketches ; by which, it 
 is faid, Jordaens weakened his knowledge of the principles of colouring, and 
 enfeebled his tints, which before were ftrong, and reprefented the truth of 
 native to a wonderful degree. 
 
 But, if it be candidly confidered, that when Jordaens worked in diftemper, 
 he was not far advanced in life ; and if it be alio confidered, that all thofe 
 paintings on which his fame is founded, or at leaft the major part of them, 
 muft have been fubfequent to the time when Rubens employed him, and yet 
 are admired for their beautiful, ftrong, and admirable colouring ; this ftory 
 muft certainly appear not only improbable, but an imputation, unworthy 
 of fo amiable a character as Rubens always poflefled. And it fhould 
 feem, that even thofe works of Jordaens which he finifhed at a very advanced 
 age, and are allowed not to be inferior in colouring to Rubens, are fufficient to 
 falfify and dilprove the afiertion of De Piles, and others. 
 
 It muft be acknowledged, that notwithstanding the opportunities he had of 
 amending and refining his tafte, by ftudying the defigns of the diftinguifhed 
 matters of Italy, his Flemifh gufto ftill prevailed •, though, could he have been 
 a little more correct, more elegant in his characters, with ibmewhat more of 
 elevation in his ideas, and a better tafte of defign, he might have been ranked 
 with the moft eminent in his art. However, not even Rubens, his mafter, was 
 without feveral of the fame imperfections, although for other parts of paintino- 
 he is fo juftly admired. Rubens had a finer imagination, more genius, and much 
 nobler ideas in his characters ; but Jordaens had better expreflion, and more 
 truth. He painted with extraordinary freedom, eafe, and expedition ; there is 
 a brilliancy and harmony in his colouring -, and a good underftanding of the 
 Chiaro-Scuro. His compofition is rich, his expreflion natural and ftroncr, but 
 his defign wanted elegance and tafte. He ftudied and copied nature, yet he 
 neither felected its beauties, nor rejected it:-, defects. He knew how to give his 
 figures a good relief, though he is frequently incorrect in the outlines ; but his 
 pencil is always excellent, and for a free and fpirited touch, no painter can be 
 accounted his fuperior. 
 
 A great number of altar-pieces, painted by Jordaens, are preferved in the 
 churches through^the Netherlands, which maintain the reputation of the artift •, 
 and in the collection of the Duke of Orleans, is the famous picture, of tbs fatyr 
 and man blowing cold and hot •, as alio the ftory of Pan and Syrinx ; which, 
 although the figures are as large as life, and the whole admirably executed, was 
 Snifhed in only fix days. 
 
 Giulio, or JULIO Romano. 
 
 Painted Hijlcry, Land/cape, and Animals. 
 
 Died 1546, aged 54. 
 
 This memorable artift was born at Rome, in 1492, and was the firft, as well 
 as the favourite difciple of his illuftrious mafter Raphael •, during whofe life he 
 was entirely employed to execute the defigns of that inimitable painter, and by 
 
 that 
 
JUL . [I 3" ] JUL 
 
 that means, his works appear to have a grace and dignity, which are not 
 difcernable in thofe which he him. elf composed, after the death of Raphael. 
 
 When his imagination was permitted to take its free cou^fe, without correction 
 or restraint, his compositions are very different from th \ which he performed 
 under the guidance of a judicious director. And alt,, ugh his latter defigns 
 may have the appearance of grandeur, as being formed on the antique, and 
 particularly on the bafs-relievos which he had attentively studied ; and although, 
 in fome refpects, they may have a ftronger exprefiion •, yet, they certainly have 
 much lefs of delicacy, and of nature. The airs of his heads have but little 
 variety, his attitudes are frequently extravagant, his draperies very indifferently 
 dilpoi'ed, being neither grand nor elegant, eafy nor natural, but rather 
 fantastical, and ungracefully broken. His colouring was never beautiful, or 
 commendable, and in the latter part of his life, it became worfe -, for, his local 
 colours [as De Piles obferves) which were compofed of brick-colour and black, 
 were not supported by any intelligence of the Chiaro-Scuro. He was more 
 famous as a designer, than as a painter-, for, the liveliness of his imagination 
 enabled him to be very expeditious in designing-, but as painting required more 
 time, patience, attention, and labour, the vivacity of his genius rendered it too 
 great a fatigue. However, there is fomewhat of fpirit and grandeur in his 
 compositions, which readily diftinguifhes him ; and though it may not always be 
 pleasing, will always attract the attention of perfons of tafte, and support that 
 great reputation, which he acquired during the life of his master Raphael. 
 
 As he had a great (hare of erudition, and was well verkd in the writings of 
 antient authors, he defigned historical and poetical subjects with great readiness ; 
 and his literature qualified him extremely well, for composing thofe alfo that 
 were allegorical -, yet, in his ideas he had abundance of the whimsical, and 
 fantastical -, and .figures of a coloflal fize, feemed more adapted to his genius 
 than any others. In general he appeared to be lefs guided by the study of 
 nature, than by the power of imagination -, which gave his compositions an 
 appearance of what was idealy grand, but not ib strictly confonant with truth. 
 His being fo very converiant with the antiques, afforded him an opportunity of 
 giving a degree of dignity to his defigns -, but the true cafe, elegance, and 
 fimphcity of the antique, in which the excellence of Raphael consisted, was not 
 the province of Julio. His tint of colouring undoubtedly had too great a 
 mixture of the black and red, which gave his belt performances a look of what 
 was hard, and dry -, which in a great meafurc destroyed their effect, and injured 
 the dignity of his defign. 
 
 The principal works of Julio are at Mantua in the Ducal palace ; of which 
 he was alfo the architect. In one of the most fuperbe apartments is reprefented 
 the Battle of the Giants, accounted the moft capital of his compositions; in 
 which the groupes of figures are well connected, and there appears a very 
 grand character in the defign, but there likewife appears a great deal of 
 incorrectnefs. Many of the heads are in a fine tafte, and the expreffion is 
 itrong, but in feveral parts there are great extravagancies, and the colouring is 
 too red. The cielings are enriched with many defigns of poetical and allegorical 
 fgures, fuch as Cuj id>, an 1 Bacchanals ; and through the whole palace are to 
 I e feen more of th: wjiks of Julio, than are to be met with in any other city of 
 
 5 Italy, 
 
JUV [ 313 ] K A L 
 
 Italy, except Rome. There is alfo one of his mod capital paintings in the 
 church of S. Stephen at Genoa, reprefenting the Honing of that Martyr. 
 
 John JUVENET, or JOUVENET. 
 
 Painted HiJlory\ Portrait, and Allegorical SubjeSis. 
 
 Died 1 71 7, aged 73. 
 
 He was born at Rouen, in 1644, and his father, who was a painter, bred hinr 
 up to the fame profeflion, and taught him the firft principles of the art •, but 
 his greateft improvement was confeffedly derived, from the inftruftions he 
 received from Nicolo Pouffin, and ftudying the works of that mafter. 
 
 He acquired fo good a knowledge of defign, as qualified him for beino- 
 employed in feveral grand works, in the royal palaces at Paris and Trianon •, in 
 many of the churches, and convents ; and in the hofpital of the invalids, where 
 he painted the twelve Apoftles, each figure being fourteen feet high. He was 
 efteemed to have had a ready invention, a fruitful genius, a tafte for <*randeur 
 in his compofitions, correftnefs in his defign, and an elegant manner in 
 diftributing his draperies. In France his merit feems to be univerfally allowed ; 
 yet fome able judges condemn his tafte of defign, as being too much loaded • 
 and his colouring, as having too predominant a tint of yellow in the carnations • 
 by which they loie the look of nature; though others afiert, that his bell works 
 are free from thofe imperfections. 
 
 It is obferved of this artift, that being deprived of the ufe of his right hand by 
 a paralytic diforder, he ever after painted with his left. 
 
 K. 
 
 V. a n d e r KABEL Vid. CABEL 
 
 William KALF. 
 
 Painted Still Life. 
 
 Died 1693, aged 63. 
 
 He was born at Amfterdam, in 1630, and was a difciple of Hendrick Pot, 
 who painted portraits and hiftory. But, although he continued with that 
 mafter for feveral years, and employed his pencil on the fame lubje&s, yet when 
 he quitted Pot, he changed his manner totally, and only painted objects of ftill 
 life, endeavouring to imitate nature with the utmoft exaclnefs. He fucceeded 
 very happily in his compofitions of that kind, and at laft arrived at a great degree 
 of perfection. He finifned his pictures with a touch that was remarkably neat ; 
 his colouring was true nature, and had an uncommon traniparence. His ufual 
 fubje&s were vales of gold, filver, or chryftal, gems, glaffes, and ggates, which 
 
 he 
 
K A L [ 314 ] K A M 
 
 he copied delicately after nature •, and gave them an extraordinary luftre, a 3 
 well as an agreeable effect, by a proper diftribution of his lights and fhadows. 
 
 Barent van KALRAAT. 
 
 Painted Land/capes., and Cattle. 
 Died 1 72 1, aged 71. 
 
 This artift was born at Dort, in 1650, and learned defign from his brother 
 Abraham van Kalraat •, but the art of painting he ftudied under Albert Kuyp, 
 an admirable painter, with whom he was placed as a difciple. 
 
 At firft he painted in the ftyle of his mafter intirely ; though afterwards, 
 being either diffident of his own abilities, or at lead not flattering himfelf with a 
 hope of furpaffing, or even equalling his mafter, he changed his manner, and 
 ever after painted views of the Rhine in the ftyle of Herman Sachtleven. His 
 frequent walks along the borders of that river, infpired him with a defire to 
 copy that beautiful variety of villages, falls of water, rocks, hills, and trees, 
 which the windings of it perpetually offer to the view •, and although he could 
 not be accounted equal to Sachtleven, yet he approached very near to the merit 
 of that painter. Some of his pictures are excellently, and highly finiftied, and 
 his landscapes are adorned with figures and animals well defigned, delicately 
 penciled, and pleafingly coloured. 
 
 Sometimes he reprefented in his pictures, figures going abroad with dogs, to 
 hunt, or to hawk, travellers at the doors of inns, and fuch-like fubjects, which 
 are always neatly handled, and very tranfparently coloured. 
 
 Jacob Van KAMPEN. 
 Painted Hilary. 
 
 He was born at Haerlem, in 1658, was ftiled Lord of Rambroeck, and by 
 fome authors he is called a difciple of John van Bronkhorft. His manner of 
 painting indifputably very much relembled chat of Bronkhorft, and John Bylaerr, 
 ib that the particular merits which are aicribed to thofe mafters, may with equal 
 juftice and propriety be afcribed to him. He travelled to Rome, and through 
 the greateft part of Italy, forming his tafte of defign and colouring, after the 
 works of the moft eminent artifts ; and received many publick marks of 
 approbation for his performances. Thofe hiftorical fubjects which he painted, 
 werecompofed with figures as large as life, well defigned, and well handled, and 
 they had a tone of colour that appeared lively, and natural. 
 
 His genius for architecture was excellent, and the plans of fome of the moft 
 elegant publick buildings, and palaces in Holland, were of his defign<$ as he 
 was efteemedthe beft architect of the Low Countries. 
 
 * 
 
 KAMPHUYSEN. Vid. Camphuvsen. 
 
 z William 
 
KAY [ 315 ] K E R 
 
 William KAY, or KEY. 
 
 Painted Portraits, and Hiftory. 
 Died 1568, aged 4.8. 
 
 This painter was born at Breda, in 1520, and became a difciple of Lambert 
 Lombard at Liege, at the time when Francis Floris ftudied in that fchool. As 
 he was remarkably induftrious in praclifing the rules prefcribed by his mafter, 
 in a few years he was diftinguifhed as an exceeding good artift. His portraits 
 are accounted very little inferior to thofe of Antonio More •, for, his works are 
 carefully finifhed, and they were prized for the fweetnefs and delicacy of his 
 penciling, as well as for their clear and natural colour. His compofitions in 
 the hiftorical ftyle, fhew fkill and judgement •, and although it cannot be 
 affirmed, that he had as much fire as Francis Floris, yet are his paintings well 
 efleemed, and often afford confiderable prices. 
 
 His reputation was fo eftablifhed at Antwerp, that the Duke of Alva fat to 
 him for his portrait ; but whilft he worked on the picture, the judge-criminal 
 and other officers, waited on the Duke to receive his determinate orders, in 
 regard to the Counts Egmont and Hoorn. The Duke, with a terrible aufterity 
 of countenance, ordered their immediate execution; and Kay, who underftood 
 the language in which they converfed, and alfo loved the nobility of his country, 
 was fo violently affected by the piercing look, and peremptory command of 
 Alva, that he went home, fell fick, and died through the terror impreffed 
 upon his mind by the tranfadtion. Some authors, (and Sandrart in particular) 
 to render that incident more furprizing, or perhaps with ftrict adherence to 
 truth, affert, that he died on the fame day thofe noblemen were executed ; others 
 affirm, that he died a few days before ; and others atteft, that he was ftruck 
 with fuch terror only by looking at the enraged and fiery vifage of the Duke, 
 that he died immediately. 
 
 One of this mafters mod capital performances, is the portrait of Cardinal 
 Granville in his robes, which is very highly commended •, and another was, a 
 large defign, in which he had introduced the portraits of the principal 
 magiftrates of the city of Antwerp, at full length, and as large as life. It was 
 placed in the town-hall, but it happened to be deftroyed, when that building 
 was burned down in 1576. 
 
 Joseph vanden KERCKHOVE. 
 Painted Hiftory. 
 
 Died 1724, aged 55. 
 
 He was born at Bruges, in 1 66g, and was a difciple of Erafmus Quellinus the 
 elder ; in whofe fchool he fhewed himfelf ftudious and diligent, and his 
 proficiency was proportionable to his induftry. When he began to prattife in 
 his profeffion, he went early to France, where he found encouragement ; and in 
 a few years returned to his own country with a good reputation, and always 
 painted in the ftyle of his mafter. 
 
 S f His 
 
KES [ 316 ] K E 3 
 
 His colouring is warm, and his defign correct •, his compofition is generally in 
 the qrand tafte, and he introduced nothing but what fecmed necefiary to embellifh 
 his fubject. He had thoroughly ftudied the principles of perfpective, and by 
 his being expert in that branch of his art, the back-grounds of his pictures arc 
 enriched with architecture in a good tafte. 
 
 On the deling of the town-hall at Oftend, he painted a very fine defign, 
 reprefenting the Council of the Gods, in which there is an ingenious and 
 learned difpofition of the figures, and alio a mafterly execution. 
 
 John Van KESSEL. 
 
 Painted Flowers, Portraits, Birds, Infecls, and Reptiles. 
 
 Died 1708, aged 82. 
 
 He was born at Antwerp, in 1626, and became exceedingly famous for 
 painting thofe particular objects which he delighted to reprefent ; and not only- 
 excelled in fruits and flowers, but was likewife eminent for painting portraits. 
 In his manner he refembled Velvet Brueghel, and very near equalled him in his 
 birds, plants, and flowers. He ftudied entirely after nature, and faithfully- 
 imitated all the true beauties, which nature prefented to his obfervation •, he 
 defigned with exceeding correctnefs, had a complete knowledge of colour, and 
 finilhed his pictures with tafte, elegance, and extreme neatnefs. 
 
 The prodigious high prices for which he fold his works, occafioned the rich 
 alone to be the purchafers ; and the King of Spain admired the performances of 
 Van Keflel to rucha degree, that he purchafed as many of them as he could 
 poffibly procure, till at laft he prevailed on that artift to vifit his court, where 
 he was appointed painter to the Queen, and was retained in her fervice as long 
 as (he lived. 
 
 He painted portraits admirably, with a light, free touch, and a tone of colour 
 that very much refembled Vandyck ; nor are his works in that ftyle confidered, 
 in Spain, as inferior to that great mafter ; either, in refpect to the refemblance •, 
 the look, full of life ; the gracefulnefs of the attitudes ; or the relief of his 
 figures. 
 
 It was conftantly the cuftom of Van Keflel, to make fketches after nature, 
 and ftudies, at the different feafons of the year, when his objects were in the 
 molt complete bloom, and beauty ; fome of thofe objects, he only defigned ; 
 of fome, he coloured the defigns, and others he modeled •, fo that the materials 
 were ready for any work he intended to undertake ; and as he poflefled a large 
 collection of them, he could always have recourfe to thofe ftudies, when he 
 could not poffibly have nature to imitate. 
 
 Ferdinand Van KESSEL. 
 
 Painted Fruits, Flozvers, Plants, and Animals. 
 
 He was the fon of John Van Keflel, born at Breda in 166c, and with great 
 care inftruc'ted in the profeflion of painting by his father, whofe ftyle and manner 
 1 e ever afterwards followed. Some of his works happening to be ob.ervcd by 
 John Sobieiki King of Poland, he received fo great a degree of pleafure in 
 
 viewing 
 
KES [317 ] K E S 
 
 viewing them, that he invited Van Keflel to his court, and ordered a particu- 
 lar cabinet to be built at his palace, which was to be intirely ornamented with 
 the works of that mafter. 
 
 The firft fubjects he defigned, were the four elements, which he painted on 
 copper. Air, he reprefented by a boy iupported on the wings of an eagle, fur- 
 rounded by a multitude of birds of all kinds. Earth was delcribed by a boy on 
 the back of a lion, and the ground was diverfified with a variety of plants, 
 fruits, and flowers. Fire was reprefented by a boy furveying fire-arms, helmets, 
 and corfelets, richly gilded and engraved-, with groups of drums, eniigns, and 
 other implements of war : And Water, by a boy fupported on a couch at the 
 edge of the fea ; the adjoining fhore being ftrewed with corals, fhells, and pe- 
 trifactions, with a number of fifhes of various kinds, excellently imitated after 
 nature, and well grouped. Thofe fubjects he was enabled to paint readily, and 
 with Angular exactnefs, as he poffefled the defigns, ftudies, (ketches, and models, 
 on which his father had fpent fo much labour and fkill •, and by thofe he was 
 qualified to paint every object with beauty and-truth. But, after abundance of 
 pains and care had been exerted in finifhing thofe delicate paintings in Poland, 
 they were totally confumed, by a fire which deftroyed the greateft part of the 
 building. He was employed by the fame Monarch to paint thofe fubjects a 
 fecond time, for which he was gratified to the utmolt of his expectations ; and 
 received many rich prefents from the hand of Sobiefki, together with a patent 
 which enobled him and all his defcendants. 
 
 He was not, however, equal to his fiither in merit ; yet he approached much 
 nearer to the excellence of that eminent artill, in penciling and colouring, than 
 any other painter of his time. He defigned landfcapes in an agreeable ftyle, 
 and every plant, fruit, flower, or animal, which he introduced, was well coloured, 
 and well finiihed. As he was not very capable of defigning figures in his land- 
 fcapes, they were ufually inferted by Eykens, Maas, Van Opftal, and Bifet •, and 
 in return, he painted in their compofitions, all thofe objects in which he particu- 
 larly excelled. 
 
 At Dufleldorp, in the collection of the Elector Palatine, there are four pictures 
 of this mailer's hand, reprefenting the four parts of the world, in which the 
 plants, animals, trees, and flowers, peculiar to each climate, are delicately 
 painted. 
 
 N. Van KESSEL. 
 Painted Ccnverfations. 
 
 This artill was the nephew of Ferdinand Van Keflel, born at Antwerp, in 
 1684 •, and probably he would not have been inferior to the mod dillinguifhed 
 painters of his own name or nation, if he had not given himfelf up to an intem- 
 perate and diffolute courfe of life. If a judgement might be formed of his ge- 
 nius and power, by fome of his performances which he painted in the ftyle of 
 Teniers, it appeared not unlikely, that he would have equalled even that fa- 
 vourite painter, if his application had been proportioned to his abilities. 
 
 He defigned after nature with great readineis, and gave humour, life, and a 
 ftrong character to every figure ; lb that he never wanted purchafers, but re- 
 
 S f a. ceived 
 
K E S [ 318 ] K E T 
 
 ceived whatever he demanded for his productions ■, and he was ib eagerly foli- 
 cited for his pictures, that he could not allow himfelf time to execute a fufficient 
 number. His fubjects were boors, their conversations, feafts, and merry-makings, 
 juft as he had obferved the prevalent manners, cuftoms, and amufements among 
 the peafants of his own country. His works produced large funis of money ; and 
 if he had been lefs profufe, and more affiduous, he might have had as gceat a fhare 
 of riches, and reputation, as any of his profeflion -, for he designed his figures 
 with admirable freedom and readinefs, in the tafte of Le Page ; and through 
 all his compofitions, there appears every where great fpirit, and a furprizing cha- 
 racter of nature. 
 
 Though he inherited an immenfe fortune, by the death of his uncle Ferdi- 
 nand, his extravagance divefled him of it in a ihort time, and he was reduced to 
 mifery. In the latter part of his life he quitted the manner of Teniers, and 
 painted portraits, but with no fuccefs ; for, they rather rendered him con- 
 temptible-, ib that he is only memorable for his firft works, which have real 
 merit in the defign, and for the colouring are juftly commendable. 
 
 Cornelius KETEL. 
 Painted Portrait, HiJIcry, and Architecture. 
 Died 1602, aged 54.. 
 
 He was born at Gouda, in 1548, and received his firft' inftruction from his 
 uncle, who was a tolerable painter •, yet he took more care to form the mind of 
 his nephew by the knowledge of polite literature, than to form his hand to the 
 pencil. Afterwards, Cornelius was placed as a difciple with Anthony Block- 
 land at Delft ; with whom he continued long enough to qualify him for ap- 
 pearing with credit in his profeflion, though he ftudied under his direction only 
 one year. 
 
 When he quitted Blockland, he travelled to Paris, and was employed in paint- 
 ing fome compofitions at the palace of Fontainbleau, afibciated with Jerom 
 Frank, Francis de Mayer, and Denis d'Utrecht his countrymen, who were fur- 
 prized to fee the proficiency of Ketel. But, thofe works being difcontinued, and 
 the troubles in Holland ftill'fubfirting, he was induced to vifit England-, and 
 there found confiderable advantage by painting portraits, though his genius 
 principally directed him to hjftorical fubjects. Many of the firft nobility fat to 
 him, and by their recommendation, he had the honour to paint the portrait of 
 Queen Elizabeth. Several of his pictures were at full length, well drawn, and 
 with a good expreflion. 
 
 In the year 1581 he retired to Amfterdam, where he painted a large picture 
 of the principal officers and their attendants, among which he introduced his 
 own. The difpofition of the figures, as alio the refemblance of the perfons, 
 were remarkably good, and the different fluffs of the habits were admirably 
 imitated, and much admired. Sandrart fays, he vifited Venice, and Rome, 
 when he had fpent fome years at Amfterdam, and that he died in the latter city, 
 (where he was highly efteemed) while he was employed in painting the portrait 
 of the King of Denmark. 
 
 Although the reputation he had acquired by his portraits and hiftorical cle- 
 figns, might have contented this artift ; yet he conceived a fcheme to diilinguifh. 
 
 ,' himfelf 
 
KET [ 3i9 ] K E U 
 
 Rimfelf by a method of working different from all others ; and undertook 
 (through a whimfical kind of vanity) to paint with the ends of his ringers, in- 
 ftead of brumes. He tried the experiment on his own portrait, and fucceeded 
 fo well, that he afterwards painted feveral others in the fime manner, which 
 (whatever real merit they might have) were applauded at that time, for their 
 force and ftrong expreffion, as well as for the clearnefs, and beauty of their 
 colouring. It is alio reported, that he worked with the fingers of his left hand, 
 as readily as with thofe of his right. Two fubjects of thole pictures, which he 
 painted only with the points of his fingers, were Democritus and Heraclitus ; 
 the former was his own portrait, and was purchafed by the Duke de Nemours 
 at a large price , the latter was a portrait of Sig. Morofini, a Venetian, who had 
 naturally a folemn and triftful countenance. When he was afked, why he at- 
 tempted to paint without pencils, he anfwered, it was only to fhew, that genius 
 can never want tools to work with •, but he had a greater number of admirers, 
 than of imitators in that way. 
 
 Mod of his pictures were ilrongly coloured, with a full pencil •, and his figures 
 were, for the molt part, as large as life, if not larger. However, though he had 
 much merit in feveral parts of his art, yet it muft be allowed, that he wanted ex- 
 tremely a more elegant tafte of defign. A good whole-length portrait of Sir 
 ChriftopherHatton, by this mailer, is in the poffeffion of the Earl of Litchfield, 
 it Ditchley. 
 
 Janssen, or J a nson Van KEULE N„. 
 
 Painted Portraits. 
 Died 1665. 
 
 This painter was born in London, of Dutch parents, and before Vandyck 
 went to England, he was employed by King Charles I, who held his paintings in 
 great efteem ; and the favour of that Monarch procured him the opportunity of 
 painting the portraits of the principal nobility. 
 
 It was obferved, that although Vandyck was fuperior to him by very many 
 degrees, and was alio particularly engaged in painting the fame fubjects, yet he 
 and Van Keulen lived together in the mod fincere amity. Houbraken writes, 
 that Vandyck having one day vifited Van Keulen, obferved him to look de- 
 jected and melancholy, and inquiring the caufe of his uneafinefs, that painter 
 candidly told him, he had been exceedingly mortified by a lady, whofe portrait 
 he was painting, and whole capricious humour rendered her incapable of being 
 pleafed. But Vandyck fmiling, defired him not to be affected by flich treat- 
 ment, which was generally the remit both of vanity and folly •, nor to fret hirn- 
 felf at the teizing ignorance of his employers ; for, he himfelf had often expe- 
 rienced the fame mortifying behaviour from ladies who fat to him, and reaped 
 one great advantage by it •, which was, that it taught him the art of patience, 
 though it did. not improve him in the art of painting. 
 
 COR >: T- LI IT 8 
 
K I C [ 320 ] K I E 
 
 Cornelius KICK. 
 
 Painted Portraits, Flowers, and Still Life. 
 Died 16 7 5, aged 40. 
 
 He was born at Amfterdam, in 1635, and according to Houbraken, learned 
 defign and colouring from his father, who was a portrait painter of good repu- 
 tation, though Weyerman fays his father was a ftatuary. He became very emi- 
 nent for painting portraits, as the likenefs was remarkably ftrong, and as he 
 linifhed them very highly ■, but, when he obferved how great a demand there 
 was at that time, for fubjects of itill life, particularly fruits, and flowers ; and 
 faw the works of De Heem in prodigious requeft, he directed his whole ftudy 
 to that ftyle of painting, and fucceeded lb well, that he defiiled from portraits, 
 and devoted his pencil ever after to the painting of fruit and flowers -, which pic- 
 tures role into high efteem, and fold for confiderable prices. As he accuftomed 
 himfelf always to paint after nature, he was lb curious that he filled particular 
 beds in his garden with the choiceft flowers that could poffibly be procured j 
 and planted fruit trees of the moil valuable kinds, that he might have the moll 
 beautiful models in his own power. 
 
 His manner of painting was light, and delicate ; his touch tender, and his 
 colouring brilliant, (hewing all the frefhnefs of nature •, and thole flowers which 
 were his favourite fubjects, and painted with the greateft excellence, were tulips, 
 and hyacinths. 
 
 Alexander KIERINGS, or KIERINCX. 
 
 Painted Landfcape. 
 
 Died 164.6, aged 56. 
 
 He is fuppofed to have been born at Utrecht, in 1590, and is very defervedly 
 accounted a landfcape painter of great eminence. He finifhed his pictures in 
 a manner that was peculiarly neat •, yet, he was never capable of defigning 
 fio-ures with any tolerable degree of elegance. For which reafon, he procured 
 Poelemburgh to infert the figures in molt of his pictures, which added not only 
 to their beauty, but to their value. 
 
 His views, and every particular object, were copied from nature, and he 
 finifhed them with amazing patience •, even the bark, and the fibres of the trees, 
 beino- diftinctly marked ; and he had fo peculiar a manner of touching the 
 leaves, that every ipecies might be readily diftinguifhed. 
 
 David KLOCKER of Ehrenstrahl, or Klockner. 
 
 Painted Portrait, and Iliftcry. 
 
 Died 1698, aged 69. 
 
 He was born at Hamburgh, in 1629, and learned the art of painting from 
 George Jacob, a Dutch matter, well elteemed for painting animals, and hunt- 
 ings. His firft attempts were in portrait ; but, being invited to the Court of 
 
 Sweden, 
 
K L O [ 321 ] K N E 
 
 Sweden, he found the King defirous to have fome grand hiftorical fubje<5bs 
 painted in his palace; and in order to qualify himfelf for fuch an undertaking, 
 he went to ftudy at Venice, and acquired there a bold and ftrong tint of colour- 
 ing ; but, from thence he travelled to Rome, and ft tidied there for five years, to 
 improve himfelf in defign, and elegance of tafte. 
 
 At his return to Sweden, he was received with great refpeCt ; had an honour- 
 able appointment 5 was immediately employed at the palace; and his works 
 were beheld with a degree of applaufe, equal to his warmeft wilhes. He 
 painted the portraits of the Royal family, as alio the greateft part of the nobi- 
 lity of that kingdom ; and finifhed many hiftorical and poetical fubjeCts •, but, 
 very few of the paintings of this mafter are to be feen out of that country. He 
 had great freedom of hand, and great propriety in his characters. In his com- 
 petitions he was fond of introducing a number of figures, and his defigns were 
 adorned with agreeable landfcapes, as likewife with elegant pieces of architec- 
 ture, which he had copied from the veftiges of the antique buildings about 
 Rome ; and he adapted them to his own fubjeCts, with extraordinary judge- 
 ment. His colouring v/as excellent, efpecially in the naked, and his drawing 
 was very correct. 
 
 Sir Godfrey KNELLER. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1726, aged 78. 
 
 This artift, whofe fame is well eftablifhed in thefe kingdoms, was born at 
 Lubeck, in the dutchy of Holftein, in 1648, and received his firft inftruCtion 
 in the fchool of Rembrant ; but, he afterwards became a difciple of Ferdinand 
 Bol, under whofe direction he continued for a confiderable time. 
 
 When he had gained as much knowledge in his profeffion, as that fchool 
 could afford him, he travelled to Rome, in order to ftudy the antiques, and the 
 works of the celebrated artitts •, and fixed his particular attention on the Ca- 
 racci and Titian. Their paintings he diligently copied, endeavouring to derive 
 from the former, correCtnefs of defign, and from the latter, the harmony of co- 
 louring ; but efpecially to gain from the Caracci, the art and habit of difpofino- 
 the heads of his figures, with a natural and becoming elegance. He was ex- 
 tremely afuduous, and had the happinefs of being directed in his purfuit of im- 
 provement, by the precepts and advice of Carlo Maratti; who was not only 
 the belt painter of his time, but the ableft inftruCtor of others. He likewife 
 vifited Venice, and diftinguifhed himfelf fo effectually in that city, by feveral por- 
 traits of the noble families, as alfo by fome hiftorical pictures, that his reputa- 
 tion became confiderable in Italy. 
 
 Thus qualified to appear with advantage in his profefiion, he left Rome and 
 Venice, and after fome time fpent at Hamburgh with extraordinary fuccefs, he 
 went to London, where he knew the polite arts readily find proteCtors, and pa- 
 trons. It was a circumftance of good fortune to Kneller, that lie gained the 
 favour of the Duke of Monmouth, by whom ins merit v/as made known to the 
 Court •, and he had not only the honour of painting the portrait of Kino- 
 Charles II. feveral times, but, that Monarch condefcended to fit for his picture, 
 at the houfe of Sir Godfrey in Covent-Garden. 
 
 The: 
 
K N E [ . 322 ] K N I 
 
 The death of Sir Peter Lely left him without a competitor in England ; and 
 from that period, his fortune and his fame were thoroughly eftablifhed. No 
 painter could have more incefiant employment, no painter could be dif- 
 tino-uilhed by more public marks of honour. He was ftate painter to Charles II, 
 James II, William III, Queen Anne, and George I ; equally reipected and 
 efteemed by them all. By the Emperor Leopold he was dignified, with the title 
 of Knight of the Holy Roman Empire ; the patent which conferred that 
 honour, being accompanied with a chain of gold, and a medal; on which the 
 head of his benefactor was imprefied. His own portrait was requefted by the 
 Grand Duke of Tufcany, which is ftill to be feen, placed among thofe illul- 
 trious artifts which adorn the famous Florentine gallery ; and he had the pecu- 
 liar happinefs of having his works immortalized by the bed poets of his time, 
 efpecially by Addifon, who alfo immortalized himfelf by the verfes he wrote 
 to Kneller. 
 
 He pofiefled a great deal of the freedom, and nature, obfervable in the works 
 of Vandyck •, his colouring is lively, true, and full of harmony ; he drew ex- 
 tremely correct, and was very exact in his out-line ; he difpofed his figures with 
 great judgement; and his attitudes have eafe, and dignity. The airs of his 
 heads are generally graceful, and the hair difpofed with a natural and becoming 
 flow ; but, particularly the female portraits have a pleafing fimplicity, a mo- 
 defty mixed with elegance, that renders them engaging and amiable. However, 
 »; mult be confefied, that there appears too great a famenefs in his airs •, too 
 great a fimilarity in the countenances •, and no great fire of imagination in his 
 compofuions. It is remarked of Kneller, that of all his performances, he 
 feemed to be moft vain, of the portrait of the converted Chinefe, at Windfor. 
 
 N. KNIPBERGEN, or Kniberg. 
 Painted Land/cape. 
 
 He was a Dutch mafter of eminent rank for painting landfcapes, who intirely 
 imitated the ftyle and manner of Paul Bril. Heftudied after nature, but princi- 
 pally fketched the fcenes which he intended for his future fubjects, among the 
 mountainous parts of Germany, and Switzerland. 
 
 He had an uncommon freedom of hand, and a fine pencil; and it feemed afto- 
 nifhing to confider, the expeditious manner in which he painted the trees, fkies, 
 mountains, cafcades, and every figure that he introduced in his compofuions •, 
 and at the lame time to obterve, that notwithftanding his quicknefs in working, 
 every object appeared well finifhed, and touched with lpirit. He wanted ele- 
 gance in the choice of his fubjects, and alfo in the forms and attitudes of his 
 figures •, his distances are frequently not well thrown off", and fometimes his back- 
 grounds appear too encumbered ; but the leafing of his trees is loofe, free, and 
 competently bright, though in general fomewhat too green ; as are alfo very 
 often his grounds, and his hills. The clouds in his pictures are remarkably 
 light and floating, and his fore-grounds are well broken, and agreeably 
 diverfilied. 
 
 Nicholas 
 
KNU [ 323 ] K O E 
 
 Nicholas KNUPFER. 
 
 Painted Battles, and Converfations. 
 Died 1660, aged 57. 
 
 He was born at Leipfick, in 1603. and at firft was inftructed by Emanuel 
 Nyfens, a painter of no great note in that city, with whom he fpent two years i 
 but being treated improperly and unkindly by that artift, he quitted him, and 
 went to Utrecht, to procure inftruction from Abraham Bloemart. That matter 
 foon obferved the genius and capacity of his pupil, with fingular fatisfaction ; 
 and having accommodated him in his own houfe, took fo much pains to ac- 
 quaint him with the beft principles of his art, that Knupfer advanced iuccefsfully 
 in the knowledge of colouring and defign, and became a confiderable artift. 
 
 The King of Denmark employed him to paint three pictures of battles, re- 
 prefenting the victories of fome of his heroic anceftors ; which fubjects he exe- 
 cuted to the entire fatisfaction of the King, and he gained the approbation alfo 
 of the ableft judges at that court. The figures in all his fubjects were but of a 
 fmall fize, but they were correct, and defigned with a great deal of nature 
 and truth. 
 
 Weyermans defcribes a picture which he faw at the Hague, painted by 
 Knupfer, that was equally admired for the defign, and the expreflion. The 
 fubject is a fhepherdefs wearing a garland of flowers, and conducted by a fhep- 
 herd •, and that writer obferves, that there is an expreflion of refpect in the coun- 
 tenance of the fhepherd, which is as ftriking, and affecting, as the modefty and 
 decency that are vifible in hers. 
 
 Matthias or Matthew KOCK. 
 
 Painted Land/cape. 
 
 Died 1554, aged 54. 
 
 He was born at Antwerp, about the year 1 500, and efteemed a very excellent 
 painter of landfcapes, being one of thofe memorable artifts, who contributed to 
 the refinement of the Flemifh tafte, by introducing that of Italy. He ftudied 
 and imitated nature •, he fhewed an agreeable variety in his compofitions ; and 
 painted with equal merit in oil, and in diftemper. 
 
 Wenceslaus KOEBERGER. 
 
 Painted Hijlory. 
 
 Died 1604, aged 70. 
 
 He was born at Antwerp, in 1534, and was a difciple of Martin de Vos ; who 
 exerted the utmoft of his fkill for the improvement of his pupil, as foon as lie 
 had an opportunity of obferving the promptneis of his genius. He continued 
 under the direction of that matter for leveral years, and made a proportionable 
 progrefs ■, but, happening to fall in love with the daughter of De Vos, and 
 finding it impoflible to obtain a fuitable return, though he had taken every 
 obliging method to obtain it, he determined on a journey to Rome, to cure him- 
 felf of his unprofitable paflion, and by that means fhook it off effectually. 
 
 T t He 
 
KOE [ 324 ] K O E 
 
 He ftudied at Rome for fome time, and afterwards removed to Naples ; 
 where an intimate friendihip commenced between him and a Flemifh painter 
 called Franco, whofe daughter was efteemed one of the moit beautiful women at 
 Naples. Koeberger felt the fame fondnefs for her, as he had formerly expe- 
 rienced for the other ; but in this affair he fucceeded, being equally, beloved by 
 the father, and the daughter. In Italy he purfucd his ftudics with unwearied 
 application, and the merit of his paintings fecured to him a general tfteem, and 
 conftant employment. His reputation extended to his own country, whither he 
 was earneftly (elicited to return-, but, he was too much plea fed with his fitua- 
 tion, to be induced by any periuaiions to quit Naples at that time ; though, in 
 fome years after, he fettled at Brufiels. On his arrival at Antwerp, Duke Albert 
 appointed him his principal painter, and regarded him highly, not only for his 
 merit in painting, but for his extenfive knowledge in medals. 
 
 In die church of Notre Dame at Antwerp, there is a compofition by Koeber- 
 ger, reprcfenting the martyrdom of S. Sebaftian ; which was originally painted 
 for the confraternity of that faint. It is always beheld with furprize, and 
 pleafurc, by every lover of the art, and every intelligent connoiffeur. The co- 
 louring in that work is extremely fine, the defign excellent, the difpofition judi- 
 cious, the tafte elegant, and the appearance of the whole together is admirable. 
 In a fhort time after that picture was fixed in its place, fome envious perfons, 
 who were mortified at the applaufes which the public liberally bellowed on the 
 artift, cut out two of the heads to deface the work, and efcaped undifcovered ;. 
 fo that the poffeiTorsof the picture were conftrained to fend it to Naples, where 
 Koeberger then refided, in order to have the damage repaired ; yet, notwith- 
 ilanding his ability and induftry, the inferted heads were not fo happily executed, 
 as they had been in the firil performance. 
 
 He afforded many proofs of his being as eminent an architect, as he was a 
 painter ; and on account of his allowed fkill in that art, he was appointed by the 
 Arch-Duke, fuperintendant of the buildings and decorations at the caftie of 
 Tervure, near Bruffels. 
 
 Isaac KOENE. 
 
 Painted Land/capes, and Water-Mills. 
 
 The birth and age of this matter are not recorded, nor is there any other ac- 
 count of him from the different writers on this fubject, than that he was a dif- 
 ciple of Jacob Ruyfdal, and painted landfcapes in the manner of his matter. As 
 he was not capable of defigning figures, he affociated with Barent Gaal, who al- 
 ways painted them for him ; and the profit of their joint labours was equally dir 
 vided between them. 
 
 Joanna KOERTEN BLOCK. 
 
 Painted Birds, and Floiuers, in Water-Colours. 
 
 Died 17 15, aged 65. 
 
 This paintrefs, who was the wife of Adrian Block, was born at Amlterdam> 
 in 1650, and from her youth mewed a flrong inclination to drawing, painting, 
 
 and 
 
 5 
 
K O E [ 325 ] K O E 
 
 •and embroidery, and arrived at an aftonifhing excellence in all. But, (lie princi- 
 pally employed herfelf in cutting on paper the representation of landfcapes, 
 birds, fruits, and flowers, which (lie executed with incredible exactnefs, and de- 
 licacy, fo as to amaze every beholder. The lines with which (he expreffed her 
 objects, were as exquifirJelynice, as the lines of engraving -, and yet (lie per- 
 formed it with fciflbrs only. Nor was (he confined to any fubjects ; for, ail 
 kinds were to her equally eafy, and familiar. Sea-pieces, animals, architecture, 
 and (till life, were perhaps her favourite fubjects, but (he alio cut portraits on 
 paper, with as Striking a refemblance, as if they had been painted in oil, by the 
 hand of the ablelt artifts. 
 
 She was accounted lb great a prodigy in her way, that (he was vifited by the 
 nobility of the firft rank of all nations, who travelled through Amsterdam ; 
 and was particularly honoured by the Czar Peter I, who condefcended to pay 
 her a vifit in her own houie. The Elector Palatine offered her for three fniali 
 pictures of her cutting, a thonfand florins •, yet, (lie refilled even fo large a price 
 for them. At the requeft of the Emprefs of Germany, (he defigned a trophy 
 with the arms of the empire, ornamented with laurel crowns, garlands of flowers, 
 and other enrichments fuitable to the fubject ; which (he executed with fuch 
 correctnefs of drawing, and defign, fuch wonderful tendernefs and beauty, as is 
 not to be defcribed, and fcarcely to be credited. For that exquidte performance, 
 (he received a prefent from the Emprefs of four thoufand florins. She alfo cut 
 the portrait of the Emperor, which is hung up in the Imperial cabinet at 
 Vienna ; and efteemed, not the leait curiofity in that collection of rarities. 
 
 Roelof KOETS. 
 Painted Portrait. 
 Died 1725, aged 70. 
 
 He was born at Zwoll, in 1655, the fon of a painter, who taught him the firft 
 principles of defign ; but afterwards, he was placed as a difciple with Gerard 
 Terburg, where his progrefs was fo rapid, that he foon furpalfed all his compa- 
 nions. His mafter gave him fo many marks of his approbation and efteem, 
 was fo profufe in his praife, and fo ftrongly expreffed the preference which lie 
 thought the abilities of Koets merited, that it excited the envy and jealoufy of 
 all the other difciples, who determined to punifh Koets, for the imagined infults 
 of their mafter. So that Terburg found it neceffary, to advife him to leave his 
 fchool; and directed him, only to ftuuy nature for the future ; which direction 
 he punctually obferved. 
 
 At his firft fetting out in his profeffion, he had the good fortune to fucceH, in 
 painting the portrait of the Count Dalwigh, which laid the foundation of his 
 future advancement-, for, through the recommendation of that nobleman, he 
 was made known to Henry Cafimir, Stadthoider of Frizeland, who received 
 him into his favour, and conceived an uncommon friendfhip for him ; and as 
 Icon as that Prince had fat to hirn for his own portrait, his example was fol- 
 lowed by all the nobility of his court. 
 
 His reputation, as an accomplifhed artift, was fo thoroughly afterwards efta- 
 blifhed, that he had the honour to paint the portraits of King William III, the 
 
 ' T t 2 Duke 
 
KON [ 326 ] K O N 
 
 Duke o' Portland and his family, and mod of theEnglifh and German nobility, 
 who attended that Monarch at Loo. An extraordinary circumftance relative to 
 this mafter is attefted as a fa<ft ; that he painted five thoufand portraits with his 
 own hand, and all of them were well finifhed, without any afiillance from other 
 artifts ; on which account, he is mentioned as one of the moft laborious painters 
 of his time. 
 
 He had great freedom and readinefs of hand •, an agreeable choice of atti- 
 tudes •, and a good manner of defigning. He was always ftrictly attentive to 
 nature, in all his performances ; nor did he want the fkill, to improve, or to 
 embellifh nature, on proper occafions, whenever he imagined it might conduce 
 to the perfection of his work. 
 
 David de KONINCK, or KONING. 
 
 Painted Animals, Birds, Fruit, and Flowers. 
 Died 1687. 
 
 This artift was born at Antwerp, and at firft inftructed by Nicafius ; though 
 fome authors fay, he was afterwards a difciple of Peter Bol ; but, according to 
 thole writers who appear to be moft authentic, he was the difciple of John Fytt. 
 He continued with that mafter for feveral years, and painted fo exactly in his 
 ftvle, that at laft he excited his jealoufy ; for, Fytt obferved with fome degree of 
 mortification, that the works of his difciple were taken for his own, and brought 
 equal prices at the public fales. 
 
 De Koninck therefore quitted his mafter, and in purfuit of improvement, 
 travelled through France and Germany, to Italy, where he arrived in 1668; 
 being much employed wherever he went, and he was received at Rome in a 
 manner worthy of his merit. He lived for a few years in that city, always very 
 affiduous, and likewife very retired. His works refemble thofe of Fytt, and 
 his fubjects are the fame •, his touch is free, and firm ; his colouring ftrong, 
 and like nature ; and he particularly excelled in birds. He was conftantly a 
 competitor with Fytt, but, by the beft connoifleurs, he was generally not al- 
 lowed to have the preference •, for, in his pictures there appeared fomewhat that 
 was lefs free, and lefs mafterly ; as alfo apparently more laboured, than thofe of 
 his mafter, when their paintings were compared with each other ; though other- 
 wife, he was always jultly efteemed a great artift. 
 
 A capital picture of De Koninck, is preferved in the cabinet of Prince Charles 
 at Bruffels •, reprefenting dead and live fowls, together with fome objects of 
 Hill life. 
 
 Philip de KONING H. 
 
 Painted Portrait, and Iliftory. 
 Died 1689, aged 70. 
 He was born at Amfterdam, in 161 9, was bred up to the profeffion of paint- 
 ing in the fchool of Rembrarit, and added an honour to that academy, by the 
 merit of his performances. For many years he fupported the reputation, which 
 in the early part of his life he had defervedly acquired ■, and was efteemed an ex- 
 cellent painter of -portraits. His compofuions were remarkable, for the great cha- 
 rafier of nature, which appeared in them all > for the choice and variety of his 
 
 attitudes -, 
 
KON [ 327 ] K O O 
 
 attitudes ; and alfo, for the extraordinary refemblance of thofe perfons, who fat; 
 to him for their portraits. 
 
 The picture of himfelf, which he painted at the requeft of the Grand Duke 
 of Tufcany, and which is placed in the Florentine gallery, is a fufficient evidence 
 of the merit of this matter. His colouring is clear, and his paintings have a 
 lively and ft.rik.ing effect, although they are not loaded with heavy fhadows, ap- 
 proaching to blacknefs ; and in that refpect, he was accounted fuperior to his 
 matter Rembrant, whole back figures are frequently impaired, by the darknefs 
 of the colouring. 
 
 Solomon KONINGH. 
 Painted Hiftory, and Portrait. 
 
 He was born at Amfterdam, in 1609, and learned the art of drawing from 
 David Kolyn ; but he ftudied painting under Francis Vernando, and Nicholas 
 Moojart, being fucceffively the difciple of each of thofe matters •, and after 
 fome years practice, with the afliftance of ftudying after nature, he rendered 
 himfelf confiderable. Moft ufually he painted portraits, though his genius 
 prompted him to paint hiftory, with figures as large as life ; and he alfo painted 
 hiftorical fubjects in fmall, with an equal degree of merit. 
 
 The pictures of this matter, which are mentioned by the writers on this fub- 
 ject, are, David and Bathfheba, which was purchafed by the Portuguefe Ambaf- 
 fador, and tent to the King of Portugal j Tarquin and Lucrece •, Judas in de- 
 fpair, throwing down the filver for which he had betrayed his Lord ; and Solo- • 
 mon's Idolatry. 
 
 Leonard Vander KOOGEN. 
 Painted Converfations. 
 Died 1 68 1, aged 71. 
 
 This artiftwas born at Haerlem, in 1610, and was a difciple of Jaques Jor- 
 daens at Antwerp. His cotemporary in that fchool was Cornelius Bega, and 
 that created fuch a friendly intimacy between them, as induced them to ftudy to- 
 gether after nature, and to become emulous to excel each other, which proved 
 very advantageous to both. 
 
 Koogen defigned well ; his touch, his penciling, and his manner of colouring 
 refembled Bega; but he painted in a very different fize, fome of his pictures 
 having the figures full as large as life. As he poffeffed an affluent fortune, and 
 was not obliged to follow the profeffion for a maintenance, he only painted for 
 his own pleafure and amufement ; for which reafon, the number of his works 
 cannot be fuppofed to be very great, though they are much coveted, and ex^ 
 tremely admired. 
 
 Peter KOUC, or Koeck. 
 Painted Portraits, Hiftory, and Converfations. . 
 Died 1553, aged 53. 
 He was born at Aelft, in 1500, and became a difciple of Bernard van Ork 
 of Bruffels, who inftructed him in the principles of colouring and defign ; buy 
 
 5 her 
 
K O U [ 328 ] K R A 
 
 he accomplished himfelf at Rome, by ftudying the antiques, and fketching not 
 only the views about that city, but of other parts of Italy through which he tra- 
 velled. By that method of conductinj; his observations, on the mo£L beautiful 
 productions of art and nature, he acquired the habit of defigning with correct - 
 neis, of giving a good exprefilon, as well as great eafe to the attitudes of his 
 figures, and efublilhed himfelf in an excellent talte and manner. 
 
 In a few years after his return to his own country, he happened to be engaged 
 by fome merchants, to paint the defigns for a tapeftry manufacture, which they 
 had agreed to undertake at Conftantinople, and was prevailed on to travel to 
 Turky. But, although the project failed of fuccefs, yet it afforded Kouc an op- 
 portunity of defigning the moil pleafing profpects in the neighbourhood of that 
 city •, as alfo the procefhons, aftemblies, fports, feafis, and converfations of the 
 Turks, which he repreiented in an agreeable ftyle. He copied his figures frcm 
 nature, and their drefies were adapted to the mode of the time, to their ftations, 
 and characters. The countenances of his female figures were very engaging; 
 and his back-grounds, in particular, are managed with abundance of fkill : Seven 
 of thole Turkifh defigns were afterwards engraved, and in one of them he in- 
 troduced his own portrait in the habit of a Turk. 
 
 When he came back to Holland, he fettled at Antwerp, and painted a great 
 number of portraits, altar-pieces, and cabinet-pictures ; and was appointed prin- 
 cipal painter to the Emperor Charles V. He pubhfhed feveral volumes on the 
 fubjects of architecture, geometry, and perfpective •, and with a critical exact- 
 nefs translated the works of Sebaftian Serli, out of the Italian into his native 
 language. 
 
 Christian van KOUWENBURGH, or Kauwenburgh. 
 
 Painted Hijiory. 
 Died 1667, aged 63. 
 
 This painter was born at Delft, in 1 604, and was the difciple of John Van 
 Nes, but the tafte which he manifefted in his paintings was acquired in Italy ; 
 where he fo far improved himfelf, by ftudying after the bed models, that in a 
 o-reat meafure he fhook off his original Flemifh gout. His fubjects were for the 
 mod: part hiftorical, with figures as large as life, and he particularly excelled in 
 defigning the naked. His colouring was exceedingly natural, his defign correct, 
 and his compofition was in a beautiful and grand ftyle. 
 
 Many fine pictures of this matter's hand, are in the palace of the Prince of 
 Orange at Ryfwick, and the Houfe in the Wood. 
 
 Francis KRAUSE. 
 
 Painted Hijiory. 
 Died 1754, aged 48. 
 He was born at Augfbourg, in 1 706, where he lived in the loweft poverty ; 
 but, his appetite to the art of painting enabled him to furmount all diffkultit s 
 that injurious fortune had thrown in his way. A gentleman who was on his 
 travels to Italy, took him along with him •, and on his journey having difcovered 
 the genius of his attendant, on his arrival at Venice, lie placed him as a difciple 
 
 with 
 
KRA [ 329 ] K U I 
 
 with Piazetta. Under the direction of that famous artift, Kraufe ftudied with 
 indefatigable application night and day, and his improvement was proportion- 
 ably furprizing ; fo that in fome time, even Piazetta was deceived by his work,, 
 and miftook the paintings of his difciple for his own, as others alfo had been de- 
 ceived before by the fimilitude. 
 
 Having, in a few years, fufficiently perfected himfelf in his profefllon, he 
 quitted Venice, and went to Paris ; and in order to make the public acquainted 
 with his talents, he prelented to the Academy a picture, reprefenting the death 
 of Adonis. That compofition might perhaps have fucceeded to his wifh, had 
 not his own indifcreet vanity too fbrongly appeared •, for, he overvalued his 
 own works, fo as to believe them faultlefs, and depreciated the works of others, 
 without refpect or juftice ; by which conduct, he difguiled that judicious body 
 of artifts, who rejected his application. Meeting therefore with fuch a repulfe 
 as he very juftly deftrved, he went to other cities of France, where he found 
 fufficient employment, particularly for the churches, and convents, and his moft 
 capital performance, is in the refectory of the Carthufians at Dijon, of which the 
 fubject is Mary Magdalen anointing the feet of Chriit, in the hcufe of the 
 Pharifee. But, after all his labours, finding himfelf in low circumftances, he 
 undertook to paint portraits in crayon, and performed it with extraordinary fuc- 
 cefs •, yet, either through bad ceconomy, or profufion, he never was thoroughly 
 extricated from his difficulties. 
 
 Notwithftanding the vanity, and felf-approbation of this painter, hepofTefied 
 great talents. His manner of defigning was good, and lie was Angularly excel- 
 lent in the extremities of his figures •, his genius was not abundant, but his co- 
 louring had force, and brilliancy •, his penciling had a great deal of freedom, 
 and his touch was firm, though not always equally fo •, for, fometimes it ap- 
 peared dry, yet at other times it was full of fpirit. In fome of his pictures, he 
 has run into too great a degree of biacknefs, by endeavouring to make his lio-hts 
 more lively, and linking; and his colouring appears much changed from its 
 original tint, either by an injudicious and improper mixture of the colours, or 
 by not ufing thofe that were of the moft durable kind. So that, pofterity will 
 Jcarce be able to judge of his merit •, fince even already, there is lb evident an 
 alteration, by the fading of the lighter colours, and by the increaling biacknefs 
 <6f the darker. 
 
 When his paintings were new from the pencil, they had an uncommon and 
 furprizing luftre •, but, all that brightnefs and beauty, is fucceeded by palenefs in 
 one part, and additional darknefs in another. Yet, he cannot but be always ac- 
 counted a good artift, who was capable of imitating fo great a mailer as Pia- 
 zetta ; and of imitating him to fuch a degree of exactnefs, as to deceive the 
 moft fagacious judges. 
 
 John Van KUICK 
 
 Painted Hiftcry, and Portrait. 
 
 Died 1572, aged 42. 
 
 He was born at Dort, in 1530, and for fome years lived in general efteem, 
 
 being accounted a very fine painter on giafs, as well as in oil colours ; and his 
 
 compofition was allowed to have lomcthing in it that Was judicious, and maf- 
 
 terly. But, having indifcreetly given fome flight offence to the Jefuits at Dort, 
 
 they 
 
K U I [ 330 ] K U P 
 
 they perfecuted him with a mod unremitting feverity, accufed him of herefy, 
 and prevailed fo far as to have him imprifoned. He was kept in irons for a 
 longtime, although John Van Boudewinze, the Chief Juftice, took all poflible 
 pains to procure his enlargement ; and Kuick, out of gratitude, painted a pic- 
 ture for that Magiftrate, reprefenting the Judgement of Solomon, in which he 
 defigned the portrait of his benefactor, for the head of the principal figure, as a 
 particular compliment. 
 
 That picture having been finifhed during the confinement of the painter, it 
 gave new offence to that unforgiving tribe the Jefuits •, who daily contrived means 
 to increafe the miferies of his imprilbnment, and never ceafed their periecution 
 of him, till they extorted a final fentence from the judge, condemning him to 
 death. That fentence the Jefuits and Monks took care to have immediately 
 executed ; and they caufed him to be burned alive ; to the inexpreffible concern 
 of all Proteftants, who dreaded the tyranny and perfecuting fpirit of the church 
 .of Rome ; and to the univerfal regret of all the lovers of the art of painting. 
 
 John KUPETZKI, or KUPIESKI. 
 
 Painted Hijlory, and Portrait. 
 Died 1740, aged 73. 
 
 This painter was a Bohemian, born in 1 667, at Porfina, on the frontiers of 
 Hungary, of an obfcure family, incapable of affording him an education fuit- 
 able to his genius and talents. His father was eager to have him fixed to a 
 trade, and for that reafon he withdrew himfelf privately, to avoid a fituation that 
 feemed difagreeable to him, and directly contrary to his inclination, though he 
 was under a neceffity of begging as he travelled, and fuffered extreme hardfhip. 
 Intirely undetermined whither to direct his courfe, he flopped accidentally at 
 the cattle of Count Czobor in queft of fome afliftance •, and there faw a painter 
 at work, whofe name was Claus, and whole reputation in that country was con- 
 liderable. 
 
 Kupetzki furveyed the work with remarkable attention for fome time, and 
 then taking up a piece of charcoal, he imitated on the wall fome of the orna- 
 ments, with fuch fpirit, that the Count and the painter were furprized, when 
 they faw that effort of ftrong uninftructed genius ■, for, Kupetzki being afked 
 what matter had taught him, anfwered, that his love for the art had been his 
 only director. Such a fudden exertion of genius, had a very happy effect for the 
 deftitute traveller, on the mind of Czobor ; for, that nobleman generouffy took 
 him under his protection, maintained him in the cattle, provided every necei- 
 fary for him, and engaged Claus to inftruct him in the art of painting. 
 
 He fcon became capable of affifting his matter, in feveral great works ; em- 
 ploying his leifure hours in copying fome paintings of Carlo Loti, which were in 
 the collection of the Count ; and by ftudying the ftyle and manner of that 
 matter, he fo far admired him, that he endeavoured induftrioufiy to imitate him. 
 In that way, he ipent three years with Claus in Bohemia, and alio at Vienna •, and 
 then quitting him, he -went to Venice and Rome for farther improvement. Jn 
 thole cities, he for fome time diligently copied the works of the beftartifts-, till 
 at laft, his reputation lb increafed, that he was employed by the nobility of 
 Rome, was enriched and honoured, and particularly patronized by Prince 
 
 Staniflaus 
 
K U P [ 331 ] K U Y 
 
 Staniflaus Sobiefki. The merit of his works may reafonably be conjectured, by 
 the purchafe made by the Margrave of Brandenburg Bareith, who for nine of 
 his pictures, gaveKupetzki fixteen thoufand German florins. 
 
 He was exceedingly defirous to arrive at perfection in his art, and omitted no 
 labour, or induftry, to procure improvement in every branch of it. Having 
 therefore obferved, that the Roman ichool was principally famous for defign, and 
 inferior to others in regard to colouring, he went to Bologna, to ftudy and copy 
 the works of Guido, to acquire his delicate manner of penciling; from thence, 
 he vifited Florence and Parma, to ftudy Correggio ; and at laft, went a fecond 
 time to Venice, to ftudy Titian, whole colouring is fo univerfally allowed to be 
 fuperior to all. From fo commendable an attention to thofe eminent matters, 
 his own ftyle was elegantly formed ; and the portraits of his hand, were pre- 
 ferred to the beft of his cotemporaries. His colouring was admirable ; his 
 pencil broad •, and his touch full of ipirit. 
 
 The Emperor Charles III, would willingly have retained him in his fervice as 
 principal painter, which ftation he had held under the Emperor Jofeph ; but he 
 preferred his liberty, to all the advantages of fo honourable an employment. He 
 painted the portraits of the Imperial family feveral times, and the prime nobility 
 of that Court ; and had alfo the honor of painting the Czar Peter, and mod of 
 the Princes of Germany. 
 
 In refpec~t of his colouring, in which his greateft excellence confifted, he was 
 compared to Rembrant ; but, in regard to the hands, he was equalled with Van- 
 dyck. One writer, indeed, alledges, that his portraits were too lean, and the 
 fingers too ftiort -, but Mr. Fuefsli, a Swifs painter, and a good judge, juftifies 
 Kupetzki from that imputation •, and affirms, that though he might fometimes 
 be guilty of thofe faults, yet they were faults not generally obferved in the works 
 of this painter. But, Fuefsli confefles, that in the latter part of his life, he was 
 apt to fpend too much time on his pictures ; and would often have fpoiled' 
 them by too much retouching, if they had not been taken out of his hands. 
 The colouring of his heads engaged his principal attention, and he feemed 
 rather negligent of the draperies ; yet no mafter could pofllbly have a more ex- 
 tenfive knowledge of the chiaro-fcuro than Kupetzki. 
 
 Jacob Gerritze KUYP, or Cuyp. 
 
 Painted Landfcapes, Battles, and Cattle. 
 
 He was born at Dort, and learned the art of painting from Abraham Bloc* 
 mart, by whofe inftruftion he became an extraordinary good painter of landfcape- 
 His principal fubjects were the different views, which he fketched after nature, 
 in the environs of Dort ; always being attentive to introduce pieces of water, 
 or rivers with cattle on the banks, and particularly cows and fheep. Yet fre- 
 quently he painted battles ; as alfo, the marchings or encampments of armies. 
 
 He had a good pencil, a broad and free touch, a tone of colouring that was 
 fweet and agreeable, an outline generally correct, with great tranfparence in his 
 water, and good keeping. His memory is held injuft efteem at Dort, for being 
 the founder of the painting academy of S. Luke, in that city ; which he efta- 
 blifhed in concurrence with three other artifts of diftinftion, Ifaac Van Haflelt, 
 Cornelius Tegelberg, and Jacques Grief, in the year 1642. 
 
 Uu Albert 
 
K U Y [ 332 ] L A E 
 
 Albert KUYP, or Cuyp. 
 
 Painted Cattle, Land/cape, and Moon-lights. 
 
 He was born at Dort, in 1 606, the fon of Jacob Gerritze Kuyp, and alfo his 
 difciple •, though, in his manner, he differed extremely from his father, being 
 abundantly neater in every part of his works •, nor was his penciling fo rough, 
 and bold, as any other painter of the fame name. The father principally ad- 
 hered to one or two ipecies of animals •, but to Albert, oxen, fheep, cows, 
 horl'es, fruit, landicape, fmooth water, or fhips and boats, were all equally fa- 
 miliar, either to defign or to execute. He excelled in every article that he at- 
 tempted to reprefent, and painted every object in the fame free and natural 
 manner •> always lovely and true in his colouring, always clear and transparent. 
 
 He was accuftomed to obferve nicely even the particular times of the day, to 
 exprefs the various diffufions of light on his objects, with all the trudi of nature •, 
 and in his pictures, the morning attended with its mills, and vapours, the 
 clearer light of noon, and the faffron-coloured tints of the evening, may readily 
 be diftinguilhed. He likewife excelled in moon-light pieces-, fome of them being 
 fo admirably expreffed v that the glittering reflection of the lunar beams on the 
 furface of the water, appeared more like real nature, than like any imitation 
 Of it. 
 
 The moft capital performance of this mafler is the reprefentation of the catde- 
 market at Dort, and the fquare where the troops and foldiers exerciie. In that 
 picture he has painted the moft: beautiful horfes that appeared on the parade, 
 fo like, that every one of them might be as diftinctly known in the painting, as 
 in their evolutions. His ftudies were entirely after nature, and moft: of the views 
 which compole the fubjects of his. landfcapes, are in, or about the city of Dort. 
 He left a great number of drawings and defigns, heightened with water-colours, 
 which are preferved.as curiofities by the connoiffeurs. 
 
 Van L A E R. Vid. Bam.boccio, 
 
 Roeland Van LAER, or L a a r. 
 
 Painted Conversations, Cattle, and Landfcapes. 
 Died 1640, aged 30. 
 
 He was the elder brother of Bamboccio, born at Laeren, near Narden, in 
 1610, and painted in the fame ftyle and manner as his brother •, being not much 
 inferior to him, either in colouring, pencil, or defign. He travelled to Italy 
 along with Peter, and they refided together at Rome for feveral years ; Roe- 
 land painting the fame fubjects, and following his profeffion with very great 
 fuccefs. 
 
 He left Rome to vifit Genoa, perhaps with a view to avoid all. competition 
 with his brother ; and it is highly probable, that he would have made a confi- 
 derable figure, if lie had not been cut off in the prime of his years in that city. 
 
 GtRARI 
 
LAI "I 333 ] LAI 
 
 Gerard LAIRESSE. 
 
 Painted Hijiory, and Portrait. 
 Died 171 1, aged* 71. 
 
 This mafter was born at Liege, in 1 640, and received the principal knowledge 
 of the art of painting, from his father Reinier de Laireffe ; though, he is alfo 
 accounted a difcipleof Bartolet. His manner of handling was indeed very like 
 the manner of that mafter, and his pictures were in as good efteem ; the only 
 perceptible difference feems to be, that the pencil of Laireffe was more rough 
 than that of Bartolet, and his colouring not fo melting and delicate. By his 
 intimacy and conversation with Bartolet, he acquired that tafte of the antique 
 which is obfervable in all his works, though he was afterwards more fully 
 inftructed by others. But he formed his ftyle and tafte of defign, by the prints 
 and drawings of Pietro Tefta, Nicolo Pouffin, and the ftudies of Bartolet, which 
 the latter (ketched from the veftiges of the fuperb antient buildings at Rome, 
 and alfo after the antique ftatues. 
 
 When he began to follow his profeflion for a livelihood, he fettled at Utrecht ; 
 yet he was there in very diftreffed circumftances, and fo neceffitous, as to be 
 obliged to paint indultrioufly, to procure even a poor maintenance. But at laft, 
 through the perfuafion of fome friend, he fent one of his pictures to a picture 
 merchant at Amfterdam, whofe name was Vylenburg, who (hewed it to Grebber, 
 and John van Pee •, and thofe artifts commended it fo highly, that Vylenburg 
 having inquired where he could fee the author of that picture, went immediately 
 to Utrecht, and prevailed on Laireffe to go with him to Amfterdam ; which 
 happened to prove the means of raifing him from want and obfeurity, to 
 affluence and reputation. 
 
 His method of working was very lingular •, for, when his employer placed 
 an ealel, with a palette and pencils before him, expecting to fee him be°in to 
 defign ; Laireffe fat down before the canvas, and appearing contemplative for a 
 few minutes, he pulled out a violin, which he ulliaily carried about him, and 
 began to play. Then, fuddenly laving afide the inftrument, he fketched a defign 
 of the Nativity, and immediately relumed the violin ; till having unbended his 
 mind for a while with the mufick, he purfued his work, painting and playing 
 alternately, and in two hours completed the heads of Mary, Jefeph, and the 
 Infant Chrift, as alfo the Ox ; and all fo firmly executed, and well finiflied, as 
 to aftonilh thofe who were fpectators of the tranfaction. In his painting, he 
 was wonderfully quick and expeditious, having had fuch a readineis of pencil, 
 as directly correfponded with the livelinefs of his imagination, and the fprightli- 
 nefs of his ideas ; and that extraordinary power of hand, is fufficiently evidenced, 
 by the great number of compofitions which he finiflied. Of his quicknefs he 
 gave one inconteftable proof, by having laid a large wager, that he would finifh 
 in one day, on a pretty wide canvas, a picture of Apollo and the nine Mufes ; 
 which wager he won, although he alio painted the portrait, of a perfon who 
 ftood admiring his work, for the head of the Apollo. 
 
 * The authors of the Abrege de la Vie des Peintres, by fome oversight, fav, that Laireffe died 
 at the age of fixty years, although they fix his birth in 1640, and his death in 1711, whiah 
 evidently makes him 71. 
 
 U u 2 He 
 
LAI [ 334 ] LAI 
 
 He was very ftudious to fix the attention of the fpectators, on the principal 
 figures in his fubject ; though other very great matters, have injudicioufly 
 neglected thatjuft obfervation. But all his paintings are by no means equal, 
 either in compofition, correctnefs, or invention. Perhaps, that inequality of 
 merit, might have been partly occafioned, by the languor of his fpirits at 
 particular times, and partly by the multiplicity of his undertakings ; but, in 
 every one of his pictures, there are great appearances of a mafterly genius. 
 For, his expreffion is generally lively, his colouring good, true, and glowing ; 
 and a light, firm touch, gives a beauty and value to every thing he painted. 
 In his draperies may be obferved, the tatte of the beft matters of Italy ; they are 
 light, broad, fimple, and in very natural folds ; but the draperies of his 
 women were of filk.% that admitted of different reflections of light, and 
 fometimes gave them a look of richnefs, as in his picture of Stratonice. His 
 figures ufually were well turned, though fometimes rather too ihortj and 
 notwithftanding that fome of them wanted grace, yet he defigned many that 
 were truly graceful. 
 
 He had the unluppinefs to lofe his fight feveral years before he died ; but 
 even then, he was conttantly attended by the artitts and lovers of painting, to 
 receive inftruction from him, of which he was remarkably communicative -, and 
 the treatifes on defign and colouring, which pals under the name of Laireffe, 
 were not wrote by him, but collected from his obfervations, after he was blind, 
 and publifhed after his death, by the fociety of artitts. 
 
 Whenever the back grounds of his pictures required architecture, he defigned 
 it in a grand ftyle ; as if the ruins of Athens or Rome had been his models. 
 
 The picture which is accounted his moft capital performance, is the hiftory 
 of Heliodorus, which is at Amfterdam •, and the pictures, of Young Mofes 
 trampling on the Crown of Pharaoh, of Polyxena, Germanicus, and Anthony 
 and Cleopatra, are very highly celebrated. 
 
 Ernest LAIRESSE. 
 
 Painted Animals. 
 
 He was brother to Gerard Laireffe, and derived his knowledge of the art of 
 painting, from his father Reinier de Laireffe. He made very confiderable 
 advances in his profeffion, even while he was a young man, and excelled in 
 painting all forts of animals. He (hewed fo good a genius, that the Prince of 
 Liege fent him to Rome to improve himfelf, and from thofe excellent models 
 which he had an opportunity of ftudying there, he made as great a proficiency 
 as could be expected. 
 
 That Prince retained him in his fervice, when he returned from Italy ; and 
 he continued at that court, in much favour and efteem, 2s long as he lived. 
 
 He had a brother, John Lairesse, who painted all kinds of animals in the 
 fame tatte as Erneft, and with very good fuccefs ; he had likewife another 
 brother, James Lairesse, who excelled in painting flowers. 
 
 N i c h o- 
 
LAN [ 335 ] LAN 
 
 Nicholas LANCRET. 
 
 Painted Conversations. 
 Died 174.3, aged 53. 
 
 He was born at Paris, in 1 690, and, according to the mod authentic writers, 
 was a difciple of Watteau ; but, according to the Chronological Tables, he 
 was the difciple of Gillot ; yet, probably he might have been inftrucled by 
 both. Under the direction of Watteau he made an extraordinary progrefs ; 
 and fo well imitated the ftyle and manner of his mafter, that fome of his works, 
 are frequently taken for the genuine paintings of Watteau. And although it 
 cannot be truly laid, that he arrived at the excellence of his mafter, either in the 
 fpirit and delicacy of defign, or the beauty of his colouring, and handling, yet 
 his paintings are lively, and agreeable. 
 
 He was indefitigable in his profeflion, and finifhed a great number of 
 pictures ; in all which may be obferved, a great deal of truth, and nature ; 
 good compofition, and execution •, groupes of figures well difpofed, and 
 agreeably turned ; and the whole handled with a light pencil. 
 
 LANG JAN. Vid. R e y n. 
 
 John LANFRANC, Cavaliere, 
 
 Painted Hiftory. 
 Died 164.J, aged 66. 
 
 This mafter was born at Parma, in 1581 : at firft was the difciple of 
 Agoftino Caracci, but afterwards of Annibal ; to whofe tafte of defio-n and 
 colouring he adhered intirely. He obtained under that eminent artift, fo o-reat 
 a degree of knowledge in his profeffion, and fuch a power in penciling, that he 
 was employed by Annibal, to execute fome of his defigns in the Farnefian 
 palace at Rome ; which he finifhed in fo mafterly a manner, that he made the 
 difference imperceptible, between his work and the work of his mafter, even 
 to this day. 
 
 His genius directed him to grand compofitions ; for he had a peculiar facility 
 in defigning them, and he painted in frefco as well as in oil. His imagination 
 was lively, and his hand ready to execute the ideas which occurred to his mind ; 
 but, that remarkable eale with which he invented, and that readinefs in expreffintr 
 his conceptions, cau fed him to be lefs attentive, to the ftudying every part of his 
 defign, and lefs careful to obferve" the requifite correftnefs. While he was 
 under the guidance of Annibal, he was much more correct ; but after the 
 death of that celebrated artift, he abandoned himfelf more to theimpetuofity of 
 his genius, and with much lefs regard to regularity, and the beauty of 
 proportion. The Cupola of Parma (which was painted by Correggio,) Lanfranc 
 ftudied fo particularly, that it enlarged his ideas, and gave him fuch a fondnefs, 
 for the admirable effect produced by forefhortened figures, when they are 
 happily executed, and alio fuch a tafte for the grandeur of compofition j that in 
 the Cupola of S. Andrea della Valle at Rome, he defigned figures of above 
 twenty feet in heighth, which have a noble effect. As he was thoroughly 
 acquainted with the principles of perfpeclive, thofe large figures appear but of a 
 
 2 natural 
 
LAN [ 336 ] LAN 
 
 natural and juft proportion, from the po'mt of obfervation below ; and to a 
 judicious eye they feem much more commendable, than fome of his fmaller 
 defigns. The fubjedt of that painting, is the reprefentation of the Saints in 
 Glory ; and it is efteemed his molt capital performance. He did indeed covet 
 to imitate the grace of Correggio, but never could arrive at that excellence ; his 
 greateft power being manifested in his compofition and fore-fhortening ; for, he 
 was deficient in correctnefs andexpreflion, and his colouring, though ibmetimes 
 admirable, was frequently too dark. 
 
 His figures are well grouped, and his draperies have an uncommon elegance ; 
 but, although his tafte of defign, in imitation of his mafter Annibal, is always 
 grand, yet could he not preferve the lame correctnefs ; nor is his colouring, or 
 the tint of his carnations, any way comparable tothofe of Annibal ; his fhadows 
 particularly being too black in general, and frequently more fimilar to the tints 
 of Caravaegio. Although he was not well fkilled in the management of the 
 Chiaro-Scuro, being unacquainted with its true principles •, yet he fometimes 
 practiced it, rather from the felicity of his genius, than from any knowledge of 
 the art. However he had abundant merit in his profefilon, and his beft works 
 will always fupport their great anddeferved reputation. 
 
 By order of Pope Urban VIII, he painted in the church of S. Peter at Rome, 
 the reprefentation of that Saint walking on the water ; which afforded the Pope 
 lb much fatisfaftion, that he conferred on him the honour of knighthood. One 
 of the excellent compofuions of Lanfranc, is in the church of S. Anne at 
 Naples. It reprefents the Virgin and Child, with S. Domenick, and S. Januarius. 
 The compofition is truly fine, the colouring admirable, and the effect beautiful 
 and brilliant. The head of the Virgin is in a grand ftyle, and with a character 
 full of majefty and dignity ; and in the fame city, in the Palazzo della Torre, 
 t*iere is a picture by this mafter, which is efteemed equal to any of his pro- 
 ductions. The fubject is S. Francis dying, attended by Angels, who are 
 a/T-fling and comforting him in his lalt moments, and the figures are as large as 
 life. Some of the heads of the Angels are in the tafte and ftyleof Domenichino, 
 the colouring is ftrong, the mannerof d<_fign grand, and the head of the Saint is 
 particularly fweet and amiable. 
 
 Henry L A N K R I N C K. 
 
 Painted Landfcapc. 
 Died 1692, aged 64. 
 He was born in 1 62R, learned the art of painting in the academy at Antwerp, 
 and became a painter of confiderable note. He ftudied principally afttr Titian, 
 and Salvator Rofa •, and met with an encouragement in England, equal to his 
 merit. His landfcapes fhew a good invention, good colouring and harmony, if 
 they are of his beft manner •, and they are extremely free, and beautiful, in the 
 Ikies. His views are ufually of a rough, rude country, v. ith bivken grounds, and 
 uncommon fcenery, having fome ftrong lights judicioufly placed, and great 
 warmth •, and as to the figures which he introduced, they were properly difpofcd 
 ind defigned in imitation of Titian. 
 
 ■&■ 
 
 Andrea 
 
LAN [ 337 ] L A R 
 
 Andrea LANZANO. 
 Painted Hijtory. 
 Died 1 7 12. 
 He was a Milanefe, and the difciple of Ludovico Scaramuccia ; but 
 having fpent fome years under that mafter, he went to Rome, and placed 
 himfelf in the fchool of Carlo Maratti. By the inftructions of that famous 
 artift, he became a painter of diftinguifhed note ; and was much efteemed for 
 the goodnefs of his compofition and defign ; for the beauty of his colouring -, 
 and for the grace and dignity of his figures. 
 
 Nicholas de LARGILLIERE. 
 
 Painted Portraits, Hijtory, Animals, and Land/cape. 
 
 Died 1 746, aged 90. 
 
 He was born at Paris, in 1656, and at firft intended for a commercial bufinefs p 
 but his father, having taken the young man along with him, on a trading 
 voyage to England ; and finding the bent of his genius to be folely to the art 
 of painting, indulged the inclination of his ion, and placed him as a difciple with 
 Francis Gobeau, a painter of fome confiderable note. Although he was taught 
 in that fchool, to paint fruits, flowers, fifh, landfcapes, and animals, or fubjefts 
 taken from low life, in the manner of Bamboccio and Jan Miel •, yet Largilliere 
 had more elevated ideas, and applied himfelf to ftudy the works of the great 
 mafters, in the hiftorical ftyle •, as being more fuitable to his turn of mind, and 
 more likely to gain him that diftincfion, of which he feemed ambitious. He 
 fpent fix years in conftant application to his ftudies ; endeavouring to obferve 
 and imitate nature, in every part, that might conduce to improve him in the 
 profeffion he had undertaken. 
 
 When he thought himfelf fufficiently qualified to commence painter, he went 
 to London,, where he gained the friendfhip and countenance of Sir Peter Lely, 
 who expreffed much efteem for his works •, and at laft he was fo far honoured, 
 as to be made known to King Charles II, for whom he painted feveral pictures. 
 At his return to Paris, Vander Meulen and Le Brun having ken fome of his 
 performances,. encouraged him to continue in his own country, and procured 
 him friends by their recommendation •, fo that his reputation was generally 
 fpread through Paris, and Lewis XIV. fat to him for his portrait, as alio did 
 King James II, and his Queen. 
 
 He was accounted to have had a good genius, to compofewell, to be correct 
 in his defign, and to diftribute his draperies judicioufly •, his principal excellence, 
 however, confifted in his colouring, and particularly in portraits, of which the 
 heads and hands were remarkably well executed, with a light and fpirited 
 pencil. His tint of colour was clear andfrefh, and by his manner of laying on. 
 his colours, without breaking or torturing them, they have long retained their 
 original freihnefs and beauty. It is obferved by fome Trench writers, that he 
 was admitted into the academy as an hiftorical painter, that circumftance 
 feeming to imply a higher compliment to the abilities of Largilliere ; vet, 
 though feveral of his defigns in hiftory, may juftly deferve commendation, his 
 imputation is certainly more eftablifhed as a painter of portraits, than as a painter 
 
 oi 
 
L A R [ 338 ] LAS 
 
 of hiftory. But the French rarely omit even the fmalleft opportunity, either to 
 load their own artifts with exaggerated commendation, or to depreciate the artifts 
 among the Englifh. 
 
 The moft capital work of this mafter, is a grand compofition, reprefenting 
 the Crucifixion of (Thrift •, in which the companion expreffed in the countenances 
 of the fpectators, the grief of the Virgin, and the forrow of S. John, fhew a 
 good underftanding of the fubject. He was appointed director of the academy, 
 as a publick acknowledgement of his merit •, in which ftation he preferved that 
 efteem, which his talents had fo juftly procured for him. 
 
 Marcellus LAROON. 
 Painted Converfations, Hiftory, and Portrait. 
 Died 1 705, aged 52. 
 
 He was born at the Hague, in 1653, and inftructed in the art of painting by 
 his father, till he went with him to England; but on his arrival at London, he 
 was at firft placed with La Zoon a portrait painter, and afterwards with 
 Flefhiere-, yet, his real improvement was derived from his own affiduity. 
 When he began to work for himfelf, as he had diligently ftudied nature, he 
 copied it clofely, fo that his manner was intirely his own. He drew correctly, 
 and painted drapery in a tafte that was far fuperior to any of his cotemporaries ; 
 and on that account, was employed by Sir Godfrey Kneller, to paint the draperies 
 of his portraits. But, the greateft merit of this painter confifted, in his being 
 able to imitate the ftyle, the touch, and the colouring of thofe mafters who were 
 efteemed the moft eminent ; and his imitations are very exact. 
 
 A picture of that kind, (which the Italians call Paftici) is mentioned in the 
 collection at Houghton, the feat of Lord Orford, which, it is faid, might eafily 
 pais for the work of Bafian, though it was really painted by this artift. He 
 painted converfations, and moft kind of fubjects, in a large as well as in a fmall 
 lize. 
 
 Peter LASTMAN. 
 Painted Hiftory. 
 
 He was born at Haerlem, in 158 1, and became a difciple of Cornelius CorneHfz 
 of Haerlem •, but when he had fpent fome years under the direction of that 
 mafter, he travelled to Italy, and improved himfelf both in his tafte of defign, 
 and his handling. His manner of compofing was with a number of figures, 
 which he grouped with a great deal of propriety, and very often difpofed them 
 judicioufly. His naked figures are ufually well defigned, his draperies flowing 
 and full, and his colouring firong ; but, all his ftudies from the antique or the 
 great mafters, could not diveft him of his national tafte, nor furnifh his mind 
 with a competent degree of grace, or elegance. 
 
 One of the moft capital paintings of Laftman, is the hiftory of S. Paul at 
 Lyftra, in which the characters are very well diftinguifhed, and particularly the 
 priefts, who have an air of folcmnity and dignity. He was exact in obferving 
 the Coftume, not only in the draperies of his figures, but even in the vafes and 
 inftruments, ufcd by the antients of thofe times in their facrifices. He had the 
 honour of being the mafter of Rembrant, and lbme other confiderable painters. 
 
 Jacob 
 
LAV [ 339 ] L A U 
 
 Jacob LAVEC QJJ E. 
 
 Painted Portrait. 
 Died 1674, aged 50. 
 
 He was born at Dort, in 1624, and learned the art of painting in thefchool 
 of Rembrant 5 yet he did not adhere to the manner of that great mafter, but 
 rather chofe to imitate De Baan. While he ftudied under Rembrant, he 
 painted one picture, which, in the penciling and colouring, fo ftrongly refembled 
 the work of that great artift, that it might be readily miftaken for his. That 
 picture Lavecque always kept by him, as a proof of his ability in his profeflion, 
 and yet endeavoured to imitate an artift that was greatly inferior to Rembrant. 
 
 Filippo LAURA, or LAURI. 
 
 Painted Land/cape, and Hifiory. 
 Died 1694, aged 71. 
 
 This admired artift was born at Rome in 1623, the fon of Balthafar Laura, 
 a good painter, who had been the difciple of Paul Bril. From his father, 
 Filippo learned the rudiments of the art, but afterwards he ftudied under Angelo 
 Carofello, who was his brother-in-law •, and proved in a Ihort time fo great a 
 proficient, that he far furpaffed his inftructor in defign, colouring, and elegance 
 of tafte. He attended affiduoufly to nature, he examined thofe paintings that 
 were excellently performed by others, and made fo happy a ufe of his obferva- 
 tions, that he changed his firft manner intirely, and formed another, more fweet, 
 more pleafing, and much more delicate, as well in the fcenery, as in the colouring. 
 
 He applied himfelf to painting hiftorical fubjects in a fmall fize, enriching the 
 back-grounds with lively landfcapes, that afforded the eye and the judgement 
 equal entertainment. But, although he moftly delighted to paint in fmall, he 
 finifhed feveral very grand compofitions for the altar-pieces of churches, which 
 were highly approved ; yet were his works in fmall exceedingly more admired 
 than thofe of a larger proportion. 
 
 It cannot perhaps be truly affirmed that he was one of the firft rank of painters 
 at Rome ; but his paintings have abundance of merit and elegance. He 
 defigned well, and had considerable grace in his compofitions. The ftyle of his 
 landfcapes is always pleafing-, and though his landfcapes have not all an equal 
 degree of merit, fome of them being a little too ftrong, and fome too faint, yet 
 they have in general a lively frefhnefs, which will always allure the eye, and 
 pleafe the judicious. 
 
 He had a rich invention, and an accurate judgement ; his ufual fubjects 
 were hiftories, or fables taken from the Metamorphofis of Ovid, or bacchanals, 
 or landfcapes with delicate figures, all painted in a fmall fize •, and his works 
 are now extremely valued, for corrcctnefs of outline, for the delicacy of his 
 touch, and for that fpirit which enlivened all his compofitions. They are in 
 univerfal efteem, and eagerly bought up at large prices, in every part of Europe, 
 
 X X JOH»S 
 
LEE [ S4° ] LEE 
 
 John Anthony Vander LEEPE. 
 
 Painted Lan df capes, Sea-pieces^ Storms., and Calms. 
 Died 1720, aged 56. 
 
 He was born at Bruges, in 1664, of a diftinguifhed and wealthy family.". 
 His firft ideas of painting were formed, only by obfervingthe embroideries of 
 a young lady •, and he accuftomed himfelf to imitate in water colours, what fhfe 
 worked with her needle. Afterwards, he added to his knowledge and tafte, by 
 copying prints and good defigns of other m afters in water-colours-, till by the 
 afliftance of a ftrong natural genius, and fedulous application, he acquired an 
 expertnefs m painting, not only with the colours he ufed originally, but alio 
 with oil. 
 
 His fancy led him to paint Iandfcapes, which he always fketched after nature ; 
 and likewife to reprefent views of the fca, in ftorms, and in calms •: thofe 
 fubjects he was lb defirous to defcribe agreeable to truth, that he conftantly took 
 his obfervations on the lea fliore •, and defigned the profpects, the diverfified 
 appearances of the water, and every object that engaged his attention, with the 
 utmoft precifion on the fpot, adapting afterwards his fkies with extraordinary 
 fkill, fo as to render them luitable to his fubject. From fome of thofe fketches, 
 he finifhed a very large fea-piece that had a furprizing grand effect ; and he alfo 
 painted a landfcape, with figures reprefenting the Flight into Egypt ; in which 
 the trees, the foliage, and the plants were beautifully coloured, and touched in. 
 the ftyle of a mafter. That picture is in the church of S. Anne at Bruges. 
 
 The utmoft ambition of Vander Leepe was to vifit Italy; but he was prevented 
 by the tender remonftrances of his parents, and alfo by his having married early, 
 and holding fome honourable and lucrative employments, which demanded his 
 perfonal attendance •, and he continued to paint, merely from the pleafure he 
 derived from the practice of his art, and not from any motive of being enriched 
 by his labours. 
 
 It feems very extraordinary, that a perfon who had never been regularly 
 trained to the profefiion, who had no inftructor, and who had been indebted 
 even to an embroiderefs for his firft knowledge ; lriould arrive at fuch eminence, 
 as to induce every connoifttur who law his works, to conclude that he had 
 ftudied in Italy. Flis Iandfcapes are very much in the taite of Genoels, and 
 frequently in the ftyle of Pouflin. He painted with extraordinary readinefs and 
 eale, having a light free touch, and a good tone of colouring, though fometimes 
 his colouring appears rather too grey ; but, his fea-pieces are more highly 
 valued than his land profpects. The figures in his pictures, are generally 
 painted by Mark van Duvenede, and Nicholas Kerckhove ; two good matters, 
 who adapted the figures to the fubjects with great fkill, and propriety. 
 
 Gabriel Vander LEEUVV, or Dz Leone. 
 Painted Oxen, Sheep, and other Animals. 
 Died 1688, aged 45. 
 He was born atDort, in 1643, and learned the art of painting from his 
 father, Sebaftian vander Leeuw, who was an exceeding good painter of animals, 
 having been bred in the fchool of Jacob Gerritze Kuyp. But the genius of 
 
 Gabriel 
 3 
 
 
LEE [ 341 ] LEE 
 
 Gabriel being ftrong and lively, it foon enabled him to furpafs his father, and 
 appear with credit in his profeffion. 
 
 However, he feemed confcious that he flood in need of farther improvement, 
 and therefore to obtain a better tafte, he refolved to travel to Italy, and in his 
 progrefs vifited France, Turin, Naples, and Rome. He fpent fourteen years 
 abroad, four at Paris and Lyons, and ten in Italy, and particularly attached 
 himfelf to the ftyle of Caftiglione, and Philip Roos, called Rofa da Tivoli ; but 
 he ftudied the latter with more fatisfaction, than he did the other, and at laft 
 imitated his model happily in the freedom of his touch, and the readinefs or 
 rather the rapidity of his hand. Houbraken aflerts, that he had feen a picture 
 of this mafter, in the manner of Rofa da Tivoli, reprefenting a drove of oxen, 
 fheep, cows, and other cattle, which was painted with extraordinary fpirit, and 
 with great boldnefs and freedom of pencil. 
 
 He ftudied his fcenes and every object after nature, and fpent whole days in 
 the fields, to obferve the forms, actions, and attitudes of thole different animals 
 which he intended for his fubjects, fketching them with great exactnefs ; by 
 which conduct, he not only acquired the habit of defigning correctly, but he 
 furnifhed himfelf with a variety of objects, proper to be inferted in any of his 
 future compositions. 
 
 When he returned to Holland, his works were extremely acceptable to the 
 publick, and immediately bought up ; but, as he painted expeditioufly, and 
 finifhed his pictures furprizingly faft, their number proportionably diminilhed 
 their price, and he felt a fevere mortification, on obferving that the demand for 
 his works decreafed daily. That difcouragement made him refolve to return 
 to Rome, or Naples, where he had formerly experienced the greateft fuccefs j 
 but, he was prevented from putting that project into execution, by his death, 
 which happened at Dort. 
 
 This artift had a very fine genius-, his invention was lively and rea ly, and his 
 hand as expeditious as his thought. His pencil was free, broad, and firm, and 
 his colouring fhewed the ftyle of the Roman fchocl ; but, that tone of colour 
 was not agreeable to the Flemifh tafte, which feems to prefer the high finiihing 
 in pictures, and invincible patience in neat handling, to almoft every other 
 perfection in the art of painting. 
 
 Peter Vander LEEU W. 
 Painted Oxen, Cows, Sheep, and other Animals. 
 He was born at Dort, in 1644, the younger brother of Gabriel vander 
 Leeuw, and inftrufled in the art by his father Sebaftian. He painted the fame 
 kind of fubjects as his brother, and with abundance of merit ; but his manner 
 of penciling and colouring was quite different from Gabriel's, and better adapted 
 to the tafte of his countrymen ; for he finifhed his pictures neatly, and took all 
 poffible pains to render them tranfparent, giving them alio an agreeable and 
 natural tone of colour. 
 
 Of all the Flemifh artifts he principally admired Adrian vander Velde-, he 
 made him his model ; and was fo ambitious to imitate him, that whenever he fat 
 down to paint any defign of his own, he always placed a picture of Adrian's 
 before him, that he might ftrike out fome refembhnce of that mafter, either in 
 
 X x 2 refpeA 
 
leg [ 342 ] Lei 
 
 refpedt of his compofition, his colouring, or defign ; by which means, his 
 paintings have always fomewhat that reminds one of Adrian. 
 
 Yet, notwithstanding his acknowledged merit in his profeflion, he had an odd,, 
 whimfical, and difagreeable humour, which often gave offence to thofe who 
 were beft inclined to become his friends and benefactors. That peevilh and 
 perverfe temper, effectually prevented all perfons of tafte from vifiting him - v 
 excited a general diflike ; and compelled him to difpofe of his works at a low 
 rate, far below their intrinfick value. 
 
 Ste fa no Maria LEGNANO, called Legnanino. 
 
 Painted Hiftory. 
 Died IJ15, aged 5$. 
 
 1 his mailer was born near Bologna, in 1 660, and received his early inftructiorr 
 from his father Ambrogio ; but he was afterwards a difciple in the celebrated 
 fchool of Carlo Cignani at Bologna, where he learned defign and colouring. 
 Having made a great progreis under that excellent mafter, he went to Rome ; 
 and placed himfelf as a difciple with Carlo Maratti, with whom he continued for 
 three years. During that time he applied himfelf diligently to copy the works 
 of the beft artifts, and formed a peculiar ftyle, extremely pleafing ; in which, he 
 blended the different manners of the Roman, die Milanefe, and the Bologniaa 
 painters. 
 
 His Subjects were hiftories, taken from the facred, and alfo from the fabulous 
 writers •, which he executed with fuccefs, compofing them with elegance, and 
 true tafte. Some of his beft works are at Milan ; in which a judicious obferver 
 may behold a beautiful imagination ; a fine turn of thought and invention ; a 
 charming diffufion of light ; an excellent management of the chiaro-fcuro ; a. 
 bold relief > and the whol; touched with a free and fweet pencil. 
 
 Giovanni Antonio LEISMAN. 
 
 Painted Hijlory, Landfcapes, and Sea-ports. 
 
 Died 1698, aged 9 4. 
 
 He was a German, born in 1604, who became a painter, by the force of his 
 own natural genius, without any inftructor, and merely by ftudying the beft 
 paintings to be feen in his own country. After fome years fpent in clofe 
 application, he travelled to Venice, and purfued his ftudies there fo very afiidu- 
 oufly, after the works of Titian, Tintoret, and Paolo Vcronefe, that he rofe into 
 high efteem. The principal nobility in that city kept iiim conftantly employed, 
 and his paintings were admired for their fpirited and lively touch, alfo for the 
 delicate colouring in his fea-ports, landfcapes, architecture, and hiftorical com- 
 pofitions ; all which fubjects he painted with great truth, nature and elegance. 
 
 Two of his pictures are particularly mentioned by Balthafar Pozzo, as being 
 indifputably excellent. One is a landfcape with dreary mountains, and diick 
 folemn woods ; out of which appears a gang of robbers preparing to affault 
 fome unfortunate travellers. The other is a fea-port, enriched with lovely 
 views of magnificent buildings, antiques, and other beautiful and elegant 
 incidents. Both of them are finilhed with wonderful delicacy, with a free pencil 
 and a light touch, and have a very pleafing effect. 
 
 3 S,R 
 
LEL [ 343 ] L E M 
 
 Sir Peter LELY, or Peter Vander Faes. 
 
 Painted Portrait, and Land/cape. 
 
 Died 1680, aged 63. 
 
 He was born at Soeft in Weftphalia, in 161 7, but was placed as a difciple 
 with Peter Grebber at Haerlem, with whom he continued for two years ; and 
 at the age of twenty-five, was accounted fo excellent a painter of portraits, that 
 he became ftate painter to King Charles II. By ftudying the works of the moft 
 admired matters of Italy, of which he purchafed a capital collection, and by 
 making them his models, he formed for himfelf a manner that was exceedingly 
 agreeable. His pencil was light and delicate •, his colouring lovely ; the airs of 
 his heads, and his figures, amiable and graceful •, his attitudes were eafy,. 
 natural, and well chofen, with an inexhaufted variety. His draperies have fuch 
 an agreeable negligence, with broad folds, that his works in that refpect, as well 
 as in other particularities, are eafily diftinguifhable from all other artifts ; and 
 they have proved incomparable models for fucceeding artifts to imitate. How- 
 ever, he had a very peculiar expreffion in the eyes of his female figures ; a 
 tender languifhment, a look of blended fweetnefs and drowfinefs, unattempted 
 before his time by any mafter, which he certainly conceived to be graceful. 
 But, although in ibme particular forms, it might happen to have a defirable and 
 fine effect •, yet, as his expreffion is the fame in all, he is accounted a mannerift. 
 The hands of his portraits are remarkably fine, and elegantly turned •, and he 
 frequently painted landfcapes, for the back-grounds of his pictures, in a ftyle 
 peculiar to himfelf, more fuitable to his fubjscts, than perhaps any other mafter 
 could poffibly have painted. He likewife excelled in crayon painting •, nor are 
 his portraits in that way, which were finifhed intirelywith his own hand, held in 
 lefs eftimation, than thofe which he finifhed in oil. •, and by fome connoiffeurs 
 they are accounted preferable to the others. 
 
 His works are fo univerfally known in thefe kingdoms, that they need no 
 defcription •, but they are alfo univerfally admired in all parts of Europe where 
 they are known. His only difciples were Greenhill, and Buckfhorn ; and he 
 appeared fo jealous of having a rival in either of them, that he would not 
 permit them to fee in what manner he mixed or laid on his colours, nor how 
 he marked, and diftributed them with his pencil ; though each.of them- copied* 
 the works of their mafter to very great perfection. 
 
 B A L T H A S A R V A N LEMENS. 
 
 Painted Hiftory. 
 Died 1704, aged 6j. 
 
 He was born at Antwerp, in 163.7, an ^ went to London after the reftoration,, 
 to follow his profeffion ; but he was not fo fortunate as to find encouragement, 
 or fufficient employment. He therefore was conftrained to procure a livelihood, 
 by making fketches for other painters. He compofed fmall hiftorical fubjects. 
 with tolerable fuccefs ; they were pleafing and well coloured ; and he had a free 
 pencil, with a ready invention ; fometimes fhewing a degree of elegance in his 
 
 figures. 
 
 A R T O 
 
LEO [ 344 ] LEY 
 
 Arto LEONE, called Coriakio. 
 Painted Hijtory. 
 
 Died 1564, aged 66. 
 He was born in the year 1498, and was a difciple of Cornelius Engelbrecht. 
 The ityle in which he defigned, was grand •, and his figures were ufually as 
 large as life, and often even larger. His fubjects were hiltorical, taken from 
 the facred writings, or from fabulous authors, and fometimes from the Epic 
 poets •, in which he was particularly fond of introducing fuperb architecture, or 
 pieces of bas-relief, which he defigned and executed with great freedom of 
 hand, and elegance of tafte. 
 
 N. V A N d e R LEU R. 
 Painted Hijlory, and Portrait. 
 
 This artift was born at Breda, in 1667 according to Defcamps, but according 
 to the Chronological Tables in 1657, and went to Rome when he was a youth, 
 not yet arrived at his twentieth year. Soon after his arrival in that city, he had 
 the happinefs to obtain the patronage of a Cardinal, who procured him accefs 
 to the richeft collections of paintings ; and by that means, afforded him an 
 opportunity of feeing, and ftudying, the mod capital performances of the great 
 matters. He devoted his whole time to his improvement, and was as diligent 
 in his ftudies after nature, as he was in copying from the nobleft models •, till 
 at laft he was accounted the bed copyift at Rome. He defigned well, and in 
 every refpect made himlelf an able artift, before he quitted Italy ; and on his 
 return to his own country, he received confiderable applauie for feveral of his 
 compositions. 
 
 But, although he might be allowed to defign and colour well, and although 
 he underftood peripective and architecture, and might jultly be efteemed a 
 good painter of hiftory ; yet his imagination was cold, and his invention flow 
 and difficult ; fo that it was rather a labour, than a pleafure, to him to under- 
 take a compofition. However, he excelled in portraits, and might have been 
 without a competitor in that branch, if he had confined himlelf intirely to it. 
 His beft performance is in the church of the Recollets at Breda, and it is 
 iufficient to eftablifh his reputation. 
 
 Lucas Van LEY DEN, or Hugense. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1533, aged 39- 
 
 Th : s antient artift was born at Leyden, in 1494, and inftrucled in the principles 
 
 of the art, by his father Hugues Jacobs, a painter of fome note. From his 
 
 infancy he was exceedingly ftudious, not omitting his application even in the 
 
 night, as well as in the day •, and by fuch inceflant induftry, he was qualified to 
 
 produce fuch works at the age of nine, and twelve years, as excited the 
 
 admiration, and aftoniftiment, of all the artifts of that time. He painted not 
 
 only in o.l, but in diftemper, and on glafs ; and was full as eminent for 
 
 engraving, as for painting. After he had been taught the rudiments of the art 
 
 by 
 
LEY [ 345 ] LEY 
 
 by his father, he was a difciple of Cornelius Engelbrecht ; in whofe fchool he 
 fo far perfected himfelf, as to be able to follow his profeflion independent on- 
 any other. 
 
 His genius exerted itfelf fo early, that before he was fifteen years of age, he' 
 painted the hiftory of S. Hubert, which procured him the greateft imaginable 
 applaufe, and honour. His tone of colouring is good, his attitudes (making a 
 reafonable allowance for the ftifF German tafte) are well enough, his figures 
 have a confiderable expreffion in their faces, and his pictures are very highly 
 finifhed. He endeavoured to proportion the ftrength of his colouring, to the 
 different degrees of diftance in which his objects were placed ; for in that early 
 time, the true principles of perfpective were but little known, and the practice 
 of it was much lefs obferved; as may be evident from the works of Albert 
 Durer himfelf, who did not obfervethe rules of it with any tolerable exactnefs, 
 although he wrote a treatife exprefsly on that fubject. But, as Lucas had no 
 inftructor to direct him in the knowledge of that branch, he was confequently 
 incorrect, with regard to the proportional heighth of his figures to their diftances r 
 and the receding of his other objects, fo as to appear a mannerift. His draperies 
 are abundantly too ftiff; they generally are broken into too many folds ; and in his 
 heads there appears too great a fimilarity, as well as a want of elegance, and 
 grace. 
 
 Writers mention a very famous print of this mailer's engraving, the fubject 
 of which is a Bag-piper •, and it has been fold for an hundred ducatoons, or 
 about twenty pounds fterling. In the town hall at Leyden, the moft capital 
 picture of Lucas is preferved with great care ; the magiftrates having refufed 
 very large fums, which have been offered for it. The picture reprefents the 
 Laft Judgement, and it contains a prodigious number of figures. The 
 compofition is good, the female figures are delicately painted, and the carnations 
 have a great deal of truth ; though at the fame time it cannot but be regretted, 
 that he had not a proper tafte, to ftudy beautiful nature more effectually. 
 
 N. LEYSSENS. 
 
 Painted Hiftory. 
 
 Died 1720, aged §g. 
 
 He was born- at Antwerp, in the year 1661, and went early to Rome, where 
 he employed himfelf ftudioufly in obferving thofe admirable works of nature 
 and art, which occur to an artift, in that celebrated city and its environs. But, 
 although his works were diftinguifhed, by uncommon marks of efteem and 
 commendation while he refided in Italy ; yet he quitted all his profpects of 
 fame and wealth, from a tender impulfe of filial piety. 
 
 His father was poor, and very aged ; and he left Rome from no other motive, 
 than to fupport his father, and to render the life of hi." parent comfortable, by 
 his own care and acquifitions. And providence vifibly feemed to reward the 
 goodnels of his heart ; for, he had more employment than all the painters at 
 Antwerp, and even more of unfolicited work, than thofe artills had, who exerted 
 all their interelt, fkill, and induftry to procure bufinefs. Except it was to atten I 
 the duties of his religion, he never ablented himfelf from his feeble parent •, he 
 fought for no other companion or intimate ; and on every occafion, always 
 
 treated 
 
LIB [ 346 ] LIB 
 
 treated him with the moft tender and duteous refpect, that it was pofiible t3 
 exprefs. 
 
 He had a good tafte of defigning hiftorical fubjefts ; particularly, he defigned 
 nymphs, boys, ftatues, and buftoes, with extraordinary correctnefs, and very 
 agreeable colouring. On that account, he was much employed by Hardime, 
 Boflchaert, and Verbruggen, who were flower painters, to adorn their pictures 
 with figures adapted to their fubjects. His merit in his profeflion, and his 
 conduct in domeftick life, were rewarded with univerfal efteem •, and he left 
 behind him the character of being a good painter, and what is ftill a more 
 honourable encomium, the character of pofiefiing a good heart, and exemplary 
 virtue. 
 
 LIBERALE Veronese. 
 
 Painted Hiftory. 
 
 Died 1536, aged 85. 
 
 He was born at Verona, in 145 1, and was a difciple of Vincenzo diStefano ; 
 but he imitated the ftyle, and manner, of Giacomo Bellini of Venice. He 
 finiflied his pictures with exceeding neatnefs, and patience, almoft beyond 
 example, fo as to give them the appearance of miniatures ; and in mod of his 
 compofnions, he defigned a multitude of figures. Vafari mentions one, 
 reprefenting the Adoration of the Magi, confifting of an infinite number of 
 fmall figures, horfes, dogs, camels, and other animals •, in which the heads 
 were carefully and highly finiflied ; the whole looked like miniature, rather 
 than oil painting ; and at that time, it was wonderfully applauded. 
 
 His principal works are in Verona, where he painted many altar-pieces for 
 the churches, and a large number of eafel pictures for the nobility. A very 
 high commendation is given to a picture of this mafter, reprefenting the 
 Marriage of S. Catherine ; in which the compofltion is good, there appears a 
 great deal of grace in the heads, and a natural delicate expreflion. 
 
 Pietro LIBER I, called Cavalie're Liber i. 
 
 Painted Hijlory. 
 Died i6jj, aged yj. 
 
 This mafter was born at Padua, in 1 600, and travelled through the principal 
 cities of Italy, to ftudy the works of the moft eminent painters. He had a very 
 enlarged genius •, which enabled him to difcern the eflential beauties, and alfo 
 the particular excellencies of every mafter, on whofe works he employed his 
 obfervations. While he refided at Rome, his attention was wholly engrofled, 
 by the grand ftyle, and compofirions, of Raphael; in Parma he was devoted to 
 Correggio, and Mazzuoli ; and at Venice, to Titian, and Tintoretto. From 
 thole diftcrent manners, from the beautiful variety perceptible in the works of 
 thole diflerent artifts, he formed a ftyle of his own, that was full of fpirit, 
 extremely judicious, and confifting of a pleafing mixture of them all •, though 
 ic muft be at the fame time allowed, that his tone of colouring partook rather 
 too much of the red, in fome of his compofitions. 
 
 In the Palazzo Zambeccari at Bologna, there is an excellent hiftorical picture, 
 fuppofed to be the reprefentation of Job •, which is much admired, and fliews 
 
 a mixture 
 
LIE [ 347 ] LIE 
 
 a mixture of the flyles of Caravaggio, and Calabrefe. In the cathedral church 
 of Vicenza, is alfo an ingenious compofition of the drowning of Pharaoh, which 
 is defigned in a grand ftyle, and finely painted ; and in the church of S. Maria 
 Maggiore at Bergamo, one of the mod capital performances of Liberi is preferved, 
 of which the fubject is Moles ftriking the Rock ; it is much better coloured 
 than thofe which he ufually finifhed for the churches, having lefs of the red 
 tint, and abundance of force, though it is lbmewhat incorrect in the defign. 
 
 Giovanni Antonio LICINIO. Vid. Pordenone. 
 Guilio LICINIO. Vid. Pordenone. 
 
 Jan, or John LIEVENS. 
 Painted Hiftory, and Portrait. 
 
 He was born in 1 607 at Leyden ; and his father, having obferved that he 
 had a natural propenfity to painting, and diicovered fymptoms of genius while 
 he was yet in his infancy, placed him under the direction of Joris van Schooten. 
 Afterwards he became the difciple of Peter Laftman, with whom he continued 
 for two years •, and at the age of twelve he copied two figures of Democritus, 
 and Heraclitus, after the paintings of Cornelius van Haerlem, which might 
 readily be miftaken for the originals. Principally he employed himfelf in 
 ftudying after nature, and in a fhort time diftinguifhed himfelf greatly ; parti- 
 cularly, by a portrait of his mother, which he painted at a very early period of 
 his life, and it is defcribed as a wonderful performance. 
 
 Although he was allowed to excel in portrait, yet he frequently painted 
 hiftory, with abundance offuccefs; among the number of which compofitions, 
 the Continence of Scipio is celebrated in very high terms. Another performance 
 of Lievens, applauded by the poets as well as the artifts of his time, was the 
 reprefentation of a Student in his Library, the figures being as large as life. 
 That picture was purchafedby the Prince of Orange, by whom it was prefented 
 to King Charles I ; who exprefTed his fnrprife at the excellence of the work, 
 especially when it was known, that the artift was then not above twenty years of 
 age. It proved a means of procuring him a favourable reception at the court 
 of London, where he had the honour to paint the portraits of the King, the 
 Queen, the Prince of Wales, and a great number of perfons of the firft rank 
 among the nobility. 
 
 After a continuance for three years in England, he returned to Antwerp ; 
 and was there inceflantly engaged, either for grand compofitions to adorn the 
 churches, or for fmaller paintings of a fize fit for the cabinets of the lovers of 
 the art. It is obferved, that in the houfe where the council meet at Amfterdam, 
 a picture of Lievens is placed between one by Govert Flink, and another by 
 Ferdinand Bol ; and yet, notwithftanding the merit of thofe mailers, that of 
 Lievens appears in no degree inferior to either of them. By the praife bellowed 
 on two of his pictures, they mould feem to be exceedingly capital, if we may 
 rely on the cotemporary writers ; the one is the hiftory of Abraham offering up 
 Ifaac ■, the other is the representation of David and Bathfheba. Each of them 
 is a fufficient proof of his genius for compofition, of the fweetnefs of his 
 colouring, and the excellence of his pencil. 
 
 Y y P 1 r r 
 
L I G [ 348 ] LIN 
 
 Pirro LIGORIO. 
 
 Painted Hifiory. 
 Died 1573, aged So. 
 He was born at Rome, in 1493, where he became a difciple of Julio Romano ; 
 but, he was much more eminent as a defigner, than as a painter. His defigns 
 of antique buildings, temples, monuments, and trophies, gained him an 
 eftablifhed reputation •, and he left feveral volumes of them, which are at 
 prefent in the poffeflion of the King of Sardinia, and are accounted an invalu- 
 able curiofity. He was appointed principal architect to Pope Pius IV. 
 
 Jacopo LIGOZZI. 
 Painted Hifiory, and Battles. 
 Died 1627, aged 84. 
 This mafter was born in 1543, and learned defign from a Veronefe painter 
 of good efteem, named Giovanni Ermanno. He painted in frefco as well as in 
 oil ■, in the former, he painted the Triumph of Paulus Emilius, and alio battles 
 which he executed in a grand ftyle, and with abundance of fpirit •, and in oil, 
 he finifhed a number of excellent compofitions at Florence, being for many 
 years employed by the Grand Duke ; and feveral of the churches and convents 
 <if that city are adorned with his performances. 
 
 John LINGLEBACH. 
 
 P.~ : uted Battles, Fairs, Sea-ports, and Sea-fight:. 
 Died 1687, aged 62. 
 
 He was born at Frankfort on the Maine, in 1625, and learned the art of 
 painting in Holland •, but he afterwards went to Rome, where he ftudioufly 
 
 died himfelf, to obferve every thing that was curious in art or nature, as far 
 a • he thought it merited his attention, and he continued at Rome, till he was 
 twenty five years of age. 
 
 His ufual fubjects are fairs, mountebanks, fea profpects, naval engagements, 
 and landfcapes ; which he compofed, and executed, exceedingly well. His 
 kindlcapes are enriched with antiquities, ruins, animals, and elegant figures ; 
 his lea-fights are full of exprefiion, exciting pity and terror-, and all his objects 
 are well defigned. His Ikies are generally light, and thinly clouded, and his 
 management of the aerial perfpective is extremely judicious ; his keeping is 
 ufually good, his diftances of a clear bluifh tint, and the whole together is 
 mafterly, producing an agreeable effect. 
 
 In painting figures, or animals, he had uncommon readinefs ; and on that 
 account, he was employed by feveral eminent artifts, to adorn their landfcapes 
 with thole objects •, and whatever he inferted in the works of other mafters, was 
 always excellently adapted to the fcene, and the fubject. Flis pencil is free, his 
 touch clean and light, and his compofitions are in general efteem. It may be 
 ohferved, that lie was particularly fond of introducing into moil of his compo- 
 fitions, pieces of architecture, the remains of elegant buildings, or the gates of 
 the ica-port towns of Italy ; embelliflied with itatues, placed fometimes on the 
 
 pediments 
 
LIN [ 349 ] LIN 
 
 pediments and cornices, and fometimes in niches. He alio excelled in repre- 
 senting Italian fairs and markets, inferring in thofe fubjects abundance of figures 
 well grouped and defigned, in attitudes fuitable to their different characters and 
 occupations ; and although he often repeated the lame fubjects, yet the livelinefs 
 of his imagination, and the readinefs of his invention, always enabled him to give 
 them a remarkable variety, either by fountains, columns, aqueducts arches, or 
 trophies, which he had Sketched after nature. 
 
 Jan, or John LINSEN. 
 Painted Hiftory. 
 He was a Flemifh mafter of confiderable reputation, who learned the art of 
 painting in his own country, but completed his ftudies in Italy. His principal 
 performance, is a picture defcribing the action in which he was taken captive 
 by the Rovers of Salee ; the figures in that painting are well defigned, the 
 colouring is pleafing, and it is touched with fpirit. The publick had conceived 
 great hopes of this artift ; but he was cut off unhappily in the vigour of life, by 
 an intimate companion with whom he was gaming ; and who happened to be fo 
 exafperated at lofing, that he murdered his friend Linfen on the fpot. 
 
 Peter Van LINT. 
 
 Painted Hiftory, and Portrait. 
 
 He was born at Antwerp, in 1609, and while he was yet a youth travelled to 
 Rome, where he ftudied in the academy, and alfo after nature, till he rendered 
 himfelf diftinguifhed as a mafter, of confiderable abilitiesin hiftory, and in portrait 
 painting. The hiftorical fubjects which he compofed, were taken both from 
 facred and profane writers •, and he painted in diftemper, as well as in oil, in a 
 large or fmall fize, with equal merit. For feven years he was retained in the 
 ferviceofthe cardinal bifhop of Oftia, and during that time was engaged to 
 work for no other perlbn. Some very grand compofitions of this mafter are at 
 Oftia, and others in the church of Madonna del Popolo at Rome. 
 
 After ten years refidence in Italy, he returned to his native city, where he 
 fucceeded to the utmoft of his wilhes ; and his works afforded the King of 
 Denmark fo much fatisfaftion, that he furnifhed him with employment for 
 feveral years, and bought up as many pictures of his painting as could poffibly 
 be procured. 
 
 His manner of compofition was in the grand ftyle, his defign being correct, 
 and his colouring extremely good. A'ery few of his works are to be met with-, 
 but, one of his mpft capital performances is to be feen in the church of the 
 Carmelites at Antwerp. 
 
 Hendrick Van LINT, called Studio. 
 
 Painted Land/capes, with Views about Rome. 
 
 This mafter is fuppofed to have been a defcendant of Peter van Lint, and 
 
 with great probability, his fon. He lived moftly at Rome, and fpent all his 
 
 leifure hours, in ftudying after nature the beautiful fcenes about that city •, ii c 
 
 rocks, rivers, villa's, cafcades, and landicapes ; which employment ufually 
 
 Y y 2 engaged 
 
L I O [ 350 ] HO 
 
 engaged him during the dimmer, and part of the autumnal months. His 
 paintings gradually rofe into efteem, more particularly by their being true 
 imitations of nature •, and on account of his attention to his improvement, and 
 his remarkable application, he was named Studio by the Bentvogel fociety of 
 artifts at Rome, by which appellation he is even at this day diftinguifhed. 
 
 In one of his dimmer excurfions, he went to Roncigiione, accompanied with 
 another painter, to (ketch fome of the charming views about that village. But 
 being obferved by a few ignorant peafants, the painters were fufpected to have, 
 fome evil intention •, and by the markings on their paper, which were totally 
 unintelligible to the illiterate fpectators, the two artifts were deemed to be no 
 other than magicians. 
 
 A report of that kind being eagerly fpread about the country, a multitude of 
 people affembled round them in a fhort time •, and a romantick building which 
 flood near the extremity of the rock, happening to fall juft at that inftant, the 
 peafants unanimoufly agreed, that it could only have been thrown down by their 
 magical powers ; for which reafon, they were feized inftantly, fecured by guards 
 brought thither for that purpofe, and hurried away before the chief magiftrate. 
 But, that officer, having dilcovered the real truth, by minutely examining into 
 the affair, discharged the two painters, and took care to have them protected 
 from infults •, though the country people perfifted in giving them the mod 
 opprobrious language; continually calling them forcerers, as long as they 
 continued in fight. 
 
 Two pictures of this mafter are in the collection of the earl of Moyra, the 
 one is a peripeftive view of the Campo Vaccino, and the other a view of the 
 antient Amphitheatre of Titus, called the Colliireum. 
 
 John Stephen L I O T A R D, called the Turk. 
 
 Painted Portraits. 
 
 this extraordinary arrift was born at Geneva, in 1702, and by his father was ■ 
 defigned to be brought up to mercantile bufinefs ; but, by the perfuafion of 
 his friends, who obferved the genius of the young man, he was permitted to 
 give himfelf up to the art of painting ; and he applied himfelf with fo great 
 diligence to make himfelf irrtire mafter of defign and colouring, that he became 
 an artift of the higheft diftinction. He particularly practifed to paint in miniature, 
 with crayons, or in enamel-, and in both arrived at a fuperior degree of excellence. 
 ,Hc underftood the principles of perfpe&ive thoroughly, and copied the works 
 
 the moft famous artifts in enamel and miniature, with fuch precifion, and 
 exactnefs of tint, as well as reiemblance, that the moft fkilful could not know 
 the originals from the copies ; and the experiment was proved by one of the 
 fined performances of Petitot, which was copied by Liotard. 
 
 He vifitcd France and Rome •, and in the latter city fome Englifh gentlemen, 
 who were competent judges of the art, having feen feveral of his pictures, were 
 fo ftruck with the beauty of them, that they invited him to London ; a city, 
 not more juftly famed for its wealth and commerce, than for munificence and 
 liberality in rewarding every fpecics of merit ; and Liotard diffidently experienced 
 the truth of this obfervation, while he redded in England. 
 
 5 Thofe 
 
LIP [ 351 ]• LIP 
 
 Thofe Englifh gentlemen who favoured him at Rome, intended to travel tcr 
 Conftantinople, and thither Liotard accompanied them •, but it muft feem 
 very Angular, that on his arrival in the Turkiih dominions, he affumed the 
 Levantine dreis, and never changed it after his return to Europe, which 
 occafioned his being called the Turk Painter. In his way from Conftantinople, 
 he vifited the Court of Vienna, where he received every publick mark of regard, 
 and approbation ; and having painted the portraits of the Emperor Francis I, 
 and the Emprefs, he fo effectually obtained the efteem of thofe auguft perfons, 
 that the Emperor ordered him to paint that portrait, which is now placed in the 
 Florentine gallery, among the portraits of the moft illuftrious artifts. In London 
 he had the honour to paint the portraits of the Princefs of Wales, and her 
 family -, and at the Hague, thofe of the Stadtholder, and his fifter. 
 
 He worked in enamel to afurprizing perfection, and in a.fize never attempted 
 by any other ; one of his pictures being above feventeen inches by thirteen. His 
 colouring in crayon, enamel, and miniature, is equally excellent ; with an 
 aftonifhing force, and beauty of tint •, with a ftriking refemblance of his models ; 
 a remarkable roundnefs and relief ; and an exact imitation of life and nature, in 
 all the fubjects he painted. 
 
 Filippo LIPPI, called the Old.. 
 
 Painted Hiftory. 
 * Died 1488, agedSj. 
 He was born at Florence about the year 142 1, and at the age of fixteen being 
 in a convent of Carmelites, he had an opportunity of feeing Mafaccio at work, 
 in painting the chapel of that convent, which infpired him with an eager defire 
 
 * The dates relative to the birth and age of Lippi, are unaccountably erroneous. The Chrono- 
 logical Tables of Mr. Harms aflert, that he was born in I 381, and died in 143S, at the age of c7 ; 
 and at the fame time affirm, that he was the difciple of Mafaccio, who according to the fame 
 tables was not born till 1417, and died in 1443. By which computation it appears utterly 
 improbable, that Lippi, who muft have been 36 years old when Mafaccio was born, could have 
 been a difciple of that mailer ; becaufe, fuppofmg Mafaccio only 20 years old when capable of 
 painting at the convent ; which was the firit opportunity that Lippi had of feeing him at work, 
 Lippi mult then have been 56 years of age, and confequently within one year of his death, which is 
 too abfurd to gain belief. Befides, it is generally agreed that Lippi followed his profeffion for near 
 30 years. 
 
 De Piles alfo muft appear guilty of an error, in fixing the death of Lippi in 1488, and yet 
 accounting him in that year to be only 57 ; for he muft by that computation fuppofe him to be 
 born in 1431, and as he allows him to be 16 years old in the convent when he faw Mafaccio 
 painting, that will fix the year when Lippi learned the art of painting, to 1447 ; which appears 
 to be four years after the death of Mafaccio, who, by the beft accounts, died in 1443 ; and 
 therefore that feems impoffible. De Piles alfo miftakes when he fays Lippi was bred up in the 
 convent from the age of eighteen, having been a Monk at fixteen ; for he certainly fhould mean, . 
 (what Sandrart teitiiies,) that he was in the convent from the age of eight, till he became a Monk . 
 at fixteen. 
 
 But, tofolve all thefe perplexities, if we fuppofe (what probably is the fact) that Lippi was born 
 in 1421, only four years later than Mafaccio, and then adding the fixteen years of Lipcii before he 
 faw Mafaccio painting, it will coincide with the year 1437, at which time the latter was twenty 
 years old ; and as he did not die till 1443, there remained fix years for Lippi to itudy the art of 
 painting under him : but Lippi, who is allowed to have died in 1488, muft have been 67 at his 
 death, and not 57 according to De Piles. 
 
 I offer this only as a conjecture, and perhaps fome more ingenious perfon may be able to reconcile . 
 thefe difficulties, in a more judicious manner. 
 
 tO j 
 
LIP I 352 J LIP 
 
 to learn the art. He therefore became a difciple of that matter, and ftudied 
 defi<m with inexpreffible affiduity, making fo rapid a progrefs, that he not only 
 pleated, but furprifed Mafaccio. 
 
 The praifes given him by his friends, as well as his inttructor, wrought fo 
 ftroncdy on his mind, that he forfook the convent, threw off the habit, and 
 devoted himfelf intirely to the profeffion of painting. Me endeavoured to obtain 
 as much inttruction as poffible from Mafaccio, and very happily imitated his 
 manner ■, yet, the courfe of his ftudies was for fome time interrupted, by an 
 accident which detained him in Barbary for a year and a half. For, while he 
 was amufing himfelf in the company of fome of his friends, on board a Felucca 
 in the Mediterranean, a Corfair who was cruizing near the fhore, took them all 
 prifoners, and carried them into captivity. But Lippi having one day drawn the 
 portrait of his mailer, with a piece of charcoal on a wall, the matter was fo- 
 affected with the novelty of the performance, and the exactnefs of therefemblance, 
 that after obliging him to paint the portraits of a few other perfons, he gene- 
 roufly rcftored him to his liberty. 
 
 At his return to Europe, he went to his native city Florence, and for a 
 confiderable time was employed by the Grand Duke. The merit of his works 
 recommended him, not only to the particular efteem of that Prince, and the 
 nobility, but alfo to the ecclefiafticks •, who engaged him for feveral noble 
 compofitions, for their churches and convents. It is obferved of Lippi, that 
 he was the firft of the Florentine painters, who attempted to defign figures as 
 larc^e as the life ; the firft, who remarkably diverfified the draperies ; or who 
 gave his figures the air of the antiques. 
 
 He was a man of very loofe morals, and deluded a Nun to elope with him 
 from the convent of Prato, where fhe fat to him as a model for a picture of the 
 Virgin •, and although all his friends feverely reproached him for fuch mifcon- 
 ducl, yet he afterwards engaged himfelf in another criminal intrigue, for which 
 he was poifoned by the parents of the lady whom he intended to abufe. But, 
 other writers fay, that he died of poifon at Spoleto, from the refentment of a 
 perfon in that city, with whofe wife he held a criminal converfation, while he 
 was employed in painting the altar-piece of the cathedral at Spoleto •, the defign 
 of which picture was exceedingly grand, though it was left unfinifhed, by the 
 unfortunate death of the artift. 
 
 His colouring was extremely agreeable, and his manner (like that of his 
 matter Mafaccio) was grand and elegant •, his draperies were broad and loofe, 
 and his figures had a competent degree of grace, with a good exprettion. 
 
 Filippo LIPPI, called the Young. 
 Painted Hiftory. 
 Died 1505, aged $5. 
 He was the fon of Filippo Lippi, born at Florence in 1460, and the difciple 
 of Sandro Boticelli. He had a lively genius, and a good invention •, and feveral 
 of his compofitions fhewed a great deal of elegance, with a very pleafing tone of 
 co'ourirg. But, his particular excellence confifted in painting the ornaments 
 of architecture, efpecially the frizes, in the true tafte of the antique, with a fine 
 underftandingof the Chiaro-Scuro. 
 
 Lorenzo 
 
LIP [ 353 ] LIS 
 
 Lorenzo LIPPI. 
 
 Painted Hijiory, and Portrait. 
 Died 1664., aged 58. 
 
 He was born in 1606, and learned the principles of painting from Matteo 
 Rofelli. He had an exquifite genius to mufick and poetry, as well as to painting ; 
 and in the latter, his proficiency was fo remarkably great, that fome of his 
 compofitions in the hiftorical ftyle, were taken for thoie of Rofelli. However, 
 at laft he grew difiatisfied with the manner of that mafter, and preferably chofe 
 the manner of Santi di Titi, who was excellent both in defign and invention ; 
 and appeared to have more of fimple nature, and truth, in his compofitions, than 
 any other artift of that time. 
 
 At Florence he painted many grand defigns, for the chapels and convents, 
 by which he enlarged his reputation •, and at the Court of Infpruck, he painted 
 a great number of portraits of the firft nobility, which were defervedly admired. 
 Yet, although he was fond of imitating fimple nature, without any embellifhments 
 from invention, his works are held in the higheft efteem for the graceful airs 
 of the heads, for the correctnefs of his outline, and for the elegant difpofition of 
 the figures. 
 
 3 
 
 John Vander LIS, or L Y S. 
 Painted Hifiory, Land/capes, and Conversations. . 
 Died 1629, aged 59. 
 
 He was born at Oldenburgh, in 1570, but went to Haerlem to place himfelf 
 as a difciple under Henry Goltzius ; and as he was endowed with great natural 
 talents, he ioon diftinguifned himfelf in that fchool, and imitated the manner of 
 his mafter with great fuccefs •, fo as to make it no eafy matter to determine, 
 which was the work of the difciple, or the mafter. He adhered to the ftyle of 
 Goltzius in the early part of his life, till he went to Italy ; and having vifited 
 Venice and Rome, he ftudied the works of Titian, Tintoretto, Paolo Veronefe, 
 and Domenico Fetti fo effectually, that he improved his tafte and judgement, . 
 and altered his manner intirely. He foon received marks of publick approba- 
 tion, and his compofitions became univerfally admired, for their good expreffion, 
 for their lively and natural colouring, and the fweetnefs and delicacy of his 
 pencil •, although it muft be acknowledged, that he could never totally divert 
 himfelf of the ideas and tafte peculiar to the Flemings. 
 
 His fubjects ufually were hiftories taken from the facred writings, or the 
 reprefentation of rural fports, marriages, balls, and villagers dancing, dreAM 
 in Venetian habits •, all which fubjects he painted in a fmall, as well as a large ■ 
 lize, with a number of figures, well defigned, and touched with a great deal of 
 delicacy. He was likewife accounted to paint naked figures admirably, with 
 natural and elegant attitudes, andavery agreeable turn of the limbs. 
 
 A capital picture of this mafter is, Adam and Eve lamenting the Death of 
 Abel •, it is extremely admired not only for the expreffion, but alio for the 
 bteauty of the landfcape •, and in the church of S. Nicholas at Venice, is a 
 celebrated painting of John Lis, representing S. Jerom in the Defart, with a 
 j*en in his hand, and his head turned to look at an Angel, who is fuppofed 
 
 5 to 
 
LIS [ 354- ] L O I 
 
 to be fownding the laft trumpet. The colouring of this picture is rather too 
 red, but it is defigned in a fine ftyle, elegant, and grand, and charmingly pen- 
 ciled. Houbraken alfo mentions a picture of the Prodigal Son, to which the 
 only objection that can pofiibly be made, is, that the habits are too modern. 
 The paintings of this mailer are very rarely to be purchafed. 
 
 John Vander LIS, of Breda. 
 Painted Hijlcry. 
 
 He was born at Breda, about the year 1601, and became a difciple of Corne- 
 lius Polemburg, whofe manner he imitated with extraordinary exactnefs, in the 
 tints of his colouring, his neatnels of pencil, and the choice of his fubjects. 
 There are fome paintings of this mailer's hand, which, though they appear to 
 have fomewhat lei's freedom, and lightnefs of touch, are nearly equal to thole of 
 Poelemburg, and are frequently taken to be his. 
 
 At Rotterdam, in the pofTefiion of Mr. Bifichop, there is a delicate picture re- 
 prefenting Diana in the Bath, attended by her nymphs ; and his mofl capital per- 
 formance in England, is laid to be in the pofTefiion of the Vifcount Middleton. 
 The portrait of Vander Lis, painted by himlelf, is in the pofTefiion of Horace 
 Walpole, Efq-, which is defcribed by that ingenious gentleman, as being worked 
 up equal to the fmoothnefs of enamel. 
 
 Nicholas LOIR. 
 Painted Hiftory, and Land/cape. 
 Died 1679, aged 55. 
 
 He was born at Paris, in 1624, and, according to feveral writers, was a dif- 
 ciple of Le Sueur ; though, according to the Chronological Tables, he is faid to 
 have been the difciple of Le Brun. 
 
 He wanted neither genius to invent, nor fire to execute, and yet he had no- 
 thing above a moderate artift. Nothing can be obierved in his compofuions 
 that looks like fublimity of thought, nor any particular character that had much 
 elevation. He compofed indeed with readinefs, he had a good tafte of defign, 
 his pictures were neatly handled, and he difpofed his figures agreeably ; but, he 
 fo far wanted attention, that he fcarce had produced any one thought, but he 
 executed it as expeditioufiy as it entered into his mind, without allowing himfelf 
 time to digefl: it. And that method he purfued, not only by means of a habit 
 which he had acquired, but alfo by a retentive memory, which could readily recall 
 the images of thofe objects which he had feen in Italy, where he had for fome 
 time refided. Every part of his fubjects was equally well painted, figures, 
 landfcape, architecture, and ornaments ■, and he particularly excelled in defign- 
 ing women, and boys. He was employed by Lewis XiV. at Verfailles, and the 
 Tuilleries, and died Profefibr of the Academy. 
 
 Giovanni 
 

 LOM [ 355 ] L O N 
 
 Giovanni Paolo LOMAZZO. 
 
 Painted Hifiory, Land/cape, and Portrait. 
 This matter was born at Milan, in * 1558, and learned defign from Giovanni 
 Battifta della Cerva. He rofe to great eminence in his profeffion, for compol- 
 ing hiftorical fubjeds, and was accounted full as excellent fpr landfcape and por- 
 trait painting •, but he rendered himfelf ftill more eminent by his ingenious trea- 
 dles on the arts of painting, and architecture ; by which he has happily contri- 
 buted, to refine the tafte of future artifts •, to improve the knowledge of the pro- 
 feffors of thole arts ; and to promote, in a very high degree, the honour of 
 the art itfelf. 
 
 Lambert LOMBARD, or Suavius. 
 
 Painted Hifiory, Architeffure, and Perfpeftive. 
 Died 1560, aged 60. 
 
 He was born at Liege, in the year 1 500, and having obtained fome inftruc- 
 tions, as to the rudiments of the art, in his own country, he travelled to Rome, 
 and (as fome writers affirm) became the difciple of Andrea del Sarto. To the 
 utmoft of his ability, he ftudied every thing that could conduce to his improve- 
 ment,' not only in painting, but in perfpective and architecture •, and to thofe 
 branches of knowledge, he added a diligent ftudy of the antique. 
 
 When he returned to Liege, he introduced a ftyle of painting among his 
 countrymen, very different from that to which they had before been accuf- 
 tomed ; he taught them a better tafte of defign, by fubftituting the antique in- 
 ftead of the Gothic •, and enabled them to diftinguifti the fimplicity and elegance 
 of the one, when compared with the dry unnatural ftiffnefs of the other. But, 
 although he defigned well, and was tolerably correct, and had his mind filled 
 with the images of thofe beautiful objects which he had ftudied in Italy ; yet 
 could he never thoroughly fliake off his national gout •, and his own works par- 
 took a great deal of that fame dry ftiffnefs, of which he difapproved in the 
 performances of others. 
 
 However, he is ranked among the beft painters of his time, by all the writers 
 on this fubject ; and a Laft Supper of his painting is exceedingly commended, 
 as being very defervedly eftimable for the defign, and alfo for having an ad- 
 mirable efFect. 
 
 Sandrart cenfures Van Mander for reprefenting Lambert Lombard, and 
 Lambert Suavius, as two different perfons, and he affirms that the defcriptions 
 applied to each, can only agree with one and the fame artift. 
 
 Alessandro LONI. 
 
 Painted Hifiory. 
 Died 1702, aged 47. 
 He was born at Florence, in 1655, and was a difcipte of Carlo Dolce, whofe 
 ftyle he imitated in the neatnefs, and the high finifhing of his works. He was 
 
 * The writer of the Chronological Tables fixes the birth ofLomazzo in 1538, contrary to moll 
 authors on the fubjedt. 
 
 Z z employed, 
 
LOO [356 LOR 
 
 employed, and exceedingly favoured, by the Grand Duke of Tufcany, who re- 
 tained him in his fervice for feveral years ; and among the celebrated paintings 
 of' the Florentine collection, there is a picture of this mailer's hand, which, al- 
 though of a very fmall fize, contains near an hundred figures •, all well d:ipofcd,, 
 judicioufiy grouped, and moil delicately penciled and coloured.' 
 
 Theodore Van LOON, 
 Painted Hijlcry^ and Portrait. 
 
 This artiil was born atBruffels, in 1630., according to the teftimony of fome 
 writers ; and according toothers, he was born atLouvain. He fludied in Italy 
 for fome years, and many of the hiftorical pictures of his painting are ftill pre- 
 ferved in the churches and palaces at Rome, and Venice. He happened to be 
 intimately connected with Carlo Maratti, and was peculiarly fond of his manner ; 
 thev drew after the works of Raphael wich an amicable competition, from 
 whence each of them acquired thole beauties which appear in their com- 
 pofitions. 
 
 All the works of Van Loon are much in the ftyle and manner of Maratti ; 
 the lame tafte of defign, the lame dignity in portraits, the fame elevation of 
 thought in compofition is obfervable in both •, and through the whole, the 
 fchool of Italy ^'particularly diltinguifhed. His colouring is generally good, 
 though not equal to the fweetoefs of Carlo's ; for, fometimes it was too black, 
 
 I tie fliadows were frequently too hard ;md heavy. 
 
 Two very capital pictures by this mailer are in a church at Mechlin ; the 
 fubject of one is, the Wife Men offering gold, frankincenfe, and myrrh ; and 
 that of the other is, the Salutation of the Virgin. 
 
 LORRAINE. Vid. Claude. 
 
 A m 3 r o g 1 o LORENZETTI. 
 Painted Land/cape, and Hiftory. 
 Died 1350, aged S3. 
 This anticnt mailer was born at Siena, in 1267, and was a difciple of G<. 
 \ le principally painted in frefco, and gained a very high reputation for the 
 Skilful management of his colours, and for the grandeur of his taile in compofi- 
 tion •, in which there appeared fomewhat noble and elegant, united with eafe and 
 freedom. Vafari mentions him as the firll who attempted to defcribe in land- 
 fcapes, ilorms of wind, tempeils, and rain •, and yet he reprefented them with 
 the greateil fuccefs. His imagination was lively, his manner of difpofing the 
 figures in his compofition, was with judgement and propriety, and his invention 
 ready. For the moil part he painted in a large fize-, but fometimes he 
 painted in fmall, like that hiftory of S. Nicholas, which he painted in a chapel 
 at Florence. By that work he acquired infinite applaule •, not only for the 
 beauty of the performance, but alio for the ihortnefs of the time that he em- 
 ployed in the finifhihg of it. 
 
 1 le had a fine talte for polite literature-, and was equally efteemed for his learn- 
 ing, and his abilities in painting. It is reported, that he finiihed thirteen hun- 
 dred pictures before his death. 
 
 John 
 
LOT [ 357 } LOT 
 
 John LOTEN. 
 
 Painted Land/cape. 
 
 Died 1 68 1. 
 
 This painter was born in Switzerland, but lived for many years in England, 
 and died in London : by fome writers, however, he is accounted a native of 
 Holland. He was a landscape painter of confiderable rank, and as he always 
 Studied after nature, he often had great fuccefs in the romantic beauty, as well 
 as in the variety of the fcenes which lie painted. 
 
 His tafte induced him to defcribe rocks that were craggy, folemn, and 
 dreary ; cataracts and torrents darning and foaming with the impetuofity of their 
 fall ; and land-ftorms attended with rain, in which he peculiarly excelled. 
 Sometimes he represented lawns diversified with groves, in which he rarely 
 omitted the oak tree, that is fo much the ornament of the woods and theforefts 
 of England •, and thofe Subjects alio he painted with truth, nature, and force. 
 But the effect of his compositions had been much greater, if he had been lefs 
 cold in his colouring -, for a judicious eye cannot but be offended, at that 
 blackiSh tint which predominates through all the works of this artift. 
 
 His touch is free, and fpirited, and the maSfes of light and lhadow in his pic- 
 tures are well understood. Moft commonly he painted in a large fize ; fre- 
 quently introducing thofe fcenes which pleafed his imagination while he lived in 
 Switzerland, and he always executed them extremely well. 
 
 Carlo LOT I, or LOTH, Cavalie're. 
 
 Painted Hijiory, and Portrait. 
 
 Died 1698, aged 87. 
 
 He was born at Munich, in 161 1, the fon of John Ulrick Loth, a painter 
 who had ftudied under an Italian mafter, and imitated Carlo Venetiano. That 
 artift devoted his fon to his own profeSilon, and taught him the firft principles of 
 delign ; but afterwards placed him under the direction of Cavaliere Pietro Li- 
 beri, a very celebrated mafter at Venice. In that School Carlo continued for 
 fome years, yet he did not intirely adopt the manner of Liberi, but attained to a 
 ftyle that was more bold, widi a more natural and delicate expreffion of the 
 naked •, and in a Short Space of time, diftinguiihed himfelf by a noble invention, 
 by the corrvrctnefs of his dcSign, and by a degree of grace diffufcd through his 
 compositions. 
 
 The principal perfons in Venice employed him for hiftorical Subjects ; and the 
 Emperor Leopold I. Solicited him to vifit Vienna ; where he was received with 
 uncommon marks of favour, Suitable to his extraordinary merit. He painted the 
 portrait of the Emperor in an admirable ftyle, which procured him the honour 
 of performing Several others, for all the Imperial fa -i!y, and the nobility of the 
 higher! f&nk. lie was lihewife employed, during his retidence at Vienna, to 
 paint historical Subjects, for the palaces and cabinets of the moil illuftrious per- 
 ibiii •, : 3 being taken not only from the facred writings, but 
 
 alio from i;.', hiStory. 
 
 In the church of the leffer hoipital at Venice, there is a picture of Carlo 
 Loti's, reprefenting a dead Call. It is a beautiful performance, well defigned, 
 
 Z z 2 in 
 
LOT [ 358 ] L U B 
 
 in a broad manner, and the heads are excellent ; but the colouring is rather a 
 little too red. In another church is to be feen a S. Jofeph, which is finely 
 compofed, and well grouped ; all the parts of it being exceedingly delicate, and 
 the colouring is ftrong and agreeable. Alfo in the church of S. Chryfoftom T 
 there is a noble painting, reprefenting the death of S. Jofeph •, which, although 
 perhaps a little too dark, is neverthelefs well coloured ; the compofition and 
 defign are extremely good, and the heads and exprefTion remarkably fine. 
 
 Lorenzo LOTTO. 
 
 Painted Hijiory, and Portrait. 
 
 Died 1544, aged 36. 
 
 He was born at Bergamo, in 1508 ; the companion, and intimate friend of 
 Giacomo Palma, and he fomewhat refembled that mafter in his ftyle. At firft 
 he iludied and imitated the manner of Giovanni Bellini •, but having afterwards 
 feen the works of Giorgione, he was lb filled with admiration, that he imme- 
 diately adopted that ftyle, and devoted himfelf to imitate that great painter as 
 long as he lived. 
 
 He not only excelled in hiftory, but likewife in portraits •, of which feveral are 
 preferved in Venice, that are much admired. Two of them are mentioned by 
 Vafari •, the one, a portrait of Andrea Adoni, the other of Marco Loredano, 
 which he introduced in a fine compofition of a Nativity, illumined by a glory 
 proceeding from the child, and Loredano was reprefented as a whole figure, 
 adoring the infant Saviour. 
 
 A capital painting of Lotto is in the Carmelites church at Venice. It repre- 
 fents S. Nicholas in the Pontifical habit, elevated in the air, fupported in the 
 clouds by three angels, and attended by other faints. Below is a very beautiful 
 landfcape, with a number of figures, and different kinds of animals, as alfo the 
 defcription of S. George combating with the dragon. 
 
 Theodore LUBIENETZKI. 
 
 Painted Hiftory, and Portrait. 
 Died 1 716, aged 63. 
 
 He was born at Cracow, in 1653, of a noble family in Poland, and learned 
 the art of painting more as an accomplifhment, than from any view of making 
 an advantage of the profefllon. He was taught defign by Jurian Stur of Ham- 
 burgh, and at the fame time his brother Chriftopher was inftrufted by the fame 
 mafter. When he had gained fome knowledge of the art under Jurian, he went 
 to Amftcrdam, to place himfelf under the direction of Gerard Laireffe; and foon 
 imitated that artift fo happily, that the ideas, the colouring, and the pencil of 
 the mafter, were evidently feen in the compofitions of the difciple. 
 
 After fome years continuance in the Low Countries, he vifited feveral parts 
 of Italy, and was invited to Florence by the Grand Duke ; where he was em- 
 ployed for a confiderable time by that Prince, and received many extraordinary 
 mar!;? of honour and efteem at that court, as he afterwards did at the court of 
 Brandenburgh ; till at laft he returned to his native country, where he lived in 
 high reputation, and his works were univerfally admired. 
 
 Christopher 
 
LUB [ 359 3 L U T 
 
 Christopher LUBIENETZKI. 
 
 Painted Hijlory, and Portrait. 
 
 He was a younger brother of Theodore, born at Stettin, in 1659, but in- 
 ftructed at firft by Jurian Stur ; yet he went along with his brother to Amfter- 
 dam, and there chofe Adrian Bakker for his mafter. He continued at Amfter- 
 dam to follow his profeffion, and rofe into very great credit ; the hiftorical pic- 
 tures of his hand being extremely commended, for good invention and compofi- 
 tion, for correftnels of defign, and in general for an agreeable tone of colour- 
 ing. It is remarked, that his portraits would have been fufficient to eftablifti his 
 reputation and fortune, even if he had not been fo delervedly diftinguilhed as a 
 painter of hillory. 
 
 Jan LUIKEN. 
 
 Painted Hiftory. 
 Died 1 7 1 2 , aged 63. 
 
 He was born in 1649, and learned defign and colouring under Martin Zaag- 
 moolen. He painted hiftorical fubjecfts with fuccefs, and introduced a great 
 number of figures in all his compositions, to which he gave more expreffion, than 
 grace ; but his paintings are rarely to be met with in thefe kingdoms, though 
 where they are feen, they are in good efteem. 
 
 As he had a ready invention, he was much folicited to defign hiftorical sub- 
 jects for engravers, and he compofed moft of the fcriptural ftories which are 
 publiftied in the Jewifti and Mofaical antiquities. Some of his own engravings 
 are to be feen in feveral other books, and his application to that bufinefs cauied 
 him to difcontinue his painting. 
 
 Henry LUTTERELL. 
 
 Painted Portraits v:ith Crayons. 
 
 He was thedifciple of Edmond Aftifield, but arrived at fuch a degree of ex- 
 cellence in painting with crayons, that he very far furpafied his mafter ; and 
 even almoft equalled Holbein in that manner of painting, according to the 
 opinion of good judges of the art. He found out a method, before unknown, 
 of" drawing portraits with crayons on copper, and touched every part of his fub- 
 jeft with fo much foftnefs, as well as fpirit, that in many of his pictures might 
 be feen a freedom of touch, like fine penciling in oil. 
 
 A great part of his life was fpent in Dublin, where his paintings were exceed- 
 ingly admired, though he was not encouraged in any degree equal to his merit ; 
 but, he went afterwards to London, where he had the good fortune to be railed 
 to affluent circumftances, to which his merit in his profeffion had entitled him 
 long before. 5 
 
 ;-j 
 
 Benedetto 
 
L U T [ 360 ] L U T 
 
 Benedetto LUTI, called Cavalie're L U T I. 
 
 Painted Hiftcry. 
 Died 1724, aged 58. 
 
 This eminent painter was born at Florence, in 1 666, of parents who were but 
 in low circumftances •, yet, dire&ed by his natural genius to painting, he amufed 
 himfelf with drawing and defigning, and became id expert without any in- 
 ilructcr, that his performances appeared furprizing to fevcral of theartifts of his 
 native city. Some of his defigns, having accidentally fallen under the obferva- 
 tion of that celebrated painter Antonio Domenico Gabbiani ; he foon dilcemcd 
 the ltrength of the genius and talents of Luti, and afked him, if he was defirous 
 to become a painter ? The young man anfwering, that it was the utmofc of his 
 ambition, Gabbiani took him as his difciple ; and alio recommended him to a 
 nobleman, who readily became his patron, and maintained him while he pur- 
 fued his ftudies. 
 
 By the care and inftructions of Gabbiani, and by his own inexpreffible appli- 
 cation, the young artift made a very great nrogrefs ; devoting all his hours to 
 ftudy ; and dilcourfing with his matter on iuch points, as might belt promote 
 his knowledge of the true principles of his art. He was likev.iie induftrious, to 
 accuftom his eye and his judgement readily to diftinguilh, what was molt com- 
 mendable in the talte and ftyle of every different matter. So difcreeta method 
 of conducting his ftudies, was attended with proportionable improvement; and 
 as foon as he was qualified to commence artift, that the public had an opportu- 
 nity of examining his productions, he received the highelt applaufe from the ju- 
 dicious, for the elegance of his defign, for the fine talte and Hall that appeared 
 in all his compotitions, and for the management of the chiaro-fcuro. 
 
 The two firft pictures which he offered to the public inspection, and which 
 laid the foundation of his future fuccefs, were a Bacchanal, and an Endymion, as 
 large as life •, and by the encouragement given him for thofe firft productions, he 
 laboured the more afliduoufiy to arrive at perfection, till he formed to himfelf a 
 grand ftyle and manner, capable of giving equal entertainment to the eye, and 
 the underftanding. 
 
 When he was Hi his twenty-fifth year he went to Rome, where he critically 
 ftudied the works of the moft famous among the antients and moderns ; and af- 
 terwards painted, in a large fize, the death of Abel. That picture was exhibited to 
 public view on the feftival of S. Bartholomew •, it was univerfally commended 
 by the moft able connoiffeurs at Rome-, and it effectually eftablifhed his repu- 
 tation. By order of the Pope, he was appointed to paint the picture of the pro- 
 phet Ifaiah, in the church of S. John Lateran ; and at Rome he alfo finished a 
 grand defign, reprefenting Mary Magdalen anointing the feet of Clirift, in the 
 houfe of Simon the Pharifee •, which, in the opinion of unprejudiced judges, had 
 correctnefs in the defign, harmony and beauty in the colouring, variety in the at- 
 titudes and airs of the heads, and anexpreffion of the paffions that was (.Egant 
 and juft. 
 
 1 lis works were exceedingly coveted, and purchased at high prices by perfons 
 of tafte, through all parts of Europe ; and as a particular mark of dittinction, 
 on account of his merit, the Elector of Mentz conferred on him the order of 
 
 Knighthood, 
 
M A A [ 361 ] M A A 
 
 Knighthood, and along with his diploma, fent him a crofs enriched with 
 diamonds. 
 
 In painting with crayons he had an uncommon degree of excellence, and id 
 that kind of colouring he executed feveral defigns with a force and delicacy equal 
 to his paintings in oil. In that manner he alio painted landkapes, with mod 
 agreeable and lovely views, in which he fhewed fuch exquifite tafte, and fuch a 
 freedom of touch, that it feemed as if he had devoted his whole practice only to 
 that particular kind of painting. 
 
 It is remarked of him, that he never appeared fatisfied with his works ; yet, 
 though he often retouched his pictures, there is nothing that looks like labour ; 
 he always changed for the better, he improved what he altered, and his laft 
 thoughts were always the beft. His manner is tender, and delicate ; his defigns 
 are well confidered, and have an excellent tafte •, with a great deal of union and 
 harmony in the colouring ; but, as he made it his peculiar ftudy to excel in co- 
 louring, he was not always as correct: as could be wifhed. 
 
 M. 
 
 Dirk M A A S. 
 Painted Land/capes,, and Battles. 
 
 He was born at Hr.erlem, in 1656, and at firft was a difcipie of Hendrick 
 Mommers, who commonly painted Italian markets, and particularly excelled in 
 the ftiil life which he introduced, fuch as herbs, roots, fruit, and plants. But, 
 after lome time fpent in practifing tinder that mafter, he difiiked that manner, 
 and thole kind of fubjects ; and (therefore placed himfelf as a difcipie with Ni- 
 cholas Berchem, the beft artift of his time, with whofe ftyie he was particularly 
 delighted. , 
 
 It was thought he might have made a Confiderable figure in the manner of 
 Berchem, if his attention to it had not been withdrawn, by his feeing fome of the 
 works of Hugtenburg, which inipired him with a defire to imitate him •, and 
 from that time he gave himfelf up intirely to paint battles, chaces, and fuch 
 proceffions as were attended with cavalcades of horfe. He ftudied thofe ani- 
 mals after nature •, and with exceeding care obferved ail their motions, actions, 
 and different attitudes, till he defigned them with great readinefs, and with iuch 
 a character of truth, that he gained the reputation of being a good painter, in 
 that particular ftyle. 
 
 Arnold Van M A A S. 
 Painted Converfaticns. 
 He was born at Gouda, about the year 1 6±o, and became a difcipie of David 
 Teniers, from whom he acquired the art of imitating fimple nature. The meet- 
 ings, dances, weddings, and con.enations of villagers, and boors, are his ge- 
 neral fubjeocs, which he executed with fpirk, and humour. But, having an; 
 5 earneft. 
 
MAA [362] MAB 
 
 earned defire to improve his tafte, he travelled to Italy, and ftudied there pro- 
 fitably for fome years •, though he reaped no great advantage from his labours, 
 or abilities ; for, before he could enjoy the fruits of his ftudy, application, and 
 fingular merit, he died on his journey returning to his own country. However, 
 a great number of his drawings, and defigns, are ftill preferved in the col- 
 lections of the curious. 
 
 Nicholas M A A S. 
 
 Painted Portrait. 
 
 Died 1693, aged 61. 
 
 He was born at Dort, in 1632, and inftructed in thefchoolof Rembrant •, yet 
 he foon quitted the manner, when he quitted the academy of that eminent 
 mafter. For, he found the ladies of his time were too delicate to approve of 
 the dark ftyle of Rembrant's colouring in their portraits, although it had abun- 
 dance of force. He had a ready pencil, and a very fpirited touch, which proved 
 to be very advantageous to him in portrait painting, to which he confined his 
 genius and his hand. And in that way he was fo very fuccefsful, that it was 
 doubted whether any other painter in that ftyle was ever more fortunate in hitting 
 a likenefs. He was continually employed, and his work was fo earneftly fo- 
 licited, that it was accounted a favour to procure a portrait painted by him. 
 
 It is recorded of this mafter, that happening one day to pay a vifit to Jor- 
 daens, in order to take a view of his paintings, and being exceedingly ftruck 
 with the beauty of them, Jordaens addreffing Maas, afked him what were the 
 fubjefts he painted ? Maas, in a little confufion, anfwered, that he was a painter 
 of portraits. To which the other replied, I pity you moft fincerely, brother 
 artift, for being a martyr to that ftyle of painting ; where, let your merit be 
 ever fo great, you are condemned to luffer the whim, the folly, the impertinence, 
 as well as the ignorance, of fuch a number of both fexes. 
 
 M A A T. Vid. Blanckhoff. 
 
 John de MABUSE, or MABEUGE. 
 Painted Portrait, and Hijiory. 
 Died 1 562, aged St,. 
 He was born at Maubeuge, a village in Hainault, in 1499, though in the 
 Chronological Tables his birth is fuppofed to have been in 1492. It is not 
 mentioned by any author, from what mafter he derived his knowledge of the art 
 of painting ; but, in his youth he was laborious in his practice, and his prin- 
 cipal ftudies were after nature, by which he acquired a great deal of truth in his 
 compofitions. To improve himfelf in his profeffion, he travelled to Italy, and 
 became an artift of great repute in his time •, and it is mentioned to his honour, 
 that at his return to his own country, he was the firft who fhewed the Flcmifh 
 mafters how to treat hiftorical and allegorical fubjeds in their compofitions, and 
 alfo the art of reprefenting the naked in their figures, which before his time had 
 never been pradifed. 
 
 He had a good pencil, and finifhed his pictures highly, with great care ; yet, 
 notwithstanding his ftudies in Italy, and the corrednefs of his defign, he never 
 
 could 
 
MAD [ 363 ] MAE 
 
 could arrive at the elegance of the Roman fchool. His manner was dry, ftifF, 
 and laboured, but he was exceedingly induftrious to give a polifhed fmoothnefs 
 to his colouring. 
 
 By King Henry VIII. of England he was employed to paint the portraits of 
 fome of his children, which gained him great reputation, as hefinifhed them de- 
 licately, and gave them fpirit, and livelinefs •, and he painted feveral others for 
 the nobility, who attended the court at London. 
 
 Many excellent works of Mabufe are at Middleburg ; but one of the mod 
 capital is the altar-piece of the great church, repreienting the Defcent from the 
 Crofs. That picture had been fo highly commended, that it raifed the curiofity 
 of Albert Durer-, and he took a journey to Middleburg, merely to be an eye- 
 •witnefs of the merit of that performance. He viewed it with fingular attention, 
 and expreffed the pleafure it afforded him, by the praife he bellowed upon it. 
 But, the picture which is accounted to excel all his other productions, is the 
 Virgin with the infant Jefus, which he finifhed while he was retained in the fer- 
 vice of the Marquis of Veren ; and in that fubject, he contrived to pay an ex- 
 traordinary compliment to his patron, by making the heads of his lady and fon, 
 the models for the heads of his figures. 
 
 He is cenfured by all writers for his immoderate love of drinking *, and it is 
 confidently faid, that having received, by order of the Marquis, a piece of bro- 
 cade for a drefs, to appear in before the Emperor Charles V, he fold it at a 
 tavern, and painted a paper fuit fo exceedingly like it, that the Emperor could 
 not be convinced of the deception, till he felt the paper, and examined every 
 part of it with his own hands. 
 
 Michael MADDERSTEG. 
 
 Painted Sea- Pieces, 
 Died 1 709, aged 50. 
 He was born at Amfterdam, in 1659, and was a difciple of Ludolph Back- 
 huyfen, whofe manner he imitated with extraordinary fuccefs, and proved one of 
 the befl artifts of that fchool, according to the teftimony of Houbraken. He 
 fpent a great part of his life at the court of Berlin, and moft of his works are in 
 that city, or in other parts of Germany where he happened to be engaged, 
 
 Godfrey MAES. 
 
 Painted Hiftory. 
 
 He was born at Antwerp, in 1 660, and inftructed in the art of painting by his 
 father. But, as foon as he was capable of farther improvement, he copied, and 
 ftudied the moft capital paintings, in the churches and cabinets of Antwerp, to 
 which he was permitted to have free accefs ; and he likewife ftudied after 
 nature, with equal afliduity and care. He made feveral grand defigns for ta- 
 peftries at Bruffels, which were filled with figures correctly drawn, well co- 
 loured, and with a good expreffion •, which gained him fo much credit, that he 
 was confidered even as a competitor with Rubens. 
 
 The works of this mafter were highly efteemed, and he was not only con- 
 ftantly employed for the churches, and for the palaces of the nobility, but he 
 
 A a a was 
 
MAG [ 364 ] MAt 
 
 was alfo engaged to work for feveral foreign Princes ; and on account of his un- 
 common talents, was appointed Director of the Academy at Antwerp, in 1682. 
 In the parifh church of S. George, he painted the hiftory of the martyrdom of 
 tfiat flint, for the great altar-piece, which is accounted a noble compofition, and 
 iumcient to perpetuate his name among the ableft artifts. For painting hifto- 
 rical iubjects, he was as eminent as any of his cotemporaries •, he drefied me 
 heads of his figures elegantly, and was alfo a nice obferverof the coftume. His 
 back-grounds were enriched with architecture, landfcapes, and the veftiges of 
 antient magnificence •, his draperies are fimple, well call, and in broad folds ; 
 jbia touch was extremely free, and firm ; and his colouring was very good. 
 
 Giovanni Battista MAGANZA, called Giovanni. 
 
 Painted Hiftory. 
 Died 161 7, aged 40. 
 
 He was born at Vincenza, in 1577, and was the lbn and difciple of Aleffandro 
 Maganza, who had been bred in the fchool of Titian. By the precepts, the 
 care, and the example of his father, he proved a remarkable good colourift, 
 and alfo a very correct defigner ; by which accomplishments, he was well qua- 
 lified to be a mafterly afiiltant tc Aleflandroj and, in conjunction with him, 
 painted feveral grand altar-pieces at Vincenza, Padua, and other cities of Italy. 
 At the former, two of his paintings are particularly noticed ; which, though 
 commendable for the compofition and defign, yet, at this day, through the in- 
 juries of time, they appear but weak in the colouring. 
 
 Maitre ROUX. Vid. Rosso. 
 
 Vincentio MALO. 
 
 Painted Hiftory, and Converfations. 
 Aged 45. 
 
 He was at firft a difciple of David Teniers, but afterwards he received con- 
 fitierable improvement from the inftru&ion of Rubens. Under the guidance 
 of thofe eminent artifts, he acquired a tint of colouring that was exceedingly 
 beautiful •, which recommended his works to all the lovers of the art ; and at 
 Genoa, Florence, Rome, and other parts of Italy, his performances role into fo 
 high a degree of efteem, that fcarce any cabinet of the curious was without fome- 
 what of his hand. 
 
 MALTESE. 
 
 Painted Still Life. 
 
 No particulars relative to the birth, the country, or the instructor of this 
 mailer are mentioned by Sandrart, or any of the biographers ; but (fee 
 fubjccls which he painted, were fruit, jewels, fhells, or muiical instruments, 
 placed upon tables covered with rich carpets, or tapellry ; and as he understood 
 the chiaro-fcuro thoroughly, he gives every object a roundnefs and relit i, tfEt is 
 wonderfully ltrong, by a judicious diftribution of the mailes of light and 
 fluulow, 
 
 His 
 
MAN [ 365 ] M A N 
 
 His touch is bold and free, and his tone of colouring natural ; but many of 
 his compofitions appear crowded, and encumbered; nor has he always the mod 
 agreeable choice, and difpofition. As to his penciling, the manner of it was 
 very particular; for, in the carpets which he painted, he left the touching as 
 rough almoft as the real carpets ; but his work had generally a very linking 
 effect, and was excellent in its kind. 
 
 Cornelius de MAN, or de M A A N, 
 Painted Hijlory, Converfations, and. Portrait. 
 Died 1706, aged 85. 
 
 He.was born at Delft, in 1621, and having learned the principles of the art 
 in his own country, he determined to. improve himlelf in his profefiion by tra- 
 velling to Italy. In his progrefs he patted through Paris, directing his courfe 
 to Florence •, and in that city he was detained for two years, being importuned 
 to work there, for a nobleman of the firft rank. But, as foon as he arrived at 
 Rome, he diligently fought out the moft celebrated paintings, and ftudied them 
 without intermiffion, being folicitous to obtain a good tafte of defign. To per- 
 fect himfelf in colouring, he went afterwards to Venice, to ftudy the works of 
 Titian ; and he there procured fo good a reputation, that he found iufficient in- 
 ducements, to continue in that city for feme years. 
 
 After an abfence of nine years from Delft, he returned, with many accom- 
 plilhments, to follow his profefiion ; and gave fuch inconteftable proofs of his 
 merit, that he received all pofiibje encouragement, and approbation. In the 
 great hall of the Phyficians and Surgeons at Delft, he painted one picture, which 
 is accounted equal almoft to any mafter of the firft rank. The fubject of it is, a 
 reprefentation of the portraits of thofe Doctors and Surgeons, who were the moft 
 eminent of that time ; difpofed in the hiftorical ftyle. It is much in the manner 
 of Titian, and is, at this day, efteemed an admirable model for all painters of 
 portrait. 
 
 Silvester M A N A I G O. 
 Painted Hiftory. 
 
 This mafter was excellent in compofition, and defign, having ftudied with 
 abundance of attention not only the antique, but nature alfo, with a very intelli- 
 gent obfervation. His figures were generally very correct, and well grouped, 
 and many of his characters have a juft and ftrong exprefiion, with confider- 
 able grace. 
 
 The extenfive genius of this painter may readily be eftimated by one hifto- 
 rical compofition ; of which the fubject is Jofeph fold by his brethren. In 
 that defign the characters are marked with a great deal of judgement •, the de- 
 jection of Jofeph is apparent at the firft view, but the exprefiion of the figure 
 {landing behind Jofeph, by which the artift certainly intended either Reuben, 
 or Judah, is true nature, and worthy of the greateft painter. There is a print 
 after that painting, and the original is in the pofieffion of Giuieppe Pedrini, 
 at Venice. 
 
 In the church of S. Felix, in the fame city, is to be feen a capital defign of 
 Manaigo, reprefenting the buyers and fellers in the Temple, driven away by our 
 
 A a a 2 Saviour. 
 
MAN [366] MAN 
 
 Saviour, and it is extremely admired; alfo in the church of S. Euftachius is the 
 picture of S. Matthew, which is painted in a. very grand ftyle, though the co- 
 louring is rather too grey. 
 
 Rutilio MANETTL 
 
 Painted Hijlory. 
 Died 1639, aged 68. 
 
 He was born at Siena, in 1571, and educated in the celebrated fchool of Fran- 
 cefcoVanni, in that city. For feveral years he exerted himielf to imitate the 
 manner of his matter; and at lad fucceeded fo happily, as to refemble him 
 ftrongly in his colouring, and graceful ideas, but his manner of penciling was 
 different. 
 
 He painted excellently in frefco, as well as in oil ; and his works were fo 
 highly efteemed in Florence, and Pifa, that few of their chapels were without 
 fome of his performances. He was allowed to have a fine invention, an elegant 
 difpofition of his figures, and a great deal of grace, improved by apleafing tone 
 of colour. 
 
 Bartolomeo MANFRED I. 
 Painted Hijlory, and Soldiers playing at Cards. 
 
 He was born at Mantua, in 1574, and at firft was a difciple of Pomerancio; 
 but afterwards being exceflively delighted with the ftyle of Caravaggio, he be- 
 came a difciple of that mafter ; and, by the practice of a few years, imitated 
 his manner with fuch exactnefs, that fome of the paintings of Manfredi were 
 taken for the work of Caravaggio. 
 
 His mod frequent fubjects were corps de garde, foldiers, or peafants, gaming 
 with cards and dice, or fortune-tellers ; ufually painting his figures as large as 
 life, and no lower than the middle, in imitation of the tafte and manner of de- 
 figning, obfervable in Caravaggio. 
 
 He had a free, firm pencil ; his colouring had a great deal of force ; and his 
 extenfive fkill in the principles of the chiaroscuro, enabled him to give his pic- 
 tures a ftriking effect, by broad maffes of light and fhadow; though fometimes 
 his colouring appears rather too black in particular parts. The beft judges of 
 painting in his time had formed the higheft expectations of his becoming an ad- 
 mirable artift ; but Manfredi fhortened his days, by a diffolute and irreguLr 
 life •, and as he died young, his paintings are exceedingly fcarce, and rarely to 
 be feen, or purchafed. The mod capital picture of this mafter, is the hiftory 
 of Hercules delivering Tityus from the Vulture. 
 
 Giovanni MANNOZZI, called Giovanni da San 
 
 Giovanni. 
 Painted Hijlory. 
 Died 1636, aged 46. 
 He was born in the year 1590, and inftrueted in defign and colouring by 
 Mutteo Rofelli, with whom he ftudied for feveral years, and diftinguifhed him- 
 
MAN [ 367 ] MAN 
 
 felf as an excellent artift. His extraordinary merit recommended him to the 
 favour of Cardinal Bentivoglio at Rome ; by whom he was employed to paint a 
 picture of Night, as a contraft to the Aurora of Guido, which was in that palace. 
 Such an undertaking, though accounted fuitable to his genius and abilities, by 
 thofe who were the moft competent judges, and who beft knew the great talents 
 of Mannozzi, yet procured him abundance of envy, among the painters of an 
 inferior clafs. As foon therefore as he had made a confiderable progrefs in his 
 work, and received great applaufe for it, he found the whole painting almoit 
 defaced and deftroyed, when he returned one morning to finifh it. 
 
 The Cardinal expreffed a proper indignation, when he faw the effect of fuch 
 a mifchievous malice, and took every method to difcover the criminals ; yet all 
 proved ineffectual, and the unhappy artift was undefervedly made a fubject of 
 ridicule. But, at laft, the Cardinal being with great difficulty prevailed on to 
 permit him to begin a new picture, Mannozzi determined to difcover the perfon 
 who had been guilty of the paft injurious treatment •, and for that purpofe, 
 having communicated his intention to a zealous friend, one Furini, they both 
 agreed to conceal themfelves at night on the fcaffold, being perfuaded, that the 
 fame perfon would infallibly make a fecond attempt, the former having fo luckily 
 fucceedcd, and being ftill undetected. 
 
 About midnight, when all was filent, he obferved two perfons approach* one 
 of whom had a lantern in his hand ; Mannozzi therefore fuffered them both to 
 afcend on the ladder, near to the top of the fcaffold, and then affifted by his 
 friend Furini, he threw them off; by which they were fo dreadfully bruifed, that 
 they were rendered incapable of ftirring from the fpot till day-light, when they 
 were difcovered to be two French painters, who worked in the fame palace. 
 
 From that time Mannozzi proceeded in his work at quiet ; and.obtained the 
 higheft encomiums, for the tafte, the judgement, and the beautiful difpofition 
 which appeared in that performance. He had great freedom of hand ; he was 
 very correct both in his dcfign and outline ; and was remarkable for having an 
 agreeable, as well as a new manner of ccmpofing and thinking. 
 
 Andrea MANTEGNA, called Cavalie're. 
 Painted Hijiory, and Portrait. 
 Died 151 J, aged 66. 
 He was born at a village near Mantua, in 1451, and (according to Vafari) of 
 very mean parentage, having, ki the early part of his life, had no better occupa- 
 tion than to attend cattle ; though his genius, and uncommon talents, railed himr 
 to a high degree of reputation, and honour. He was placed as a difciple with Gh- 
 como Squarcione, who very foon d-ifcerned the promifing abilities of his pupii -, 
 adopted him as a fori, and took all poffible care of his instruction. Nor was he 
 any way difappointed. in his expectations •, for, at the age of only feventeen, 
 Andrea painted a picture for the grand altar of S. Sophia at Padua, which gained 
 him inexpreffible commendation; as it had not the leaft appearance of a 
 juvenile compofition, or execution, but looked like the performance of an expe- 
 rienced maftcr. Fie ftudied the antiques with a kind of enthufiafm, and pre r 
 ferred the knowledge he derived from them to every other branch of knowledge,- 
 in the art ; but, by that means he neglected to add the truth and tendernefs or 
 3 nature, 
 
MAN [j 368 J Mi A R 
 
 nature, to the tafte he had formed from the antique •, contenting himfdf with 
 mixing a few portraits among the figures in his compofition. 
 
 However, fome of his paintings have real merit, in particular parts ; though 
 his manner is rather dry, and his pencil flirt. His draperies ufually want ele- 
 gance, by being broken into too many fmall folds, which might perhaps be in a 
 great meafure occafioned by the manner practiied by the painters of that time ■ 
 but, for correftnefs of defign, his pictures may be compared with the belt 
 mailers. The keeping is excellent -, and the fkill he had in perfpective, which 
 branch was either not well underftood, or much neglected by his cotemporaries, 
 gave his works an additional recommendation, by giving them an appearance of 
 truth, as well as an air of novelty ; his perfpective being true, and ornamental. 
 
 He (Viewed a particular excellence in the fore-fhortening of thole figures which 
 were placed in a pofition to require it. In this refpect good painters are often 
 faulty, and falle ; and even when they are true, are apt to be ungraceful •, but, 
 more perfect truth in figures of that kind cannot be produced, and there is alio 
 a oreat degree of grace added to them all. 
 
 His molt capital work is the Triumph of Julius Csefar, confiding of feveral 
 pictures, which were in the Royal collection at Hampton-Court. That work 
 he performed for the Marquis of Mantua, who, out of regard to his merit in 
 that compofition, conferred on him the honour of Knighthood, and made him 
 cOnfiderable prelents. This matter is accounted, by the Italians, the inventor 
 of the art of engraving. 
 
 MANTUANO. Vid. Marcello VENUSTI. 
 
 Tomaso MANZUOLI, called Tomaso da San Friano. 
 
 Painted Hijlory, Land/cape, and Portrait. 
 Died 15 jo, aged 39. 
 
 He was born in 153 1, and placed as a difciple under the care of Jacopo di 
 Sandro. He fhewed fuch a promptnefs of genius, and fuch diftinguifhed abili- 
 ties, even while he was yet a very young man, that he was employed as an affif- 
 tant, to execute fome of the molt considerable works in Florence, undertaken by 
 Michael Angelo Buonaroti, and other great mafters •, and was allowed by the 
 belt judges to be an eminent arult. 
 
 His fubjects were fometimes taken from fabulous hiltory, and ibmetimes 
 they were the product of his own imagination ■, but whatever fubjects he de- 
 fined, were elteemed for the extraordinary freedom of his hand, and for a 
 beautiful tone of colouring, particularly in his portraits, which he frequently 
 enriched with landfcapes, defigned in a very lovely tafte. 
 
 Giovanni MARACCI. 
 
 Painted Hiftory. 
 
 Died 1704, aged 6y. 
 
 He was born at Lucca, in 1637, and learned the principles of defign from 
 
 Tietro Paolini •, but at the age of fourteen he went to Rome, and entered him- 
 
 f;lf in the academy of Pietro da Cortona. By the instructive precepts, and ad- 
 
 3 mirable 
 
MAR I 369 ] MAR 
 
 mirable example of that excellent matter, the proficiency of his pupil appeared 
 furprizing •, and Maracci having profitably experienced the advantage he de- 
 rived from fo able a director, continued with him for eleven years. 
 
 At his return to Lucca, after fo long an abfence, he found immediate em- 
 ployment, and his works were uncommonly applauded ; for, the judicious com- 
 mended him highly, as well for the excellency of his tafte of defign, which was 
 entirely of the Roman fchool, as for the gOodnefs of his invention, and expref- 
 fion ; for the elegant difpofition of his figures •, for the graceful airs of the 
 heads ; and for a tint of colour that was exceedingly agreeable. 
 
 Carlo MARATTI, called Cavahe're. 
 Painted Hi/lory, and Portrait. 
 Died 1 71 3, aged 88. 
 
 This eminent painter was born at Camerino, in the Marquifate of Ancona, 
 in 1625, and was the difciple of Andrea Sacchi •, with whom he purfued his 
 ftudies for a great many years, and was fo fondly attached to that great matter, 
 that nothing but the death of Andrea could feparate them. The moft admired 
 ftatues of the antients, and the moft celebrated paintings of the beft of his pre- 
 decefibrs, were the objects of his perpetual attention, and imitation •, till he had 
 made himfelf matter of the moft beautiful forms, and the moft graceful atti- 
 tudes and airs of heads. Thofe he fketched with the utmoft facility, and by 
 thofe he gave fuch dignity, beauty, and elegance to his own compofitions, as 
 furpaffed the works of all his cotemporaries. 
 
 Maratti's manner of defigning was grand, and his manner of thinking and 
 compofing was truly noble, as well as judicious •, his ordonnances were rich and 
 magnificent, and his expreffion lively and affecting. His colouring generally 
 has an uncommon clearnefs and brilliancy, and his carnations are tender and de- 
 licate, efpecially in his early and middle time of painting ; but, many of his 
 pictures appear, at this day, rather with too great a tint of the red, which takes 
 off" confiderably from the luttre of his colouring. His touch is lively, and 
 exquifite, and his draperies have a noble variety,, being managed with great- 
 art and judgement. 
 
 In the attire and ornaments of the heads of his figures, and in the diftri'oution 
 of the hair, there is fomewhat that looks great, and at the fame time na- 
 tural, eafy, and becoming; and, although in fome of his compofitions, an acci- 
 dental incorrectnefs may be found in fome of the extremities ; yet, in general 
 they are correct, and elegantly turned ; and the whole together has a grace that 
 can fcarce be fufficiently admired. 
 
 As his firft performances were principally Madonna's, the cotemporary artifts, 
 who began very early to obferve and envy his merit, gave him the nick-name of 
 Carluccio delle Madonnine ; as if his genius in compofkion, was limited to that, 
 one fubject, and could rile no higher. But, he Icon gave fuch manifeft proofs, 
 of an extenfive and enlarged genius, as convinced the world of the fuperiority 
 of his talents. He received the honour of knighthood as a p'uBHck tefti'mbay of 
 his merit, and he has been mere reflected and admired thin any of the modern 
 painters. While he was alive his works we're fold at pfo'&gibus prices', and they 
 ttili retain their value in every part of Europe ; they i:e in the greateft efteem 
 
 with 
 
MAR [ 370 ] MAR 
 
 with the prefent age, and they are likely to be equally efteemed by pofterity. 
 The laft work of Carlo, is in the Carthufians convent at Naples •, the lubject is 
 the BaptiiVn of Chrift, and it is finely defigned ; yet, one cannot help obferving 
 the decay of that mafterly hand, in the execution. 
 
 A very capital picture of Carlo Maratti, is in the cathedral church of Siena ; 
 the lubject of it is the Vifitation of the Virgin, and the principal figure (as well 
 as that of S. Anne) is extremely beautiful ; the draperies are elegantly caft, in 
 broad folds ; the colouring is good, and abundance of grace appears in the airs 
 and attitudes ; yet, there are defects in the feet and head of another of the 
 figures in the compofition, though upon the whole, it is an excellent performance. 
 In the fame church alio there is a Flight into Egypt, by this mafter, in which the 
 head of the Virgin is in a fine tafte, and of a noble character ; but, the head 
 of Jofeph cannot be commended. Alio in the Palazzo Arnaldi at Florence, is 
 preferved a very pleafing picture, reprefenting Venus on a Couch. The figure 
 is lovely, and the attitude graceful, though the colouring is a little too red. A 
 curtain of lilk gauze is drawn before this picture, to preferve it from dull, or 
 other injuries. 
 
 N. MARCEL. 
 
 Painted Fruit, and Flowers. 
 Died 1683, aged 55. 
 He was born at Frankfort, in 1628, and became the difciple of George 
 Flegel or Vlughels ■, whofe manner he imitated, and always adhered to it; but 
 he proved far fuperior to his mafter in the fubjects he painted, fuch as vafes 
 filled with different kinds of fruit and flowers, and alio curious ihells ; all 
 which fubjects he copied exactly from nature, and finiihed them highly, with a 
 light touch, and very natural colouring. 
 
 MARGARITONE. 
 
 Painted Hijlcry, and Portrait. 
 
 Died 1275, aged yy. 
 
 This very antient mafter was born at Arezzo, in 1198, and painted in the 
 tafte and manner of thoie Greek artifts, who contributed to the revival of the 
 art of painting in Italy. He worked in frefco and diftemper ; painted in a 
 fmall as well as a large fize, and was eminent alio in his time, as a fculptor, and 
 an architect. The art of gilding with leaf gold upon Armenian bole, was firft 
 invented by Margaritone •, and at Pifa he painted the Legendary hiftory of S. 
 Francis, with a number of fmall figures, on a gold ground. Many of the works 
 of this matter were at S. Peter's, and the church of S. John Lateran at Rome ; 
 many were likewife in his native city, and others at Florence and Pifa, by 
 which he gained the reputation of being the beft painter of his time. 
 
 When Pope Gregory X. died at Arezzo, Margaritone was appointed to erect 
 his monument, and to adorn the chapel where he was interred •, by which means 
 a lucky opportunity was afforded him, to difplay his great abilities ; for, he not 
 only made the marble ftatue of the Pope, which was placed on his tomb, but he 
 alio decorated the chapel with the portrait of Gregory, and with feveral other 
 ornamental paintings. 
 
 Onori^ 
 
MAK [ 371 j MAR 
 
 Onorio MARINARI. 
 
 Painted Portrait, and Hi/lory. 
 Died 1 715, aged 88. 
 
 He was born in 1627, and was the difciple of Carlo Dolce, by whofe 
 inftruftion and his own concurring affiduity in ftudying the works of the great 
 matters, he acquired a good tafte, and great correctnefs of defign. His utmoft 
 ambition was to imitate the ftyle of his mafter, and he devoted himielf fo incirely 
 to purfue that point, that his endeavours were attended with a fucceis equal to 
 his wifhes. There appeared fo great a fimilitude in the colouring, and high 
 finifhing of thofe two eminent artifts, that it proved no eafy matter, even at the 
 time they painted, to diftinguifh their hands ; though in the choice of his 
 fubjects, in difpofing them with greater elegance, and alfo in giving them more 
 harmony and expreffion, Marinari was thought fuperior to Carlo. 
 
 In portrait painting his ftyle was excellent, the relemblance aftonifhing, his 
 colouring was life itfelf ; and he mewed an equal degree of merit in hiftorical 
 compofitions. Two charming picture's painted by Marinari are mentioned, as 
 having been fent to England ; the one is, the Judgement of Paris, the other 
 Diana with her Nymphs bathing. 
 
 After the death of Carlo Dolce, he finifhed feveral pictures, which were left 
 imperfect by that mafter ; and executed them with fuch exact fimilarity of 
 touch and colour, as made the difference of hands imperceptible. He pofieffed 
 a fruitful and fine invention, and was univerfally efteemed for the beauty of his 
 colouring, for the happy diftribution of his lights, for the noble airs of his heads, 
 for the decency and grace of his naked figures, and for the corre&nefs of his 
 defign. 
 
 MARIO da Fiori. Vid. N u z z 1. 
 
 MARMOCCHINI. Vid. Giovanna Cortesi. 
 
 MARTIRELLI. 
 
 Painted Land/cape. 
 Died 1720, aged 50. 
 
 He was born at Naples, in 1670, and learned the art of painting from 
 Giacomo del Po •, but not finding his genius inclinable to hiftorical compofition 
 and defign, and therefore, defpairing to arrive at perfection in that ftyle, he 
 determined to practice a different branch, and ftudied only landfcape, in which 
 he became an excellent mafter. 
 
 In that ftyle, he found room to exert all the powers of his imagination, and 
 invention •, and acquired an extraordinary readinefs of hand. His colouring 
 was natural •, his fites full of pleafing variety •, his figures were elegant, and 
 always introduced with propriety and great judgement ; the incidents of his 
 light have generally a lovely effect, and his perfpective is true. 
 
 B b b G 1 0- 
 
MAR [ 372 ] MAS 
 
 Giovanni Stefano MARUCELLI. 
 Painted Hijtory. 
 Died 1706, aged 60. 
 He was born in 1646, and was a difciple of Andrea Bofcoli, by whom he 
 was taught defign, colouring, and perfpective. In a fhort time, he diftinguifhed 
 himfelf in that fchool, and gradually became lb eminent, that he was invited to 
 Pila to paint a grand altar-piece ; which he executed in fuch a tafte, as 
 eftablilhed his reputation through all Italy. Another very admired picture of 
 this mailer, was the hiftory of Abraham entertaining the three Angels •, that 
 performance being defignedin a grand ftyle, the expreflion good, and the tafte 
 of the compofition very elegant. This mafter excelled alfo in architecture, and 
 was the inventor of many curious and ufeful machines. 
 
 Tom as o MASACCIO, called Da San Giovanni. 
 
 Painted Hiftory. 
 * Died 1443, a Z e & 2 &- 
 
 He was born at S. Juan de Valdarno, in 141 7, and was the difciple of 
 MafTolino da Panicale ■, but, he proved as much fuperior to his mafter, as his 
 mafter was fuperior to all his cotemporaries ; and is accounted the principal 
 artift, of the fecond or middle age of modern painting, from its revival under 
 Cimabue. 
 
 His genius was very extenfive, his invention ready, and his manner of defign 
 had unufual truth and elegance. He confidered painting, as the art of 
 reprefenting nature with truth, by the aid of defign and colouring-, and therefore 
 he rrade nature his mod conftant ftudy, till he ^excelled in a perfect imitation of 
 it. He is accounted the firft, who from judicious obfervations, removed the 
 difficulties that impeded the ftudy and the knowledge of the art, by fetting the 
 artifts an example in his own works, of that beauty which arifes, from a proper 
 and agreeable choice of attitudes, and motions, and likewife from fuch a i'pirit, 
 boldnefs, and relief, as appears trulyjuft and natural. He was the firft among 
 the painters, who ftudied to give the draperies of his figures more dignity, by 
 omitting the multitude of {mail folds, fo cuftomarily practifed by the preceding 
 artifts, and by defigning them with greater breadth and fulnefs. He was alio 
 the firft, who endeavoured to adapt the colour of his draperies, to the tint of 
 his carnations, fo as to make the one harmonize with the other. And it is 
 obferved of this mafter, that his colouring was exceedingly agreeable, his 
 draperies were lcofe and broad, and the actions of his figures much more 
 graceful, than any of his predecefibrs. 
 
 He was uncommonly (killed in perfpective, and performed feveral defigns in 
 that way, which were the admiration of every beholder ; particularly a painting- 
 in the church of S. Nicholas at Florence, reprefenting the Annunciation •, in 
 which fubject, the perfpe&ive introduced in the compofition, afibrds a curious 
 deception to the eve, every object receding with abundance of truth and artifice,, 
 and it is exceedingly commended by Vafari. His wo. !:s procured him univcrfal 
 
 *• Mpft authors agree that Mafaccio died in 1443 ; but Saudi art fixes his death in 1446. 
 
 approbation, , 
 
MAS [ 373 ] MAS 
 
 approbation, and it feemed aftonifliing to confider, what genius, what judgement, 
 what talents, and what execution he fhewed, at fo early a time of" life, being 
 only twenty- fix; when ne died ; at a time, when there was the higheft expectation 
 of his arriving at perfection, as he advanced in years. But, the very fame merit 
 which proa 'd his fame, excited envy ; and he died, to the regret of every lover 
 of the art, nol without ftrong fufpicions of his being poiibned. 
 
 The rrioft i apital work of Mafaccio, is the reprefentation of Chrift curing the 
 Demoniacks. 
 
 Annibal MASSARI. 
 
 Painted Hifiory. 
 Died 1633, aged 64. 
 
 He was born at Bologna, in 1569, and having for fome time ftudied in the 
 fchool of PalTerotti, he placed himfelf in the academy of Ludovico Caracci, to 
 perfect himfelf in the true principles of the art •, and completed his ftudies at 
 Rome. At his return to Bologna, he adorned the cloifter of S: Michael in 
 Bofco, and many of the chapels and palaces of that city, with his performances ; 
 and obtained an eftablifhed reputation, being accounted, through all Italy, an 
 excellent mafter. 
 
 His works did great honour to the academy where he was inftructed, 
 particularly the copies which he painted after fome of the fined compofitions 
 of Ludovico ; and which have fuch an uncommon fpirit, freedom, and exactnefs, 
 as to make feveral of them pafs at this day, for undoubted originals of that 
 illuftrious artift. 
 
 Otho MASSyEUS, or MARCELLIS. 
 
 Painted Reptiles, PnfeSfs, and Plants, 
 Died 1673, aged 60. 
 
 He was born at Amfterdam, in 1613, and became a diftinguimed painter of 
 thole fubjects, with which his imagination was moft delighted, and to which 
 the turn of his genius particularly inclined him. Being defirous to acquire all 
 poiiible improvement in his profefilon, he travelled through moft parts of Italy, 
 and fpent a confiderable time at Rome, and Naples ; devoting many hours of 
 every day, to fearch after fuch objects as were fuitable to his tafte, in the 
 environs of thofe cities ; fuch as vipers, adders, ihakes, and thole peculiar 
 plants, under which they Iheltered themfelve?, or on which they were fuppofed 
 to feed. He painted alfo butterflies, and infects of all kinds, that appeared 
 either curious or beautiful, when they engaged his attention ; and thofe he 
 copied after nature, with great correctnefs, with a tender and delicate pencil, 
 and with a truly natural tint of colour, that had great force, and an agreeable 
 effect. For feveral years he was retained in the fervice of the Grand Duke of 
 Tufcany •, and in France, he was employed by the Queen-mother, who allowed 
 him a piftole, for every four hours in each day that he painted. 
 
 Houbraken relates that he had a fmall fpot of ground, at a little diflance 
 from the city of Amfterdam, well enclofed, where hepreferved all his poifonous 
 reptiles, and fed them every day with his own hand. By which management tie 
 
 B b b 2 mad;; 
 
MAS [374] MAT 
 
 made them fo familiar, that they would at any time, readily come abroad into 
 the open air, whenever he wanted to paint them y and lie quietly in any 
 pofition, juft as he thought proper to place them, and as long as he had occafion 
 to obferve them. 
 
 No painter could reprefent thofe fubjects, with more truth, and nature, than 
 he did; nor finifh them to a higher degree of perfection. They are highly 
 efteemed in every part of Europe, they frequently bring large prices, and are 
 admitted into the bed collections. 
 
 MASSOLINO da Panicale. 
 
 Painted Hiftory. 
 Died 14.50, aged 37. 
 
 He was born at Florence, in 1413, and at firft was a difciple of Lorenzo 
 Ghiberti •, but at the age of eighteen, he learned the art of colouring from 
 Gherardo dello Starnina, at Florence, and afterwards went to Rome to finifh 
 his ftudies. There he improved himfelf considerably, and foon met with 
 fufficient encouragement ; but the air of Rome not agreeing with his conftitution, 
 compelled him to return to Florence. In that city he undertook a grand delign, 
 comprizing the hiftory of S. Peter ; and in the different parts of the compofition, 
 he introduced every memorable incident in the life of that Saint. When the 
 work was finifhed it procured him great honour ; as it not only pleafed by the 
 novelty of the defign, but by the goodnefs of the keeping through the whole. 
 It was painted in the manner of Giotto ; the figures had a great deal of grace, 
 and every part of the work was allowed to have grandeur of tafte, union and 
 harmony in the colouring, with very good relief; and it was much lamented, 
 that by the deach of the artift, fome part of it was left unfinifhed. 
 
 Mai'ibiino had an extraordinary genius, a good invention, and an expeditious 
 manner of working. He fliewed himfelf much fuperior to any of his cotempo- 
 rary artifts, in the dignity of his characters, and likewife in the difpofition of his 
 draperies ; in that fweetnefs of countenance which he gave to his female figures ; 
 in the agreeable turn of the limbs, and the life which he diffuied through the 
 eyes ; in his knowing how to manage his lights and fhadows fo properly, as to 
 give his objects a commendable relief; and in the fingular /kill which he had in 
 the art of pe ripecTive. 
 
 P a o i. o da M A T T E I, called Paoluccio. 
 
 Painted Hiftory. 
 Died 1728, aged 67. 
 He was born at Naples, in 1661, and for fome time ftudied at Rome 5 but he 
 was aft a difciple of Luca Giordano. From that mailer lie acquired a 
 
 moft expeditious hand, and a free pencil ; and he refetnbted him alio in that 
 « . I rful expertnefs of imitating Raphael, Guido, Titian, Correggk), Caracd, 
 and other famous painters, in lb exact a manner, as to deceive even fome who are 
 well (killed in the art. 
 
 As to his original works, feveral of them are much efteemed, being well 
 oompofed, . . eftly defigned ; but, there is a remarkable inequality in his 
 
 1 performances. 
 
MAT [ 375 ] MAT 
 
 performances, feveral of them being abundantly better than others. The ufuai 
 fault of Mattei was, that his lights and fhadows, were not well adapted to produce 
 a linking effect j thofe parts which demanded a ftrength of fhadow, being 
 perhaps a fmall degree deeper in the tint, than the lighter parts which they were 
 intended to oppofe •, by which means, the beauty of the colouring is in a great 
 meafure deftroyed, and the whole appears weak. However, in many refpe&s 
 he was a confiderable matter ; and thofe works of his which are in the churches 
 at Rome, and Naples, are extremely commended, and will always afford a 
 fufficient proof of the grandeur of his tafte, and the freedom of his pencil. 
 
 In the church dedicated to Xavier at Naples, there is a fine compofition by 
 Paolo da Mattei, of which fome parts are defervedly admired. The fi<mre 
 reprefenting the Deity (if we overlook the abfurd impiety of defcribing tfce 
 Invifible Being in the form of an old man) is ingenioufly difpofed, and in a 
 becoming attitude ; but the head of the Saint is very indifferent, and fo alio are 
 the boys which are on the ground. Moft of the cielings of the church are 
 likewife by this mafter ; and although they are exceedingly well compofed, and 
 have a great deal of harmony, yet for want of broad maffes of light and fhadow,. 
 they have but a feeble effect. 
 
 Quinti n MA TSYS, 
 
 Painted Hijiory, and Portrait. 
 
 Died 1529, aged 6g. 
 
 He was born at Antwerp, in 1460, and for feveral years followed the trade of 
 a blackfmith or farrier ; at leaft till he was in his twentieth year. Authors vary 
 in their accounts, of the caufe of his quitting his firfl occupation, and attaching 
 hlmfelf to the art of painting. Some affirm, that the firft unfolding of his genius 
 was occafioned, by the fight of a print, which accidentally was fhewn to him by 
 a friend, who came to pay him a vifu, while he was in a declining ftate of 
 health, from the labour of his former employment ; and that by his copying the 
 print, with fome degree of fuccefs, he was animated with a defire to learn the art 
 of painting. 
 
 Others fay, he fell in love with a young woman of great beauty, the daughter 
 of a painter ; and, they alledge, that love alone wrought the miracle, as he 
 could have no proipedt of obtaining her, except by a diftinguifhed merit in the 
 profeifion of painting. For which reafon he applied himfelf, with inceffant 
 labour, to ftudy and praftife the art, till he became fo eminent as to be entitled 
 to demand her in marriage, and he fucceeded. 
 
 Whatever truth may be in cither of thefe accounts, it is certain, that he 
 appeared to have an uncommon genius ; his manner was finguiar, not refembling 
 the manner of any other mafter ; and his pictures were ftrongly coloured, and 
 carefully finifhed, but yet they have fomewhat dry and hatd. By many 
 competent judges it was believed, when they obferved the ftrength of expreffi,,n 
 in fome of his compofitions, that if he had ftudied in Italy, to acquire fome 
 knov/ledge of the antiques, and the great mafters of the Roman ichoo!, he 
 would have proved one of the moft eminent painters of the Low Countries. 
 But he only imitated ordinary life, and feemed more inclined, or at leaft more 
 qualified, to imitate the defects, than the beauties of nature. Some hiftorical 
 
 compofitions 
 
MAT [ 3/6 ] MAT 
 
 •compofitions of this mafter deferve comment 1 ;r >articularly a Defcent from 
 
 the Crols, which is in the Cathedral at Antw< >:y d it is juftly admired for the 
 
 fpirit, fkill, and delicacy of the whole. But th< t rema. kable and belt known 
 
 picture of Matfys, is that of the two Milers n gallery at Windfor. 
 
 John MAT,/S. 
 Painted Portrait, ar I Hijtory. 
 He was born at Antwerp, the fon of Qu n Matfys, and alfo his difciple. 
 He painted in the fame ftyle and manner, bin Jt with a reputation equal to his 
 father; though many of his pictures are fo] to unflcilful purchafers, for the 
 paintings of Quintin. His mod frequent ' jecl was the reprefentation of 
 Mifers counting their Gold, or Bankers exa; ling and weighing it. 
 
 M A T U R i N O. 
 
 Painted Hiftory. 
 Died 1527, aged 37; 
 
 He was born at Florence, in 1490, and had the good fortune to be the difciple 
 of Raphael ; who carefjlly inftructed him in al! the beft principles of the art, 
 and afterwards employed him, in executing fci tr.d of his grand defigns. 
 
 He ftudied the antique ftatues and bas-reliev.-s (b effectually, that from them 
 he imbibed the tafte for elegant and graceful nature ; he proved a mafter of the 
 firft rank •, and afTociated with I olid or o da Caravaggio, who had been his fellow 
 difciple in the fame illuftriouj fchdol. Thofe two artifts lived together, 
 infeparable in their affection, and 1 their labours •, their tafte of compofition, 
 and their choice of fubjects being ftmilar ; and eve.i their ideas as well as their 
 handling, had fo great a refemblance, that it feemed lmpofTible to determine the 
 pencil of the one or the other artift, in any of their united performances. No 
 painters could better defign the antient habits, vafes, characters, arms, or 
 facrifices, than Maturino and Polidoro •, and although they borrowed the hints, 
 from the mod celebrated antique Grecian ftatuaries, yet even the imitation of 
 the true antique tafte, appeared intirely original in their compofitions ; a peculiar 
 air of antiquity was obfervable in them all, and they were ufually painted only 
 in two colours, refembling bas-relief carved on marble. 
 
 As the knowledge and advantage of the Chiaro-Scuro, began about that time 
 to be discovered, Maturino took exceeding pains, to obtain a competent power 
 of ufing it in hio own works •, he had the happinefs to find himfelf very fuccefs- 
 ful in his endeavours, and would probably have brought that part of the art, to 
 a much higher degree of perfection, if he had lived longer. But the troubles, 
 which involved Rome at that time in the deepeft diftrefs, compelled Maturino 
 to fly from it ; tore him away from his beloved companion Polidoro, though 
 Vafari fays, their fouls were fo united by a fincere friendfhip, that they were 
 determined to live and die together-, and he was carried ofFby the plague, 
 when he had only arrived at the age of thirty-feven. 
 
 MAYO. Vid. Vermeven. 
 
 Damiano 
 
M A Z [ 377 ] M A Z 
 
 Damiano MAZZA. 
 
 Painted Hiftory. 
 
 He was born at Padua, and in that city was taught the rudiments of paintino- ; 
 but he travelled to Venice, and placed himfelf as a dilciple with Titian, whofe 
 manner he carefully ftudied, and imitated it with very great fuccefs. 
 
 Having in a few years fufficiently improved himfelf under that incomparable 
 mafter, he returned to Padua, and was employed to paint the hiftory of the 
 Rape of Ganymede ; which fubject he defigned in fo elegant a tafte, and with 
 fo charming a tint of colouring, that it might defervedly be taken for the 
 compofition and hand of Titian. However, the art of painting was too foon 
 deprived of one of its greateft ornaments by the death of Damiano Mazza ; 
 who happened to be cut off in the flower of his age, at a time when there was a 
 general expectation, of his being equal to any of the greateft matters of Italy. 
 
 Paolo MAZZOCHI. Vid. Uccel l'o. 
 
 Pier Francisco MAZZUCCHELI, Cavaliere,. 
 called MORAZONE. 
 
 Painted Hijlcry. 
 Died 1626, aged 55. 
 
 This painter, who was born at Rome, in 1571, was fo extremely poor in 
 that city, as to be unable to procure a particular mafter to inftruft him in the 
 art of painting, to which his natural genius ftrongly prompted him ; but, at 
 feveral times he reforted to different fchools, where he gained fome knowledge 
 of defign. He then took pains to improve himfelf, by ftudying after the 
 antiques, which were open to his obfervation, and after the grand paintings in 
 the churches, to which he could always have eafy accefs ; till by purfuing that 
 courle for fome years, he formed his tafte, and perfected his hand, fo as to 
 appear an expert and ingenious artift, working equally well in frefco, and in oi'. 
 t He might have rofe to the higheft excellence in his profeffion, if his mind- 
 had been more engaged about his art, and lefs about intrigue ; but, when his 
 reputation was almoft advanced to the highelt pitch, he was unhappily flopped 
 in his progrefs by an indifcreet amour, which had nearly coft him his life, and 
 compelled him to fly precipitately from Rome to Venice. However, while he 
 refided in that city he added confiderably to his knowledge in the art of painting, 
 and united the beauty of the Venetian colouring, with the Roman tafte of 
 defign. 
 
 Several grand altar-pieces at Milan, are of his hand, and extremely admired-, 
 and his merit recommended him to the particular efteem of Charles Emanuel 
 Duke of Savoy, who invited him to his court •, took him into his fervica for 
 fome years ; beflrowed on him many princely gratuities ; and afterwards 
 conferred on him the order of knighthood. 
 
 In the Chartreufe at Pavia, in one of the chapels, is a noble altar-piece by 
 Morazone ; which is compofed in an exceeding grand ftyle, and is charmingly 
 coloured. 
 
 Francesco MAZZUOLI. Vid. Pumigiano. 
 
 1 J e r o- 
 
M A Z [ 378 ] MED 
 
 Jeronimo MAZZUOLI, called Parmigianino. 
 
 Painted Hijlory, and Portrait. 
 
 He was born at Parma, and was the coufin and difciple of Francefco 
 Mazzuoli, called Parmigiano, whofe ftyle and manner he imitated mod happily, 
 and performed a great number of elegant defigns in the churches of Parma, 
 Pavia, Mantua, and the neighbouring cities. He was accounted a very 
 excellent painter, although he could not give his figures that lovely air and 
 grace, which peculiarly diftinguifhed the works of his matter -, but, he 
 fufficiently evidenced the greatnefs of his abilities, by finifhing fome of the 
 works of Parmigiano, which had been left imperfect by the death of that 
 celebrated artiit. 
 
 In the Refectory of the Convent belonging to the Monks of S. John the 
 Evangelift in Parma, he painted a curious piece of perfpective in frefco ; and 
 a Laft Supper in oil colours ; both exceedingly well deligned and executed ; 
 and in the chapel of the Francifsans he painted a very noble defign, reprefenting 
 the Converfion of S. Paul, which was efteemed an incomparable performance. 
 
 PlETRO MEDICI. 
 
 Painted Hijlory. 
 
 Died 1648, aged 62. 
 
 He was born of an illuftrious family at Florence, in 1586, and learned defign 
 and colouring from that great artift Cigoli; by whofe inftruetion he acquired a 
 ftrong and pleafing manner of colouring, a correctnefs of outline, and an 
 expreflion that was truly natural. 
 
 Giovanni B a t t i s t a MEDINA, Chevalier. 
 Painted Hijlory, and Portrait. 
 Died 1711, aged 51. 
 
 He was born at Bruffels, in 1660, the fon of a Spanifh officer-, and having 
 learned the principles of defign under the direction of DuChatel, under whom 
 he made a good progrefs, he applied himfelf to ftudy the works of Rubens •, and 
 made that eminent mafter his particular model, preferably to all other painters. 
 He was indefatigable in his ftudies, through an ardent defire of imitating the 
 beautiful tints of Rubens, efpecially in his carnations •, to acquire his judicious 
 manner, of adapting the draperies of his figures to the difference of nations and 
 times •, and to habituate himfelf to that grandeur of thought, and that variety 
 of attitudes, difcernible in the works of that famous artift. 
 
 By that method of conducting his ftudies, his future works procured him 
 great reputation through all Flanders ; and recommended him to perfons of the 
 beft tafte in England, where his performances were confidered as being not far 
 inferior to thofe of Rubens. They produced Rich prices as did honour to the 
 artift; and were efteemed not only for the invention, but for the harmony that 
 fublifted through the whole. He alio excelled in portrait; painting thofe fub- 
 jects with remarkable freedom of touch, and ftrong refemblance of the perfons. 
 Moll of the Princes of Germany held him in extraordinary efteem, and diftin- 
 
 guifhed 
 
MEE [ 379 ] M E E 
 
 guiihed his merit by feveral marks of honour ■, but, in the year 1686 he went 
 to England, where his abilities were already well known, and amply encouraged 
 during his refidence in London •, that truly benevolent people being more 
 remarkable for their liberality to all kinds of merit, than any other nation in 
 Europe. 
 
 By the favour of the Earl of Leven, who procured for him a fubfcription of 
 five hundred pounds, he was at lall induced to vifit Scotland, where he painted 
 the portraits of the principal nobility •, and he might have enriched himfelf, by 
 the variety of hiftorical pictures, and portraits, which he finifhed at the different 
 courts where he was employed ; if the largenefs of his family, and perhaps fome 
 want of necefiary ceconomy, had not prevented it. By order of the Grand Duke 
 of Tufcany, the portrait of Medina, painted by himfelf, was placed in the 
 gallery at Florence, among the moil memorable artifts •, and as a pub!i<.k 
 acknowledgement of his merit in his profefiion, he was knighted by the Duke 
 of Qucenfbury, Lord high commifiloner, being the laft knight made in Scotland 
 before the union of the two kingdoms. 
 
 John Vander M E E R E N, or M E E R, called the Old. 
 
 Painted Land] capes, Battles, and Views of the Sea. 
 Died 1 690, aged 63. 
 
 This painter was born in 1627, but the mailer, under whom he learned the 
 art of painting, is not mentioned. His genius directed him to choofe for his 
 fubjects iea-pieces, landicapes, and views of the fea and its fhores •, which he 
 painted with great truth, as he had accuilomed himfelf to (ketch every fcene 
 after nature. The fituations of his landicapes are agreeably chofen, frequently 
 they are folemn, and generally pleafing. The forms of his trees are eafy and 
 natural, his diftances well obierved, and the whole fcenery has a linking effect, 
 by a happy oppofition of his lights and fhadows. 
 
 He perfectly underllood the conftruction of fhips, and had competent fkill, to 
 reprefent their natural appearance in all their different pofitions •, fo that his 
 compofiticns, in that ftyle of painting, were in good efteem. The figures 
 which he inferred in his landfcapes, were well defigned ; and although they 
 might be iaid to want elegance, yet were they placed with judgement, and well 
 adapted to their fituations. This mailer alio very often painted battles, in fuch 
 a ftyle as met with approbation ; as they fhewed good compofition, were touched 
 with fpirit, and had a great deal of tranfparence in the colouring. But the fault 
 imputable to Vander Meer, is, that in fome of his pictures, the back-grounds 
 are a little too blue, and fome of his landfcapes have a tint that appears rather 
 100 yellow ifli. 
 
 John Vander MEEREN, or MEER, called De Jonghe.. 
 
 Painted Land/cape. 
 Died 1688. 
 It is fuppofed, that this artift was the fon of the old John Vander Mser,, and 
 learned the firft rudiments of the art from his father, who was a lrndfcape 
 painter, and highly efteemed •, but, being in his youth deprived of his infcruflor, 
 
 C c c before 
 
MEE [ 380 ] M E H 
 
 before he had made any great progrefs, he became a difciple of Nicholas 
 Berchem, and was accounted the beft of thofe, who were educated in the fchool 
 of that admired matter. He applied himfelf with all poflible affiduity to imitate 
 the delicate ftyle of Berchem-, but, he took- alfo care to ftudy nature with an 
 equal degree of attention. In the manner of hi; mailer he painted landscapes 
 and cattle, and his ulual fubjedts are cottager with peafants at their rural 
 occupations and diverfions, or tending flocks of iheep and goats ; which are 
 excellently defigned, drawn with correctnefs, and delicately finifhed. 
 
 His ikies, trees, and figures are in a good tafl» \ and his grounds are diverfified 
 and broken, with abundance of judgement and (kill ; but, it is obferved of 
 him, that he very rarely introduced corns; horfes, or any other fpecies of animals, 
 except goats and iheep •, the latter of which are fo highly finifhed, that one 
 would imagine the wool might be felt, by the foftnefs of its appearance. His 
 touch is fcarce perceptible, and yet the colours are admirably united. 
 
 The genuine works of this Vander Meer bear a very high price, and 
 are efteemed even in Italy, where they are admitted into the beft collections ; 
 but the fcarcity of them has occafioned many moderate copies after his works, 
 to be paffed on the undifcerning for real originals. 
 
 John Vander MEER. 
 Painted Hijlory, and Portrait. 
 
 He was born at Schoonhovert, in 1650, and was taught defign and colouringat 
 Utrecht -, but, he went to Rome very early, accompanied by Lievin Verfchuur. 
 ' As his friends were in affluent circumftances, and iupplied his occafional 
 demands in a very liberal manner, he had nothing to withdraw his attention 
 from his ftudies, which he profecuted with the utmoft induftry. Nor was he 
 more diftinguifhed for his diligence, than for the benevolence of his mind. For, 
 inftead of profufion in expences which might adminifterto his private pleafures, 
 he appropriated all the money he could fpare, to affift thofe artifts, whofe 
 neceflitous circumftances difqualified them for purfuing their ftudies in a proper 
 manner; and by that unufual beneficence to all, he at the fame time gained the 
 admiration of ftrangers, and the grateful affection of his own countrymen. 
 
 Forfome time he ftudied under Droit and Carlo Loti, at Rome ; he painted 
 hifcorical fubjects with figures as large as life, as well as portraits ; and had a 
 ftrong, firm, and bold ftyle of painting. As he poffefled an ample fortune, he 
 feemed the lefs attentive to the profits that might arife from his profefiion -, and 
 was apparently much more anxious to acquire a lafting reputation. 
 
 Li v 10 MEHUS, or M e u s. 
 Painted, Hijiory, Portrait, and Land/cape. 
 Died 1 69 1 , aged 6 1 . 
 lie was born at Oudenarde, in 1630, but his family being forced to fly from 
 thn country, on account of the wars, he was carried along with his parents to 
 Milan', when they retired to that city. His genius to painting made him very 
 d f.rous to go to Rome, but he was obftructed by feveral crofs accidents, and 
 .c particularly by the poverty of his family, and friends, who were unable to 
 
 provide 
 
MEL [ 381 ] MEL 
 
 provide for his maintenance. However, at lad he had the good fortune to 
 obtain admittance as a difciple, in the fchool of Pietro da Co.tona, at Florence ; 
 under whom he practifed defign and colouring, for fome years, and made a 
 commendable proficiency. 
 
 When he had gained fuch a degree of (kill in the art, as might qualify him 
 for farther improvement by travel, he went to Rome, in the company of 
 Stefano della Bella •, and by obferving the variety of curious works, which are 
 to be feen in that city, and in others through which he had travelled •, he formed' 
 a ftyle of his own, that was correct and firm, with a peculiarity of penciling 
 which was free, and agreeable. He adorned many of the chapels at Florence, 
 with hiftorical compofitions, which are in the higheft efteem ; and the Grand 
 Duke, having employed him in feveral confiderable works, appeared fo highly 
 fatisfied with his performances, that he ordered the portrait of Livio, painted 
 by himfelf, to be placed in his gallery, among the portraits of the celebrated 
 artifts. 
 
 Some very capital paintings of Mehus, are mentioned in high terms by 
 writers on this fubjecl:. The picture of Bacchus and Ariadne, which he painted 
 in concurrence with Ciro Ferri, his fellow difciple under Cortona, is accounted 
 admirable. The hiftory alio of Hagar and Ifhmael ; the Enpa°-ement of 
 Achilles with the Trojans : the Triumph of Ignorance •, and others of his 
 hand, are efteemed to be exc-1 lent performances. 
 
 But, there is at this time, in the chamber of Flemifli artifts, in the Ducal 
 palace at Fl rencc. a grand compofition of Mehus, (the figures being as large 
 as life) which represents the Sacrifice of Abraham. Some of the connoiffeurs 
 fay, it was pain.e 1 in imitation of Lanfranc, but it feems to be rather in the 
 tafte of Salvator R >."r, the compofition having the character of that matter's 
 fpirit and force, being alio defigned in an elevated ftyle, and with a great deal of 
 fire. The expreffion through the whole is good, but the expreffion in the 
 figure of Ifaac, is excellent. His pencil is broad and free, the colouring ftrong,- 
 and every part of it ihews the execution of a great mafter •, though it is to be 
 (1, that the contours had been more diftinct, and more eafily perceptible. 
 
 Giovanni Paolo MELCHI'ORI. 
 
 Painted Hiftory. 
 He was born at Rome, in 1664, and became a c^ifciple of Carlo Maratti. 
 He proved an honour to that renowned fchool, as he had a lively and fertile 
 invention ; as he poffeffed all the grandeur and fweetnefs of hi? matter's ftyle ; 
 and as he added to thofe accomplifhments, a lingular correctnefs of defign, and 
 an expreffion that was full of propriety, and fpirit. 
 
 Gerard M E L D E R. 
 
 Painted Portraits, and Land/capes in Miniature. 
 Died 1740, aged 47. 
 He was born at Amfterdam, in 1693, and had fo early a tendency to the art 
 of painting, that he devoted even the playful time cf life, to gracUfe after fome 
 prints, and books of defigns, which contained proper models for a young arcift. 
 
 C c c 2 And 
 
MEM [ 382 ] MEM 
 
 And it may appear furprizing, that fome of his firft productions which were 
 offered to the publick, were exceedingly commended, and eagerly purchafed. 
 
 He painted many pictures in oil, with great fuccefs •, but, by the advice of 
 his friends, he afterwards applied himfelf to miniature, as a kind of painting, 
 which would probably procure him more employ lent, and fewer competitors. 
 And having accidentally met with fome miniatur.- paintings of Rofalba, he not 
 only improved his tafte and his hand by copying them, but thofe copies were 
 fold full as dear as the originals. He alfo copied the works of Rothenamer, 
 and Vander Werf, with equal fuccefs ; and deligned hiftorical and allegorical 
 fubjects in lb good a tafte, and with lu^h fpiritand delicacy, that his works were 
 generally coveted, and purchafed .1 1, • t§ prices. 
 
 The landicapcs of Melder were compefed in a very agreeable ftyle, and the 
 figures elegantly defigned, as well as pleafingly introduced. Purchafers were 
 never wanting for any jd£ hir compofitions, not only among his own countrymen, 
 but alio among feveral of the Engliih nobility, and the Princes of Germany ; and 
 for the King of Poland in particular, he painted a confiderablenumberof pictures, 
 which are not the leaft efteemed ornaments, of the cabinet of that prince. 
 
 He is accounted one of the beft artilts, in the miniature ftyle of painting; 
 
 he defigned well, his compofition is agreeable, and his colouring is beautiful and. 
 
 true. He painted in enamel as well as in water-colours ; but he difcontinued 
 
 that kind of work % out of an apprehenfion that it might be prejudicial to his 
 
 %ht. 
 
 i .lu 
 
 Simone- MEMMI, of Siena-. 
 
 Painted Hijlory, Portrait, and Mofaic. 
 
 Died 1 345, aged 60. 
 
 He was born at Siena, in 1285, and was taught the art of painting by Giotto ;- 
 
 whole manner he afterwards imitated, and was employed by his mafter, to affift 
 
 him in the Mofaic paintings, which he undertook for the church of S. Peter, at 
 
 PvOme. He rofe into, high favour with the Pope, who retained him in his 
 
 fervice, while herefided at Avignon ; and at that court, he had the opportunity 
 
 of painting Petrarch's beloved Laura, which induced that poet to celebrate 
 
 Memmi in fuch a manner, as to render his name, and his merit, univerfally 
 
 known. At his return to Siena, he was honoured and careffed by all orders of 
 
 people ; and employed to paint a picture for the cathedral of that city, of which 
 
 the fubject was, the Virgin and Child, attended by Angels. The air and attitude 
 
 oi" the Virgin, was lovely •, and the compofition, and ornaments, were in a grand 
 
 ftyle. 
 
 He finifhed many excellent portraits of the Pope, the cardinals, and the mod 
 
 dluftrious perfons of that age, among which were the portraits of Petrarch, and 
 Laura 5 and as hefpent a great part of his life at Florence, a great number of 
 the hiftorical works of Memmi, are in the churches of that city. The greatefb 
 excellence of this mafter confifted in his frefco painting •, and Vafari teftifies,. 
 that although he was not a good defigner, (his principal attention being engaged, 
 in ftudvhgand imitating nature, and painting portraits after the life,) yet the 
 airs of his heads were Very good, and his colouring agreeable. However, he 
 was ranked among the belt artifts of his rime, as may be evident from the 
 
 infeription: 
 
M E R [ 383 ] MET 
 
 infcription on his tomb, which afierts, that he was fuperior to any artift of any- 
 preceding age. The words are, Simcni Memmio, piilorum omnium, omnis atatis 
 seleberrimo. Vixit am. 60. Menfibus duobus, diebus tribus. 
 
 Maria Sibylla MERIAN. 
 
 Painted In fells, Reptiles, and Flowers. 
 
 Died 1717, aged 70. 
 
 She was born at Frankfort, in 1647, the daughter, of Matthias Merian, a 
 noted engraver, and geographer. As fhe fhe wed a very early fondnefs for 
 painting, fhe was inftructed by Abraham Mignon, from whom (he learned great 
 neatnefs of handling, and delicacy of colour. Her genius particularly led her 
 to paint reptiles, flowers, and infects, which fhe defigned after nature, and 
 ftudied every object with a moil curious and inquifitive obfervation ■, fo that her 
 works rofe every day more and more into reputation. 
 
 Frequently, fhe painted her fubjects in water-colours on vellum ; and finilhed 
 an aftonifhing number of defigns, as fhe was equally indefatigable in her work, 
 and in her inquiries into the curiofities of nature. She drew the flies, and 
 caterpillars, in all the variety of changes and forms, in which they fucceffively 
 appear from their quiefcent ftate till they become butterflies -, and alfo drew 
 frogs, toads, ferpents, ants, and fpiders after nature, with extraordinary 
 exactnefs, and truth. She even undertook a voyage to Surinam, to paint thofe 
 infects and reptiles which were peculiar to that climate ; and at her return to 
 her own country, publifhed two volumes of engravings after her defigns, which 
 are well known to the curious. And her daughter Dorothea Henrietta Graff, 
 who painted in the fame ftyle, and had accompanied her mother to Surinam, 
 publifhed a third volume collected from the defigns of Sibylla ; which complete 
 work has been always admired by the learned, as well as by the profeffors of 
 painting. 
 
 MESSINA. Vid. Antonello. 
 
 Agostino METELLI. 
 Painted Architecture, and Perfpeilive. 
 Died 1660, aged 51. 
 
 He was born at Bologna, in 1609, and was a difcipleof Gabriello D'Occhiali. 
 The excellence of this mafter confilted in painting perspective and architecture; 
 and he aiTociated with Michael Angelo Colonna, who, in conjunction with 
 Metelli, executed feveral very magnificent works, which contributed highly to 
 the honour of both arfifts. The frizes, foliages, and other ornaments of 
 architecture, were performed by this mafter, in a grand ftyle of defign, and 
 painted in a free and fine manner. 
 
 Metelli and Colonna, were jointly employed at Buon-Retiro, and other 
 palaces in Spain, by Philip IV. for feveral years ; and they received remarkable 
 inftances of the favour of that Monarch ; who feemed to be fo exceedingly 
 delighted with their painting, that he frequently went on the fcaffold 10 Ice 
 thofe artifts at work. 
 
 Gabriel 
 
MET [ 384 ] MET 
 
 Gabriel METZU. 
 Painted Portraits, and Cottverfations. 
 Died 1658, aged 43. 
 
 He was born at Leyden, in 1615 ; and although his eminence in his profeflion 
 is inconteftable, yet the matter under whom he itudied the art of painting is not 
 mentioned. The mailers which he choie for his models, were Gerard Douw, 
 and Micris ; thofe he endeavoured to imitate, as well in their ftyleof compofition 
 as in their colouring ; yet there is a remarkable difference in the touch and 
 penciling, which readily diltinguifhes the works of thofe painters, from the 
 works of Metzu. However, he had generally fuch exactnefs in his drawing, 
 fuch nature, truth, and delicacy, in his defign and pencil, fuch a pleafing tone 
 of colouring, and lb good an exprefiicn, that his paintings are in univerfal 
 elteem through all Lurope. 
 
 In his colouring, he was accounted to approach near to Vandyck, and to 
 refemble him in his manner of defigning the hands and feet of his figures ; the 
 countenances of them had ufually a great deal of grace, a very diltinguilhing 
 character, and ftrong expreffion ; and his pictures have abundance of harmony. 
 His fubjects were ui'ually taken from low life ; but they were all deligned after 
 nature, and furprizingly well feprelenteu -, fuch as women felling fifh, fowls, or 
 hares; fick perfons attended by the doctor-, chymifts in their laboratories-, 
 dead game, painters rooms, (hops, and drawing fc'riools hung with prints and 
 pictures ; all which fubjects he compofed well, and hnifhed them with extreme 
 neatnefs, as he likewifedid his portraits. 
 
 He spent a great deal of time on las pictures, which nas bccafioned their 
 fcarcity and dearneis at mi's time ; and befides, it is confidently faid, the Dutch 
 prevent their being caVrted d\£i or their own country, as hrmclvas pofiible. So 
 
 throughout Holland and Flinders •, hath induced feverajl painters to endeavour 
 at instating and copying his works, v. ftj'cii haying gradually circulated abroad, 
 and being a little mellowed by time, are now called origin,.! . 
 
 Commonly he painted in a fmall fize •, but, according to Houbraken, the 
 largefl picture of this artifl is in Holland, in the poffefiion of Mr. De Wolf. 
 The fubject is a number of gentlemen and ladies in a mercer's (hop, and it is 
 defcribed as being excellent in the difpofirion, and correct in the defign •, the 
 naked fo loft, fieihy, and melting, and the colouring fo clear, that it is truly 
 admirable. The filks and itufls arc curioully, and neatly diftinct, and their 
 different texture and folds reprefented' with fuch truth and. eafe, that it really 
 affords an entertainment to examine it. .-The attitudes of the figures are 
 well chofen, and every thing appears fo natural, that nothing feems wanting to 
 its perfection. Another picture of Metzu is alfo defcribed, reprefenting aLady 
 warning her hands in a baton of filver, held by her woman ; this is an exquifite 
 performance, and thought to be painted in his belt time. But, a picture ftill 
 more capital, is a Lady tuning her Lute -, the face is beautifully formed, and 
 painted with the utmoft delicacy ; the flefh and life being'iinitated with uncom- 
 mon force and fpirit ; and if the hands had been a little more correct, the whole 
 would not have been unworthy of Vandyck. 
 
 i By 
 
MEU [ 385 ] ME 
 
 U 
 
 By confining himfelf to a fedentary life, with very little intermiffiori, he was 
 feverely afflicted with the ftone-, and having confented to undergo the operation 
 of cutting;, he was of too feeble a constitution to furvive it. 
 
 Anthony Francis V a n d e r M E U L E N. 
 
 Painted Battles, Landfcapes, Sieges, and Encampments. 
 
 Died 1690, aged §6. 
 
 This painter was born at Eruffels, in 1634, and was a difciple of Peter Snayers> 
 a battle painter of confiderable note ; by whofe instructions his improvement 
 was fo very rapid, that feveral of his performances while he ihidied in that 
 fchool, might pais for good pictures. 
 
 "While he followed his profession atBrufTels, fome of his compofitions happened 
 to be carried to Paris, and were fhewn to Mr. Colbert. Thar great minifter 
 Toon difcerned the abilities of Vancler Meulen, and by his generous offers 
 induced him to leave his native city, and fettle at Paris •, where he was employed 
 by Lewis XIV. and had an appointment of two thoufand ljyres penfion, befide 
 being paid for his work. He attended that enterprizing monarch, in molt of 
 his expeditions in the field, and defigned on the fpot the lieges, attacks,, 
 encampments, and marches of the King's armies, alio the views of thofe cities 
 and towns memorable by any degree of fuccefs •, and from thofe (ketches he 
 compofed the paintings, which were intended to perpetuate the remembrance 
 of thofe military exploits. 
 
 In his imitation of nature he was exact and faithful ; his colouring is excellent, 
 and in his landfcape, the fkies and diftances are clear, and exceedingly natural ; 
 and although his figures are dreffed in the mode of the times, yet they are fo 
 well defigned, and grouped with fo much judgement, that his pictures have 
 always a very ftriking effect. His defign is generally correct, his touch free, and 
 full of fpirit, and in the distribution of his lights and fhadows, there appears fo 
 good an understanding, that the eye of the fpectator is conftantly pleafed, and 
 entertained. It cannot indeed be truly affirmed, that the works of Vander 
 Meulen, have the fpirit and fire of Bourgognone, and Parocel ; but, they feem 
 to have more fweetneis •, nor could any painter excel him in defcribino- the 
 various motions, actions, and attitudes of horfes, as he carefully studied every 
 object after nature, and knew how to e>jprefs them with truth, and elegance. 
 
 The principal works of this mailer are at Verfailles, and Marli -, but many 
 of his eafel pictures, are difperfed through England, France, and Flanders. 
 
 Philip MEUSNIER. 
 Painted -drcbiteftitre. 
 Died 1734, aged 79. 
 He was born in 1 6$$, and was a diicipie of James Rcuffeau. He proved an 
 eminent painter of architecture, having fpent feveral years at Rome, to compleie 
 his knowledge of the art •, and by carefully examining the magnificent 
 buildings about that city, as wellantknt as modern ; and likevvife by defi^ninc/ 
 after the works of thofe matters, who excelled in that particular branch which 
 he chofe to cultivate, he acquired a confiderable elegance of tafte. 
 
 His 
 
M E Y [ 386 ] M E Y 
 
 •His ftyle of compofuion is of the Roman fchool ; his colouring is good, and 
 he had a great felicity in managing his fhadows and his lights, fo as to produce 
 an extraordinary effect; he had alfo a remarkable freedom of hand, and 
 abundance of fpirit in his touch. 
 
 Fel ix MEYER. 
 Painted Land/capes, and Animals. 
 Died 1713, aged 60. 
 
 He was born at Winterthur, in 1653, and received his earlieft inftructions 
 from a painter at Nuremburg •, but he was afterwards a difciple of Ermels, a 
 good landfcape painter, whole manner he entirely followed. He did indeed ftudy 
 colouring after nature, but he owed his beft accomplifhments to Ermels. In 
 fearch of Hill greater improvement, he travelled to Italy-, but the climate not 
 agreeing with his confiitution, he retired to Switzerland, where there are 
 abundant materials to aid the imagination, and improve thetaiteofan artift, by 
 the infinite variety of profpects of plains, mountains, craggy rocks and preci- 
 pices, rivers, and falls of water, fufficient to furnifh the fancy of a painter, 
 with fubjects for future compofitions. As he was indefatigable, in furveying 
 all the beauty, the wildnefs, and magnificence of nature in thofe romantick 
 fcenes, he made a multitude of noble defigns, which procured him very high 
 imputation, and fupplied his own demand?, in an ample manner. 
 
 He acquired an extraordinary freedom of hand, and a fingular readinefs of 
 execution, that equalled the vivacity of his imagination •, of which he gave a 
 remarkable proof at the Abbey of S. Florian in Auftria, where he happened to 
 flop in his travels. 
 
 The Abbot, being defirous to have two grand apartments painted in frefco, 
 and having confultcd another artift about it, whofeemed very dilatory, applied 
 to Mejer for his advice, in what manner he would have it executed. Meyer for 
 a few minutes viewed, and confidcred the place, and then taking a long flick, 
 to which he fattened a piece of charcoal, he immediately began to defign, faying, 
 Here I would have a tree ; which he marked out as quick as poffiTle •, at the 
 remote diilance, I would repreient a forell •, — as thus ; here a fall of water, 
 
 tumbling from great rocks, and fo on. As fafl as he fpoke, he defigned 1 
 
 and deprived the Abbot of the power of exprefilng his approbation, lb much was 
 he loft in aftonilhment, to lee a defign with fuch elegance and talle, executed 
 even without any time allowed for reflection. At the Abbot's requeft Meyer 
 undertook to finifh the defign, the other painter was difmified, and the whole 
 work was completed in one fumrner. 
 
 That adventure fpread his reputation through all Germany •, and he was 
 from thence forward, continually employed by the firft princes, and nobility in 
 Europe. But, in the latter part of his life, by endeavouring to fix on a manner 
 Hill more expeditious, and more pleafing, than that of his former time ; his 
 works had neither the fame eafe, freedom, or look of nature, though they might 
 produce a more confiderahk immediate profit. Bur, as to his firft performances, 
 they deferve to be ranked v ith thofe, of the beft painters of landfcape. 
 
 As he was not expert at painting figures, thofe which he inferred in his own 
 pictures being very indifferent -, fuch of his landfcapes, as were fupplied with 
 figures by Roos, or Rugcndas, are accounted moft eflimable. 
 
 1 Albert 
 
M E Y [ 387 ] M E I 
 
 Albert MEYERING. 
 
 Painted Land/capes, and Views of Villas. 
 Died 1714, aged 6g. 
 
 He was born at Amfterdam, in 1645, and learned the art of painting from 
 his father Frederick Meyering, an artift of fome abilities ; but, when he had 
 acquired a good degree of knowledge in his profeffion, he went to Paris, where 
 he continued for a few years, finding little encouragement, and labouring very 
 hard for a fubfiftence ; and from thence travelled to Rome, which he perceived 
 to be the only place, where he could hope for real improvement. 
 
 On his arrival at that city, though he was in a neceflitous fituation, he 
 notwithftanding purfued his ftudies induftrioufly ; and having met with his 
 friend John Glauber at Rome, they aflbciated together, and vifited moil of the 
 cities and towns of Italy, making obfervations in every place, on fuch parts of 
 nature, as might be of moft ufe to them in their feveral performances. After an 
 abfence of ten years, he returned to Holland extremely improved, and was 
 immediately employed in feveral confiderable works. In Italy he had acquired 
 a free pencil, and a ready manner of painting; which happened to be particularly 
 ufeful to him, as his defigns were ufually of a large fize, in halls, falons, and 
 grand apartments ; though he often painted eafel pictures, which were 
 excellently handled. 
 
 His compofitions had a very ftriking effect ; his fubjects were well difpofed, 
 and in fome of his pictures he defigned an abundance of figures. In general, the 
 grandeur of his tafte in the trees and buildings, the richnefs of many of his 
 ornaments, and a peculiar tranfparence of the water, gave the eye of every 
 beholder a fingular fatisfaction. 
 ■ 
 
 John MEYSSENS. 
 
 Painted Portrait, and Hijlory. 
 
 He was born at BrufTels, in 1612, and at firft was taught the principles of 
 painting, by Anthony van Opftal -, but afterwards, he became a difciple of 
 Nicholas vander Horft. When he commenced painter, he undertook both 
 hiftory and portrait; but the latter feems to have been his principal employment ; 
 and by having fuccefsfully painted the portraits of Count Henry of Naflau, the 
 Countefs of Stirum, the Count de Bentheim, and other noble perfonages, his 
 reputation for that ilyle of painting, was effectually eflablifhed through the Low 
 Countries. 
 
 His remarkable excellence confuted in his producing a very ftriking 
 refemblance ; in his finifhing his pictures with a great deal of care ; and giving 
 them a lively and good exprefiion. 
 
 MICAR1NO. Vid. B e c c a f 1 u m 1. 
 
 Jan M I E L, called Giovanni della Vite. 
 
 Painted Hijlory, Huntings, and Converfations. 
 
 Died 1664, aged 65. 
 
 This eminent artift was born in Flanders, in 1599, and at firft was a difciple 
 
 of Gerard Segers, in whofe fchool he made a diftinguifhed figure •, but he quitted 
 
 D d d that 
 
M I E ( 388 ] M I E 
 
 that artift, and went to Italy, to improve himfelf in the tafte of defign, and to 
 obtain a more extenfive knowledge of the feveral branches of his art. 
 
 At Rome he particularly ftudied and copied the works of the Caracci, and 
 Correggio, and was admitted into the academy of Andrea Sacchi ; where he 
 gave fuch evident proofs of extraordinary merit and genius, that he was invited 
 by Andrea to affift him in a grand defign, which he had already begun. But 
 Miel, through foine difguft, rejected thofe elevated fubjects which at firft had 
 en^ao-ed Ids' attention v refuled the friendly propofal of Sacchi •, and chofe to 
 imitate the ftyle of Bamboccio, as having more of that nature which pleafed his 
 
 own imagination 
 
 His general fubje&s were huntings, carnavals, gypfies, beggars, paftoral 
 fcenes, and converfations •, of thofe he compofed his eafel pi&ures, which are 
 the fineft of his performances. But he alio painted hiftory in a large fize ir* 
 fref'co, and in oil •, which, though they feem to want elevation of defign, and a 
 greater degree of grace in the heads, yet appear fuperior to what might be ex- 
 pected, from a painter of fuch low fubjecls, as he generally was fond of re- 
 
 prefenting. 
 
 His pictures of huntings are particularly admired ; the figures and animals 
 of every fpecies being defigned with uncommon fpirit, nature, and truth. The 
 tranfparence of his colouring, and the clear tints of his fkies, enliven his compo- 
 fitions ; nor are his paintings in any degree inferior to thofe of Bamboccio r 
 either in their force, or luttre. His large works are not fo much to be com- 
 mended for the goodnefs of the defign, as for the expreffion, and colouring ; but 
 it is in his fmall pieces, that the pencil of Miel appears in its greateft delicacy 
 
 and beauty. 
 
 The fin<mlar merit of this mafter recommended him to the favour of Charles 
 Emanuel Duke of Savoy, who invited him to his court •, where he appointed 
 Miel his principal painter, and afterwards honoured him with the order of 
 S. Mauritius, and made him a prefent of a crofs fet with diamonds of a great 
 value, as a particular mark of his efteem. 
 
 Many capital pictures of this mafter, in his beft ftyle, are faidtobe in the Im- 
 perial collection at Vienna •, and at * Turin, in a grand falon of the Venerie, are 
 feveral of his nobleft performances. They reprefent the chace of various ani- 
 mals in different views •, fome purfued, others killed, and the huntfman returrv 
 ing from the fport. In thofe compofitions there are a great number of figures •, 
 and although they are dreft in the mode of the times, yet the fubject is treated in 
 a <^rand ftyle, and the colouring is lively and ftrong, though fomewhat darkened 
 by time. 
 
 Francis M I E R I S, the Old. 
 
 Painted Portraits., Couverfaticns, and Still Life. 
 Died 1 68 1, aged 46. 
 This admirable painter was born at f Leyden, in 1635, and was at firft placed 
 under the direction of Abraham Toorne Vhet, one of the beft defigners of the 
 
 • Mr. Cochin, who is a very judicious writer, by miilake, calls this mafter Daniel Miel, inflead 
 ei Jan Mild, which was really his name. _ 
 
 t M.- Defcamp's mult certainly be miflaken, in faying, that Mieris was born atDeltt ; as Hou- 
 . kan, Dt Piles and all the belt 'authors, aucrt, that he was born at Leyden. 
 
 L^ow 
 
M I E [ 389 ] M I E 
 
 Low Countries ; with whom, having made a remarkable progrefs, while he con- 
 tinued in that fchool, he entered himfelf as a difciple with Gerard Douw. In a 
 ihort time he far furpafled all his companions, and was by his mailer called, 
 the Prince of his Difciples. But, as he feemed ftill eager to improve himfelf 
 in penciling, he went for a few months to ftudy with Adrian Vanden Tempel ; 
 till he found his expectations not anfwered, and then he returned to Gerard 
 Douw, whofe tafle and genius correfponded more nearly with his own ; and he 
 continued with him, till he wanted no farther improvement, except to ftudy 
 after nature. 
 
 He had an unufual fweetnefs of colouring, a neat and wonderfully delicate 
 touch, and the fame tranfparence that characterizes the paintings of Douw. 
 But, he is allowed to be fuperior to that mailer, in many refpefh ; being more 
 delicate and extenfi/e in his defign, and more correct in his drawing. His co- 
 louring is more clear, his touch more animated, and his pictures have more 
 frefhnefs, and force. His manner of painting filks, velvets, (luffs, or carpets, 
 was i'o Angular, that the different kinds and fabrick of any of them, might eafily 
 be difunguifhed. His pictures are rarely to be feen, and as rarely to be fold ; 
 and when they are, the purchafe is extremely high, their intrinfick value being 
 fo inconteftably great. 
 
 Befide portraits, his general fubjects were converfations, perfons performing 
 on mufical inftruments, patients attended by the apothecary or doctor, chymifts 
 at work, mercers fhops, and fuch like •, and the ufuai valuation he fet on his 
 pictures, was eftimated at the rate of a ducat an hour. 
 
 Houbraken mentions an incident in the life of this artift, which, as it tends 
 much to his honour, by fhewing the grateful fpirit of Mieris, as well as his gene- 
 rofity, may not be unacceptable to the reader. Mieris had conceived a real 
 friendfhip for Jan Steen, and delighted in his company, though he was by no 
 means fond of drinking as freely as Jan coveted to do every evening at the 
 tavern. He often paffed whole nights with his friend, in a moft joyous manner ; 
 and frequently returned very late to his lodging. 
 
 One evening, when it happened to be extremely dark, and almofl midnight, 
 as Mieris returned home from the tavern, hs unluckily fell into the common 
 fewer, which had been opened in order to cleanfe it, and the workmen had left it 
 unguarded. There he mull have periihed inevitably, if a cobler and his wife, 
 who worked in a neighbouring flail, had not heard his cries, and inflantly ran to 
 his relief. They took all poffible care cf him for that night ; afTifling him in 
 every point obligingly, and procured him the befl refreihment in their power. 
 
 The next morning Mieris, having thanked his prefervers, took his leave of 
 them ■, but particularly remarked the houfe, that he might know it another time. 
 The poor people were totally ignorant of the perfon who had been relieved by 
 them, but Mieris had too grateful a fpirit to forget his benefactors ; and having 
 painted a picture in his befl manner, he brought it to the cobler and his wife, 
 telling them it was a prefent from the perfon whofe life they had contributed to 
 fave •, and defired them to carry it to his friend Cornelius Plaats, who would 
 give them the full worth of it. The woman, unacquainted with the real value 
 of the prefent, concluded fhe might receive a moderate gratu "_y for the picture ; 
 but her aflonilhment was inexprefllble, when fhe experienced the liberality of the 
 giver, by receiving for it fo large a fum as eight hundred florins. 
 
 D d d 2 The 
 
M I E [ 390 ] M I E 
 
 The fineft portrait of this matter's hand, is that which he painted for the 
 wife of Cornelius Plaats, which is ftill preferved in the family, although very 
 great fums have been offered for it. In the pofieffion of the fame gentleman, 
 was another picture of Mieris, reprefenting a lady fainting, and a phyfician ap- 
 plying the remedies to relieve her. For that performance, he was paid (at his 
 ufual rate of a ducat an hour) fo much money as amounted to fifteen hundred 
 florins, when the picture was finifhed. The Grand Duke of Tufcany wifhed to 
 purchafe it, and offered three thoufand florins for it, but the offer was not ac- 
 cepted. However, that Prince procured feveral of his pictures, and they are, 
 at this day, an ornament to the Florentine collection. One of the moft curious 
 of them, is a girl holding a candle in her hand ; and it is accounted ineftimable. 
 
 John MIERIS. 
 Painted Portraits, and Converfations. 
 Died 1690, aged 30. 
 
 Fie was the eldeft fon of Francis Mieris, born at Leyden, in 1660, and learned 
 the art of painting from his father. He was ftimulated to exert the utmoft 
 efforts of his genius, to arrive at eminence in his profeffion, by having the ex- 
 ample of his father perpetually before him, and the abilities of his younger 
 brother to excite his induftry ; as that young artift had already begun to dif- 
 tino-uifh himfelf. Yet, John Mjeris neither imitated the manner of the one, nor 
 the other •, for he could not hope to poflefs the patient perfeverance which his 
 father fhewed, in finifhing his pictures as highly as he did ; and as his brother 
 William painted in fmall, he determined to paint in a large fize, to avoid 
 competition. 
 
 Francis appeared very defirous to place his fon John with fome very eminent 
 hiftorical painter ; and particularly with Gerard Laireffe, whofe works he held in 
 the higheft efteem. But, as he knew him to be a rran of a diflblute life, and cor- 
 rupt morals, he was unwilling to rifque the virtue of his fon, who might perhaps 
 be deluded into vice, by the power of a bad example ; and therefore he under- 
 took that employment himfelf, affording him all the aids in his power, and laid 
 before him thofe models, from which he had formed his own luccefsful 
 manner. 
 
 The young artift unhappily was feverely afflicted with the gravel and ftone ; 
 and by thofe complaints, was much hindered in the progrefs of his ftudies. But, 
 after the death of his father, he travelled to Germany, and from thence to Flo- 
 rence, where the fame of his father's merit procured him a moft honourable re- 
 ception from the Grand Duke •, who, when he faw fome of his paintings, endea- 
 voured to retain him in his fervice. But Mieris politely declined it, and pro- 
 ceeded to Rome, where his great abilities were well known before his arrival, 
 and his works were exceedingly coveted. 
 
 In that city his malady increafed ; yet, at the intervals of eafe, he continued 
 to work with his ufual application, till the violence of his diftemper ended his 
 days , when he was only thirty years old ; and he was allowed to have been as emi- 
 nent for painting in a large fize, as his father had been for his works in fmall. 
 
 W I L L I A 11 
 
M I E [ 391 ] M IE 
 
 William M I E R I S, called the Young M I E R I S. 
 
 Painted Hijiory, Converfations, and Land/capes. 
 Dkd 1747, aged % $. 
 
 He was the fonand difciple of Francis Mieris, born at Leyden, in 1662, and, 
 during the life of his father, made a remarkable progrefs ; but, by being de- 
 prived of his director, when he was only arrived at the age of nineteen, he had 
 recourfe to nature, as the mod inftructive guide, and by ftudying with diligence 
 and judgement to imitate her, he approached near to the merit ot his father, 
 
 Atfirft he took his fubjedts from private life, in the manner of Francis, fuch 
 as tradefmen in their fhops, or a peafant felling vegetables and fruit, and fome- 
 times a woman looking out at a window ; all which he copied minutely after na- 
 ture, nor did he paint a lingle object without his model. One of his firft at- 
 tempts, was a picture reprefentinga woman feeding her child, and another {land- 
 ing by, encouraging it to eat •, the father fits by the fire, attentive to the actions 
 of other children, and the chamber is neatly furnifhed. The whole is finifhed 
 with the mod exquifite art, and delicacy, and that fingle picture eftablifhed his 
 reputation. 
 
 As Mieris had obferved the compofitions of Gerard LairefTe, and other great 
 hiftorical painters with fingular delight, he attempted to defign fubjedts in that 
 ftyle ; and- began with the ftory of Rinaldo deeping on the lap of Armida, fur- 
 rounded with the loves, and graces ; the fore-ground being enriched with 
 plants, and flowers. That work proved a new addition to the fame of this ce- 
 lebrated matter, being fold for a very great price ; and it was fo highly admired, 
 that he was prevailed on to repeat the fame fubject, for three other perfons of 
 diftindtion, though in every pidture he took care to make fome fmall alteration. 
 
 This mafter alfo painted landfcapes, and animals, with equal truth and neat- 
 nefs ; and modelled in clay and wax, in fo fharp and accurate a manner, that he 
 might juftly be ranked among the molt eminent fculptors. In the delicate fi- 
 nifhing of his works, he imitated his father, as he likewife did in the luftre, har- 
 mony, and truth of his paintings, which makes them to be almoft as highly 
 prized ; but they are not equal in refpedt of defign, or of theftriking effect, nor 
 is his touch fo very exquifite as that of the father. The works of the old Mieris 
 are better compofed, the figures are better grouped, and they have lefs con- 
 fufion •, yet, the younger Mieris is acknowledged to be an artift of extraordinary, 
 merit, although inferior to him, who had fcarcely his equal. 
 
 Franc if MIERIS, called the Young Francis. 
 Tainted Conversations, Portraits, and Still Life. 
 
 He was the fonof William, and the grandfon of the celebrated Francis Mieris,, 
 and was born at Leyden, in 1689. He learned the art of painting from his 
 father, whofe manner and ftyle he always imitated •, he chofe the fame fubjedts, 
 and endeavoured to refemble him in his colouring and pencil. But, with all his 
 induftry, he proved far inferior to him ; and moft of thofe pictures, which at the 
 public fales are faid to be of the young Mieris, and many alfo in private collec- 
 tions, afcribed to the elder Francis, or William, are perhaps originally painted by 
 dais mafter, who was far inferior to both ; or are only his copies after the works 
 
 of: 
 
MIC [ 392 ] M I G 
 
 of thofe excellent painters, as he fpent abundance of his time in copying their 
 performances. 
 
 Nicholas MIGNARD, called of Avignon. 
 Painted Hijiory, and Portrait. 
 Died 1668, aged 60. 
 
 He was born at Troyes, in 1608, and inftru&ed in defign and colouring by 
 the beft painter in that city, to whom Mignard proved himfelf to be much fu- 
 perior in afhort time ; and therefore, to acquire a greater degree of knowledge, 
 and an improved tafte, he ftudied after thofe antiques which were at Fontain- 
 bleau, and alfo after the paintings of Primaticcio, and Roflb, which were pre- 
 ferred in that palace. But, he finifhed his ftudies at Rome, where he refided for 
 two years; being very much aided in his obfervations, and practice, by the con- 
 current advice of Frefnoy, and his brother Peter Mignard. 
 
 He painted a great number of portraits-, but, his genius inclined him more 
 ftrongly to hiftorical compofnions, and particularly to poetic fubjeets. He had 
 a good invention, but no great fire of imagination ; though he compenfated 
 in fome degree for that defect, by the correetnefs and neatnefs of his pictures. 
 His colouring was agreeable, his carnations were lively, his ideas fometimes ele- 
 vated, and abundance of union and harmony appeared in his works. 
 
 For feveral years he refided at Avignon, but was induced to leave that city, 
 being invited to the court of France ; and at the time of his death, he was 
 Rector of the Royal Academy at Paris. A great number of the works of this 
 mafter are in the palace of the Thuilleries. 
 
 Peter MIGNARD, called The Roman. 
 
 Painted Portrait, and Hiflory. 
 
 Died 1695, aged S5. 
 
 He was the younger brother of Nicholas Mignard, born at Troyes, in i6io« 
 and placed as a difciple in the fchool of Vouet ; but having an opportunity of 
 feeing fome capital paintings of the Italian matters, he quitted the fchool of 
 Vouet, and went to Rome to ftudy after Raphael, Mich. Angelo Buonaroti, and 
 Annibal Caracci -, and en Jeavoured to transfufe into his own compofitions, what- 
 ever appeared to him excellent in each of thofe artifts, as far as his genius and 
 talents would per. 1 .:';. He ftudied with his brother at Rome -, and by having 
 fpent in that city twenty-two years, and alfo by his manner of defigning, fo much 
 in the tafte of the Italian fchool, he was diftinguifhed by the name of The 
 Roman. 
 
 Fie was generally allowed to have a finer genius than Nicholas, and in feveral 
 refpects to excel him -, and had the honour to paint the portraits of Urban VIII, 
 ant. 1 ..ander VII, befide many of the nobility at Rome-, and being invited to 
 Paris by Lewis XIV, he returned through Tufcany, Modena, and Parma, and 
 was fo tar diftinguifhed by the Princes of thofe feveral cities, that he painted the 
 portraits of themfclves, and their illuftrious families. In France, his patron 
 Lewis fat to hiin ten times for his portrait, and had fuch a relpcd for the talents 
 and acomplifhments of Mignard, that heenobled him -, and after the death of 
 Le Brun, appointed him principal painter, and director of the manufactories, 
 i The 
 
MIG [ 393 ] M I G 
 
 The colouring of this matter was in general good; he was rich in his ordon- 
 nances ; and thofe paintings which are at S. Cloud, may be fufEcient to fhew the 
 xtenfivenefs of his abilities, as alfo to recommend him as a painter of confider- 
 ble eminence. 
 
 Abraham MIGNON, or MINJON. 
 
 Painted Flowers, Infecls, Fruit, and Still Life. 
 Died 1679, aged 40. 
 
 This delicate painter was born at Franckfort, in 1639, anc ^ his father having 
 been deprived of the greateft part of his fubftance, by a feries of loftes in trade, 
 left his fon in very necefiitous circumftances, when he was only feven years of 
 age. From that melancholy fituation he was refcued, by the friendfhip of 
 James Murel, a flower painter in that city ; who took Mignon into his own 
 houfe, and inftructed him in the art, till he was feventeen years old. Murel had 
 often obferved an uncommon genius in Mignon, and therefore he took him along 
 with him to Holland, where he placed him as a difciple with David de Heem ; 
 and while he was under the direction of that mafter, he laboured with inceflant 
 application to imitate the manner of De Heem, and ever afterwards adhered to 
 it ; only adding daily to his improvement, by ftudying nature, with a moft exact 
 and curious obfervation. 
 
 When we confider the paintings of Mignon, we are at a lofs whether moft to 
 admire the frefhnefs and beauty of his colouring, the truth in every part, the 
 bloom on his objects, or the perfect refemblance of nature vifible in all his 
 performances. He always fliews a beautiful choice in thofe flowers and fruits 
 from which his fubjects are compofed ; and he groups them with uncommon 
 elegance. His touch is exquifitely neat, though apparently eafy, and unla- 
 boured ; and he was fond of introducing infects among the fruits and flowers, 
 wonderfully finifhed, fo that even the drops of dew appear as round, and as 
 tranflucent, as nature itfelf. 
 
 He had one degree of happinefs fuperior to many artifts of great merit, which 
 was, the being highly payed for his works in his life-time •, and he certainly 
 would have been accounted the beft in his profeffion, even to this day, if John 
 Van Huylum had not appeared. But, that mafter not only excels Mignon, but 
 furpafies ail others in that ftyle of painting fo far, fo eminently, in the fweet 
 diftnbution of his lights, and in giving iuch life and brightnefs to every object, 
 that he alone feems to be above all competition. 
 
 Weyerman, who had feen many admired pictures of Mignon, mentions one of 
 a moft capita! kind. The fubject of it is, a cat which had thrown down a pot of 
 flowers, and they lye fcattered on a marble table. That picture is, in every re- 
 fpect, fo wonderfully natural, that the fpectator can fcarce perfuade himfelf, that 
 the water which is fpilled from the veflel, is not really running down from the 
 marble. This picture is diftinguilhed by the title of Mignon's Cat. 
 
 Gioseffo Maria MILAN I. 
 Painted Hifiory, Perfpeilive, and Architecture. 
 This mafter was born in 1678, and learned defign from Camillo Gabrielli, 
 who had been a difciple of Pietro da Cortona ; and became a confiderable 
 
 painter 
 
MIL [ 394 ] M l L 
 
 ■ painter. When he quitted the fchool of Camillo, he applied himfelf diligently 
 to ftudy perfpeftive, and made defigns after the molt magnificent buildings, an- 
 tientand modern, that merited his attention, in Pila, and other cities of Italy. 
 Thofe he applied occafionally in his own compofitions, and gained great repu- 
 tation by the truth and grandeur of the architecture, which he introduced in his 
 paintings. 
 
 His figures were defigned in an elegant ftyle ; but he feemed to borrow too 
 many hints from the works of Pietro da Cortona, fo as to be accounted a plagiary 
 in that refpect. His colouring was in a good tafte -, his difpofuion was efteemed 
 
 ' judicious, his perfpective remarkably fine, and he had a great deal of union and 
 harmony. 
 
 At Pifa, in the church of S. Matthew, there is a grand deling painted by this 
 mafter ; the compofuion is noble, and has a very great effect •, the dilpofition 
 of the feveral groupes, is extremely good ; and the architecture is excellent. 
 But, many of the figures are taken from Cortona, and the glory, which is re- 
 prefented in the defign, appears rather too yellow. However, although parti- 
 cular parts may juftly be cenlurable, the whole together is ftriking, and 
 beautiful. 
 
 Francesco MILE', or MILLEE, called Francisque. 
 Painted Land/cape, and Hiftory. 
 Died 1680, aged 36. 
 
 He was born at Antwerp, in 1644, and was, at a very early age, placed under 
 the direction of Laurentius Franck, with whom he ftudied induftrioufly; and 
 fhewed fo apt a genius, that in a few years he became ecrual to his mafter. At 
 that time he eftablifhed a firm friendfhip with Genoels ; they ftudied together 
 after nature, and increafed each other's ardour to excel in the art, by a friendly 
 and generous emulation, by an unreferved communication of their ideas, fenti- 
 ments, and obfervations, which in the end rendered them both very eminent. 
 
 Mile was remarkable for having a mod tenacious memory •, lb that whatever 
 fcene, building, ruin, or river, he obfervid in nature, or whatever defigns of any 
 other mafter engaged his attention, they became ever after fo ftrongly impreffed 
 on his memory, that he never forgot it. But what ftill was more extraordinary, 
 he could readily recollect the lhape and form of any particular cloud, or thofe 
 tints in the fides, and evanefctnt beauties, which pleafed his eye and imagina- 
 tion, fo as to reprefent them at any diftance of time, with all the truth and force 
 
 of nature. 
 
 He travelled through England, Holland, and France •, and in each country, 
 left fufficient evidence of his excellence in the art. His landfcapes fhew that he 
 made Pouffin his model, moft of them being defigned in f he ftyle of that mafter ; 
 and he adorned them with figures elegantly defigned, and difpofed judicioufly. 
 His favourite ftudy was heroick landlcape, like Nicolo Poufiin ; and whatever 
 hiftorical fubject he reprelented, he took pains to adapt the fcenes of his land- 
 fcapes to it, with great (kill and propriety. His pencil is light, his tone of co- 
 lour agreeable in many of his pictures, and his manner is exceedingly pleafingv 
 but, his pictures generally have no great effect, as they have not a proper body 
 of light, or at leaft the light is fo managed, that they ufually appear too brown, 
 and too much of one colour. 
 
 5 Hi» 
 
M1N [ 395 ] MI R 
 
 His beft works v however, have an abundance of merit in many refpe&s, as well 
 in the tafte and correAnefs of defign, in the freedom of pencil, and the pleafing 
 tints of colouring, as in the figures, and the keeping. It was a lofs to the art, 
 and to the world, that he was poifoned by fome of his own profeflion, who en- 
 vied his merit •, and in whatever fhape the poifon was adminiftered to him, it for 
 fome time deprived him of his reafon, and foon after of his life. A very agree- 
 able landfcape of Mile, and perhaps one of his beft ftyle, is in the collection of 
 the Earl of Moira. 
 
 MINDERHOUT. 
 
 Painted Sea-Ports, and Lar.df capes. 
 
 He was born at Antwerp, about the year 1637, but followed his profeflion at 
 Bruges •, and was admitted into the fociety of painters in that city, in 1662. 
 His iubjects were fea ports, and harbours, with a great number of veflels, and 
 figures, efpecially the profpect of different ports in the Netherlands ; but, very 
 often he painted the particular views of Antwerp, and Bruges. He feemed 
 to have taken a Angular delight, in ftudying the conftruclion of all kinds of {hip- 
 ping ; as the drawing and defign of all the veflels he painted, appear to be 
 copied from nature, with great precifion. 
 
 Being very induftrious, he painted a great number of pictures, which in ge- 
 neral had a good effect, though not always an equal proportion of merit ; for, 
 fome of them cannot be too highly prized ; whilft others are fo flight, as to be 
 very little more than fketches unfinilhed, and the figures, as well as the ikies, are 
 but very indifferent. 
 
 Michael Jansen MIREVELT. 
 
 Painted Portrait, and Hiftcry. 
 
 Died 1 64 1, aged 73. 
 
 He was born at Delft, in 1568, and was a difciple of Anthony Blochland. 
 For fome time he employed his time in painting hiftorical fubjects ; but, finding ' 
 a continual demand, and a very profitable return for portraits, he gradually di£ 
 continued the former, and adhered to the latter. 
 
 He ftudied and imitated nature happily, gave a ftrong refemblance to his por- 
 traits, finifhed them highly, and defigned them in a good tafte. His pencil is 
 free, his touch has abundance of neatnefs, and the merit of his performances had 
 lb effectually fpread his reputation, that he was invited to the court of London 
 by King Charles I ; though, as the plague raged at that time through all parts 
 of London and its environs, he was prevented from accepting an offer, which 
 was fo much to his honour, as well as his intereft. He lived intirely at Delft, and 
 never quitted that city, except at particular times, when he went to the Hague, 
 to paint the portraits of fome of the Princes of Naflau, by whom he was exceed- 
 ingly efteemed. 
 
 It may readily be conjectured, that the works of Mirevelt muft have been 
 extremely admired, when the extraordinary number of his paintings are confi- 
 
 E e e dered j 
 
MIR [ 396 ] M O L 
 
 dered ; which, according to Houbraken, amounted to * five thoufand ; for the 
 fmalleft of which, he never was paid lefs than an hundred and fifty guilders, 
 about fifteen pounds fterling, and for thofe of a larger fize, half or whole lengths, 
 his price was proportionably enlarged. 
 
 Peter MIREVELT. 
 
 Painted Portrait. 
 
 Died 1632, aged 36. 
 
 He was the fon of Michael Mirevelt, born at Delft, in 1596. In his manner 
 
 of defign, in his ftyle of colouring, and in the delicacy of his pencil, he exactly 
 
 refembted his father ; and by the beft judges of that time, he was accounted to 
 
 be in no degree inferior to him. 
 
 Jacob MOELART. 
 
 Painted Hiftory ., and Portrait. 
 Died 1727, aged 78. 
 
 He was born at Dort, in 1 649, and learned the art of painting from Nicholas 
 Maas, with whom he continued for feveral years. Neither labour, nor great 
 itudy, were wanting in this mafter, to acquire a competent knowledge in his 
 profeflion ; he obferved nature with a great deal of care ;. and at length was 
 efteemed a good painter, both of hiftory and portrait. 
 
 Houbraken mentions two hiflorical compofitions of Moelart, the one, Pharaoh 
 and his hoft drowned in the Red Sea ; and the other, Mofes linking the Rock*. 
 both of them having feveral particulars that deferve commendation. 
 
 Pietro Francesco MOLA. 
 Painted Land/cape, and Hiftory. 
 •f Died 1665, aged 56. 
 He was born at Lugano, a city belonging to the Swireers, in 1 609 ; and 
 havino- travelled to Rome, he was at firft inflru&ed by GiufeppeD'Arpino, and 
 afterwards became the moll diftinguiftied difciple of Albano. But, having ob- 
 ferved, with admiration, the grand effect produced by the colouring in the works 
 of Guercino ; he went to Venice, and applied himfelf with great ardour and ac- 
 
 * Sandrart, and after him Defcamps, and the authors of the Abrege, &c. affirm, that Mirevelt 
 painted above ten thoufand portraits ; an incredible number for one hand to finifh ; but, Houbra- 
 ken, with much greater probability, limits the number to five thoufand. Sandrart alio fays, he 
 lived to be 90 years of age, though all other writers agree, that he died at 75. 
 
 The author of the Abrege de laViedes Peintres, vol. 3, p. toz, fixes the birth of Mirevelt in 
 ic88, and then favs, hedied in 1641, at the ageof73; which rnuft bean overfight. For.accord- 
 ing to thofe dates,' he could have been only 53, in the year 1641 ; and fuppofing him to die at 73, 
 he mull have died in 1661, contrary to the teftimony of all writers. 
 
 t In the Mufeum Florentinum, the death of Mola is fixed in 1666, at the age of 45, by which 
 computation, he is fuppofed to be born in 162 1 ; but it appears from other writers, that he cer- 
 tainly was born in 1609, and died at 56 years of age in 1665. Likewife the author of the Abrege 
 «1e la Vie des Peintres, vol. 1, p. 31?, fays, that Mola was born at Coldra, in the diftria of Como, 
 in }6n, though moil authors agree, that he was born at Lugano, in 1609. 
 
 curacy, 
 
MOL f 397 ] M O L 
 
 curacy, to ftudy the paintings of Titian, Tintoretto, Baflan, and Paolo Veronefe- 
 He formed for himfelf a peculiar ftyle, that was elegant, bold, and beautiful, 
 which fpread his reputation through all Italy; and he found immediate em- 
 ployment, every work he finifhed contributing to his honour and applaule. In 
 Rome feveral churches and chapels were enriched with hiftorical pictures, dc- 
 figned by him from the facred writings ; and for the Pope, Alexander VII, he 
 painted the hiftory of Jofeph and his brethren, for which he received the greateft 
 encomiums, befide a noble recompence from his employer. 
 
 Although Mola painted hiftory, in frefco and in oil, with fuch great fuccefs ; 
 yet, his genius principally inclined him to landfcape, in which he was uncom- 
 monly excellent. His fcenes are generally folemn, his trees defigned in a grand 
 ftyle, and his diftances conducted with judgement ; and with a look of true na- 
 ture. His defign is very correct, and the figures with which he has adorned his 
 landfcapes, are in a fine tafte, and have a good expreffion ; though fometimes he 
 feems to make the dark parts of his pictures rather a little too black. His ima- 
 gination was lively, his invention ready and fertile, and in his defign, as well as 
 his penciling, he always fhews an abundance of ipirit and freedom. 
 
 Two very noble pictures by Mola are in the church of Santa Maria della Vit- 
 toria, at Milan ; one is the repreientation of S. John in the defart, in which the 
 figure is defigned with as much nature, and truth, as is poflible, and finely co- 
 loured •, the other reprefents S. Paul the hermit, in which the figure is truly 
 fine, the landfcape has a charming effect, and the trees are painted in a grand 
 tafte, with large fpreading branches, in the ftyle of Salvator Rofa. 
 
 Giovanni Battista MOLA. 
 
 Painted Hiftory, and Landfcape. 
 This artift, who was brother to Francis Mola, was born in 1 620, and learned 
 the art of painting in the fame fchool, both of them having been difciples of 
 Albano. He proved a very good painter in the hiftorical ftyle, as well as in 
 landfcape ; but was far inferior to his brother, in ftyle, dignity, tafte, and co- 
 louring. Giovanni Battifta, in his manner, had more refemblance to the ftyle 
 of his mafter Albano, than to that of the illuftrious Francefco ; yet his figures 
 are rather hard and dry, and want the mellownefs of Albano. However, there 
 are four of his pictures in the Palazzo Salviati at Rome, which are univerfaliy 
 taken for the hand of Albano. 
 
 Peter MOLYN, called Cavaliere Tempest a, and alfo 
 
 Pietro Mulier. 
 
 Painted Huntings, Landfcapes, Sea-Views, and Siorms. 
 Died 1701, aged 64. 
 He was born at Haerlem, in 1637, (though in the Chronological Tables his 
 birth is fixed in 1640) and at firft imitated the manner of Francis Snyders ; fo 
 that while he continued in his own country, he painted huntings of different 
 animals, as large as life, with lingular force, and fuccefs. But, afterwards he 
 changed his ftyle, and followed the impulfe of his natural genius, which in- 
 clined him to paint tempefts, ftorms at fea, and fhipwrecks, with fuch circum- 
 
 E e e 2 fiances ; 
 
MUL [ 398 ] M U L 
 
 fiances as are apt to excite pity and terror ; and thofe Subjects he executed in a 
 free, natural, and Spirited manner, fo as to procure himSelf the distinction of 
 being called Peter TempeSta. 
 
 He travelled through Holland, to obferve the works of the beSt Flemifh 
 artivts •, and then went to Rome, in order to change his religion from Calvinifm 
 to Pcpery, as well as to obtain improvement in his profeflion of painting. In 
 that city, his merit recommended him to the favour of many of the nobility-, 
 and fecured to him the friendship of the Count Bracciano, who became his 
 patron and protector. Thofe of. the firft rank employed him inceflantly •, for 
 whom he painted his ufual fubjects of animals and landscapes, with the utmoft 
 applaufe. At laft he grew rich, was exceedingly carefled, and received from 
 his patron the title of Cavaliere, as alio a chain of gold. 
 
 I laving fpent feveral years at Rome, he determined to vifit Genoa •, where 
 the reputation he had already acquired, obtained for him a moit honourable re- 
 ception, and as much work as he could poftibly execute. There he might have 
 lived in an affluent Ikuation, Superior even to his hope, if he had not unhappily 
 grown not only difiblute, but unpardonably vicious. He fell deeply in love with 
 .1 Genoefe lady, and left no art untried to debauch her-, but finding all his at- 
 tempts ineffectual, he propofed to marry her ; although it was Sufficiently known 
 in Genoa, that he had been married at Rome for a considerable time before, and 
 that his wife was then alive, refuting in that city. 
 
 When that objection was urged by the lady and her friends, he was exceed- 
 ingly mortified; and refolved to have his wife afTafiinated, to remove that ob- 
 struction. A perfon, proper for the villainous purpofe, was foon engaged, and 
 to conceal the tranfaction as much as poffibJe from publick notice, he wrote an 
 affectionate letter to his wife by that meSTenger, requesting her to accompany the 
 bearer to Genoa. As She had a real affection for her huSband, and wiShed to be 
 with him, She readily obeyed his commands, and was murdered on her 
 journey. 
 
 Yet, notwithstanding the Secrecy of that Scene of cruelty, the affair became 
 fufpected, and TempeSta was directly Seized, imprifoned, and after full con- 
 viction, was Sentenced to be hanged. But, by the intereft and application of 
 the nobility, who regarded him highly for his extraordinary talents, the feverity 
 of the Sentence was fufpended, and he was retained in prifon for a great length of 
 time ; nor would he probably have ever been releafed, had it not been effected 
 by a very critical accident. For, when Lewis XIV. bombarded Genoa, all the 
 nrifons were fet open, and TempeSta laid hold of that opportunity to efcape to 
 Placentia, after a confinement of fixteen years. From this aSfair he was nick- 
 named Pietro Mulier, or, de Mulieribus, by which he was ever after known- 
 throughout all Italy. 
 
 It was obierved, that the pictures which he painted in prifon, where he very 
 diligcndy followed his profeflion, were accounted more excellent, in regard to 
 their taite, composition, and colouring, than any of his preceding per- 
 formances. 
 
 A capital picture of this matter, is in the poSTefflon of Count Algarotti ; the 
 Subject is, Noah leaving the ark after the flood. The animals, of which there 
 ire .1 great number, are well defigncd, as likewife are the figures ; and the ex- 
 pression . 
 
MOM [ 399 ] M O N 
 
 predion is exceedingly good. It is difficult to meet with any of the genuine 
 works of Tempefta, moft of them being preferved, and highly valued in Italy -, 
 and when they are to be purchafed, they generally afford a large price. 
 
 Joos, or Jodocus MOMPERT. 
 
 Painted Land/cape. 
 He was born in 1580 ; but authors are filent in regard to the place of Mompert's 
 nativity : nor do any of them mention the matter by whom he was inftructed in the 
 art of painting ; but his works are fufficiently known in many parts of Europe. 
 He ftudied after nature, and became a considerable painter of landfcape ; his 
 pictures (hew a great freedom of pencil, and his grounds are frequently well 
 broken; but, die re is a certain ftiffhefs in his compofitions, which cannot be 
 pleafing to a judicious eye, though in feveral other refpects he is juftly commend- 
 able; and fuch of his works as are carefully finifhed, have many admirers. 
 
 Though fome of the paintings of Mompert are well handled, and penciled 
 with traniparence and neatnefs ;' yet in general his pictures are not laboured, 
 or highly finifhed, but are intended to produce a good effect, at a competent dif- 
 tance from the eye of the fpectator. His landfcapes mew an immenfe tract of 
 country, and the imagination is often agreeably amufed with the extenfivenefs 
 "of the profpect, which is always well conducted. However, the freedom of his 
 touch feems, to mofc obfervers, to have too. much the appearance of negligence i 
 and therefore the works of Mompert are not in an equal degree of efteem with 
 the works of many of the Flemifh painters, who not only exprefs the diflances 
 in their compofitions agreeably, and like nature, but at the fame time render 
 them ftill more beautiful, by their careful and exquifite high finifhing. The 
 pictures of this mafter are very unequal; for, fometimes he appears worthy of 
 being admired, and fometimes he feems inferior to himfelf, and worthy of con- 
 tempt. The figures in his landfcapes were frequently inferted by Brueghel •, 
 as alio by Teniers, who often retouched thofe landfcapes, and by that means 
 added to their value confiderably. 
 
 MONNICKS, or M O N N I XI 
 Painted Views of Rome, Markets, and Ccnverfations: 
 Died 1 68 6, aged 80. 
 According to the tefti;r.ony of fome writers, this painter was born at the 
 •Hague, but others affirm, that he was born at Eois-le-duc, in 1606, and learned 
 the principles of his art in his own country ; but having made a tolerable pro - 
 grefs in defign and colouring, he travelled through Italy, to iludy the works of 
 the moft eminent artifts, and at laft fettled himfelf at Rome. There he refined 
 his tafte of coirpofuion, and defign, and gradually divefted himfelf of the 
 greateft part of his Flemifh ideas and ftyle. He particularly attended to per- 
 fpective, and acquired a great degree cf elegance in that branch ; but he like- 
 wife ftudied inceffantly after nature, till he diftinguifhod. himfelf in that city as 
 stn aitiu of very great merit. 
 
 • The Pope -having accidentally feen feme of the works of Monnicks, was to 
 exceedingly pleakd with them, that he took him into his fervicc with an honour- 
 
 - - I; able 
 
MON [ 400 ] M O N 
 
 able appointment, and retained him as his painter for thirteen years. At Rome, 
 and through all Italy, his pictures were univerfally efteemed, not orily for their 
 being well executed, but becaufe they reprefented the principal palaces, fquares, 
 churches, monuments of antiquity, and grand edifices of modern architecture, 
 which he copied exactly from nature -, and in the areas before them, introduced 
 figures employed in different occupations, and a*nufements. 
 
 His fubjects were always views of the more noted parts of Rome, the Campo 
 Vaccino, the ftreets where the pillars of Antoninus, and Trajan, are erected, and 
 the adjacent buildings, the public fountains, the Coloffeum, and other noble 
 fabricks-, together with the reprefentation of herb or fruit markets, fports, car- 
 navals, or proceffions. In the choice of the fcenes of his pictures he fhewed an 
 elegance of tafte, the perfpective part is firmly, and truly executed -, his penciling 
 is free, and in many parts delicate ; and his colouring is tranfparent, (hewing alfo 
 a good knowledge of the chiaro-fcuro. His figures are well defigned, and well 
 grouped -, and yet, in their air and countenances, appear fome remains of the 
 Flemifh ideas, not fufficiently refined. 
 
 His paintings are fomewhat fcarce in thefe kingdoms, as moft of his works 
 were done in Italy •, though, in the latter part of his life, he followed his profef- 
 fion in his own country, to which he returned when he was pretty far advanced 
 in years •, but, many of his latter paintings, are not equal in merit, to thofe which. 
 he performed in the £arly, or middle time of his life. 
 
 A good picture of this mafter's hand, is in the poffefiion of Thomas Cobbe, 
 Efq; in Dublin. 
 
 Francesco MONSIGNORI. 
 
 Painted Hijtcry, and Portrait. 
 Died 1 51 9, aged 64. 
 
 He was born at Verona, in 1455, and placed under the direction of Andrea 
 Mantegna of Mantua, to learn defign ; and by his excellent precepts, Francefco 
 acquired a good tafte for hiftorical compofition, as alfo an excellent manner of 
 painting portraits. His extraordinary talents, procured him the efteem and pa- 
 tronage of the Marquis of Mantua, who allowed him a large penfion, and em- 
 ployed him for feveral years. 
 
 The Marquis was not only a lover of the art, but he had alfo a like and cri- 
 tical judgement ■, which enabled him to examine the beauties and defects of a 
 compofition, with tafte and delicacy. He was accuftomed to amufe and delight 
 himfelf often, in obferving Monfignori at work, while he was employed in his 
 fervice ; and one day taking particular notice of a picture, reprefenting the 
 death of S. Sebaftian, the Marquis acknowledged that every part of the defign 
 was elegant, but objected, that the exprefiion of the figure was not natural, as 
 neither in the look, the limbs, or the attitude, appeared the agony that might be 
 expected, from a perfon in fuch a fituation, bound with cords, and pierced with 
 arrows. The painter afierted the truth of his defign, and endeavoured to juftify 
 his favourite figure, by affirming, that he had taken every part of the figure 
 from nature, having engaged a well-fhaped porter for his model, who was tied 
 in the very pofture defcribed in the painting. 
 
 The 
 
MON [401] MON 
 
 The Marquis defired to fee the porter In the proper pofition, the next day ; 
 that it might be determined which of them judged bed, according to truth, and 
 nature. As foon, therefore, as the Marquis was informed, that the whole ap- 
 paratus was ready, he rufhed fuddenly into the room, having in his hand a crofs- 
 bow, fixed for execution •, and with a countenance diftorted with fury, he faid 
 aloud to the porter, " Tray tor ! prepare for death ! — you fhall die inftantly !" — 
 As he approached, the porter terrified almoft to death, ftruggled, and fcrained 
 every mufcle, joint, and limb, to dilengage himfelf, and in every line of his face 
 expreffed the agony of his mind, and the terror he felt for the death he was to 
 fuffer. — " Now, (faid the Marquis mildly to the painter) compare your two 
 models -, what he was yefterday, while unterrified ; and what he is now, under 
 the dread of execution ; and do you determine, which has the moft of truth, and 
 nature -, which expreflion is moft fuitable to the fituation of Sebaftian. The 
 painter profited by the experiment, confefTed the juftnefs of the obfervation, al- 
 tered his defign, and improved it fo much, that it was allowed to be the moft 
 capital of all his performances. 
 
 The works of Monfignori are exceedingly admired, for the elegance of 
 defign, the goodnefs of exprelTion, and the extraordinary force which he g«f« to 
 his figures, whether they were portraits, or hiftorical. 
 
 Deodate del MONT, Ckevalie'k. 
 
 Painted Hijlcry, and Portrait. 
 
 Died 1634, aged 53. 
 
 He was born at S. Tron, in 1581, of a noble family, and educated in 
 manner fuitable to his rank ; having, from his infancy, been inftrufted in every 
 branch of polite literature, inaftronomy, geometry, natural philofophy, and dif- 
 ferent languages. As his genius ftrongly inclined him to painting, he became 
 the difciple of Rubens ; he lived with him for fome time, in the clofeft con- 
 nexion of friendfhip, and travelled along with him to Italv ; till by the advan- 
 tage he derived, from lb accomplifhed a companion and director, and alfo by 
 his own ftudious application, he proved an extraordinary artift. 
 
 Rubens gave him a moft honourable teftimonial under his own hand, expref- 
 fing how high an opinion he had of the abilities of his pupil ; which introduced 
 him to the favour of Duke Albert, and the Infanta Ifabella, and they readily 
 received him into their fervice, appointing him their principal painter, and ar- 
 chitect. His ftyle of composition was elevated, and grand ; his defign was 
 correct •, and in his colour, and pencil, he refembled his mafter. 
 
 In the church of Notre Dame at Antwerp, is a Transfiguration, excellently 
 defigned, and coloured •, and in the church of the Jefuits in the fame city, a 
 reprefentation of Chrift bearing his Crofs j both are by the hand of Del Mont, 
 and are accounted capital performances. 
 
 Il MONTAGNA, Vid. Van Piatt en. 
 
 P 1 E TR O 
 
MON [ 402 ] M O N 
 
 Pietro MONTANINI, called Petruccio Perugino. 
 
 Painted Lcndfape. 
 Died 1689, aged 70. 
 
 He was born at Perugia, in 1619, and at firft was inftrudled by his uncle 
 Pi?tro Barfotti ; but he was afterwards placed as a difciple with Ciro Ferxi. Yet 
 he did not long adhere to the manner of either of thofe mafters, choofing 
 preferably to ftudy under Salvator Rofa ; and he imitated the ftyle of tkat 
 celebrated painter, v/ith exceeding great fuccefs. 
 
 The tafte of his landfcapes was generally admired ; the rocks, fituations, 
 torrents, and abrupt precipices, were defigned with fpirit, and in a grand ftyle •, 
 his figures recommended themfclves to the eye by a very uncommon correctnefs, 
 propriety, and elegance •, and the whole of his compofition, appeared to be 
 greatly in the manner of Salvator. 
 
 Andrea MONTICELLI. 
 
 Painted Fruit, Flowers, and Still Life. 
 Died 1 71 6, aged 76. 
 He was born at Bologna, in 1640, and was a difciple of Agoftino Metelli. 
 Of thofe fubjefts which fuited his fancy and genius, he was efteemed a good 
 painter •, working with equal expertnefs in oil, and in diftemper. He painted 
 fruit, vales, carpets, flowers, landfcapes, perfpeftive and fcenery •, and executed 
 that variety of fubjetts, with a free pencil, and very natural colouring. 
 
 Michael Angelo MONTICELLI. 
 
 Painted Landfcapes, and Battles. 
 He was born at Bologna, in the year 1678, and learned the principles of his 
 art, from Domenico Maria Viani, a Bolognefe painter, of good reputation. The 
 favourite fubjecls of this mafter were battles, and landfcapes •, which he 
 finifhed with great mellownefs of colour, and alight free touch, ufually filling 
 his defigns with a number of figures, well defigned, and excellently difpofed. 
 
 Giovanni Maria MORANDI. 
 
 Painted Hijlory, and Portrait. 
 
 * Died 1 7 1 5, aged 90. 
 
 This mafter was born at Florence, in 1625, and had for his firft inftrutftor in 
 
 the art of painting, Sigifmund Coccapani ; but, he quitted that painter, to 
 
 enter himfelf as a difciple, in the academy of Antonio Biliverti. As foon as he 
 
 found himfelf qualified, to purfue his ftudies with advantage at Rome, he travelled 
 
 thither ; and after he had curforily furveyed the marvelous works of art 
 
 rcpofited in that city, he deliberately fixed on thofe, from which he could hope 
 
 *Thc author pf the Mufeum Florentinum fays.'he died in 17 17, at 9; years of age ; but, there is 
 a fmall error in his computation. For, being born in 1625, and fuppofing him to have died in 
 1717, he could only have been 92, and not 95. Other writers fix his birth in 1625, and his death 
 in 1 7 1 5, at the age of 90, which appears molt probable. 
 
 for 
 
MOR [403] MOR 
 
 for the greateft improvement ; and endeavoured, by judicioufly ftudying their 
 particular excellencies, to imprefs the idea of their perfections fo firmly on his 
 memory, as to keep them perpetually prefent to his imagination. 
 
 By that advantageous method of ftudying, aided by diligent practice, he 
 diftinguifhed himfelf to fuch a degree, that he was invited to the court of Vienna, 
 by the Emperor Leopold I ; where he painted the portrait of that monarch, fo 
 like, fo lively, and with fuch a natural relief, that all the imperial family fat to 
 him •, and his reputation was fo univerfally eftablifhed, that moft of the princes 
 of Germany folicited to be painted by his hand. 
 
 He pofiefied the moft excellent parts of his art, in a very high degree ; 
 correctnefs of defign ; elegance, and nature in his figures, whether hiftorical or 
 portraits ; a fine tafte in his compofition ; and a beautiful tone of colour. 
 
 MORAZZONE. Vid. Mazuchielli. 
 
 Antonio MORE, Chevalier. 
 
 Painted Portrait, and Hijlory. 
 Died 15J5, aged §6. 
 
 This eminent artift was born at Utrecht, in 1519, where he became adifciple 
 of John Schoorel -, and having made a confiderable progrefs under that mafter, 
 he went to ftudy for fome time at Rome, to improve himfelf in defign, and 
 afterwards vifited Venice, to difcover the true principles of colouring, which 
 rendered that fchool fo defervedly famous. He imitated nature clofely, and 
 often very happily ; his manner is ftrong, true, and firm ; and his portraits 
 have character and life. He teemed to ftudy Holbein, but he never arrived at 
 that delicacy of finifhing, which is obfervable in the works of that great mafter ; 
 though he finifhed his pictures, with abundance of care, and neatnefs. He 
 defigned v/ith accuracy, and his colouring had all the truth of nature itfelf ; 
 yet in ftrength and force, it was not equal to the colouring of Titian ; nor had 
 his paintings that fpirit, which appears in the works of fome other artifts, there 
 being fomewhat hard and dry in his manner. 
 
 However, he excelled in fome hiftorical compofitions, though they were not 
 defigned in the grand gufto ; and one of them (in the pofTefTion of the Prince 
 ofConde) of which the fubject is, the Refurrection, was exhibited as a (how at 
 the fair at S. Gcrmains, before it became the property of that Prince. 
 
 Hewas particularly efteemed by the Emperor Charles the Vth, and was by his 
 or'dtr lent to the court of Portugal, to paint the portraits of the King; the 
 Queen, who was filter to the Emperor ; and their daughter, who afterwards 
 was Queen of Spain. In that kingdom, he received the greateft honours and 
 rewards. For the three portraits he was paid fix hundred ducats, befides many 
 valuable prefents ; and the Portugueie nobility prefented him, in the name of 
 that order, with a chain of gold valued at a thoufand ducats. Moft of the 
 princes of Europe employed him, and at every court his paintings were beheld 
 with univerfal applaufe •, but, at none more than in England, and Spam. At 
 the former, he was highly honoured by Queen Mary I. who prefented him with 
 3 chain of gold, and allowed him a penfion of an hundred pounds a year. 
 
 F f f When 
 
MOR [404] MOR 
 
 When he retired from London, he went to the court of Spain, where he was 
 exceedingly careffed by the King ; and that condefcending monarch having one 
 day, in a familiar and jocular humour, given More a tap on the arm ; the 
 painter, (who it feems was better fkilled in the art of painting, than the art of 
 politenefs,) with full as much indifcretion as ill manners, ftruck the king with 
 his maulftick. That folly was likely to be attended with fatal confequences to 
 More •, but he withdrew from that country, with all pofiible expedition, and 
 with a determined refolution never to return. 
 
 While he was in Spain, he copied fome portraits of illuftrious women, which 
 had been originally painted by Titian ; and they were accounted to approach 
 near to the beauty of the originals. He learned correctnefs of defign in Italy, 
 where he had ftudied in his youth ; and his colouring was admirable. The 
 portrait of More, painted by himfelf, is in the celebrated gallery of painters at 
 Florence-, it is charmingly coloured, and full of life and nature; yet it is not 
 without fomevvhat of that ftiffhefs, of which he could never diveft himfelf 
 intirely. 
 
 His laft work was the Circumcifion, intended for the cathedral church at 
 Antwerp ; but by the death of the artift it was left unfinifhed. 
 
 N. M O R E L L. 
 
 Painted Fruit, and Flowers. 
 
 This painter is fuppofed to have been born at Antwerp, about the year 1664, 
 and to have been a difciple of Verendaal, an excellent painter of fruit and 
 flowers ; from whom he learned the art of imitating nature beautifully, and he 
 always painted in the manner of his mailer. When he had fufficiently efbablifhed 
 his reputation at Antwerp, he removed to Brufiels, where the court at that time 
 refided ; and he foon became known to thofe of the higheft rank, fo as to have 
 employment from every quarter. He lived to a very advanced age, yet the 
 precife year of his death is not mentioned ; and after he quitted Antwerp, he 
 fpent the remainder of his life at Brufiels, extremely refpected and efteemed. 
 
 This mafter compofed his fubjects well, and in his pictures appeared a great; 
 deal of harmony ; his manner is broad, and fnews freedom of hand, and facility 
 of execution ; his touch is full of fpirit, his colouring true nature, and fui table 
 to the fubject he reprefents. In fome refpects he was rather fuperior to his 
 mafter, particularly in the foliage of his plants, and in fome of his flowers ; and 
 his works are of inch a kind, as to be likely always to give pleafure. 
 
 Two very capital flower-pieces of this mailer, are painted on the folding doors 
 of the cabinet, where the antient and valuable tapeftries, belonging to the 
 church of the Abbey of S. Peter, at Ghent, are preferved. They are compofed 
 in a great ftyle, and exceedingly well executed. 
 
 Paul MOREELZE. 
 Painted Portrait, and Hijlcry. 
 Died 1638, age.i 67. 
 He was born at Utrecht, in 1571, and was a difciple of Michael Mirevelt ; 
 under whom, he made a very happy progrefs in the arte tainting. His genius 
 2 inclined 
 
MOO [405] MOO 
 
 inclined him to portrait painting, in the manner of his inftructor ; but, as he 
 was alfo defirous of being qualified to paint hiftory, he went to Rome, as ibon as 
 he left the fchool of Mirevelt, and there improved himfelf considerably in his 
 ftyle and tafte, by ftudying defign, and Sketching the compofitions of eminent 
 artifts. Yet, he afterwards found fo much employment in the portrait ftyle, that 
 very little leifure was allowed him, either to ftudy or to practife hiftory. 
 
 However, by obferving the magnificent buildings at Rome, and other cities 
 of Italy, as alfo by applying himfelf to the ftudy of perfpective, lie became a 
 good painter of architecture ; and the gate of S. Catherine at Utrecht, was 
 erected from one of the designs ofMoreelze. 
 
 *o" 
 
 Karel de MOOR, Chevalier. 
 
 Painted Portrait, Hiftory, and Converfations. 
 Died 1738, aged 82. 
 
 He was born at Leyden, in 1656, and at firft was a difciple of Gerard Douw, 
 with whom he continued for a considerable time •, but he placed himfelf 
 afterwards with Abraham Vanden Tempel. Thedeath ofthatmafterdifconcerted 
 Moor, and compelled him to return to Leyden, from Amfterdam, where he 
 ftudied a while with Francis Mieris, and at laft went to Dort, to practife with 
 Godfrey Schalcken. At the time when he went to the latter matter, he was 
 fuperior to him as a defigner, but he coveted to learn Schalcken's manner of 
 handling. As foon as Moor began to follow his profefiion, the publick in a 
 fhort time didjuftice to his extraordinary merit •, and he took the moft effectual 
 method to eftablifh his reputation, by working, with a much stronger defire to 
 acquire fame, than to increaie his fortune. 
 
 He painted portraits in a beautiful ftyle, in fome of them imitating the tafte, 
 the dignity, the force, and the delicacy of Vandyck •, and in others, he fhewed 
 the ftriking effect and fpirit of Rembrant. In his female figures, the carnations 
 were tender and foft •, and in his historical compofitions, the airs of his heads had 
 variety, and grace. His draperies are well chofen, elegantly difpoftd in very 
 natural folds, and appear light, flowing, and unconstrained. His pictures are 
 always neatly and highly finifhed ; he designed them excellently, and grouped 
 the figures of his fubjects with great fkill. His works were univerfally admired, 
 and fome of the moft illustrious princes of Europe, feemed felicitous to employ 
 his pencil. The Grand Duke of Tufcany desired to have the portrait of De 
 Moor, painted by himfelf, to be placed in the Florentine gallery ; and on the 
 receipt of it, that Prince fent him in return, a chain of gold, and a large medal 
 of the fame metal. 
 
 The imperial Ambaffador Count Sinzendorf, by order of his master, engaged 
 him to paint the portraits of Prince Eugene, and the Duke of Marlborough, on 
 horfeback ; and in that performance, the dignity and expreflion of the figures, 
 and alio the attitudes of the horles, appeared fo mafterly, that it was beheld with 
 admiration, and occafioned many commendatory poems, in elegant latin vcrfe, 
 to be published to the honour of the artift •, and the Emperor, on feeing that 
 picture, created De Moor a knight of the holy Roman Empire. He likewife 
 had the honour, to paint the portrait of Peter the Great, Czar of Mufcovy ; and 
 
 F f f 2 an 
 
MOO [406] MOR 
 
 an extraordinary number of other portraits, for which he received very large 
 
 prices. 
 
 The picture of Pyramus and Thifbe, by this matter, is accounted exceedingly 
 capital-, and alfo, the hiftory of Brutus condemning his fons, (which fubjecT: he 
 chofe for the o-rand hall where the council afiemble at Leyden,) is efteemed 
 admirable, as well for the ftrong, natural, and true exprefhon in every figure, 
 as for the beauty of the defign, the colouring, and the finifliing. 
 
 Although he moft frequently was employed to paint in a large fize, yet he 
 often painted fmall eafel pictures, with fubje&s of hiftory, or conventions ; and 
 thofe are exceedingly valued, having all the merit of neat penciling, and fweet 
 colouring, added to an elegant tafte of defign. 
 
 John MOORTEL. 
 Painted Fruit, and Flowers. 
 Died 1 7 19, aged 69. 
 He was born at Leyden, in 1650, and painted thofe particular fubjecls in 
 which he delighted, in a very exquilite manner. Every kind of fruit and 
 flower, he ftudied carefully after nature, and they appeared from his pencil lb 
 frefh, fo round, fo blooming, and fo relieved, that every object feemed to be 
 real nature. Yet, notwithftanding his abundant merit, in the delicacy of his 
 touch, and the clearnefs of his colouring, he did not arrive at fuch a degree of 
 excellence, as to equal Mignon in fruit, nor John Van Huyfum in flowers. 
 
 Le MORETTO. Vid. Bokvincino. 
 I l MORO. Vid. Francesco Turbid o. 
 
 Giovanni Battista MORONI, called M O R O N E. 
 
 Painted Hiftory., and Portrait. 
 Died 1578, aged 50. 
 He was born in 1528, and inftructed by Aleflandro Buonvincino, who took 
 unufual care to form his tafte of defign and colouring, by directing him to copy 
 the works of the moft celebrated painters ; in which practice he fpent feveral 
 years, with great induftry. When he had fufneiently eftablilhed himfelf in the 
 knowledge of his art, he compoled hiftorical fubjects with good fuccefs ; but 
 he afterwards applied himfelf intirely to the painting of portraits, as in that ftyle 
 of painting he had no trouble, but to imitate nature as it offered itfelf to the 
 eye, and in a much lefs degree engaged the imagination,, and invention, than 
 hiftory. In that branch of painting, however, he arrived at fuch perfection, 
 that even Titian allowed the portraits of Moroni, to be the neareft in merit, to 
 thofe of his own hand. 
 
 Francesco MORON I. 
 
 Painted Hiftcry. 
 
 Died 1529, aged 55. 
 
 This painter was born at Verona, in 1474, and was the fon ofDomenico 
 
 Moroni, a Veroneie painter very famous in his time, for working equally well 
 
 2 in 
 
MOR [ 407 ] M O S 
 
 in frefco, and in oil. Francefco inherited the tafte of defign, and the fcience of 
 his father ; but he proved far fuperior to him in the grace of his figures, and in 
 the union and harmony of his colouring. 
 
 He fpent the greateft part of his life at Rome, and died in that city; where 
 many of his beft performances are ftill preferved, in the churches and convents 
 of which they are accounted a principal ornament. 
 
 MORTO da Feltro. 
 Painted Grotefque. 
 Died 1 51 3, aged 45. 
 
 He was born at Florence, in 1468, and in that city learned the firft principles 
 of the art of painting ■, but he went to Rome when he was very young, and 
 applied himfelf with fingular diligence to fearch out every thing that was curious, 
 among the antiquities, which were fcattered through every part of that city, 
 and the adjacent villages. 
 
 His particular genius directed him to paint in the * grotefque ftyle, and for 
 that purpofe, he explored all the antique works of that kind, in the veftiges of 
 baths, monuments, temples, grottoes, fepulchres •, and fo effectually ftudiedthe 
 elegance of tafte in the different ornaments, that he became exceedingly eminent 
 in that manner of defigning, being alfo the firft of the modern artifts who painted 
 in that ftyle. Nor can there be a more fufficient teftimony of his abilities, than 
 to fay, that he was employed by Giorgione, to paint the ornaments of his moft 
 grand compofitions. 
 
 MOSES, called Little Moses. 
 Painted Land/cape, and Hijiory. 
 Died 1650. 
 This mafter is, by fome authors, fuppofed to have been a difciple of Poelem- 
 burg •, but he always painted in the ftyle and manner of that famous artift, as 
 well in regard to defign, as in his colouring and pencil. His fubjects were 
 landfcapes ; in which he introduced hiftorical figures, reprefenting incidents, or 
 memorable ftories, from the Roman, Greek, or fabulous writers. His touch- 
 was extremely delicate, his colouring very agreeable, and his pictures are 
 frequently taken for the work of Poelemburg. 
 
 * The term grotefque, which is now fo familiar among all the lovers of the art of painting, was 
 introduced by the Italians, and by them appropriated to that peculiar manner of compofition and 
 invention, obferved in the antique ornamental paintings, which were difcovered in thsfubterraneous 
 chambers at Rome, Puteoli, Cuina, or Bajs ; which had been decorated in the times of the antient 
 Romans. And, as the Italians apply the word Grotta to exprefs every kind of cavern, cave, or 
 grot, all the moie modern paintings, which were in imitation of the antique defigns, difcovered in 
 thole chambers, which for ages had been concealed under rubbilTi and ruins, were called by them 
 grottefcbe, and from thence grotttfue, or grotefque; implying a ftyle of painting, in which the 
 imagination, fancy, and invention are principally exerted,, without any ilriil adherence to nature, 
 or truth. 
 
 7 o H U- 
 
M OS [ 408 ] M O U 
 
 John MOSTAERT. 
 
 Painted Hijtory, and Portrait. 
 
 Died 1555, aged 56. 
 
 He was born at Hacrlem, in 1499, of an honourable family, and was inftru&ed 
 in the art of painting by Jacques de Haerlem. His perfonal accomplifhments, 
 and the politenels of his addreis, added to his diftinguifhed merit in his profcfiion, 
 procured the eftecm of thofe who were in the highefb ftations ; and particularly 
 recommended him to the favour of Margaret, filter to Philip T, King of Spain, 
 in whole i'ervice he was retained for eighteen years. He painted many portraits 
 of the nobility, which were much applauded; and alio painted landfcapes in a 
 very neat manner, with a number of fmall figures which were well defigned j 
 all his works having a great deal of fpirit, and judgement. 
 
 A Nativity, by this mafter, is preferved in the church of the Jacobins at 
 Haerlem, which is highly commended •, and in the fame city is a Banquet of the 
 Gods, in the poiTelTion of a perfon of rank, which is defcribed as a grand 
 compofitk>n, full of good exprelTion, and in the whole, extremely beautiful. 
 
 Frederick M O U C II E R O N, called the Old. 
 
 Painted Landfcape. 
 Died 1686, aged 53. 
 
 He was born at Embden, in 1633, and was a difciple of John AfTelyn> 
 called Krabatje ; who obferving the genius of his pupil, took the utmoft care to 
 make him underftand the bell principles of defign, and colouring. When he 
 was twenty-two years old, he went to Paris to follow his profefiion •, and there 
 he had the good fortune to recommend himfelf to the belt judges of the art, by 
 the beauty of his landfcapes. 
 
 Every fcene, and every object, he painted after nature, whenever he obferved 
 what fuited his tafle, or plealed his imagination •, but his choice in fome of them, 
 was far preferable to his choice in others. He was careful to (ketch the trees, 
 plant?, buildings, and fometimes the entire profpects of romantick dwellings, 
 almoit buried in groves, or furrounded with picturefque plantations ; and by 
 that means, he was enabled to give a great air of truth to his compofitions. 
 
 His fore-grounds are generally clear, and well finifhed •, but his diftances, 
 frequently have the repreientation of miltinefs, or vapour. His trees are loofely 
 and tenderly handled, and wherever he introduces water, the reflections of 
 bodies in it are tranfparent. His fituations are natural and pleafing, the buildings, 
 are ufuallywell adapted to the fcenes, and his distances have a good keeping. 
 His touch is free and light, and his colouring is good, except, that in fome of 
 his landfcapes, he is often too yellow, or too green -, and either by time, or 
 ufing fome undurable colours, many of his pictures have acquired too dark a 
 tint," which lefiens their effect, and their value. But, upon the whole, his 
 compofitions are well defigned, agreeably coloured, extremely pleafing, and 
 highly finifned. 
 
 From Paris he went to fettle at Amfterdam, and during his continuance in 
 that city, the figures in his landfcapes were painted by Adrian Vander Yclde ; 
 as Ruling his reiidence in France, they were inlerted by Theodore Helmbreker ; 
 
 and 
 
M O U [ 409 ] MUD 
 
 and the figures and animals painted by thofe eminent mafters, give the landfcapes 
 of Moucheron an additional value. 
 
 Yet, it ought to be obferved, that occafionally he employed other painters 
 befides Vander Velde and Helmbreker, to fupply his landfcapes with figures, 
 but the difference is eafily perceptible, by even the leaft experienced connoiffeur. 
 
 Isaac MOUCHERON, called the Young. 
 
 Painted Landfcape. 
 
 Died 1744, aged 74. 
 
 He was the fon and difciple of Frederick Moucheron, born at Amfterdam, 
 in 1670, but he was deprived of his father when he was only fixteen years of 
 age ; though even at that time, he was qualified to enter into the profeffiort 
 with credit, as an artift ; and he completed himlelf, by accurately ftudying and 
 copying nature in all his fubjects. 
 
 At the age of twenty-four he travelled to Rome, where he took care not to 
 mifpend the fmalleft portion of his time •, but made defigns after every beautiful 
 fcene around that city, and particularly fketched every lovely fpot about Tivoli, 
 fo remarkable for the pleafing variety of its views, and the elegant wildneffes 
 of nature. By that method of ftudy and practice, he defigned his fubjects with 
 extraordinary readinefs, eafe, and expedition •, and having nature conftantly as 
 his guide, he was enabled to exhibit truth in all his compofitions. 
 
 Having at laft made a multitude of choice defigns, he returned to Amfterdam, 
 and thofe defigns he executed in grand halls, falons, and the apartments of 
 noble edifices •, always having his landfcapes enriched with figures and animals, 
 though frequently thof- figures were painted by other eminent artifts. In his 
 ftyle, tafte, and execution he very farfurpaffed his father ; and befides, he was 
 a perfect mafter of architecture and perfpeetive. 
 
 The leaves of his trees are touched with great eafe and fpirit r and their 
 branches are elegantly interwoven. His pictures generally are filled in an ample 
 manner, with objects of every kind, and the eye is furnifhed with an agreeable 
 variety of buildings, hills, rivers, and plants, ail exactly copied from nature. 
 His colouring appears extremely natural, and along with its frefhnefs, hath 
 abundance of harmony and union. Verkolie and De Wit moft frequently 
 inferted the figures in his landfcapes •, but, for fome of them he employed other 
 mafters. His pointings are exceedingly prized in Holland, and very much 
 efteemed in all parts of Europe. 
 
 Hernandez el MUDO. 
 
 Painted Hijlcry, and Portraits 
 This fingylar artift, from his infancy was deaf and dumb ; and having 
 afforded fufficient tokens of an earned defire to learn the art of painting, lie was 
 placed as a difciple with Titian, and arrived at a very high degree of perfection 
 in colouring and defign. He fuccefsfully imitated the manner of his mailer, 
 and gained a considerable reputation ; fo that for fevera! years he was employed 
 by Philip II. King of Spain, to work at the Efcurial, and his performances in 
 that palace procured him a noble recompence, and diftinguifhed honour. His 
 principal work is the reprefentation of the four Evangelifts, which he painted 
 in frefco. 
 
 E M a s - 
 
MUR [ 410 ] M U R 
 
 Emanuel MURANT. 
 Painted Land/cape. 
 * Died 1700, aged 78. 
 
 He was born at Amsterdam, in 1622, and had the happinefs to be a difciple of 
 Philip Wouwermans •, from whom he acquired that warmth and brilliancy of 
 colouring, and that exquifite pencil, which have rendered him defervedly 
 eminent. His fubjects were views in Holland, villages, towns, cities, ruins of 
 houfes, and decayed caftles ; all of them exactly flcetched after nature, and fo 
 aftonilhingly neat in the finifhing, that every minute part of a building was 
 perfectly difcernible, and even every particular ftone, or brick, might be counted 
 by the afiiftanceof a convex glafs. 
 
 His patience and application can fcarce be imagined, being in that refpect 
 equal to the celebrated Vander Heyden. But his inexpreffibie neatnefs in 
 finifhing every object, demanded fo much time, that it was impoflible for him 
 to paint many pictures •, and on that account, they are exceedingly fcarce, and 
 fold for fuch prices, as muft place them out of the reach of any purchafers, 
 except thole who pofTefs large fortunes. 
 
 Bartholomew-Stephen MURILLO. 
 
 Painted Hijlory, Portrait, Land/cape, and Beggar-boys. 
 
 Died 1685, aged 72. 
 
 He was born at Pilas near Seville, in 1613, and as he (hewed a very early 
 inclination to painting, he was inftructed by his uncle John del Caftillo, an artift 
 of fame note, whofe fubjects were fairs and markets ; in which ftyle Murillo 
 painted feveral pictures, while he continued with that mafter. But his principal 
 knowledge in the art, was derived from Velafquez, who directed his ftudies, and 
 frequently retouched his defigns. 
 
 Many writers aflert, that he ftudied at Rome, and improved himfelf 
 exceflively in that city ; and yet Velafco, a Spanifh author, affirms that he never 
 was in Italy, but arrived at the excellence he poiTefled, by copying the works of 
 Titian, Rubens, and Vandyck, which were at Madrid, and the Efctirial ; and 
 ailb by ftudying after the antique ftatues, which are in the Royal collections. 
 However, he became an excellent painter, and was employed, by the King of 
 Spain, to paint feveral hiftorical pictures, which railed his reputation through 
 every province of his own country. Thole pointings being afterwards font to 
 Rome, as a prefent to the Pope, the Italians were fo much pleafed with his 
 performances, that they called him a fecond Paul Veronefe. In Spain he 
 defigned and iinilhed feveral grand altar-pieces, for the churches and convents 
 at Madrid, Seville, Cordova, Cadiz, and Granada; and fome of his compositions 
 are in the churches of Flanders. But notwithftanding his genius, taiie, and 
 abilities, qualified him to execute fubjects of hiflory with general applaufe ; y\t 
 his favourite fubjects were beggar-boys, as large as lav, in different actions, and 
 amufements; which he ufually defigned after nature, and gave them a Strong 
 
 * In the Chronological Tables it is aflerted, that he die J in 16 o, at the ar,e of only 48, 
 contrary to the teltimony of other writers, who fay he died in the year 1 700, aged 78. 
 
 and 
 
M U R [ 4" ] M U S 
 
 and good exprefilon. His original pidlures of thofe fubjects, have true merit, 
 and are much efteemed, many of them being admitted into the moft capital 
 collections of the Englifh nobility > but of thofe, there are abundance of copies, 
 which, to the diflionour of the artift, are fold as originals to injudicious 
 purcbafers. 
 
 Murillo was alfo excellent for pointing portraits, and landfcapes ; he had an 
 exquifite pencil; his colouring is mellow, and produces a furprizing effect, by 
 theclearnefs of his tints, fkilfully oppofed by proper fhadows ; his carnations 
 are excellent, and there is a linking character of truth, and nature, in ail his 
 paintings. In every part relative to colouring, he feems perfect, but not quite 
 correct •, and if his choice had been better, and his tafte and knowledge of the 
 antique, had been more extenfive •, his works might have been ranked with 
 thofe of the moft eminent profefibrs of the art. Yet, his pictures are juftly in 
 great efteem through all Europe, and bring very large prices. - 
 
 Some of the fineft paintings of Murillo are in the convent of S. Francis at 
 Seville. The fubject of one of them is, Mofes ftriking the Rock ; and another 
 is, Chrift miraculoufly feeding the five thoufand •, in which there are a great 
 number of figures, well difpofed, and beautifully coloured. But the picture which 
 Murillo preferred to all his other works, is that of S. Thomas diftributino- alms to 
 the poor, the aged, and the infirm. 
 
 Thomas MURRAY. 
 
 Painted Portrait. 
 
 Died 1724, aged 58. 
 
 He was born in Scotland, about the year 1666, but went to London, to 
 
 place himfelf as a difciple with Riley, ftate painter to King Charles II, and 
 
 fuccefibr to Sir Peter Lely. He ftudied nature carefully, and in his colouring 
 
 and ftyle imitated his mailer. 
 
 He painted portraits with great fuccefs and credit •, and had the honour of 
 being employed by the Royal family, as alfo, by many of the nobility who 
 attended the court, at London. From thofe he received particular marks of 
 refpect, and efteem •, and by their protection and favour, was enabled to acquire 
 a confiderable fortune. 
 
 The portrait of Murray, painted by himfelf, is honoured with a place in the 
 gallery of painters at Florence. 
 
 Michael Van MUSSCHER. 
 
 Painted Portraits, and Ccnverfations. 
 
 Died 1705, aged 60. 
 
 He was born at Rotterdam, in 1 645, and having ftiewn early tokens of a 
 
 ftrong genius to the art of painting, he was inftructed by Martin Zaagmoolen, 
 
 an indifferent painter •, but, in a fhort time he quitted that fchool, and became 
 
 a difciple of Abraham Vanden Tempel, an artift of much fuperior abilities and 
 
 merit, where he ftudied with remarkable application, and afterwards fuccefiively 
 
 reforted to the fchools of Oftade, and Metzu. Yet, he derived more real 
 
 advantage, from the force of his own genius, and afliduity, than from all the 
 
 inftrudions he received from different mailers. 
 
 G g g For, 
 
m u s [ 412 ] mi 
 
 For, he went through the various fchools of Holland with too much rapidity, 
 and too unfettled a turn of mind ; which perhaps hinder' 1 hi ft from profitiBg 
 as much as he ought to have done, had he deliberately attended to the inftruc- 
 tions he might have received, from any fingle artift. However, from every 
 mailer he acquired fomething ; from one, an exceeding good manner of 
 colouring-, from another, neatneis of pencil ■, and from others, the beauty of 
 high finifhing ; lb that lbme of his pictures are worthy of being placed in 
 competition with Metzu, or Jan Steen. In Amfterdam, where he fpent the 
 greatell part of his life, there are a great number of excellent portraits of his 
 hand ; but, the moft capital of all his performances in that ftyle, is his own 
 family-piece, reprefenting himfelf, his wife, and his children, which was fold for 
 above a thoufand florins. 
 
 As every mafter under whom he ftudied, painted fubjects of converfations in 
 the manner of Bamboccio, taken from characters in low life, Muflcher alfo 
 painted feveral compofitions of that kind, which fufficiently evidenced the 
 greatnefs of his abilities ; and his work was fo eagerly coveted, that he found it 
 impolTible to finifh the pictures which were beipoke. In general, he was not 
 very correct, nor was the difpofition of his figures extraordinary •, yet in fome 
 degree he compenfated for thofe defects, by the brightnefs and beauty of his 
 colouring, by the truth in his imitations of nature, and by the furprizing.- 
 refemblance in his portraits ; but he was accounted to have the art of flattering 
 his models, which perhaps might have been one great caufe, of his conftant 
 employment in painting portraits. 
 
 Girolamo MUTIANO. 
 Painted Hi/lory, Portrait, and Land/cape. 
 Died 1590, aged 62. 
 
 He was born at Aquafredda in the territory of Brefcia, in 1528, where he was 
 taught the principles of defign and colouring, by Girolamo Romanino ; but 
 having afterwards travelled to Rome, to improve himfelf in the knowledge and 
 tafte of defign, he ftudied the works of Michael Angelo Buonaroti and Titian, 
 be worked for fome time with Taddeo Zucchero, and became a very diftinguifiied 
 mafter. 
 
 His manner of defign is great •, his colouring extremely good, in frefco as 
 well as in ofl ; and the heads of his figures have an elegant and fine expreflion. 
 He ftudied nature with care and judgement ; he frequently painted landfcapes 
 and portraits in a noble ftyle •, and very often adorned his hiftorical fubjects, 
 with landfcapes, which are always excellently underftood, and as happily 
 introduced. It was obferved, as a remarkable Angularity in Mutiano, that the 
 touchings of his trees were fomewhat in the Ftemiih manner, a circumftance 
 rarely known, or pracufed in the Roman fchool. 
 
 At Rheims, there is a celebrated pidure of Mutiano's compofition, in a 
 grand ftyle, and the figures are as large as life. It is painted in diftemper, on 
 canvas ; the fubjeft is, Chrift waffling the feet of his difciples ; it is worthy of 
 any mafter, and is univerlally admired, as well for the defign, as for. the correct- 
 ness, and handling. In the church of S. Peter at Rome are four pictures, 
 reprefenting S. Anthony, S. Paul the Hermit, S. Bafil, and S. jercm ; and v\ 
 
 the 
 
 
MYN [ 4i3 ] M Y N 
 
 the church of San Martino dei Monti, is a picture of S. Albert ; in which 
 Mutiano introduced a charming landfcape. 
 
 This matter is likewife memorable, for being the firft projector of the 
 academy of painting at Rome, which was founded by the Pope, Gregory XIII, 
 through the lblicitation of Mutiano. 
 
 Herman Vander MYN. 
 Painted Hiftory, Portrait, Fruit, and Flcwers. 
 Died 1741, aged $~. 
 This painter was born at Amfterdam, in 1684, and was a difciple of Erncft 
 Stuven, a good painter of fruit and flowers ; but, when he had for ibme time 
 ftudied under that mafter, and at Jail furpaffed him, he would not confine his 
 talents to thofe low fubjects, but grew ambitious of appearing in a much higher 
 character, as a painter of hiftory, and portrait. In each of thofe branches he 
 practifed for fome years, with great application ; and then he aftoniihed all the 
 artifts and connoiffeurs at the Hague, with a picture of Danae, of his own 
 painting, which was deiigned in a fine tafte, was extremely well coloured, and 
 had great elegance of expreffion. But, as he fixed a moil immoderate price on 
 that performance, it remained unfold for two or three years, although it had 
 been exceedingly admired. . 
 
 He alio painted the hiftory of Amnon and Tamar, in a very noble ftyle, as 
 well for compofition, as expreffion ; and other fubjects of facred and profane 
 hiftory, with equal beauty and delicacy. Yet, his vanity and avarice concurred, 
 to make him expect fuch. exorbitant fums for each picture, that few, among 
 even perfons of fortune, could think of becoming purchafers. And by that 
 ill judged conduct, of over rating his works, even the Duke of Orleans was 
 difcouraged from buying, although he fhewed himfelf a real admirer. The moft 
 capital performance of Vander Myn, is the Denial of S. Peter, but unluckily it 
 was much injured by ah accident. 
 
 In purfuit of encouragement, he went to London, to which city, all foreigners 
 who have any merit are induced to refort, fuch numbers of them having amply 
 experienced the national liberality •, and he there painted the portraits of feveral 
 Englifh noblemen. Particularly he painted a picture at whole length of the 
 Duke and Dutchefs of Chandois, for which he demanded, and was paid five 
 hundred guineas. It was accounted a truly fine compofition ; and the defign 
 reprefented a painter's chamber, in which the Dutchefs appeared as fitting before 
 an eafel, employed in painting the portrait of the Duke •, the whole being 
 intended, as a compliment to her known tafte in drawing, and painting. 
 
 His vanity was exceffive, he was extremely covetous, and yet when he found 
 himfelf in affluence, he was profufe and prodigal •, and although he got more 
 money than any artift of his time, he died poor, and wretched. He proved 
 a good painter of hiftory, and his fruits and flowers were in much efteem -, but 
 his greateft excellence confifted in painting portraits, which were agreeably 
 coloured, and had great force, without his appearing a mannerift ; as he 
 always adapted his tints exactly to the different complexions of his models. 
 His draperies are natural, and well difpofed in the folds ; in thofe he was 
 frequently afiifted by other artifts, but he always retouched them with great 
 
 G g g 2 care. 
 
MYT [ 4H ] M Y T 
 
 care. As to the hiftorical pictures of this mafter, they have abundance of merit, 
 but in refpect of colouring, they are inferior to his portraits ; the carnations 
 being rather too red, and lometimes too grey. His defign is not very correft, 
 but yet it fufficiendy fhews, that he had ftudied and copied nature, though he 
 did not ftudy it effectually. 
 
 He lived in London very fplendidly, fupported by his vaft bufinefs, and 
 acquifitions •, but by an indifcreet conduct, and a very imprudent marriage, he 
 facrificed his fortune and reputation, and died in that city, reduced to contempt, 
 and to the utmoft necefiity. 
 
 Arnold MY TENS. 
 Painted Hijiory. 
 Died 1602, aged 61. 
 
 He was born at Bruffels, in 1541, where he learned the rudiments of his 
 art •, but he travelled to Italy for improvement, and vifited Rome, Venice, and 
 Naples, applying himfelf with fo much diligence, that he was engaged for 
 feveral grand works in each of thole cities, and lived in high efteem. 
 
 His ftyle was intirely in the tafte of the Roman lchool, with figures ufually as 
 large as life, and fometimes of a larger proportion. At Naples he painted an 
 altar-piece, reprefenting the four Evangelifts ; and another of the Virgin crushing 
 the head of the Serpent •, which were of wonderful beauty, and exceedingly 
 admired (even by the Italians,) for the defign, as well as the colouring. And 
 at Abruzzo hefiniflied a grand compofition, reprefenting the Crowning of Chrift 
 with Thorns, by the light of flambeaux; the lights being judicioufly and very 
 happily diftributed, the tone alio of his colouring being warm, and full of force. 
 
 Daniel MYT ENS. 
 
 Painted Portrait, and Hijiory. 
 Died 1688, aged 52. 
 
 He was born at the Hague, in 1636, and went to Rome when he was very 
 young, where he ftudied under William Dodoens or Doudyns, and likewife 
 under Vander Schuur. As foon as he quitted thole mafters, he employed 
 himfelf in defigning after the antiques ; in copying the molt celebrated paintings 
 of the beft artifts •, and adding con fiderably to his improvement, by the inftruc- 
 rions of Carlo Maratti, and Carlo Loti, with whom he fortunately eftabliftied an 
 intimacy. 
 
 Had the morals of this painter been as good as his genius, he certainly would 
 have made* a great -figure in his profefiion ; but his attention was too much 
 engrafted by the love of pleafure, luxury, excels, and extravagance. He had 
 a lively imagination; his compofition was good •, his colouring very agreeable; 
 and he defigned with great cafe and readinefs. But it ought to be obferved, 
 that all thole eminent qualities, appeared only in fuch ot his works, as were 
 painted while he redded in Rome, and within the compafs of fome few years 
 after his return to the Hague ; for afterwards, by negligence, diflipation, and 
 intemperance, his works became muchltfs eftimablein his latter time. 
 
 He 
 
MYT t 4i5 ] M Y T 
 
 He fketched a very noble defign for a cieling of the painter's hall at the 
 Hague, which gained him extraordinary credit. The work was begun, but 
 unfortunately he left it for fome years unfinifhed ; and it would have contributed 
 much more to his reputation, if he had never attempted to finifh it ; as he 
 rather injured, than improved it. 
 
 M Y T E N S. 
 
 Painted Portrait. 
 This artift wasprincipal painter to King Charles I. before the arrival of Vandyck 
 in England -, but afterwards he exerted himfelf to imitate Vandyck, and proved 
 lb fuccefsful, that feveral of the pictures of Mytens, have been taken for the 
 work of that more famous mafter. Some portraits of the princes ofBrunfwick 
 at full length, by this artift, are at Hampton Court ; and a portrait of Hudfon 
 the dwarf, holding a dog in a firing, is at S. James's ; the landicape part beino- 
 freely touched, and warmly coloured. 
 
 When Vandyck came to the court of London, Mytens modeftly wifhed to 
 retire ; but the king obligingly continued him in his fervice for fome few years, 
 and he then returned to his native country. 
 
 John MYTENS. 
 Painted Portrait. 
 Born in 1612. 
 The native city of this painter was Bruffels, where at firft he learned the arc 
 of painting from Anthony Van Opftal, and afterwards from Nicholas Vander 
 Horft. He had an apt genius, and pra&ifed with fingular affiduity, fo that he 
 gradually became a very eminent painter of portraits. The Prince of Orange, 
 and many of the nobility of the firft rank fat to him ; and he had the good fortune 
 to acquit himfelf in all his performances, to the intire fatisfa&ion of his 
 employers, and as much to the approbation of the publick. 
 
 Martin MYTENS. 
 
 Painted Portrait, and Hiftory. 
 
 Died 1 j 55, aged 60. 
 
 This artift was born at Stockholm, in 1695, and at eleven years of age fhewed 
 
 fuch an extraordinary genius to painting, that feveral of his defigns, even at that 
 
 early period, were beheld with furprize by many of the beft judges and the 
 
 prime nobility of that court. But when he had practifed for fome'years, and 
 
 obferved that he could not receive a competent knowledge of the art, by flaying 
 
 in his own country •, he determined to feek for improvement at Rome, and in 
 
 his progrefs, to examine every thing curious in other cities of Europe. His 
 
 firft excurfion was to Holland, and from thence he proceeded to London ; 
 
 v/here he practifed miniature and enamel painting, to which he had always a 
 
 flrong tendency ; and by his performances in that way, gained a fufficiency to 
 
 maintain himfelf, without being any incumbrance to his parents. 
 
 He was naturally ftudious, and fober, devoting all his hours of leifure to 
 defign aft;r the works of Vandyck and other eminent matters, and avoiding 
 
 every 
 
MYT [ 416 ] M Y T 
 
 every kind of intercourfe with the gay, or the difiblute ; till by that method of 
 purluing his ftudies, while he preferved his virtue, he acquired great expertnefs 
 m his profeffion. In 1 7 1 7 he vifited Paris ; and proved lb fortunate, as to ob- 
 tain the favour of the Duke of Orleans, and to have the honour to paint the por- 
 trait of that Prince, and alio the portraits of Lewis XV, and the Czar Peter. 
 The latter monarch made him large offers, to induce him to fettle at Peters- 
 burgh, which he politely declined, being determined to fee Italy. 
 
 In 1 72 1 he arrived at Vienna, where he was gracioufly received •, and having, 
 with great applaufe, painted the portraits of the Emperor, the Emprels, and the 
 mofl: illuitrious perfons at that court, during a refidence of above two years, he 
 proceeded on his intended journey to Italy. The firft city to which his curiofity 
 directed him, was Venice, where his merit very foon diftinguifhed him, and he 
 might have had abundance of employment ; but, as he only went thither to 
 learn the true beauty and harmony of colouring, he lpent his whole time in that 
 ftudy •, and then vifited Rome, to acquire the grand flyle of compofnion, and 
 correctnefs of defign. There he exerted all his induftry and fkill, to defign after 
 the belt antiques, and to copy the mofl: excellent of the modern productions ; 
 ;md formed his hand to paint in large, full as readily as he had formerly done in 
 i'mall, and in oil as well as in miniature. 
 
 When he had accomplifhed his ftudies at Rome, having continued there for 
 two years, he went to Florence, where the Grand Duke Gallon I. fhewed him 
 all poflible marks of efteem ; and having engaged him for lbme time in his fer- 
 vice, he made him confiderable prefents, and placed the portrait of Mytens 
 among the heads of the illuftrious artifts in his gallery. He alfo received public 
 tefti monies of favour from the King and Queen of Sweden •, each of them 
 having prefented him with a chain of gold and a medal, when he vifited that 
 court, after his return from Italy. At laft he fettled at Vienna, where 
 every judicious eye was agreeably furprifed, to obferve the wonderful improve- 
 ment in his tafte, and his pencil. They were delighted to perceive fuch correct- 
 nefs of defign, fuch an elegant dilpofition of the figures, fuch noble and be- 
 coming attitudes, fuch relief, and fuch force as he gave to every figure, by the 
 beauty and harmony of his colouring. 
 
 The Emperor Charles VI, and his Emprefs, retained Mytens in the fame 
 honourable employment, and with the fame appointments, which the preceding 
 Emperor had generoufly granted him ; and he lived in that court, univerfally 
 eftecmed for his uncommon merit, and equally valued for his perfonal accom- 
 plifhments. 
 
 A mofl capital picture of this matter's hand, is the hiftory of Efther and 
 Ahaluerus. 
 
 N. 
 
NAD [417] KAL 
 
 N. 
 
 NADALINO del MURANO. 
 Painted Hijlory, and Portrait. 
 He was a difciple of Titian, and obtained a great reputation by the beauty of 
 his colouring, andaftyle which ftrongly refembled that of his mafter. He was 
 for fome years in England, according to the teftimony of the writers on this fub- 
 iecT, where, it is faid, he met with encouragement, and was much employed ; 
 but he quitted that kingdom, and afterwards fpent feveral years in the Low 
 Countries. 
 
 Battista N A L D I N I, 
 Painted Hijlory, and Portrait. 
 
 He was born at.Flarence, in 1537, and was a difciple of Giacomo Puntormo°, 
 but, after the death of that mafter, he ftudied defign at Rome with extraordinary 
 application, and continued to practife with fo much fervour, that his reputation 
 was thorougly eftablifhed before he left Rome. 
 
 He finifhed feveral very noble works at Florence, in- concurrence with other 
 eminent painters •, and in the chapel of the Black Monks in that city, there is a 
 fine compofition by Naldini, reprefenting Chrift bearing the Crofs •, in which 
 there are a number of excellent figures ; and in many other performances of 
 this mafter, the genius, the invention, and the execution of an able artift, are 
 fufficiently manifeft. 
 
 His manner of defign was agreeable and eafy, and his colouring good •, ha 
 difpofed the figures in his compofitions with tafte, propriety, and judgement, 
 and he was often peculiarly happy in his expreffion. 
 
 Giovanni NANNI. Vid. Giovanni da U D I N O. 
 
 NAPOLETANO. Vid. A N G E L I. 
 
 Giuseppe Niccola NASINL 
 Painted Hijlory. 
 Died 1736, aged 76. 
 This artift was born about thirty miles from Siena, in 1660, and learned 
 defign from his father Francefco Nafini, a painter in good efteem ; under whole 
 direction he practifed till he was eighteen years old, when he was fent to Rome, 
 to be placed as a difciple with Ciro Ferri. Under the care of that mafter he con- 
 tinued for two years •, and acquired fuch knowledge, fuch a command of pencil, 
 and fo good a tafte of defign, as enabled him to appear in the world with molt 
 promifing talents ; for, his proficiency in fo fnort a time, prepoffeffed all the ju- 
 dicious in his favour. 
 
 Ciro Ferri commended him exceedingly, and laid hold of the firft opportunity 
 that offered for his advancement ; and being requefted by the Grand Duke 
 Cofmo III, to fend him a young artift, fulficiently qualified to copy the deiigns 
 or. Pietro da Cortona, in the Palazzo Pitti ;' Ciro recommended Nafini, as tine 
 
 belt 
 
N E p [ 4i8 ] NEE 
 
 beft among his numerous difciples, and the moft likely to anfwer the expecta- 
 tions of that Prince. Nafini executed the commifiion to his own honour, as well 
 as to the honour of his mafter, and the intire fatisfaction of the Duke ; and wa> 
 not only munificently rewarded, but by order of the Duke, he was admitted 
 into the Florentine academy at Rome, of which Ciro Ferri was at that time prin- 
 cipal director. 
 
 During his continuance at Rome, he gained three prizes at the academy of 
 S. Luke for his paintings, and one for fculpture •, and having at laft perfected 
 his fludies in the academy, he vifited Venice, where he fpent fome time with 
 Carlo Loti •, and then returning to Tufcany, was appointed to an employment of 
 confiderable profit, and honour, at that court. From that time he was con- 
 stantly engaged in the fervice of his patron, but permitted to work for moft of 
 the Princes of Europe •, his pictures being univerfally admired for the 
 elegance of their defign, for the correctnefs of his outline, for the beauty of his 
 colouring, and an exprefiion that was truly excellent. 
 
 Among many fine performances of Nafini, two are particularly mentioned, as 
 being admirable ; one of them is, the Death of Cato ; the other, a Lucretia > 
 both of them full of nature, truth, and elegance, and with a wonderful 
 expreffion. 
 
 John Van NECK. 
 
 Painted Hijlory. 
 
 Died 1 7 14, aged 79. 
 
 He was born at Naarden, in 1635, and was a difciple of Jacob Bakker, whofe 
 freedom of penciling, and ftrong manner of colouring, he ftudied induftrioufly; 
 till by copying his works with care and oblervation, he fucceeded as happily as 
 he could wifh, and was accounted to have a degree of merit equal to his mafter. 
 
 He excelled in defigning naked figures, and therefore often chofe fuch kind of 
 fubjects, as admitted them to be introduced with propriety in his compofitions ; 
 fuch as nymphs bathing or hunting ; and in the historical pictures of Van Neck, 
 the figures are defigned with elegance, and the draperies diftributed in eafy and 
 natural folds. There is a picture painted by this mafter, in the French Romifh 
 church at Amfterdam, repreienting Simeon with Chrift in his arms, which is de- 
 fcribed as an exceeding capital performance. 
 
 Peter NEEFS, called the Old. 
 
 Painted Churches, Perfpeclive, and Architecture. 
 
 Died 1 65 1, aged Si. 
 
 This painter was born at Antwerp, (as it is fuppofed) in the year 1570, and 
 was a difciple of Henry Stenwyck. He imitated exactly the manner of l»s 
 mafter, painting the views of churches and convents •, and particularly, the 
 views of the infides of them, efpecially thofe of Gothic architecture. He 
 ftudied after nature widi fo nice an obfervation, that every fcene he reprefented, 
 and every building, might be known at firft fight, even with the moft curfory 
 view. He was thoroughly fkilled in perfpective, and defcribed his fubjects with 
 all their rich decorations, and every member of the architecture, with fuch neat- 
 nefs of penciling, fuch truth and patience, as may fooner become an object of 
 wonder, than of imitation. 
 
 1 Th 
 
NEE [ 4 r 9 ] NEE 
 
 The fubje&s he painted, had ncceflarily a great deal of regularity in the pil- 
 lars, pavements, and arches, and might, by the uniformity of lines, tire and 
 difguft the eye ; but he contrived, with lingular judgement, to interrupt that 
 regularity, by introducing fome chapel, oratory, monument, organ, or other in- 
 cident, that diverfified the fcene, and afforded pleafure to the obferver, 
 by the judicious oppofition of his lights and fhadows ; and thofe he managed 
 with fo much fkill, that every object receded from the eye, with a truth 
 ef tint, and a perfpective proportion, equal to nature, producing a mod 
 agreeable, and often a furprizing effect. The columns, capitals, or the orna- 
 mental paintings of the churches he reprefents, are all marked with the utmoft 
 precifion, are finifhed with an exquifite touch, and a light clean pencil. 
 
 Thofe pictures of Neefs, which are moft bright, and clear, are accounted mod 
 eftimable •, for, in his beft time, he ftudied to avoid the darkifh brown colour- 
 ing, which is often obfervable in the works of his mafter Stenwyck. As he de- 
 figned figures but indifferently, thofe which are inferted in his pictures, were 
 painted by Francifcus Francks, Van Tulden, the Velvet Brueghel, or Teniers ; 
 but, the figures of the two latter artifts, give a great additional value to the pic- 
 tures of Neefs. 
 
 Peter NEEFS, called the Young. 
 Painted ArchiteSfure, and PerfpeRive. 
 
 He was the fon of Peter Neefs, and learned the art of painting from his father. 
 He painted in the fame ftyle and manner, andchofe the fame fubjects which had 
 rendered his father very famous ; but, he was in no degree comparable with 
 him, and rather injured his reputation, by affording the dealers in pictures an op- 
 portunity of imputing many of his performances to the Old Neefs ; although 
 they are far inferior to the work of that mafter, and by that means impofing on 
 the injudicious. 
 
 Arnold Vander NEER. 
 
 Painted Land/capes, and Moon- lights* 
 
 Died 1683, aged 64.. 
 
 He was born at Amfterdam, in 161 9, and is well known to the connoiiTeurs 
 in painting, by a peculiarity of ftyle, and alfo by the handling and tranfparence 
 of his landfcapes. His fubjecls are views of villages, or the huts of fifhermen 
 on the banks of rivers and canals, by moon-light ; and they generally are 
 finifhed with a remarkable neatnefs of penciling. His touch is extremely light, 
 free, and clean, and his imitation of nature exceedingly true ; particularly, in 
 the luftre of his fkies about the moon, and the reflection of the beams of that 
 luminary on the furface of the water. His figures are ufually well defigned, 
 but as they were taken from low nature, they cannot boaft of much elegance in 
 their forms ; yet their actions, and attitudes, are well adapted to their employ- 
 ments, and occupations. In all parts of Europe his pictures are Mill in good 
 efteem ; and they are in every refpeel commendable, except that in fome of 
 them there is rather too predominant a blacknefs. 
 
 Hhh Eglon 
 
NEE [ 420 ] NEE 
 
 Eglon Hendrick Vander NEER. 
 Painted Hlflery, Portrait, Land/cape, Converfations, Plants, and Animate 
 
 * Died 1 703, aged 60. 
 
 This artift was horn at Amfterdam, in 1643, the fon, and likewife the difciple- 
 of Arnold Vander Neerj who having accurately fludied after nature, and alfo 
 having a confummate knowledge in his profeflion, carefully communicated thofe 
 principles to his fon Eglon, which laid the foundation of that excellence, at 
 which he afterwards arrived in feveral branches of Jus art ; for, he proved an ad- 
 mirable painter of hi (tory, and of landfcape, equally diftinguifhed for the deli- 
 cacy of his pencil, and for thofe beautiful fcenes of nature which he defigned. 
 
 As his genius inclined him to ftudy portrait painting, and hiftorical compo- 
 fuion, he was placed under the direction of Jacob Vanloo, who particularly ex- 
 celled in naked figures ; and there he applied himfelf with fuch ardour, to ob- 
 tain a competent knowledge of defign, and colouring, that he needed no other in- 
 ftrucftor, except the ftudy of nature. 
 
 At his firft letting out in his profeffion, he was employed by Count D'Hona, 
 and continued in his fervice for four years-, in which time his reputation was 
 firmly eftablifhed > more eipecially as a painter of portraits, which he finifhed in 
 miniature, as well as in a fize as large as life. One of his performances in that 
 ftyle, was the portrait of the Princels of Newburgh, which he painted by order 
 of the King of Spain ; and that Monarch expreffed fo high a degree of fatisfac- 
 tion, when it was exhibited at his court, that he rewarded the artift in a princely 
 manner, and fent him a patent appointing him ftate painter; though Eglon de- 
 clined accepting that mark of the Royal favour, and continued at the court of 
 the Elector Palatine, for whom he nniilied feveral cabinet pictures, which were 
 extremely admired. 
 
 But, befides portraits, Vander Neer painted a great number of hiftorical de- 
 figns, taking his fubjecls fometimes from the facred writings, but more fre- 
 quently from fabulous hiftory ; and in thofe he reprefented nymphs, or different 
 deities of the mountains, or rivers, always enriching his fcenes with groves, 
 rocks, or beautiful diftant hills. The figures which he introduced in any of his 
 fubjects were correctly drawn, and ciipofed with remarkable fkill ; and it was 
 obferved of him, that in the laft year of his life, he painted full as well, as he had 
 it any time done, in. the prime and vigour of his years. 
 
 He likewife painted converfations,. in the manner of Terburg, fometimes in 
 modern dreffes, and at other times in the more antient mode ; and alfo land- 
 feapes, which Were defigned in a good tafte, and had an agreeable variety. He 
 was food of diverfifying the fore-grounds with different plants, which he copied 
 after nature ; and for that fole purpofe, he preferved a collection of thofe plants 
 in His garden. But, as he obferved that the plants, when taken from their beds, 
 and brought into his painting chamber, loft a confiderable portion of their 
 beauty and luftse, white he endeavoured to imitate them-, he contrived a port- 
 able houfe, in which he could fit, and paint every object as it grew, in the utmoft 
 peffection. 
 
 ' The author of the Mufeum Florentinum, contrary to mod other writers, fjppofcs Eglon Hen- 
 drick Vander New to have- died in 1697, and at the age of only 54. 
 
 This 
 
NEE [ 421 ] NEE 
 
 This mafter poffeffed very extraordinary talents, and painted all his fubjects 
 with an equal degree of merit. His portraits, in large and fmall, are well co- 
 loured, and touched with a great deal of fpirit, and delicacy. In the hiftorical 
 pictures he fhewed correct drawing, and a compofition that was ingenious •, and 
 his landfcapes have an agreeable choice, with great variety ; though, by too 
 much pains and labour bellowed on the plants in the fore-grounds, there is 
 often the appearance of fomewhat too hard and ftiff. 
 
 In the celebrated collection of the Elector Palatine, there are feveral paintings 
 of this mafter-, and one in particular, reprefenting Hagar in the Wildernefs. 
 Houbraken alio mentions one of his compofitions, of which the fcbje*fc was, 
 Ceres in fearch of Proferpine ; which that writer fays, he had feen and atten- 
 tively examined, and defcribes it as being admirably defigned, and highly fi- 
 nifhed ; particularly the herbs, plants, thirties, and trunks of trees, covered with 
 ivy, and other creeping plants ; yet, he obferves, that in fome parts it feemed 
 rather too hard. 
 
 He had the honour of being the mafter of Vander Werf ; who derived a 
 great fhare of his merit from the precepts and obfervations of this artift, as well 
 as from his excellent example. Eglon was particularly attentive to his colours, 
 not only endeavouring to procure fuch as were mod beautiful, but alfo moft 
 durable ; and he gave it as his advice to Vander Werf, not to be folicitous to 
 find out new colours, but to ftudy how to uie and unite thofe that were already 
 known, as he had experienced them to be fully fufficient. Which advice his 
 difciple had the difcretion to follow, and in his works moft fuccefsfully ob- 
 ferved it. 
 
 The portrait of Vander Neer, painted by himfelf, is preferved in the gallery 
 of eminent painters at Florence, and it has the following infeription, Eglon 
 Hendric Vander Neer, f. 1696. 
 
 John Van N E S, or NEES. 
 Painted Portrait. 
 Died 1650. 
 
 He was born at Delft, and as he fliewed a very early genius to painting, he 
 was placed as a difciple with Michael Mirevelt ; in whole fchool the proficiency 
 of Van Nes was fo extraordinary, that he proved one of the beft difciples of that 
 famous mafter, and found himfelf, in a few years, well qualified to let up in his 
 profeffion. 
 
 However, Mirevelt, who difcerned the promifing talents of his pupil, advifed 
 him to add to the knowlege he had already acquired, by ftudying nature •, and 
 by travelling to Rome and Venice, where he might perfect himfelf in defign, as 
 well as in colouring. He followed the advice of his director, and in thofe cities 
 ftudied induftrioufiy after the beft models, as he alfo did in feveral other places 
 through which he journeyed ; and in every place procured refpect and efteem, 
 not only on account of his great abilities, but alfo by his amiable qualities and 
 conduct. 
 
 It was much to be regretted, that with a genius and talents fo fitted for emi- 
 nence in hiftorical compofitions, he ftiould apply himfelf folely to portrait ; 
 though in that ftyle, he painted feveral incomparable pictures. He defigned 
 
 H h h 2 with 
 
NET [ 422 ] NET 
 
 with great correctnefs, he gave an expreffive refemblance to his portraits, and 
 his colouring was very natural, and very lively. 
 
 Gaspard NETSCHER. 
 
 Painted Hijlory, Portrait, and Still Life. 
 
 Died 1684, aged * 45. 
 
 All authors, except De Piles, atteft that he was born at Heidelberg, in 1 639, 
 and his father dying during the war, his mother was left in mod deplorable cir^ 
 cumftances, with three children, and obliged to quit Heidelberg. She retired 
 into a fortified town, to avoid, if poffible, the calamities of war-, but feeing two 
 of her children perifh in her arms by famine, lhe determined to exert all her 
 ftrength to efcape with her only child •, and through a feries of dangers and 
 fatigues, (with her fon Gafpard, at that time not much above two years of age) 
 arrived fafe at Arnheim, where fhe was fupported by the contributions of thole 
 who were charitably difpofed in that city. 
 
 Fortunately, a very wealthy phyfician, whofe name was Tullekens, conceived 
 afondnefs for Gafpard ; he adopted him, he confidered him as his own fon, and 
 had him educated with a view to breed him up to his own profeflion. But, 
 being at laft convinced, that the genius of the lad was more ftrongly inclined to 
 the art of painting, he indulged him fo far as to place him with one Kofter, a 
 painter of fowls and dead game j and afterwards had him instructed by Gerard 
 Terburgh of Daventer. 
 
 When Gafpard found himfelf capable of following his profeflion, he went 
 to Holland, and worked for fome time very induftrioufly for thofe who traded 
 in pictures •, but, they impoied on him feverely, paying a very inconfiderable 
 fum for thofe pictures, which were by them fold for very large prices-, fo 
 that Netfcher, totally difcouraged by the fmallnefs of his acquifitions, refolved to 
 quit Holland immediately, and to travel to Italy. He embarked with that in- 
 tention ; but the fhip having put into Bourdeaux, he married, and laid afide all. 
 thoughts of proceeding any farther, and went with his family to fettle at 
 the Hague. 
 
 On his arrival in that city, he painted hiftorical fubjects in a fmall fize ; and 
 yet, although they were excellently finifhed, and eagerly bought up, the prices 
 he received for them, were in no degree proportionable to the time expended 
 upon them. Therefore, notwithstanding his prevalent inclination to paint hit 
 tory, he refolved to apply himfelf to portrait painting, which required lefs labour, 
 and was abundantly more lucrative. In that ftyie he proved a moft admirable 
 artift ; and his reputation was fo highly raifed, that very few of the foreign Am- 
 bafladors, and Minifters, who vifited the Hague, or of the confiderable families 
 who reCded there, were without fome of the works of Netfcher. 
 
 He was one of the belt painters of the Flemifh fchool, in a fmall fize ; his 
 manner of defigning was correct, but he always retained his national tafte -, 
 though frequently the heads of his portraits have fomewhatthat is graceful, with 
 an air and exprcfiion that is natural and becoming, more efpecially in the heads of 
 
 * Dc Piles, contrary to the teftimony of other writers, fays he was 48 years old when he died; 
 and the author of the Abrege de la Vie des Peintres, has followed the aflertion of De Piles, though, 
 it is allowed by moft, that he was born in 1639, and died in 1 084). which makes him but 45. 
 
 his. 
 
NET [ 423 ] NET 
 
 his female figures. His colouring is the genuine tint of nature, his local colours- 
 are true, and he had a peculiar power in reprefenting white fattin, filks, linen, 
 and Turky carpets, fo as to give them an uncommon beauty and luftre. He un- 
 derftood the principles of the chiaro-fcuro perfectly well, and ufed it judicioufly, 
 his outline is generally correct, his draperies are thrown into large and elegant 
 folds, and his touch is fo inexpreftibly delicate as to be fcarce perceptible. 
 
 King Charles II. invited him to London, with an intention to advance the 
 fortune of fo eminent an artift ; but his love of liberty proved far fuperior to his 
 ambition, and he declined that honour, to enjoy the happinefs of an eftablilhed 
 reputation in his own country. 
 
 In the Royal collection at Paris, there are two pictures of Netfcher, charm- 
 ingly painted ; one is a Mufician inftructing a lady to play on the bafs-viol ; 
 the other is a Lutenift performing on his inftrument ; and in the pollefiion of 
 a French nobleman, is a Cleopatra dying by the bite of an afpick, which is a 
 lovely and rich compofition ; the head, hands, drapery, fruit, and every part of 
 the furniture of the apartment, being finifhed in a moil exquifite manner, and 
 the whole appearing full of harmony. 
 
 Theodore NETSCHER. 
 
 Painted Portrait. 
 Died 1732, aged 71. 
 
 This painter is claimed by the Dutch as one of their artifts, though he was 
 born at Bourdeaux, in 1 66 1 . He was the fon and difciple of Gafpard Netfcher, 
 and even at the age of nine years, was the belt performer in the fchool of that 
 mailer. At eighteen he commenced painter, and being folicited by Count 
 D'Avaux to accompany him to Paris, his merit procured him many friends in 
 that city, and a great deal of encouragement. 
 
 He poftefied the fkill of taking an agreeable likenefs, and on that account, 
 was appointed to paint the portraits of the principal perfons about the court, 
 particularly the ladies ; and he continued in that city for twenty years, enriched 
 and efteemed. But, the affluence in which he lived, led him into fome indifcre- 
 tions, and influenced him to refufe to paint any but perfons of the firft dif- 
 tinction •, nor was he even to thofe always complaifant. For, Frederick I, 
 King of Pruffia, having defired him to paint his portrait, Netfcher begun it, 
 and the King feemed exceedingly pleafed with the likenefs, the air, and the ex- 
 preflion •, yet, the painter could never be prevailed on to finifh it, but from fome 
 unaccountable caprice, fecreted himfelf induftrioufly, till the King quitted the 
 Hague, where at that time Netfcher and his family were fettled. 
 
 In the year 171 5 he went to London, as Pay-mafter to the Dutch forces, and 
 ' was introduced to the court by Sir Matthew Dekker. He had the honour to be 
 gracioufly received, and acquired incredible funis of money by his paintings, 
 while he continued in England, which was for fix years. But, at his return to 
 the Hague, having loft a confiderable fum, by fome deficiency on account of his 
 employment, he retired in difguft to Hulft, and died in that city. 
 
 This painter had a neat manner of finifhing his pictures, and. a very pleafine, 
 natural tone of colour, which rendered his paintings defireable ; and he gained 
 fb. much money by his performances, that if he cannot, be juftly accounted the 
 
 belt 
 
NET [ 424 ] N E V 
 
 bed matter of the Flemifh fchool, he was perhaps the mod: fortunate and fuc- 
 cefsful. Many of his portraits are to be met with in England and Holland; 
 and he copied fome of the works of Vandyck with fo much accuracy, that they 
 are capable of deceiving even a judicious connoiffeur. 
 
 C o n s T A N t 1 n e NETSCHER. 
 
 Painted Portrait. 
 
 Died 1722, aged 52. 
 
 He was born at the Hague, in 1670, being the fon of Gafpard Netfcher, by 
 whom he was carefully indructed in his art ; but when Conftantine was only 
 fourteen years of age, he was deprived of his father, and loft the advantage he 
 might have derived from the precepts of fo able a director. However, he took 
 pains to improve himfelf by the ftudies of Gafpard •, he copied ieveral of the por- 
 traits painted by his father, and found them to be the fineft models he could pof- 
 fibly have fixed on, to teach him neatnefs of touch, and delicate colouring. 
 And the exa&nefs of the copies he made, fo effectually formed his hand, while 
 his knowledge was improved by an attentive ftudy after nature, that he very 
 loon diftinguifhed himfelf as an artift of eminence. 
 
 He painted his figures in the fame fize as Gafpard's, and had the felicity to 
 give them a ftrikins refemblance, though at the fame time he embellifhed na- 
 ture, by producing a pleafing, agreeable, and flattering likenels, elpecially in the 
 portraits of females, which had an unufual frefhnefs and life. The Duke of Port- 
 land, whofe portrait he drew, foliated him earneftly to go with him to England; 
 but every beneficial offer proved ineffectual, as he was very infirm ; for, he was 
 often feverely interrupted in his work by the gravel, which at laft carried him 
 off", univerlally regretted. 
 
 He certainly did not arrive at the excellence of his father, though he is de- 
 fervedly efteemed as a fine painter of portraits. One of his mod capital per- 
 formances is a family picture of the Baron Suaflb, confifting of feven or eight 
 figures •, in which picture a dog is introduced, that was painted by 
 Vander Does. 
 
 Mathys NEVEU. 
 
 Painted Converfations, Concerts, and Balls. 
 
 Died 1 72 1, aged 74. 
 
 He was born atLeyden, in 1647, and firft was adifciple of Toorn Vliet, who 
 indructed him in defign •, but afterwards he ftudied under Gerard Douw. The 
 fubjects which he chofe to paint were merry-makings •, concerts of mufick ; 
 fhops with various kinds of goods •, ladies and gentlemen at tea, cards, or dif- 
 ferent fports and amufements j which were well defigned, extremely neat in the 
 finifhing, and excellently coloured. 
 
 A very capital compofition of this mafter is, the feven works of mercy, con- 
 fiding of a number of figures difpofed with proper attitudes ; the airs of many 
 ■ of the heads are elegantly defigned, and have a proper cxprefficn ; the colouring 
 is clear, and the whole is highly finifhed, with a great degree of i'pirit and har- 
 mony. And yet it mud be acknowledged, that, notwithitanding the apparent 
 5 merit 
 
NIC ( 425 ] N I E 
 
 merit of this matter's work in that compofition, efpecially in refpect of defign 
 and penciling, it is not without fome appearance of negligence, and want of ac- 
 curacy in particular parts. 
 
 N I C G O L E T T O. Vid. Nicoio C A S S A N A. 
 
 Messer NICOLO da Mode n a, and del Abbate. 
 
 Painted Hiftory. 
 Died 1572, aged 60. 
 
 He was born at Modena, in 151 2, and was a difciple of Primatticcio, of 
 whole fchool he was a principal ornament. He had a confiderable genius, and- 
 painted in the ftyle and manner of his matter, though his figures were not quite 
 ib tall as thofe of Primaticcio. He aflifted his matter in many of his grand com- 
 pofitions at Bologna, and Modena, and acquired great honour by his per- 
 formances •, for he was indefatigable in his endeavours to arrive at perfection in' 
 his art. His chiefeft. excellence was in frefco painting, which he finifhed with fo 
 great a degree of fkill, that the entire work, which perhaps might have engaged 
 him for feveral years, appeared as if it had been finifhed in one day •, and he was 
 fo very expert, that he never had occafion to retouch his work after it was dry, 
 which preferved the purity and luftre of his colours. 
 
 Vafari mentions a grand ball-room, (probably the falon at Fontainbleau) 
 painted by Nicoio, after a defign of Primatticcio, in which there were lb many 
 figures, that it was difficult even to count them ; and every figure was as large as 
 life. It was painted in frefco, but had all the force and union of oil painting. 
 
 At Wilton, in the collection of the Earl of Pembroke, it is faid that a picture 
 of this matter is preferved, of which the fubject is a concert of mufic. 
 
 William Van NIEULANT. 
 Painted Land/cape, and Architecture. 
 Died 1635, aged 51. 
 
 Pie was born at Antwerp, in 1584, and at firft was a difciple of Roland Savery, 
 who taught him defign and colouring; and he ftudied under his direction, till 
 he was qualified to follow his profefiion with credit. But, being very defirous. 
 to extend his knowledge, he travelled to Rome, and lived with his countryman, 
 Paul Bril, for three years ; during which time, he employed himfclf in defigning 
 the moft curious remains and monuments of antiquity, the triumphal arches, 
 baths, and ruins of magnificent edifices about that city, which he afterwards in- 
 troduced agreeably, in all his future compofitions. 
 
 While he continued in Italy, he painted in the manner of Bril ; but, on his 
 return to Holland, he altered his manner confiderably. His colouring is 
 pleafing, and natural, though fometimes rather too green •, his fituations are ge- 
 mrally taken from nature •, his diftances are judicioufly managed ; his pencil is 
 free, and mafterly •, and his figures, though not in the tafte of the Italian fchool, 
 are defiened with tolerable correctnefs. 
 
 John 
 
NIK [ 426 ] N I M 
 
 John Van NIKKELEN. 
 Painted Land/capes, and Flowers. 
 Died 1 716, aged 6j. 
 He was born at Haerlem, about the year 1649, and learned the art of defign* 
 ing from his father, who was a good painter of perfpective in the manner of Van 
 Vliet, and particularly chofe for his fubjects the infides of churches. However, 
 as foon as Nikkelen had perfected his ftudies under his father, he no longer ad- 
 hered to that ftyle of painting, but employed his pencil in landfcapes ; and alfo 
 rendered himfelf very diftinguiihed, by an unufual method of reprefenting 
 flowers painted on fattin, which had a lively and pleafing effect. 
 
 His works in that way were exceedingly admired, and procured him the 
 favour of the Elector Palatine, and alfo of the Prince of Hefie-Cafiel, for whom 
 he finifhed a great number of pictures; and was for feveral years retained at their 
 courts in conftant employment. 
 
 Tobias Van NIMEGUEN, and 
 Elias Van NIMEGUEN, Brothers. 
 
 "They fainted the fame fubj eels, Hiflory, Architeclure, Landfcapes, and Flowers. 
 
 Elias Died 1745, aged 78. 
 
 The latter of thefe brothers was born at Nimeguen, in 1667. His father died 
 when he was very young, and his elder brother, who had fome notion of portrait 
 and flower painting, undertook the inftruction of thofe who were very much 
 younger, and to the utmoft of his ability taught them the firft principles of the 
 art. But, he dying in a few years, Elias was deprived of all afiiftance in his pro- 
 fefilon, and was reduced to the neceffity of providing for the reft of his family. 
 In that uncomfortable fituation, he, and Tobias his younger brother, applied 
 themfelves indefatigably to ftudy and defign after nature; and they practifed with 
 fuch fuccefs, that their wonderful proficiency furprized the beft judges, and all 
 their cotemporary artifts. 
 
 The firft proof of their abilities was fhewn, in a work executed for the Baron 
 de Wachtendonk. The compofition was noble and extenfive ; the cielings were 
 adorned with hiftorical figures, in fome of the compartments, and in others, em- 
 bellifhed with flowers and bafs-relief ; and the colouring and defign of the 
 whole, fo effectually raifed their reputation, that it recommended them to the 
 patronage of the Princefs of Orange, who employed them to paint feveral 
 defigns, in the apartments of her palace. 
 
 Tobias was invited to the court of the Elector Palatine, and was retained in 
 the fervice of that Prince •, but Elias went to fettle at Rotterdam, where he had 
 as much employment as he could poflibly undertake, and at laft was afiifted in the 
 execution of his works by his nephew and his fon. Thofe young artifts had 
 been carefully educated, under the direction of Elias ; and it was obfervable, that 
 the preceptor, and his pupils, were fo exceedingly fimilar in their touch, ftyle, 
 and colouring, that thofe works which they jointly performed, feemed to have 
 been the work of only one hand. 
 
 Elias painted hiftory, landicape, and flowers, with an abundance of merit, but 
 he excelled in perfpective and architecture. His colouring is clear, and bright ; 
 his pencil light, and firm; his figures are well defigned, and difpofed, though 
 not always elegant ; and his compofition is extremely rich. 
 
 5 Domeni QJJ E 
 
N O L [ 427 ] N U Z 
 
 Domeni q^u e N O L L E T. 
 
 Painted Hiftory, Land/capes, and Battles. 
 Died 1736, aged 96. 
 
 He was born at Bruges, about the year 1640, and diftinguifhed himfelf fo 
 much in his profefflon, that he was appointed principal painter to Maximilian, 
 Duke of Bavaria, with, an honourable penficn. Sometimes he painted hiftorical 
 fubjects ; but his greateft power was vifible in his battles, and landfcapes. The 
 former, he executed with great truth and fpirit •, and in the latter, his trees 
 were touched with a mafterly pencil, and were well coloured. 
 
 It was cuftomary with him to lay on a ftrong body of colours ; which at a 
 competent diftance, had a very good effect ; and in the whole, produced harmonv 
 and warmth. He defigned correctly, and in his tafte of compofition, refembled 
 Vander Meulen ; but, he was not equal to that mafter. His moft capital 
 performance is the reprefentation of a battle, which is now in a collection at 
 Bruges ; it has frequently been accounted the work of Vander Meulen, and is 
 not unworthy of him. 
 
 Mario NUZZI, called Mario d a F i o r i. 
 
 Painted Flowers, Vafes, and Shells. 
 Died 16 7 3, aged jo. 
 
 He was born at Penna, a village in the kingdom of Naples, in 1603, and was 
 the difciple of Tomafo Salini, his uncle. Nature was his inceffant ftudy, and he 
 imitated her with fo beautiful an exactnefs, that it is impoffible to behold his 
 paintings, without feeling the fame pleafure that every object: would excite, if 
 viewed in its full perfection as it grew. His pencil is inexprefiibly light, 
 though his colouring had an extraordinary force and truth, with a character of 
 elegant nature in his choice and difpofition. 
 
 His earlieft productions having been purchafed by a dealer i'n pictures, and 
 fold at Rome for a much higher price, induced him to vifit that city ; where he 
 received lb many proofs of the efteem of all the ableft judges of painting, that 
 he was foon in affluent circumftances. But he found a much greater demand for 
 his works, from the princes and nobility of different parts or' Europe, than he 
 found even in Rome ; his pictures being purchafed as fait as they were finifhed. 
 
 This mafter omitted not any labour, or ftudy, that could contribute to his 
 arriving at perfection ; and his fuccefs was equal to his hope. He felected the 
 moft beautiful flowers for his fubjects ; he imitated them with amazing luftre, 
 and brilliancy ; and obtained the honour of being ranked among the greateft 
 artifts, in that ftyle of painting. 
 
 A capital picture by Mario da Fiori, is in the church of S. Andrea della Valle, 
 at Rome ; it is a wreath of flowers, encircling the portrait of S. Gaetano, which 
 was painted by Andrea Camaffei. 
 
 I i i G 1 o- 
 
O D A [ 428 .] O L I 
 
 O. 
 
 Giovanni ODAZZI. 
 
 Painted Hijlory. 
 Died 1 73 1, aged 68. 
 
 This artiftwas born at Rome, in 1663, and at firft was the difciple of Ciro 
 Ferri ; but after the death of that mafter, became the difciple of Giovanni 
 Battiita Gauli, called Baccici. The livelinefs of his genius, affifted by fingular 
 induftry, rendered him in a fhort time eminent ; and he gained great reputation, 
 by a noble compofition which he painted in the church di Santi Apoftoli, of 
 which the fubjeft was, the Fall of Lucifer and his Angels. 
 
 His merit recommended him fo highly, that he was one of the twelve artifts, 
 feletted to paint the twelve Prophets in frefco, in the church of S. John Lateran, 
 above the twelve marble ftatues of the Apoftles. The prophet which Odazzi 
 painted was Hofea, and it was exceedingly commended, particularly for the 
 corredtnefs of the defign. 
 
 He was indefatigable at his work, had great freedom of pencil, and painted 
 expeditioufly ; but that quick manner of finifhing, frequently occafioned a little 
 incorreiftneis, though the contours of his figures were extremely good. 
 
 Isaac OLIVER. 
 Painted Portrait, and Hiftory. 
 Died 1617, aged 61. 
 
 He was born in England, in 1556, and ftudied under Hilliard ; but received 
 fome farther inftruftions from Frederick Zucchero, and became a painter of 
 great eminence. His principal employment was for portraits, and in that ftyle 
 he worked for the moft diftinguifhed perlbnages of his time j but he likewiie 
 painted hiftorical fubjects with great fuccefs. He was a good defigner, and a lib- 
 very correct i his touch was neat and delicate, and although he generally worked 
 in miniature, yet he frequently painted in a large fize. His drawings are highly 
 finifhed, and exceedingly valued, many of them being copies after Parmigiano. 
 
 Several very fine miniatures of this matter, are to be feen in the collections of 
 the Englifh nobility and gentry, fome of them portraits of himlelf, others of 
 Queen Elizabeth, Mary Queen of Scots, Prince Henry, and Ben Johnlbn, which 
 are admirably finifhed. There is alio a whole length of Sir Philip Sidney •, in 
 which the handling is exceffively neat, and nature truly, as well as beautifully, 
 imitated. Rubens and Vandyck painted James I, after a miniature picture of 
 this mafter, which is a fufficient teftimony of his merit; and his works are at 
 prcfent in as high eftcem, as they could poflibly have been in the time when he 
 flourifhed. 
 
 In the clofet of Queen Caroline at Kenfington, there is a capital drawing of 
 
 Oliver's, of which the fubject is, the placing of Chrill in the Sepulchre ; and. 
 
 K another 
 
O L I [ 4-29 ] O O R 
 
 another drawing after Raphael's defign of the murder of the Innocents, which 
 has a great deal of merit. 
 
 He fometimes worked in oil, as well as in water-colours •, but thofe which he 
 painted in that manner, are not univerfally approved ; being much commended 
 by fonie connoiiTeurs, and accounted only indifferent by others. 
 
 Peter OLIVER. 
 Painted Portraits. 
 Died 1660, aged 59. 
 He was the fon and difciple of Ifaac Oliver, born in 1601, and by the precepts 
 and example of his father, he arrived at a degree of perfection in miniature 
 portrait painting, confeffedly fuperior to his inftructor, or any of his cotemporaries, 
 as he did not confine his fubjects to a head only. 
 
 In the collection of King Charles I, and James II, there were thirteen 
 hiftorical fubjects painted by this Oliver, of which number feven are (till 
 preferved in the clofetof Queen Caroline at Kenfington ; and a capital picture 
 of his painting, is in the polfe/Iion of the Dutchefs of Portland, being the wife 
 of Peter Oliver. 
 
 John Van OOLEN. Vid. John Van Alen. 
 
 Adam Van OORT. 
 Painted Hiftory, Portrait^ and Land/cape. 
 Died 1 64 1 , aged 84. 
 
 He was born at Antwerp, in 1557, and was the fon of Lambert van Oort, a 
 painter of confiderable reputation, for peripective and architecture. Adam was 
 inftructed in the art by his father, and afforded fufficient proofs of his having an 
 enlarged genius ; fo that he foon rofe into efteem ; not only as a painter of 
 hiftory, but as an able artift in landfcape and portrait. But the greateft honour 
 of Van Oort, proceeded from his having been the firft inftructor of Rubens, 
 whole works have eternized his mailer's memory, along with his own. 
 
 Naturally he was of a rough and difagreeable temper, which occafioned him 
 to lofe the love of his difciples and his friends ; and among the number, he 
 totally forfeited the efteem of Rubens, his bed pupil. Jordaens was the only 
 p-rfon who accommodated himfelf to the favage humour of his mafter •, but it 
 appears probable, that he only condefcended to endure his morofe behaviour, 
 out of affection to the daughter of Van Oort, to wh^in Jordaens was afterwards 
 married. . 
 
 In his ftyle of painting he neglected nature, and was intirely a mannerift ; nor 
 did he feem to have any regard to painting, as a line art, but merely, as an art 
 that might be the means of making him rich. In his bed time his compofition 
 was agreeable, and his defign correct ; but in his latter time, his works had 
 nothing to recommend them, except the freedom of handling, and the goodnefs 
 of their colouring ; yet with all his defects, he was accounted a good painter. 
 Rubens ufed to fay, that Van Oort would have furpaffed all his cotemporaries, if 
 he had feen Rome, and formed his taile by ftudying after the beft models. 
 
 I i i 2 He 
 
DOS [ 430 ] O O S 
 
 plated a great number of defigns, forth? a'.cars of churches in Flanders, 
 which have a great fhare of merit in ieveral parts; and they are ftill beheld 
 vklfpifiifure, by good judges. 
 
 Jacques Van O O S T, called the Old. 
 Painted Hiftory^ Landfcape, end Architecture. 
 Died 1671, aged 71. 
 
 This painter was born at Bruges, about the year 1600, and learned the art in 
 his native city, though it is not afcertained by what mailer he was inftructed •, 
 but he travelled to Italy, .to ihidy after the works of the great mailers, and 
 '. r wry thing that pleafed his own tafte, or that he thought might con- 
 utc to his improvement. However, among all the famous artifts, he 
 attained hirnt! If particularly to the ftyle of Annibal Caracci, and imitated him 
 in fuch a manner, as to furprize the moft able connoiffeurs at Rome. 
 
 With a we!! eftablifhed reputation he returned to his own country, and 
 
 hough he was indefatigable in his bufinefs, yet he had as much employment 
 as he could poffibly undertake ; and even to the laft day of his life, his pencil 
 was continually in his hand, by which means, the number of paintings finifhed 
 by this mailer is almoft incredible, particularly if it be confidered, that his 
 competitions were always of a large dimenfion. 
 
 He poffefied many of the accomplishments of a great painter. His touch and 
 his colouring were good ; he introduced but few figures in his defigns, to avoid 
 incumbring his fubjecY; and he difpoftd them with a great deal of (kill and 
 elegance ; giving them fuch draperies as were ample and natural. He defigned 
 in a good tafte, and though his ftyle of compofuion refembled that of Annibal, 
 yet it was lels charged, than the defigns of that mailer ufually are. In his 
 carnations, his colouring was frelh and like nature ; but, he is not fo com- 
 mendable in the colour of his draperies, which is fometimes fo broken, as to 
 give the fluffs an appearance of hardnefs. He underftood perfpeclive and 
 architecture extremely well, and as he was not fond of painting landfcape, 
 (though occafionally he painted it well, in the ftead of it, he ornamented his 
 back grounds moft frequently with buildings, columns, arches, and different 
 pieces of architecture, which gave his compofition a grand effect. 
 
 The moft admired picture of Van Ooft, is in the church of the Jefbits at 
 Bruges ; the fubject of it is, a Defcent from the Crofs ; in which the defign, 
 the difpofition, the expreffion, colour, and Chiaro-Scuro are worthy of the 
 highelt praifes. 
 
 Jacques Van OOST, called the Young. 
 Painted Hiflory, and Portrait. 
 Died 1 71 3, aged 76. 
 
 was born at Bruges, in 1637, an ^ received his inftruction from his father 
 1 •, being, even before he quitted that fchool, accounted an example to 
 all his fellow difciples, for afliduity in practice, andeagernefs to acquire know- 
 ledge. As lie afforded "fuch manifeft proofs of a promiling genius to the art of 
 painting, he was permitted to vifit Rome •, and while he continued in that city, 
 ht devoted his whole time to examine the antiques, to defign after them, and 
 
 to 
 
OPS [ 431 ] ORG 
 
 to copy the works of the mod celebrated painters. In that courfe of ftudy 1 e 
 fpent feveral years, and quitted Italy with regret, though it was in order to 
 return to his native country. 
 
 At Lifle, through which he travelled, he happened to be folicited to paint 
 portraits ; and he fucceeded fo happily, that he was earneftly invited to fettle 
 there •, all the principal families in that city feeming to be ambitious of being 
 perpetuated by his hand. In hiftorical fubjeets his figures were correct, and the 
 exprefiion was remarkably good •, his draperies were caft in a grand tafte ; his 
 colouring was of a pleafing tone, and had a fine effect ; and his ftyle of defign 
 was intirely of the Roman fchool. His compofitions, like thofe of his father, 
 were always in a large fize •, and he performed a great many excellent works, in 
 the churches of Bruges and other cities of Flanders. His moft capital painting 
 is in the church of S.Stephen at Lifle ; the fubject is the Martyrdom of a 
 Saint, and it is extremely well executed. 
 
 Gaspar Jacqjjes Van OPSTAL. 
 Painted Hiftory, and Portrait. 
 
 He was born at Antwerp, in 1660, where he was regularly inftructed in 
 colouring and defign, and became, after fome years fpent in iludy and practice, 
 a very good painter of hiftory •, but, he is much better known by the paintings- 
 which he has executed, than by any incidents of his life, recorded by the 
 writers on this fubject. 
 
 In the year 1704, he was employed by Marefchal Viileroy, to copy the 
 Defcent from the Crofs, after the moft admired picture of Rubens, in the 
 church of Notre Dame at Antwerp, which he executed with a freedom of 
 pencil, with a tint of colouring, and with a touch nearly refembling the original, 
 His compofitions embellifh feveral of the churches of the Netherlands ; and he 
 was frequently employed by other artifts, to paint figures in their land- 
 fcapes, and flower-pieces •, efpecially, the figures of nymphs and boys. He 
 had a good genius for defign, in which he fhewed correctnefs and tafte •, he 
 compofed his fubjects readily, and in his colouring was very agreeable ; fo that 
 he was confidered as one of the principal painters of his time, being particularly 
 diftinguiihed, for brilliancy in his touch, and freedom in his handling. 
 
 In the hall of the Royal Academy at Antwerp, is preferved -a noble portrait 
 of one of the directors, by this mafter ; and in the cathedral of S. Omer's there 
 is an excellent picture by Van Opftal, reprefenting the four famous fathers 
 of the church, in a grand ftyle. 
 
 Il ORBETTO. Vid. Alexander Veronese. 
 
 Andrea ORGAGNA, or di Cione. 
 Painted Hiftory, and Portrait. 
 Died 1389, aged Co. 
 This antient mafter was born at Florence, in 1329, and was at firft bred to 
 the profeffion of a fculptor, under Andrea Pifano ; but- afterwards, he ftudied 
 defign, and the art of painting in diftemper and frefco, under the direction of 
 his brother Bernardo Orgagna, who affifted him in many of his works, and 
 particularly in the frefco painting, in the chapel of S. Maria Novella. 
 
 2- ~ He. 
 
O R I [r 44* ] O R I 
 
 He painted in the ftyle of thofe antient mafters, who flourifhed in his time ; 
 and was accounted to imitate nature fo truly, as to make fome of his fubjefts 
 ieem abfolutely alive, if the teftimony of Valari may be credited. He was alio 
 excellent as a ftatuary, and an architect, and in both manifefted extraordinary 
 abilities. 
 
 The mod remarkable of his works are at Florence, and Pifa •, and in the 
 latter city, he painted a defign of the Laft Judgement, in which moft of the 
 figures were portraits •, and it was obierved, that he placed all his friends among 
 the happy, and all thofe who were his enemies, or objects of his diflike, he 
 distributed among the infernals. 
 
 As he was equally eminent for fculpture, and painting, and feemed defirous 
 that pofterity fliould know his ability in both arts, it was his ufual cuftom to 
 inferibe on his fculptures, Andrea di Cione the painter made it •, and on his 
 paintings, Andrea di Cione the fculptor painted it. 
 
 John Francis Van Bloemen, called ORIZONTI, or 
 
 Horizonti. 
 
 Painted Landfcape. 
 Died 1740, aged 84- 
 
 This painter, although a Fleming by birth, is confidered as an Italian mafter ; 
 becaufe he ftudied at Rome, and always refided in fome part of Italy. He was 
 born at Antwerp, in 1656 ; but it is a point undetermined, from what mafter he 
 originally learned the art of painting. 
 
 When he arrived at Rome, he not only attentively obferved the beautiful 
 fcenes in the environs of that famous city ■, but he alfo ftudied the works of 
 thofe great artifts, who before his time, had copied after nature in thole places, 
 to make defigns for their landfcapes ; .and took every judicious method to 
 Improve his tafte, and explore every fecret of the art he profefied. The firftof 
 his performances which were exhibited in Rome, were received with general 
 approbation ; and evidently (hewed the greatnefs of his genius, and the promife 
 of that merit, by which he was afterwards diftinguifhed. His real name was 
 John Francis Van Bloemen, but the Bentvogel ibciety at Rome, gave him the 
 name of Orizonti, or Horizonti, on account of the natural receding of the 
 objects in his compofitions, and the delicate manner of his conducting and 
 extending his diftances. 
 
 His works were wonderfully admired in every part of Italy, and were bought 
 up at great prices, by the b-rft judges of the art in thole kingdoms. He 
 died at Rome in the higheft efteem, and was as much a favourite of the Italian 
 artifts, as of the artifts and connoiffeurs of other countries. His firft manner 
 rcfembled that of Vander Cable •, but afterwards he made nature intirely his 
 model, and in particular the views about Tivoli. Thole enchanting fcenes he 
 made the fubieds of many of his landfcapes, which were diverfmed with groves, 
 declivities of hills, and grand falls of water •, often representing, with extraor- 
 dinary beauty and truth, the mills arifing from the agitated furface of the river 
 L elow. 
 
 His piftures are generally well defigned, and well handled ; and thofe of his 
 beft time, are now confidered as an ornament to the moft felect cabinets in 
 
 Europe 
 
O R L [ 433 ] O R L 
 
 Europe. He lived to a great age ; and as years and infirmities advanced upon 
 him, neither his imagination, nor his pencil, produced equal ideas, or equal 
 execution, to place his latter works in competition with thole, which he painted 
 in the full vigour of all his powers. Yet, even in his laft performances, there is 
 a peculiar tafte of compofnion and defign, which will always give pleafure to 
 a judicious obferver. 
 
 A very capital picture by Orizonti, of his beft time, in which the figures were 
 inferted by Sebaftian Conca, is in the collection of the Earl of Moira in Dublin. 
 
 Bernard Van O R L A Y, called Bernard of Brussels. 
 
 Painted Hijlory, Huntings, and Land/capes. 
 Died 1560, aged 70. 
 
 He was born at Bruffels, about the year 1490, but went to Rome when he 
 was very young, and had the good fortune to become a difciple of the illuftrious 
 Raphael ; in whofe fchool he proved fo great a proficient, that he was employed 
 in finifhing many of the grand compofitions of his inimitable mafter; for, he 
 excelled equally in painting hiftory, landfcape, and animals. At his return to 
 Brabant, he was appointed principal painter to the governels of the Netherlands, 
 and was alfo employed for feveral years by the Emperor Charles V, being 
 confidered as one of the beft painters of his time. 
 
 He had a noble tafte of defign, with an agreeable tone of colouring •, and to 
 give aluftre to his tints, he ufually painted on a ground of leaf gold, (efpecially 
 if he was employed on a picture of confequence,) which preferved his colours 
 frefh, and luftrous. The fcenes of his huntings and landfcapes, were generally 
 taken from the foreft of Soignies, which furnifhed him with an elegant variety j 
 and in thofe he reprefented the portraits of the Emperor Charles, and the nobility 
 of his court. 
 
 The prince of Naffau engaged him to paint fixteen cartons, as models for 
 tapeftries, which were intended for the decoration of his palace at Breda. Each 
 carton confifted only of two figures, a Knight and a Lady on horfeback, 
 reprefenting fome of the NafTau family. The defign was exceedingly correct, 
 and in a ftyle of grandeur worthy of a difciple of Raphael ; and thofe cartons 
 were afterwards, by order of the prince, copied by Jordaens in oil. 
 
 A celebrated picture of this mailer's hand, is in the chapel of a Cloifter at 
 Antwerp ; the fubject of it is the Laft Judgement •, and it is painted on a gold 
 ground, which gives the fky a great deal of clearnefs and traniparence^ 
 
 Richard Van ORLAY. 
 
 Painted Hiftory, and Portraits in Miniature. 
 
 Died i"]2 2 -> a S e ^ 8°- 
 He was born at Bruffels, in 1652, the fon of Peter Van Orl'ay, an indifferent 
 painter of landfcapes, from whom he learned the firft rudiments of the art ; but 
 he was farther inftructed by his uncle, who was a better artift than Peter, 
 though neither of them had talents equal to the genius- of their difciple, who in 
 a fhort time furpaffed both his directors. He diligently ftudied defign, and 
 applied himfeif to practife painting in miniature ; in which he proved fo very 
 2 fuccefsfuli 
 
OSS [ 434- ] O S T 
 
 fuccefsful, that he compofed hiftorical fubjects in fuch a tafte, as procured 
 him honour and employment. 
 
 He rinilhed a prodigious number of defigns, and portraits •, and his compo- 
 fitions in hiftory, might induce any one to imagine, that he had fpent his 
 whole life in Italy, by the ftrong refemblance in his ftyle to that of Albano,. 
 Pietro da Cortona, and frequently to that of Nicolo Pouflin. The back grounds 
 of his pictures are ornamented with elegant architecture and fine perfpechve ; 
 and his figures are lb dilpofed and grouped, as to fatisfy the eye, and appear 
 diftinct, and unconfufed. He deligned correctly, and excelled in etching, and 
 engraving, as much as in painting. 
 
 N. OSSENBECK. 
 
 Painted Markets, Fairs, Land/capes, Converfations, and Cattle. 
 
 Died 1678 aged 51. 
 
 This painter was born at Rotterdam, about the year 1627, where he was. 
 initiated in the principles of his art •, but he accomplifhed himfelf in Rome, 
 W here he fpent the greateft part of his life, and painted in the ftyle of Bamboccio, 
 defiornin" his figures, horles, and other animals, with abundance of nature, and 
 correctnefs. 
 
 His piftures are generally adorned with pieces of antiquity, (particularly in 
 the ba;k-grounds,) fuch as ruins of antique edifices, veftiges of fuperb 
 monuments, caves, and water-falls, fo exactly imitated after nature, as to 
 juftify an obfervation made by Sandrart and others in regard to his works, that 
 he brought Rome to his own country. 
 
 Moil frequently he chofe for his fubjects, fairs, markets, and riding fchools, 
 as they afforded him an opportunity of introducing a variety of animals, and 
 figures, which hedefigned extremely well-, and in his com pofitions were feen, the 
 elegance and correctnefs of the Roman fchool, combined with the colouring 
 and high finifhing of the Flemifh. 
 
 Adrian Van OSTADE. 
 Painted Converfatiom, Dancings, and Drolls. 
 Died 1685, aged 75. 
 He was born at Lubeck, in 1610, and was a difciple of Francis Hals ; in 
 whofe fchool Brouwer was his cotemporary, and there they contracted a mod 
 intimate friendfhip. He had a lively genius, and fixed on a manner and ftyle 
 peculiar to himfelf; in which he became equal to the belt mafters of his own 
 country, and fuperior to moil. In every fubject he painred, nature guided his 
 pencil ; and it feems impoffible not to be charmed by the truth, life, and 
 excellence, that are obfervable in his works. 
 
 When he commenced painter, he lived with one Conftantine Senneport, a 
 great lover and encourager of the art, at Amfterdam -, where he foon found an 
 uncommon demand for his paintings, and received fuch prices for them as 
 were unufually high ; yet, although he was exceedingly indultrious, he could 
 fcarce finifii a fufficient number, to fatisfy the eager curiofity of the publick. 
 
 The fubjects which he chofe to paint, were always of the low kind, and he 
 ha3 almoft the fame ideas with Teniers ; but, though Oftade copied nature, as 
 
 it 
 
OST [ 435 ] O S T 
 
 it appeared in the lower clafs of mankind, among whom he feemed to be mod 
 converfant •, though his choice was without elegance, imitating uncomely nature 
 without endeavouring to improve it ; and accommodating the actions, habits, 
 and characters of his figures to his own gout ; yet, there is fuch a fpirit in his 
 compofitions, fuch truth, fuch nature, fuch life, and fuch delicacy of pencil, that 
 even while many of his objects are rather difgutting, a fpectator cannot forbear 
 to admire his genius, and his execution. 
 
 His pictures are fo tranfparent, and fo highly finiflied, that they have the 
 luftre and polifh of enamel, being alfo warm, and clear. Frequently they have 
 a force fuperior to Teniers, and always are more highly finifhed •, though it rauft 
 be acknowledged, that Teniers grouped his objects better, and fhewed more 
 fkill in the difpofition of his defign, than Oftade. 
 
 He perfectly underftood the principles of the chiaro-fcuro, and introduced his 
 lights and fhadows with fo much judgement, that every figure feems animated ; 
 yet it might be wilhed, that he haa not defigned his figures fo fhort. His tone 
 of colouring is exquifitely pleafing, and natural ; his touch light, and wonderfully 
 neat ; and through all his works, there is a peculiar and uncommon tranfparence. 
 
 The figures of Oftade, were fo univerfally admired for their lively expreffion, 
 that feveral of the molt eminent among his cotemporary artifts, folicited him to 
 paint the figures in their landfcapes ; which at this day give them a great 
 additional value. His works are exceedingly fcarce, efpecially thofe of his beft 
 time and manner ; and when the genuine works of Oftade are to be purchafed, 
 no price is accounted too high for them. 
 
 Isaac Van OSTADE. 
 Painted Drolls, and Converfations. 
 
 He was born at Lubeck, about the year 161 7, the brother of Adrian Oftade, 
 from whom he learned the art of painting ; and he intirely imitated the ftyle 
 and tafte of his inftructor. However, he proved in all refpects far inferior to 
 that great artift ; though feveral of his original compofitions, and fome of his 
 copies after Adrian, are very unjuftly afcribed to the elder Oftade, and impofed 
 on the injudicious for the genuine works of that mafter. But, the difparity in 
 the paintings of Adrian, and Ifaac, is eafily perceptible ; for in the latter, the 
 touch is very different ; the tranfparence abundantly lefs •, the penciling not 
 near fo delicate ; nor can they either in force, warmth, or fpirit, admit of being 
 compared with the paintings of the former. 
 
 He died young, before he had arrived at the perfection which years and 
 experience might have given him ; or perhaps, he might have rofe to a nearer 
 decree of equality with his celebrated brother. 
 
 Maria Van OSTERTWYK. 
 
 Painted Still Life, and Flowers. 
 
 Died 1693, aged 63. 
 
 This female artift was born at Nootdorp near Delft, in 1630, and from her 
 
 infancy (hewed a ftrong difpofition to learn the art of painting ; and afforded 
 
 fuch early proofs of genius, that her father was induced to place her under the 
 
 K k k direction 
 
OVE [ 436 ] O V E 
 
 direction of John David de Heem at Utrecht. She ftudied nature attentively, 
 and improved fo much by the precepts of her mafter, that in a ihort time, her 
 works might Hand in competition with thofe of her director. 
 
 Her favourite fubjects were flowers and ftill life ; which ihe painted in a delicate 
 manner, with a light pencil, and preat freedom of hand. She had fo much 
 fkill, as to adapt her touch to the different objects fhe imitated •, in thofe flowers 
 which from their natural contexture required thin and clear colouring, her 
 handling had all poflible tender tranfparence •, and fhe varied her touch in other 
 objects, of fruit and ftill life, which required a greater degree of freedom, and 
 ftrength of colour. She grouped the flowers in her compofition with tafte, and 
 imitated their frefhnefs and bloom in an admirable manner ; giving them a 
 richnefs and beauty, by a judicious oppofltion of their different colours, fo that 
 the whole together produced inexpreffible harmony. 
 
 Lewis XIV. was exceedingly pleafed with her performances, and honoured one 
 of them with a place in his cabinet ; as alfo did the Emperor and Emprefs, who 
 fent their own portraits fet round with diamonds to this paintrefs, as a mark, of 
 their particular refpect for her merit. King William III. gave her nine hundred 
 florins for one picture, and fhe was much more highly rewarded by the King of 
 Poland. 
 
 As fhe fpent a great deal of time, in giving her works the utmoft finifhing, 
 it was impoffible for her to be expeditious ; fhe could finifh but few, in compa- 
 nion with other artifts •, and that hath rendered her paintings exceedingly fcarce, 
 and extremely valuable. 
 
 OTHO VENIUS. Vid. Venius. 
 
 Juriaan OVENS. 
 
 Painted HiJlory, Portraits, and Night-pieces. 
 
 He was born in 1620, and educated to the profeffion of painting, in the 
 fchoolof Rembrant; under whom he became an artift of confiderablediftinflion ; 
 and his colouring being very bold, and ftrong, produced a noble effect. He 
 painted hiftorical fubjects and portraits, extremely well ; but his principal 
 pleafure was to deiign and paint night-pieces, which he executed with a true 
 refemblance of nature, and with remarkable force. 
 
 In the Tholfel (or town-hall) of Amfterdam, is preferved a beautiful perfor- 
 mance of this mafter, reprefenting Julius Civilis in the confecrated grove, 
 exhorting and animating the Batavians to fhake off the Roman yoke, and to 
 fight for the fupport of their liberties. And as the confultation of the Batavians 
 was held in the night, it afforded the painter an opportunity of exerting his 
 genius, in his favourite ftyle of painting, by reprefenting the tranfaction, with 
 the light of flambeaux, andfires. This Angle performance is accounted fuffkient 
 to eftablifh his reputation, as a great mafter. 
 
 Andrea O U C H E. Vid. S.uchi. 
 
 Albert 
 
O U D [ 437 ] O U W 
 
 Robert Van OUDENARDE. 
 
 Painted Hiftory, and Portrait. 
 Died 1743, aged 80. 
 
 He was born at Ghent, in 1663, and at firft was instructed by Mierhop; but 
 afterwards he ftudied under Van Cleef, and feveral other mafters, till he was in 
 his twenty-fecond year. At that age he obtained liberty to travel to Italy, 
 being fupplied with letters of recommendation to fome peribns of distinction at 
 Rome ; and foon after his arrival in that city, he became the difciple of Carlo 
 .Maratti. 
 
 Being happily fixed under the guidance of fo eminent a mafter, Carlo 
 difcovered that his pupil had an apt genius, andgoodjudgement; and Oudenarde, 
 by fhewing himfelf unwearied in practice and ftudy, not only acquired the favour 
 of his instructor, but alio diftinguifhed himfelf above moft of the difciples in 
 that fchool. However, he was for fome time flopped in his progrefs, by a 
 trifling incident, which was very near occafioning the lols of Carlo's regard and 
 friendfhip for ever. 
 
 It was the ufual cuftom of Oudenarde, at his hours of leifure, to practife 
 engraving, in which art he was a tolerable proficient ; and wanting a Subject, he 
 happened to fix on a fketch of the Marriage of the Virgin, painted by his 
 mafter. When the plate was finifhed, feveral impreftions were (truck off, which 
 circulated through different hands ; and one of them happened to be noticed 
 by Carlo, as he pafTed by a printfeller's fhop. This was confidered by Maratti 
 as an unpardonable offence, and he exprefied the moft violent refentment againffc 
 his pupil, for publishing any of his defigns without his concurrence or approba- 
 tion •, and on account of that indifcretion, he excluded him from his academy. 
 Yet, after fome time Carlo pardoned the fault, condefcended to a reconciliation, 
 received Oudenarde into his fchool, and they continued clofely connected in 
 friendfhip, as long as Maratti lived. 
 
 This artift Spent above thirty years at Rome, in great efteem with all orders 
 of people •, and was particularly patronized by Cardinal Barbarigo, Bilhop of 
 Verona. He painted entirely in the tafte and manner of Carlo, in a ftyle of 
 colouring that had a great deal of force and Spirit, and with correctness of defi»n. 
 At laft he vifited his native city, though with a refolution of returning to Italy, 
 after a Short Stay in his own country ; but that project was difconcerted by the 
 death of the Cardinal, his protector and his friend. He therefore fettled at 
 Ghent, where he was perpetually engaged in grand works for the churches, 
 convents, and palaces of the nobility ; and alfo for painting portraits, in which 
 he was peculiarly Successful. 
 
 Albert OUV/ATER. 
 
 Painted Hijiory. 
 
 Died 1515, aged 71. 
 
 He was born atHaerlem, in 1444, and painted in a grand Style, principally 
 
 in oil. He had a free and mafterly manner of handling, with a good expression, 
 
 and a natural and lively tint of colouring. He was particularly exact in the 
 
 K k k 2 extremities 
 
PAD [ 438 ] PAD 
 
 extremities of his figures, and in the difpofition of his draperies ; and wherever 
 he introduced landfcape in his defigns, it was accounted to be in a ftyle fuperior 
 to any of his cotemporaries. 
 
 In the church of Haerlem, he painted a picture for the great altar, in which 
 (according to Sandrart) he introduced two figures as large as life, of S. Peter, 
 and S. Paul. It was adorned with landfcape, defignedinan elegant tafte ; and 
 in feveral parts of the fcene, he reprefented Pilgrims in a variety of actions and 
 attitudes, fome walking, fome reclining under the fhades of large trees, and 
 others at their repaft -, and from his (kill fhewn in painting the heads, hands, 
 feet, and draperies of the figures, fo correct, and in lb good a ftyle, it muft 
 appear conclufive, that he was a very eminent artift in his time. 
 
 Paolo Antonio PADERNA. 
 Painted Hiftory, and Landfcape. 
 Died 1708, aged 59. 
 
 He was born at Bologna, in 1649, and at firft was a difciple ofGuercinoj 
 but after the death of that mafter, he ftudied in the fchool of Carlo Cignani. 
 While he continued under the direction of Cignani, he employed himfelf 
 principally in hiftorical compofitions •, yet his greateft delight was to paint 
 landfcapes, in the manner of Guercino ; and thofe were extremely commended 
 for the goodnefs of the defign, and for the freedom of touch with which they 
 were finifhed. 
 
 Francesco PADUANINO. 
 Painted Portrait^ and Hijlory. 
 Died 1 61 7, aged 65. 
 
 He was born in 1552, but the mafter from whom he derived his knowledge 
 of the art of painting, is not mentioned by the author, from whom this account 
 of him was extracted. He was an artift of great eminence, and fuperior talents ; 
 and in the hiftorical fubjects which he executed, mewed an excellent genius, 
 and a grand tafte. His invention was fruitful and fine, and his ftyle of defign 
 correct, and elegant. He was alfo an admirable painter of portraits, to which 
 he gave fuch dignity, expreftion, and lovely colouring, as rendered them equal 
 to the performances of the greateft mafters in that ftyle ; and his portraits of 
 the Earl and Countefs of Arundel, will always afford convincing proofs of his 
 extraordinary merit. 
 
 In the church of Madonna del Carmini at Venice,, there is a picture by this 
 mafter, which reprefents the deliverance of two perfons condemned to death, by 
 the interpofition of a Saint. It is a beautiful performance, with good colouring 
 and elegant figures, and it is penciled with wonderful tendernefs and delicacy. 
 
 Oc T A- 
 
PAD [ 439 ] P A a 
 
 Octavio PADUANINO. 
 
 Painted Portrait. 
 Aged 52. 
 He was the fon of Francefco, who taught him the principles of defign and' 
 colouring ; and when he had made a competent progrefs, he was fent to Rome 
 for his farther improvement, and ftudied there for feveral years. 
 
 He painted in the manner of his father, but was inferior to him in refpect of 
 invention, and elegance ; though in many parts of his profeMion he deferved: 
 commendation, and he particularly excelled in painting portraits, 
 
 PADUANINO. Vid. Dario Varotari. 
 
 PADUANINO. Vid. Alessandro Varotari. 
 
 Paolo PAGAN O. 
 
 Painted Hijiory. 
 Died 17 1 6, aged 55. 
 
 He was born at Milan, in 1661, and ftudied the art of painting at Venice, 
 where he refided for feveral years, and made a very confiderable figure, as a good, 
 defignerand colourift. Theftyle of this matter may be fufficiently conceived, 
 by the account given of his compofitions, by Mr. Cochin, an ingenious writer, 
 fecretary to the Royal Academy of painting, who by order of the Kino- of France 
 travelled through Italy, to make obiervations on the works of the oreat mafters, 
 preferved in the different cities of that country.. 
 
 The painting defcribed by that gentleman, is on the ftair cafe of the Scuola 
 Grande della Mifercordia at Venice ; and it reprefents one of the works of 
 Mercy, that of Cloathing the Naked. The manner in this performance is 
 commendable, the lights are broad, there appears a great deal of the orand taft« 
 in the defign, and the compofition is extremely good. 
 
 Gregorio PAG A.N I. 
 
 Painted Hijiory. 
 
 Died 1560, aged 31, 
 
 He was born at Florence, in 1529, but he ftudied at Rome with Polidoro mi 
 Maturino, and made a moft remarkable proficiency •, lb that when he returned 
 to Florence, he found immediate employment, and acquired a great reputation, 
 Giacomo da Puntormo having attentively viewed, and examined, lbme of the 
 paintings of Pagani, declared, that if he had not known them to be of the hand 
 of that mafter, he mould without hefitation have concluded, that they were the 
 work of Michael Angelo Buonaroth 
 
 G 1 o v *-h - 
 
PAG [ 440 ] PAL 
 
 Giovanni Battista PAGGI, or PAG I. 
 
 Painted Hiftory, and Portrait. 
 * Died 1629, aged J 3. 
 
 He was born at Genoa, in 1556, and was a difciple of Luca Cangiagio or 
 Cambiafi •, in whofe fchool he continued till he was perfected in his profcflion, 
 and he then imitated the ftyle and manner of his mafter. 
 
 He poffefled an uncommon power of his pencil, and had an extraordinary 
 freedom of hand •, by which talents, he was enabled to imitate the touch of 
 Almoft any mafter. And it is recorded of him, that he copied a picture of a 
 very celebrated painter, with fuch exactnefs and precifion, that it was impofiible 
 even for the niceft eye, or judgement, to determine which was the original. 
 
 The portraits which he painted were admirable, as well for the defign, as the 
 refemblance; and the hiftorical compofttions of this artift, are commended for 
 thedifpofuion, exprefllon, and agreeable tone of colouring. 
 
 Francesco PAGLIA. 
 Painted Portraits, and Hiftory. 
 
 This artift was born at Brefcia, and received his instruction in the fchool of 
 Guerchino da Cento ; and by the precepts and example of that eminent mafter, 
 he proved a difciple worthy of him, his abilities reflecting an honour on the 
 academy where he was taught. 
 
 He painted portraits with every degree of excellence, of which that kind of 
 painting is capable ; grace, refemblance, dignity of attitude, and wonderful 
 relief; which he produced, by a tone of colouring that was like nature, and 
 life. In his composition of hiftorical fubje<fts, he was equally admired, for a 
 fine invention, for correctnefs of defign, for elegance of tafte, and lovely 
 colouring. 
 
 The beft of his works in hiftory, are at Brefcia ; but the portraits of his hand, 
 are in Venice, and other cities of Italy. 
 
 Archangela PALLADINI. 
 
 Painted Portrait. 
 
 Died 1622, aged 23. 
 
 This paintrefs was born at Pifa, in 1599, the daughter of Filippo Palladini, 
 
 an artift of eminence in that city ; and was taught the principles of defign 
 
 and colouring by her father. 
 
 She arrived at great excellence in portrait painting, and to that perfection 
 added other aceomplifhments, for which fhe was equally admired ; for, fhe 
 .excelled in embroidery, and mulick, and had a mod charming voice. Thole 
 uncommon talents, united with an agreeable perfon, procured her the favour 
 and friendihip of Maria Magdalena Arclidutchefs of Auftria, at Florence •, in 
 whofe court fhe lived universally efteemed, as well for her paintings, as for her 
 other perfections. 
 
 * Some writers fix his birth in 1566, his death in 1629, and make him only 63 years of age 
 when he died ; but the dates above axe fixed from the moll authentick accounts. 
 
 A N T O- 
 
PAL [441] PAL 
 
 Antonio PALLAJUOLO, or POLLAJUOLO. 
 
 Painted Hiftory, and Portrait. 
 Died 1498, aged 72. 
 
 Pietro PALLAJUOLO. 
 
 Painted Hiftory, and Portrait. 
 Died 1498, aged 70. 
 
 Thefe brothers were born at Florence, of low parentage, Antonio in 1426-, 
 and Pietro in 1428; and as their father was unable to give them a liberal 
 education, Antonio was placed with Bartoluccio Ghiberti, a very eminent 
 goldftnith, and Peter became a difciple of Andrea del Caftagno. 
 
 Antonio followed his trade with the higheft credit, and defigned extremely 
 well in metals, and in wax •, having performed many very eftimable works iri 
 both. But, as Peter had at the fame time rendered hirnfelf coniiderable, and 
 was in great reputation for his performances in oil colours, Antonio quitted his 
 original profeffion to learn defign and colouring from his brother ; and they 
 ever after affociated, in all thole works which they executed in Florence, and 
 feveral other cities of Italy. 
 
 Peter had been taught the fecret of preparing his colours with oil, by his 
 matter Caftagno ; and having communicated that knowledge to Antonio, thofe 
 artifts improved it daily by their practice, and diftinguifhed themfelves exceed- 
 ingly for portrait painting, as well as for hiftory. Peter in particular painted 
 the portraits of Poggio who wrote the hiftory of Florence, and of many of the 
 nobility, in a fize a-- large as life, which procured him the greateft applaufe. 
 Among the hiftorical fuqjects which they jointly executed, are mentioned fome 
 of the labours of Hercules, painted in the Medicean palace ; one ot which is, 
 Hercules killing Antaeus. The principal figure in that defign is admirable -, 
 the ftrength of every limb, and the exertion of every mufcle, and nerve, in 
 fqueezing Antseus to death, is incomparably expreffed ; nor is the figure of 
 Anueus expiring, in any refpecl inferior. The other labours are, Hercules 
 killing the Nemaean Lyon, and deftroying the Hydra •, the latter being fo well 
 defigned and coloured, that it had all the appearance of life. 
 
 Thefe brothers lived in high eueem, and great affluence ; and they died in 
 the fame year, not more rich in their fortune, than in their reputation. Few 
 months intervened between the death of the one and of the other •, and they 
 were both buried in the fame tomb, in the church of S. Pietro in Vincula, at 
 Rome. 
 
 Palamedes PALAMEDESZ. Vid. St.uverts. 
 
 Giacomo, orGiACOPo P A L M A, called the Old. 
 
 Painted Hiftory. 
 * Died 1596, aged 48. 
 This eminent painter was born atSerinalta-inthe territory of Bergamo (though 
 Sandrart fays, at Venice) in 1548, and was a difciple of Titian. He had genius 
 
 * The author of the Chronological Tables, contrary to the teftimony of the molt authentick 
 writers, aflerts, that the old Palma died in 1556, at 43 years of age, which muli fix the year of 
 hij> birth in 1503, juft 40 years before the time mentioned by all other authors. 
 
 2. and 
 
PAL [4+2] PAL 
 
 and judgement, and his manner lb much refembled that of his mailer, that he 
 was appointed to finilh a Defcent from the Crofs, which Titian had begun, but 
 left imperfect. His colouring had extraordinary ftrength and brightnefs, 
 occafioned by the frequent retouchings of his pictures ; for, it is remarked of 
 him, that he ufually put his colours on undifturbed, and then touched upon 
 them, and glazed them, giving them the appearance of high finifhing, without 
 any appearance or labour. 
 
 The paintings of Palma are in great cfteem, for the noble tafte of his com- 
 pofition •, for an expreffion that was natural, and pleafing-, for the union and 
 harmony of his colours ; for his patience in finifhing ; and for thofe graceful 
 airs which he generally gave to his heads ; though in his defign he was not 
 always correct. 
 
 Vafari defcribes, in very high terms, a compofition of the * old Palma at 
 Venice •, reprefenting the fhip, in which the body of S. Mark was brought from 
 Alexandria to Venice. In that grand defign, the vefiel ftruggling ugainft the 
 fury of an impetuous temped, is exprefTed with the utmoft judgement j the 
 diftrefs of the mariners •, the violent burfting of the waves agaimr. the fides of 
 the fhip -, the horrid gloom, only enlivened with flafhes of lightening •, and 
 every part of the fcene rilled with images of terror ; are fo ftrong, lb lively, and 
 naturally reprefented, that it feemed impolTible for the power of colour or pencil, 
 to rife to a higher pitch of truth ■ and perfection ■, and that performance, very 
 defervedly gained him the higheft applaufe. 
 
 Another of his capital painting, at Venice, is a S. Barbara •, and in the Palazzo 
 Zampieri at Bologna, there is a S. Jerom, which is defigned with an admirable 
 character, exceedingly well painted, and the colouring is excellent, if not a little 
 too much inclining to the yellowifh caft. But, notwithftanding all his merit, it 
 mufl be confefTed that he is often incorrect. 
 
 It isoblerved by Vafari, and after him by other writers, that if Palma had 
 died foon after he had painted a few of thofe pictures which were juftly celebrated, 
 he would have deferved to have been ranked in the firft clafs of eminent artifts •, 
 but, he fhewed a very inferior degree of merit, in his lubfequent works ; though 
 the imperfections of his latter performances, may be overlooked, on account of 
 the excellence of his works in his earlier time. 
 
 Giacopo PALMA, called the Young. 
 
 Painted Hijlory. 
 
 ■f Died 1628, aged 84. 
 
 He was the nephew of the old Palma, born at Venice in 1544, and was the 
 
 difciple of Tintoretto. In his ftyle, at firft, he refembled that of his mafter ; 
 
 but having afterwards irudied the works of Titian with all poflible diligence, his 
 
 * Sandrart afcribes this compofition of the (hip in a dorm to the Young Palma ; though he fays 
 the Palma that painted it, died in the 48th year of his age ; which can coincide only with the 
 period of old Palma ; for, the younger Palma did not die till he was 84. 
 
 f The editors of the Mufeum Florentinum, by millake, have affixed the dates of the death, and 
 age of the younger Palma, to the name of the elder, though the younger died in 1628, aged 84, 
 end the elderini5g6, aged 48. And De Piles is alio guilty of a miftake in fixing the year 1623 
 for the death of Young Palma, when all other writers agree, that he died in 1628. 
 
 2 tafte 
 
PAN, [ 443 } PAN 
 
 tafte and ftyle in moft of his grand compofitions, fhewed a combination of the 
 manners of thofe two great painters. He alio ftudied at Rome the works of 
 Raphael, Buonaroti, and Polidore, and improved himfelf fo effectually, that his 
 reputation was raifed to the higheft pitch, and the Pope appointed him to paint 
 an apartment, and alio one of the galleries of the Vatican. 
 
 After the death of Tintoretto, and Giacomo BafTan, he held the firft rank at 
 Venice, among all the artiftsof his time •, and every day added to his honour, 
 and his fortune. His touch is light ; his carnations are lovely ; his draperies 
 judicioufly and happily difpofed, with large and elegant folds ; and in thofe 
 refpecls, he is preferred to the elder Palma his uncle. In the latter part of his 
 life, he changed his manner •, and aiTumed one that was much more expeditious 
 but proportionably lefs excellent •, his hand was as ready, and his pencil as free 
 as Tintoretto's •, and like that mailer, he feemed, in his declining years, abun- 
 dantly more ftudious to amafs great riches, than to add to the fame he had 
 already acquired. The works of this mafler, are not frequently to be purchafed, 
 and when they are expofed to fale afford large prices, efpecially if they are of 
 his beft time, and manner. 
 
 At Venice there is an exceeding fine compofition, charmingly coloured, 
 reprefenting Venus in her Chariot, attended by ieveral naked Nymphs •, and in 
 the church of S. Maria Formofa, the great altar-piece is painted by this Palma -, 
 the defign is a Dead Chrift, attended by Angels, with the figures S. John, 
 S. Auguftin, and a Pope ; which is an incomparable work. 
 
 PANDOLFO, or Reschi. 
 
 Painted Battles, and Landfcape. 
 Aged 56. 
 
 He was born at Dantzic, and his real name was Refchi ; but having been 
 early initructed in the rudiments of painting in his own country, he went when 
 he was very young to Rome, where he ftudied after nature, and after the works 
 of the moft eminent matters •, and in a few years diftinguiftied himfelf lb highly 
 among his cotemporary artifts, that the Italians, who detefted the harfhnefs of his 
 name, called him Pandolfo, by which name only he is now known. Bourgognone 
 was the matter, whofe manner and ftyle he particularly admired; and he felt 
 himfelf fo affected by the colouring, and fpirit, of that celebrated painter, that 
 he devoted himfelf intirely to imitate him, and fucceeded in it to admiratior. 
 
 He had an extraordinary good genius, with a fine invention, and in all his 
 compofitions fhewed a fpirit and fire, little inferior to his illuftrious model. He 
 difpofed his fubjects with judgement and propriety •, the actions and attitudes 
 of his figures, and animals, were natural and elegant ; and he fhewed a 
 remarkable correctnefs, as well in the outlines, as in the defign. 
 
 He alfo painted landfcapes in an exquifite tafte, moft of them defigned afier 
 nature, with a pleafing and beautiful choice. In that ftyle of painting, Salvator 
 Rofa was the mafler which he fixed on for a model •, and in thofe fubjects he 
 was full as eminent, as in any others he painted. He adorned his landfcapes 
 with figures of his own defigning, which were exceedingly proper for the fcenes 
 he reprefented, correctly drawn, and with a pleafing tint of colour. 
 
 L 1 1 Paol» 
 
PAN [ 44-4 J VAN 
 
 Paolo PANINI, 
 
 Painted PerfpecJive, and Architecture. 
 
 Dud 1758, aged 6y. 
 
 1'his painter was bom at Placentia, in 1691, with amoft happy genius to 
 painting, which he cultivated by fludying at Rome, where he defigned every 
 veftigeof anticnt magnificence, the ruins of fuperb Roman edifices, cenotaphs, 
 columns, baths, arches, and obelifks, as alfo ibme of the mod intire buildings, 
 the ornaments of modern Rome. 
 
 He ftudied the works of Ghifolfi with peculiar pleafure •, he formed his tafte, 
 ftyle, and manner, by the compofitions of that efteemed artift ; and his ftrongeft 
 ambition was to imitate him -, fo that he foon became eminent in that ftyle, 
 beyond all his cotemporaries. His compofition is rich ; the truth of his 
 perlpective is critically exact ; and his paintings are univerfally efteemed, for 
 the grandeur of the. architecture •, for the clearnefs of his colouring ; for the 
 beautiful figures which he generally introduced •, and alfo for the elegant tafte 
 with which he dilpofed them. He always defigned them correctly, and fer. 
 them off with fuitable attitudes and expreffion. 
 
 However, this defcription of his merit, mult be fuppofed to allude to his early 
 and prime performances •, for in his latter time, his pictures were diftinguifhable 
 by a free and broad touch, but they are feeble in their colouring and effect. At 
 all times indeed, he was too apt to defign his figures rather too large for the 
 architecture, which diminiihed the grandeur of the molt magnificent parts of his 
 compofition, and was quite contrary to the practice of Ghifolfi ; whole works 
 mult perpetually afford a pleafing deception to the eye, by the perfpective 
 proportions obferved, between the figures, buildings, and diftances. 
 
 At Rivoli, a pleafure-houfe belonging to the King of Sardinia, there are 
 feveral of Panini's paintings, which are views of that fine retreat, and its 
 environs. They are beautifully coloured, well handled, and with a touch full 
 of fpirit •, though in fome parts, the yellow feems a little too predominant, and 
 the lights are not always distributed in fuch a manner, as to produce the moil 
 itriking effect. 
 
 Maria Helena PANZACCHIA. 
 
 Pointed Hi/lory, and Land/cape. 
 
 This paintrefs was born at Bologna, in 1668, of a noble family, and appeared 
 to have an extraordinary genius to painting. She learned deiign under the 
 direction of Emilio Taruffi, and in a ihort fpace of time made an aftonimli 
 proficiency ; fo that in thecompafs of a few years, fhe acquired great readineis 
 in compofition, correctnefs of outline, and a lovely tint of colouring. 
 
 She alfo excelled in painting landlcapes -, and by the beauty of her fituations 
 and diftances, allured and entertained the eye of every judicious beholder. The 
 figures which (he inferted had abundance of grace •, fhe deligr.ed them with 
 becoming attitudes, and gave them a lively and natural expreffion. Her merit 
 was inconteftably acknowledged, arid her works were exceedingly prized, and 
 coveted. 
 
 PAOLUCCIO. Vid. P a ql o da M a t t e i. 
 
 JOHtl 
 
 
PAR [ 445 ] PAR 
 
 John PARCELLES. 
 
 Painted Storms, and Calms at Sea. 
 
 He was born at Leyden, in 1597, and became the difciple of Cornelius 
 Vroom. His manner of painting was but flow, as he finifhed his pictures with 
 extreme neatnefs. At firit he only lightly touched his defigns, till the whole 
 composition was completed ; and then he worked freely, though with an 
 uncommon degree of care, giving the utmoft tranfparence to ins colours. 
 
 His general fubjects were fea-pieces ; either calms, which are clear, and 
 excellently handled -, or fea fliores, crowded with mariners, or with fifhers 
 catting or drawing their nets. In thole every figure was touched with fpirit, 
 •and every object fhewed the genuine character of truth and nature. But his 
 chief excellence appeared, where he reprefented ftorms attended with lightning, 
 Ihipwrecks, waves in the moft violent agitation, and vefTels in the utmoft diftrefs. 
 Thofe he defcribed with all the force of real nature, and enriched his fubjects with 
 figures that were remarkably good, as well for their propriety of action and 
 character, as for their exprefllon. 
 
 Julius PARCELLES, called the Young. 
 
 Painted Sea -pieces. 
 
 He was born at Leyerdorp, the fon of John Parcelles, and instructed in the 
 art of painting by his father -, whofe style, touch, and manner of colouring he fo 
 exactly imitated, that his works are very frequently fuppofed to be the per- 
 formances of his father, eipecially as both artifls marked their pictures with the 
 fame initial letters, J. P. 
 
 The paintings of Julius, however, are not equal to thofe of John, but they 
 have abundance of nature in the profpects, and the tints •, his fhores, and 
 fandhills, with the fmall vefiels lying near the edge of the water, are wonderfully 
 well exprefled, and well defigned. 
 
 Juan de P A R E J A. 
 
 Painted Portraits. 
 
 Died 16 jo, aged 60. 
 
 This artifl was born in 1610, and rendered himfelf remarkable by difcovering 
 
 a fine genius to painting, arid arriving at a great degree of excellence in it, from 
 
 the moil low and contemptible ftation in life. He was a Meftizo, which is a 
 
 name given to thofe who are born in the Weft Indies, of a father who is a 
 
 Spaniard, and a mother, a native Indian ; and happening to become the Have 
 
 of Diego Velafquez, a celebrated Spanifli painter, he was lbleiy employed in 
 
 grinding the colours for his mafter. 
 
 But his genius urged him to the art fo flxongly, that he fpent whole nights in 
 drawing, and denied himfelf the neceflary refrefhment of reft and fleep, endea- 
 vouring- to imitate Velafquez. Yet notwithstanding his private affiduity to 
 improve himfelf, he was under perpetual apprehenfion of his being difcovered 
 by his mailer •, becaufe, he knew the pride of that painter, would make him 
 account it a cin'grace to the profeffion, to fee a performer in his own way, of fo 
 mean and fervile a condition. However, he proceeded in his ufual method of 
 
 L 1 1 2 practice, 
 
PAR [ 446 ] PAR 
 
 practice, till he had made a confiderable proficiency -, and having obferved, that 
 the King of Spain Philip IV, who often reforted to the apartments of Velafquez, 
 
 ays ordered thofe pictures which were placed with the painted fide to the 
 wall, to be turned to his view for his amulement •, Pareja fixed a picture of his 
 own painting in that pofition, which the king's curiofity caufed to be turned, and 
 in that inftant Pareja fell on his knees, and fupplicated the king to obtain his 
 pardon from his mailer, for having prefumed to pradife painting, without his 
 approbation. 
 
 Philip, agreeably furprized at the addrefs, and being alfo pleafed with the 
 work, bid Pareja reft contented, and told Velafquez, that the man who fhewed 
 fuch a genius, and pofiefled fuch talents, ought no longer to be a flave. 
 ImftK ' ttely Pareja was emancipated ; yet he never quitted his mafter, and 
 even alter the death of Velafquez, he ferved the daughter of that painter with a 
 degree of gratitude, worthy of a perlbn of much nobler birth, and better 
 education. 
 
 He was wonderfully happy in painting portraits, which he executed fo 
 exactly in the tafte, ftyle, colouring, and penciling. of his mailer, that they could 
 noc (as it is reported) be diftinguiihed from the works of Velafquez. 
 
 James PARMENTIER. 
 Painted Hijlory, and Portrait. 
 Died 1730, aged 72. 
 He was a native of France, born in 1658, and was nephew to Sebaftian 
 Bourdon ; from whom he received the firft inftructions in the art of painting. 
 When his uncle died, he went to England, and was employed at Montague- 
 houfe by La Folic, to lay his dead colours, and likewiie to affift him in other 
 parts as occafion required ; but afterwards he relided for feveral years in 
 Yorkshire, where he painted hiftorical fubjects as well as portraits. 
 
 An altar-piece in a church at Hull, and another, in S. Peter's church at Leeds, 
 reprefenting Mofes receiving the Law, are of the hand of this artift. His beft 
 work is on the ftaircafe at Workfop •, and at the Painters Hall in London, there 
 is a picture, prefented by Parmentier to that company, of which the fubject is 
 Diana and Endymion. 
 
 Francesco Ma-zuolt, called P A R M I G I A N O. 
 
 Fainted Hi/lory, cr,d Portrait. 
 
 Died i-'40, aged 36. 
 
 He was born at Parma, in 1 504 ; and being deprived of his father while he 
 
 v as very young, his uncles took care of his education. They were both painters, 
 
 and obferving theftron; ncy of their nephew to drawing, they took delight 
 
 in teaching him defign, and inrtructing him in the beft principles of the art ; 
 
 though he owed the excellence to which he afterwards arrived, not to their 
 
 precepts, but to the works of that inimitable painter Raphael, which he carefully 
 
 ftudied. 
 
 At the age of fixteen he gave fuch proofs of an elevated genius, as feemed 
 ; to the ableft judges ; and at the age of nineteen, he finifhed fevexal 
 
 fine 
 
PAR [ 447 ] PAR 
 
 fine compofitions at Parma, in frefco as well as in oil, which raifed nation 
 
 to the higheft pitch. He now began to be poffefled with an eager defire to fee 
 Rome, and having communicated his intention to his uncles, the-, 
 with his propofal. They alfo advifed him, to take along with him fome - 
 own works, as they might afford him a proper introduction to the acquaintance 
 of the nobility, and the arcifts at Rome ; and for that purpofc, he 
 pictures, which were defigned with great (kill, and beautifully coloured. One 
 of them was his own portrait, which he painted on a wooden panel of a convex 
 form, in imitation of a convex mirrour. Thefurface was fo wonderfully painted, 
 that it had all the appearance of real glafs ■, and the portrait of the artift, as well 
 as every part of the furniture, and windows of the chamber, in which he v. 
 ;jofed to fit, were fo artfully diminifhed, and fo happily imitated, that the 
 ared like bodies naturally reflected from a glaffy or polifhed furfa*. 
 and with fo great truth, as to feem beyond defcription, and almoft beyond belief. 
 While he was at R .r.-. !.c ftudied the antique ftatues, and the works of the 
 beft painters, but particularly attached himfelf to the compofuions and . 
 Raphael, and Michael Angelo Buonaroti ; and was made known to i 
 Cb/TK-n: VII. who immediately gave him employment, exprefled the utrr. . 
 admiration of fa ormances, and alfo loaded him with fa. 
 
 prefents. In return, Parmigiano painted a Circumcifion, which he prefented to 
 the Pope, who prized it as one of the mod capital works in his palace. That 
 picture was not only excellent for the competition, colouring, and execution, 
 but i: was peculiarly remarkable, for the introduction of three difre ties, 
 
 without cieftroying the harmony of the whole. The light diffufed on the 
 principal figure was from the irradiation of the Infant Jefus -, the fecond was 
 minated by a torch carried by one who attended the facrifice ; the others 
 xe in the open air, enlightened by the early dawn, which (hewed a lovely 
 Ian- . -. :verfified with a number of cottages, and villas. 
 
 This matter, (tikeProtog . nen Rhodes was befieged by Demer- 
 
 fo intent on his work, that when the Spaniards in r i -27 entered ard 
 
 pillaged Rome, he continued at his eafel, without attending to the danger of 
 fitua::o~ ; and when the enemy entered his apartments, t (truck, 
 
 of his paintings, and the compofed conduct of the artift, that 
 y retired without offering him the fmalleft injury ; though, foo . he was 
 
 .. . " at part ofv/hat he poifeffed. 
 had a truly fine and admirable genius ; his invention was ready, and his 
 tafte of defign very lear: . ere is rather too much of manner in it ; but 
 
 he had a peculiar talent in giving beauty, elegance, grace, and: to hi 
 
 ores. He excelled in portrait, as much as '. ■■- in 
 
 th reipecls are light, 2nd graceful, and t. of his heads un wily 
 
 lovely He a:: ) make the extremities of his figures delicate, or ra: 
 
 lean ; and the contralt of his attitudes, which always (hew the molt beautiful 
 :s, are fo judicious, as to give life and motion to his figures. I 
 
 . and firm •, and the light, eafy, flow of his draperies, ac . : ary that 
 is fcarcely to be conceived. His carnations rec -sarkableluftre from the 
 
 :en draperies near them, which he generally uled; and his b", 
 and angels, are fo exquifitely defigned and . . . i, as to appear truly 
 
 angc . 
 
 
PAR [ 448 ] PAR 
 
 Some of his defigns he engraved, and fome he etched on copper : by many ha 
 is accounted the inventor of etching ; but incontcllably he is' the firft who 
 praftifed it in Italy. It can never be fufficiently lamented by every lover of 
 the polite arts, that a painter poffefTed of iuch admirable talents, and who, from 
 his own excellence, might have derived as great an abundance of riches as of 
 honour, fliould indilcreetly confume his time, his fortune, and his health in 
 alchemy, to difcovcr the philoibpher's ftone •, and by his appropriating fo much 
 of his time alio, to engrave and etch his defigns, he deprived the world of many 
 excellent works, which would have been a perpetual honour to himfelf, and an 
 invaluable treafure to all the admirers of the art of painting. 
 
 In the vaulted cielings, of the two principal chapels in the church of S. John 
 at Parma, are ftill preferred fome capital performances of Parmigiano •, which 
 have great force in the colouring, are compofed in a noble ftyle, defigned and 
 painted in an exquilite tafte, and executed through the whole with fingular 
 freedom. And in the church of the Dominicans at Cremona, is a dead Chrill, 
 attended by the Virgin overwhelmed with forrow, which is an incomparable 
 work. The principal figure is finely defigned, and the character in the head of 
 the Virgin, as well as the expreflion, is exceedingly beautiful. Alfo at 
 Houghton (the feat of the Earl of Orford) there is a very capital picture by 
 Parmigiano, reprefenting Chrill laid in the Sepulchre. 
 
 PARMIGIANINO. Vid. Jeronimo Mazzuoli. 
 
 Domenico P A R O D I. 
 
 Painted Hijlcry, and Portrait. 
 
 Died 1 740. 
 
 He was born at Genoa, the fon of Giacomo Filippo Parodi, a very famous 
 fculptor •, who obferving an uncommon vivacity in the lad, and a quicknefs of 
 apprehenfion far beyond his years, while he was yet very young, bellowed on 
 him the bell education, and had him inllrucled by the ablell mailers, in 
 philofophy, and human literature. But though Domenico had a great delight in 
 learning, yet his eagernefs to acquire the knowledge of painting, was ftill greater ; 
 and having received from his father fome inftructions in that art, he went to 
 Padua, tolludy the beft principles of defign under the moll eminent profefibrs, 
 and foon gave extraordinary evidences of his expeditious improvement. 
 
 He continued there for fome time, and then travelled to Rome, being 
 determined to gain all pofiible additional knowledge •, and there, with incefiant 
 application ftudied the works cf the antient and modern mailers of greateft 
 renown •, till he fo effeclually formed his tafte, and confirmed his pencil, that 
 his productions were applauded by the bell judges. Several of his piclures being 
 compared with thole of other excellent artitb, were allowed to be fuperior ; as 
 they fhewed a finer underftanding, and were finilhed with much more ipirit and 
 delicacy. 
 
 His compofitions in hiftory had abundance of elegance, and were remaikably 
 correct in the defign. His tafte was grand •, his colouring good •, his pencil 
 free and yet delicate ; his draperies were in a r.oble ftyle, broad, eafy, and loofe ; 
 and his portraits were highly efteemed for their lively and fpirited refemblance, 
 
 as 
 
PAR [ . 449 ] PAR 
 
 as alio for that air of dignity which hediffufed through them all, as well as for 
 their relief and roundnefs. He acquired a thorough fkill in the chiaro-fcuro ; ■ 
 and fome of his paintings in imitation of bas-relief, were fo perfectly well 
 performed, that almoft at the neareft approach, it could fcarcely be determined, 
 whether they were executed with a chifel, or a pencil. Many grand altar-pieces 
 for churches and chapels, in different parts of Italy, were painted by Parodi, in 
 frefco, as well as in oil, with the greater!: applaufe •, and at Genoa he painted 
 the portraits of the Doge, and the moft illuftrious perfons, which added to the 
 fame which he had already obtained. 
 
 This m after alio excelled in ftatuary, and carved an admirable figure in 
 marble, of the King of Portugal; he likewife carved feveral ftatues of the 
 Royal family, and nobility, which were juftly admired by all the artifts, and 
 accounted fubjects worthy of being immortalized in the poems of the belt 
 writers of his time. 
 
 Joseph PARROCEL, called the Old. 
 
 Pointed Battles. 
 Died 1 7 04, aged 56. 
 
 He was born in Provence, in 1648, where he learned the rudiments of the 
 art, and was tolerably fkilled in defign and colouring ; but, not content with 
 that inftruction which he could receive in his own country, he travelled to Rome, 
 where he placed himfelf as a difciple with the famous Giacomo Cortefi, called 
 Bourgognone. Pie choie the fame fubjects as his matter, and painted battles in 
 the fame tafte and ftyle, which gained him great reputation ; for, although his 
 works could not ftand in competition with thofe of Bourgognone, yet they had 
 fo much merit in the compofition, fo much judgement in the defign, and fuch 
 fpirit in the execution, as placed him on an equality with any other artift of his 
 time. 
 
 , When he quitted the fchool of Bourgognone he went to Venice, and fpent 
 feveral years in that city, ftudying the works of thofe artifts who were moft 
 eminent for colouring ; and the happy effect of the obfervations he then made, 
 was evidently feen in all his future performances. Parrocel always made it his 
 conftant rule, to confult nature in every object he defigned •, he worked with 
 readinefs and eafe ; was curioufly careful in the preparation of his colours ; and 
 that frcfhnefs which appears in his paintings, is a lafting evidence of his lingular 
 fkill. In his battles every part is in motion 4 his figures and horfes have 
 attitudes that are natural, and full of fire, and the variety of paflions are fenfibly, 
 and often feelingly expreffed. 
 
 But his genius v/as not entirely confined to thofe fubjects •, for, he painted 
 hiftory and portrait, with an equal degree of merit ; and that picture which is 
 in the church of Notre Dame at Paris, reprefenting S. John in the Defart, may 
 afford an indubitable proof of his ability, in reipect of hiftorical compofition, as 
 alfo of his agreeable manner of colouring. He certainly had an excellent genius 
 for compofition, and his tints had an unufual e'earnefs •, his touch was. free and 
 clean •, his defign was ekgant ; and the happy diftribution of his lights produces 
 a.yery pleafing effect. 
 
 5 Charles 
 
PAR [ 450 ] PAS 
 
 Charles PARROCEL, called the Young. 
 
 Painted Battles. 
 Died 1729, aged 52. 
 
 He was born at Paris, in 1677, and was the fon and difciple of Jofeph 
 Parrocel •, who having obferved a promifing genius in his fon, at a very early 
 time of life, took every prudent method for his inftruction •, and by the 
 excellent precepts of fo able a director, he fuccefsfully painted the fame fubjects 
 as his father. 
 
 The ftyle of compofition, the manner of handling, and the tint of colouring, 
 in the works of the young and old Parrocel, were lb fimilar •, that the perfor- 
 mances of the former, are frequently miftaken, even by good judges, for the 
 works of the latter. 
 
 There was alfo a nephew of Jofeph, named Ignatus Parrocel, who painted 
 battle pieces -, whole pictures have a ftrong refemblance to thofe of the old 
 Parrocel. This painter died in the year 1722. 
 
 Giuseppe PASSER I, or PASSARI. 
 
 Painted Hijiory, and Portrait. 
 Died 1 7 14, aged 60. 
 
 He was born at Rome, in 1654, and was at firft inftructed in the art of 
 painting, by Giovanni Battifta PaiTeri, his uncle ■, but, as he foon dilcovered the 
 inability of his preceptor, and perceived him to be unqualified, to give him 
 that degree of knowledge which he coveted -, he became the difciple of Carlo 
 Maratti, being confident that under him he Ihould learn that excellent tafte of 
 defign, and that freedom of hand, which Carlo knew how to communicate to 
 all his difciples. And indeed, by his induftrious application for fome time in 
 that celebrated fchool, his improvement anfwered his expectation ; and he not 
 only rendered himfelf fuperior to many of his companions who were lefs itudious, 
 but he equalled thofe who were accounted the belt. 
 
 Maratti having obferved the great progrefs of his pupil, determined to point 
 out to him, the moll certain method for his attaining to the perfection of his art ; 
 and for that purpofe, directed him to copy the raoft curious paintings of the belt 
 artifts, and then comparing every copy with its original, he judicioufiy pointed 
 out the mo ft beautiful parts of each admirable original performance, in refpect 
 to the drawing, delign, grace, attitude, or exprcfiion, to form the tafte of his 
 difciple, and eftablilh his judgement. 
 
 From fo fingular, and fo excellent a method of inftruction, Pafiert learned to 
 compofe fubjects for himfelf, with elegance and dignity ; his works were beheld 
 withpleafure, and received with univerfal applaufe. His ftyle of compofition 
 was grand, his colouring like that of his mafter Maratti, his invention was 
 fruitful, and his exprefiion natural and agreeable. He was very defirous to try 
 his ability in portrait painting, and made the experiment by the portrait ot his 
 father ; which fucceeded even beyond his moft flattering hopes, and afforded 
 great fatisfaction to the principal nobility at Rome. That, and fome other of 
 his compofition^, extended his reputation lb far, that he had abundance of 
 employment in his native city, and from different parts of Italy by commiffions ; 
 5 fo 
 
PAS [ 451 ] PAS 
 
 fo that moft of the churches and palaces at Rome, were decorated with his 
 paintings. 
 
 He lived in fuch general efteem, that his houfe was frequented by perfons of 
 the firft rank for tafte and literature ; not only for the entertainment they might 
 derive from his paintings, but alfo from his converfation that was polite, 
 ingenious, and edifying. Towards the latter part of his life, he was fubjecl to 
 a violent head-ach, which entirely difqualined him for bufinefs ■, and at laft he 
 was cpprefied with, the gout, afthma, and a complication of diforders, which 
 deprived the world of one of its greateft ornaments. 
 
 Bartolomeo PASSEROTTI. 
 
 Painted Portrait, and Hificry. 
 Died 1595. 
 
 He was born at Bologna, and at firft was a difciple of Jacopo Barozzi, called 
 Vignola, with whom he travelled to Rome, and improved his tafte of defign by 
 ftudying the antiques; but he afterwards became the difciple of Taddeo 
 Zucchero, and never quitted that matter, till he was qualified to appear with 
 credit in his profefiion. 
 
 He compoied hiftorical fubjecfts readily, and in a good ftyle, particularly 
 deligns taken from facred hiftory •, of which kind he painted many for the 
 chapels of Bologna ; yet his manner was rather too expeditious, which frequently 
 cauled him not fufficiently to attend to truth and nature, and often to depart 
 from both. But he devoted himfelf principally to portrait painting, in which he 
 became remarkably eminent •, and was highly commended, for the bold relief of 
 his figures •, for the life and fpirit which he always gave them ; and for the 
 gracefulnefs of their attitudes. 
 
 He founded a fchool of painting at Bologna, which produced a number of 
 great matters, among whom were Vannius, and Agoftino Caracci. 
 
 Tiburzio PASSEROTTI. 
 
 Painted Hijlory. 
 
 He was the fon and difciple of Bartolomeo, born at Bologna in 1575, and 
 painted in the ftyle and manner of his father, being alfo very much admired for 
 his compoiitions. But, he likewife Was full as remarkable for his curious 
 collection of rare and fcarce books, medals, gems, cameo's, and uncommon 
 natural productions, as he was for his merit in the art of painting. 
 
 Ventura PASSEROTTI. 
 Painted Portraits, and Hijlory. 
 
 He was born at Bologna in 1586, the youngeft fon of Bartolomeo, from whom 
 he learned the principles of defign and colouring ; but, for his beft improvement 
 he was indebted to his elder brother Tiburzio. 
 
 His greateft delight confifted, in drawing, with a pen or a crayon, any fubje&s 
 which occurred to his imagination ; in which he ftudied to exprels the proportions, 
 of the naked, and the fwell of the mufcles, in the ftrong, or (as it is termed by 
 
 M m m artifts) 
 
PAS [ 452 ] PAS 
 
 artifts) the terrible ftyle of Michael Angelo Buonaroti, which he always admired, 
 and endeaveured to imitate. But, for the mod part, he painted portraits, with 
 a very natural tone of colouring, and with as great a degree of refemblance and 
 relief, as any of his cotemporaries. 
 
 P A S S I G N A N O. Vid. Cresti. 
 
 Lorenzo PASSINELLI. 
 
 Painted Hiftory. 
 * Died 1700, aged 71. 
 
 He was born at Bologna, in 1629, and received his earlieft inftructions in 
 painting from Simon Contarini, under whom his improvement was fo great, that 
 he diftinguifhed himfelf by correctnefs of defign ; but having vifited Venice, 
 and thoroughly confidered the majeftic and profound ftyle of Paolo Veronefe, 
 he changed his firft manner, which he had practifed with great fuccefs at the 
 court of Savoy, and ftudkd to emulate the more noble manner of the Venetian 
 mailer. 
 
 At his return to*his own country, he was eagerly employed by all the no- 
 bility, and the principal ecclefiaftics at Bologna; for, he painted hiftorical fub- 
 jedts in a fmall, as well as in a large fize, from facred as well as profane wtiters,. 
 and his works were univerfally admired. 
 
 In the Palazzo Ranuzzi at Bologna, there is an excellent painting by Paffi- 
 nelli, reprefenting the Roman Charity •, and in the Palazzo Zambeccari, in the 
 fame city, is a grand defign, of the Martyrdom of S. Urfula and her companions,, 
 which is extremely well compofed, and very lovely in the colouring ; the heads 
 are beautiful, and they have a great deal of expreffion. 
 
 PAS QJJ A L I N O. 
 
 Painted Converfations, and Capriccio's. 
 Died 1700, aged 59. 
 
 The real name of this painter was Pafquale Rofil Vicentino ; he was born in-" 
 i 641, and by the power of his own genius, became a painter of great eminence.- 
 His ability, and knowledge in the art, was derived folely from ftudying and co- 
 pying the fineft productions of the Roman and Venetian fchools •, his compo- 
 iitions are not unlike thofe of Titian, full of life, fpirited, and well defigned ; 
 and his pictures have confiderable grace, with a manner of finifhing that was 
 exceeding delicate. 
 
 a 
 
 * The Chronological Tables of the famous Painters, pubfilhed by Mr. Harms, at Brunfwic, are 
 in a multitude of articles extremely incorreft; but with regard to this painter the error is unpar- 
 labfe; for, he fays, Paflinelli was born in 1629, and that he died in 1648, when he could have 
 been only nineteen years of age : Whereas all writers agree, that he lived to a great age ; and by 
 ihe moft authentic accounts, he died in 1700, aged 71, which makes a difference of fifty- 
 two years. 
 
 PATEL 
 
PAT [ 453 ] PAT 
 
 P A T E L. 
 
 Painted Land/cape. 
 
 He was born in France, but neither his age, nor the matter under whom he 
 ftudied, are ascertained by any of the authors that I have confulted. However, 
 his works are univerfally known, and very defervedly admired. In his own 
 country, he is called the French Claude ; for, he feems to have taken Claude 
 Lorraine for his model, and in many refpefts he has imitated that admirable 
 matter with great fuccefs. 
 
 The forms of his trees are elegant and loofe : his fcenery is rich, and his 
 buildings, and other ornaments, are defigned in a very pleafingtafte. His fkies 
 are judicioufly adapted, having always a very remarkable warmth •, and although 
 it cannot be truly faid, that he equalkd his model, yet it is no fmall degree of 
 honour, even to imitate him happily. The breaking of his ground fhews fkill 
 and judgement ; his diftances are finely obferved ; and the antique buildings, 
 vales, monuments, and ruinous aqueducts, introduced m his compofitions, give 
 his pictures abundance of richnefs, and elegant variety. His works Sufficiently 
 fhew that he ftudied nature with nice obiervation, and his choice was always 
 agreeable. In one refpect he was fuperior to Claude ; for his figures are ufually 
 defigned in a delicate tafte, and drawn with correclnefs. His touch is light, 
 and firm •, his colouring generally clear, and natural ; and his fites are exceed- 
 ingly pleafing. 
 
 Joachim PATENIER. 
 
 Painted Land/capes, and Battles. 
 
 He was born at Dinant, about the year 1487, but learned the art of painting 
 at Antwerp, and was received as a member of the academy of painters in that 
 city, in 15 15. His principal fubjects were landfcapes, which he painted in an 
 excellent ftyle, with charming diftances, and figures exquifitely touched and de- 
 figned. There appeared a peculiar neatnefs in the leafing of his trees, and the 
 trunks and branches of them, had all the freedom of nature. His works, even 
 in his life-time, were held in fuch high efteem, that they were induftrioufly 
 fought for, and eagerly purchaied at great prices. 
 
 It was much lamented, that notwithstanding his merit in his profeffion, and 
 the encouragement he received, he fhould confume the largeft portion of his 
 time in taverns, and other kinds of difiipation •, by which he not only impo- 
 verished himfelf, but alio deprived the world of fo many valuable productions 
 as he might Have finifhed. But it was his invariable cuftom, never to take up 
 the pencil, till want compelled him to ufe it. 
 
 He painted battles with extraordinary fpirit ; his compofitions in that ftyle 
 were filled with a number of figures, and each of them was well defigned, and 
 finifhed with the utmoft exactnefs. Sandrart mentions an admirable battle- 
 piece of Patenier's painting, in the pofTeffion of Melchior Wyntgis at Middle- 
 burgh. When Albert Durer was at Antwerp, the works of this artift afforded 
 him fo much fatisf action, as he faw an uncommon degree of merit in his per- 
 formances, that he painced his portrait, in order to preferve the memory of fo 
 
 Mmm2 John 
 
PAT [ 454 ] P A U 
 
 John Baptist PATER, generally called PATERRE. 
 Painted Land/capes, and Converfations. 
 Died 1736, aged 4 1 . 
 He was born atValencienr.es, in 1695, and was the difciple of Anthony 
 Watteau, under whofe direction he was placed when he was very young. He 
 had a good tafte of colouring, and when he painted views of particular buildings,, 
 or real fcenes after nature, they were executed in a pleafing and mafterly manner. 
 Yet he too much neglected the ftudy of nature, and the correctnefs of defign ; 
 consulting his immediate advantage, more than the eflablifhment of his reputa- 
 tion. Which manner of thinking and acting, has proved in the higheft degree 
 pernicious to many ingenious artifts, whole talents might perhaps have raifed 
 them to the top of their profeflion, if they had obferved a different conduct. 
 
 He never arrived at the merit of his mailer, though he imitated his ftyle $. 
 but there is fomewhat of lpirit in his compofitions, that renders them pleafing. 
 
 P A U D I T S. 
 
 Painted Portrait, and Hiftcry. 
 
 This artift is mentioned by Sandrait, as a painter of great merit, but there- 
 is no account of the time in which he flourifhed. He was born in the Lower 
 Saxony, and became a difciple of Rembrant, where he fo much diftinguilhed 
 himfelf, as to be ranked among the belt performers in that fchool. On his quit- 
 ting Rembrant, he was for fome time employed by the Biihop of Freifingen ; 
 he painted feveral hiftorical defigns, as well as portraits, for that Prince; and 
 fpent fome years in the fervice of the Duke of Bavaria, where his works were 
 held in great eftimation. 
 
 While he refided at that court, one Rofter, a painter, lived at Nuremberg ; 
 who fecms to have been envious of the reputation of Paudits, and propofed to 
 paint a picture on any fubject, in competition with him. Thofe artifts appear 
 to have painted in a different ftyle •, Rofter was moft confiderable for his high 
 finifhing, the other for force and freedom of pencil, in the manner of his mailer 
 Rembrant. 
 
 The fubject agreed on by both was, a wolf tearing a lamb. Paudits fhewed 
 in his work a great fuperiority in the defign, and alio more truth, force, and ex- 
 preffion •, which fecured to him the approbation of the beft judges. But, the 
 neatnefs with which the wool of one animal, and the hairs of the other, were 
 finiihed, with a competent tranfparence of colour, fo far prevailed with the ma- 
 jority of thofe who accounted themfelves connoiffeurs, that the pVeference was 
 given to the picture painted by Rofter. And fuch injudicious determinations 
 mufteverbe expected, when works which are the product of genius and judge- 
 ment, happen to be Submitted to the cenfure of thofe who want both ; becaufe 
 fuch perfons are only guided in their opinions by caprice, fancy, or whim, and 
 I r quentiy by an overweening conceit of their own tafte and diilernment. 
 
 A declaration fo unexpected by Paudits, depreffed and preyed upon his Spirits, 
 1 his mind with fuch extreme violence, that he died in a few days 
 after, univc. icd and regretted. 
 
 Hqratius 
 
PAU [ 455 ] PEL 
 
 Horatius PAULYN. 
 
 Painted Hiftory ^ and Converfations. 
 
 This painter is fuppofed to have been born about the year 1643, an ^ he re- 
 futed at Amfterdam ; but the matter under whom he ftudied the art of painting, 
 is not known. 
 
 He had a very lively imagination, he compofed readily, and defigned well, 
 but his greateft excellence confifted in his colouring ; for, his pencil was fo ex- 
 ceedingly neat, and the tone of his colouring lb fweet and delicate, that it was 
 capable of deluding any lover of the art to admire, what morality and modefty 
 muil compel him to deteft. Too frequently he proftituted his art, to reprefent 
 fubjects that were indecent andobfcene, which leltened him confiderably in the 
 public efteem. 
 
 One of the fmall pi&ures of Paulyn, excellently finifhed, was valued at an 
 hundred pounds ; though probably that exorbitant price was fixed on it, rather 
 on account of its immodefty, than for any intrinfick merit in the performance. 
 
 Isaac PAULYN. 
 Painted Portraits. 
 He was the diiciple of Abraham Vanden Tempel, and after he had perfected 
 his ftudies with that mafter, he went to England, where he refuted for feveral 
 years, and found iufficient encouragement and employment. But, in the year 
 1682, he retired from that kingdom, and fettled at the Hague, where he painted 
 the portraits of the principal perfons in that city with very great approbation. 
 
 PELLEGRINO da Modena. 
 
 Painted Hiftory. 
 
 Died 1538. 
 
 He was born at Modena, where he learned the art of painting, and in his own 
 country was confidered as an ingenious artift ; but, having heard many account", 
 of the aftonifhing genius and performances of Raphael, he left his native city, 
 and travelled to Rome, where he was fo fortunate as to become the diiciple of 
 that inimitable mailer. 
 
 At that time there was a great number of young perfons at Rome, who di- 
 ligently ftudied defign ; who had a generous emulation to excel each other, and 
 endeavoured, by intenfe application to that particular branch, to recommend 
 themielves to the countenance and favour of Raphael. Amongft thofe Pellegrino 
 diftinguifhed himielf in a fuperior degree, being fo induftrious, that he not only 
 excelled in defign, but alio painted in frefco and in oil, in a very mafteriy manner. 
 Raphael foon obferved the abilities of his pupil, and when Pope LeoX. em- 
 ployed him to adorn the apartments of his palace, he appointed Pellegrino as 
 one of his affiftants, in the execution of his defigns ; and the difciple afforded fuch 
 proofs of his merit in that palace, that his mafter employed him in many other 
 grand compofition c . 
 
 Afterwards he finifned feveral of his own original defigns, in the churches at 
 Rome ; and particularly, in the churches of S. Euflachius, and S. James. Hut 
 his moft capital work, was the hiftory of the life of the latter, which he painted 
 
 in 
 
PEL [ 456 ] PEL 
 
 3, in a chapel be : apoftle. In that compo- 
 
 . i, that h .is figure- s ir.d attitudes, in imi- 
 
 - n of the ftyle and tafte of Raph i that ■• I bliihed his reputa- 
 
 tion. On the death of his mafter he .-. Modena. he finifhed 
 
 hgns, among which, : that were 
 
 ~ted in oil, the Baptifm of Chrill by S. Jc hn, ir.i the ftory of Colmus and 
 
 The deprived of l r'orefeen and un- 
 
 -d a for. ;pened to quarrel with one of his com- 
 
 thc conteft ended in the s antagonift. The fatal intelli- 
 
 rxpeditioufly conveyed to Pellegrini, who ran out of his houle to 
 
 nt his fon, if poffible, from falling into the hands of juftice. But he had 
 
 no: sd far in the ftreet, till un: . -ly he was encountered, by the 
 
 rents ::" had been killed, and who were in queft of the mur- 
 
 ^r •, and as the fon of Pelkgrino had efcaped out of theirpov ted 
 
 _.ead on the fpot ; to the general grief of all 
 well as all the admirers of painting. 
 
 PELLEGRIXO Tibaldi, da Bologna. 
 
 rV; ::.'■ r. ':■;■. 
 D:c3 1592, aged "jo. 
 
 He was born at Bologna, in 1522, and (as fome authors teftify} was a 
 dik Volterra, a painter of the firft rank, with whom 
 
 he pre gt - ius ; but Vafari fays, that 
 
 having defign, after the paintings which were in the refec - 
 
 tor . Bologna, and likewife the works of fome other 
 
 eminent artifts in dud Rome in the . - : 547, where :.einduf- 
 
 fued his ftu. k . .its, and was highly commended for the 
 
 ibrce of his colouring, and the b : his defign. 
 
 .pparentin his compofitiens, procured him th. : of Cardinal 
 
 nployed him to embellish the palace which he built at Rome ; 
 ifhed feveral elegant defigns, in a beautiful and graceful f: 
 Bv ne prelate, he painted one of the chapels at Loretto, which he 
 
 own honour, and to that o:" I ron. The fubjects 
 
 the Jhriftin the 
 
 Tc radon, S. John v s, and a De- 
 
 collate ofe, and . :?d on ftucco, in an 
 
 erial approbation; and he alio 
 
 Yet, :n the art of painting, after '. 
 
 be. -h great honour in th Hon, he difcontiruied it 
 
 :ary and civil, in both of which he was ex: 
 her fine .borious than painf.r 
 
 lent. 1 1 andboDd- 
 
 jrrome: . 
 
 . as much .. as heh 
 
 1 5 
 
PEL [ 457 ] PEL 
 
 At Ancona there is an exchange built from a defign of Tibaldi, which is 
 adorned with paintings by his own hand, and decorated with ftatues carved alfo 
 by himidf. 
 
 PELLEGRINO da San Daniello. 
 
 Painted Hiftory. 
 
 He was born at San Daniello, a cafde about ten miles difcance from Udino, 
 and became the difciple of Giovanni Bellini. That mailer perceived fuch a pro- 
 mifing genius in his pupil, as feemed to afford a probability of his arriving at 
 great perfection in his profeffion, as it afterwards happened. And on that ac- 
 count he gave him an appellation of diftinction, by changing his real name, 
 which was Martin •, and inftead of calling him Martin of Udino, he called him 
 Pellegrino da San Danieiio, by which only he is now known. 
 
 At Udino he painted many fine compositions, and particularly a defign which 
 he executed in oil, in the chapel of S. Giofeffo, which was excellently coloured. 
 The fubject, reprefented Jofeph in an amiable attitude, and a meditating pofture ; 
 the child Jefus was near him, and S. John appeared in the habit of a fhepherd, 
 looking with a fixed and expreffive attention on the infant Saviour. 
 
 That performance was exceedingly admired, and from the abundant merit 
 that appeared in every part of it, and it being equal to the beft works of Bellini, 
 it was concluded by fome connoifTeurs of that time, that Pellegrino had painted 
 it in concurrence with Bellini. But the ftyle and handling of his other works, 
 effectually proved that no pencil but his own, had been employed in that cele- 
 brated picture. He alfo painted at Udino, a noble defign of Judith, with the 
 head of Holophernes, and an altar-piece for the church of Santa Maria ■, in which 
 the head of the Virgin, and the heads of the other figures, had an air that was 
 remarkably graceful. 
 
 The Duke of Ferrara held him in the higheft efteem, not only for his merit in 
 his profeffion, but for his many other accomplifhments •, and while Pellegrino 
 continued at the court of that Prince, he was loaded with favours, and received 
 a multitude of valuable prefents. He had a great genius, with a ready and 
 fertile invention, and in many refpects was fuperior to his mafter Bellini. He 
 painted in frefco and in oil, with an equal degree of merit •, his tafte of defign 
 was grand, the airs of his heads were often graceful, and his colouring was very 
 agreeable. 
 
 Antonio PELLEGRINI, of Padua. 
 
 Painted Hiftory. 
 Died 1 741, aged Gy. 
 He was born at Padua, in 1674, and was inftructed by a painter in that city, 
 whole name was * Genga, an artift not very capable of affording him any profit- 
 able knowledge of the art ; however, having acquired -even under that incom- 
 petent director, fome notion of defign and colouring, he went to Venice, to perfect, 
 himfelf farther in the trueprinciples of his profeffion. 
 
 * The author of the Mufeum Florer.tinum affirms, that Pellegrini was inftrufted by Genga ; 
 •bat in the anecdotes of painting., it is faid, he was the difciple of Sebaftian Sicci. 
 
 At 
 
PEL [ 458 ] PEN 
 
 At Venice he had the good fortune to obtain the favour of Paolo Pagani, a 
 very eminent Milanefc painter, who had recommended himfelf to the particular 
 etteem of thoieof the firft rank in that city, by the agreeablenefs of his manners, 
 as well as by his extraordinary (kill in the art of painting. By the inftructions 
 which Pellegrini received from that mailer, his improvement was confiderable ; 
 and by the intereft of Pagani, he was made known to feveral noble families, by 
 whom he was employed, and particularly by Angelo Cornaro. With that noble- 
 man he cultivated a ftrict friendfhip, and executed feveral defigns in frefco for 
 him, which procured him applaufe, and occafioned his being engaged by others 
 for the fame kinds of works, and alfo for paintings in oil. 
 
 By his performances at Venice, he fo thoroughly eftabliflied his reputation, 
 that he met with a favourable reception in every court of Europe, which he after- 
 wards vifited. By the Duke of Manchefler, he was prevailed on to go with him 
 to London -, where he painted a flair-cafe for that nobleman ; and for others of 
 the Englifh nobility, he painted different works in their falons, and grand apart- 
 ments, but particularly for the Earl of Burlington, and Sir Andrew Fontaine. 
 While he Tended in England, he finifhed a great number of hiflorical defigns of 
 a middling fize, which are frequently to be feen •, but, his pictures bear no 
 great price in thefe kingdoms, though they fhew a ready pencil, a very free 
 touch, and fometimes a good tafle of defign •, becaufe, the colouring is gene- 
 rally cold ; and one peculiar tint fo predominates through all his works, that 
 they want force, and are immediately, even at the firft fight, difiinguifhable from 
 the paintings of other mailers. In the year 1 7 1 9 he was invited to the court of 
 France ; and was afterwards engaged by the Elecfor Palatine, and the Elector 
 of Bavaria •, till having at thofe courts added to his reputation, he returned to 
 Venice, where he followed his profefiion with credit and honour. 
 
 In the church of the Capuchins, di Caflello at Venice, one of the cielings is 
 painted by Pellegrini. The defign reprefents the Iiraelites gathering Manna in 
 the defart ; the composition is good, and it is well handled -, but the colouring is 
 weak and feeble, and by the effect, fcarce appears to be any thing more than a 
 iketch. And in a church dedicated to Moles in the fame city, there is a paint- 
 ing by this mafler, of which the fubject is, the Brazen Serpent erected by Mofes 
 in the Wildernefs. That is an excellent and grand compofition, and is executed 
 in a broad and beautiful manner. It is well defigned, and the landfcape part i3 
 particularly fine •, yet the mafies of light in this, as in the other works of Pelle- 
 grini, are fo weakly oppofed by proper fhadows, that the whole produces no 
 ftrong effect, but appears flat and feeble. 
 
 Giovanni Francesco P E N N I, called II Fattore. 
 
 Painted Hijiory, Portrait, and Landfcape. 
 
 Died 1528, aged 40. 
 
 He was born at Florence, in 1488, and while he was very young, became the 
 
 difciple of Raphael •, who loon obferved the promptnefs of his genius, the in ■ 
 
 tegrity and other good qualities of his heart, and alio his paffionate fondnefs for 
 
 the art of painting •, and thole qualifications recommended him lb llronglv to 
 
 the affection of his mailer, that he not only took all pofiible care of his in- 
 
 ftruction, but alio intrulted his domeftic concerns intirely to his prudent ma- 
 
 5 nagementj 
 
PEN [ 459 ] PER 
 
 nagement -, from whence he got the name of II Fattore, (or the Steward} which 
 he retained ever after. 
 
 His manner of defigning was an imitation of Raphael, which he never al- 
 tered ; and in his finifhing and colouring, his mafter was his only model. The 
 firft work in which he was employed by Raphael, was in the Pope's palace at 
 Rome, where Giovanni da Udino, Pierino del Vaga, and other admirable artifts, 
 were afibciated with him. There he exerted his great talents, there he difplayed 
 that excellence of tafte, which he had imbibed from his inimitable director, and 
 fhewed fuch grace and execution, as were worthy of that fchool in which he was 
 formed. 
 
 The genius ofPenni was univerfal; but his greateft pleafure was in painting 
 landfcapes and buildings. He was an excellent defigner, and coloured ex- 
 tremely well in oil, diftemper, and frefco. He painted portraits in an exquifite 
 ftyle, and had fuch happy natural talents, as enabled him with eafe to dilcover 
 all that was curious, or defirable, in the art he profefTed. By being pofiefled of 
 fuch fuperior powers, he proved a very ufeful afiiftant to Raphael, and painted 
 a great part of the cartons for the tapeftries of the Pope's chapel, and the con- 
 fiftory ; ib that his mafter conceived a degree of affection for him, far furpafiing 
 what he felt for any other of his difciples ; and at his death, left him heir to his 
 fortune, in partnerfhip with Julio Romano. 
 
 After the death of his mafter, he painted many pictures at Rome of his own 
 defign, and particularly in the palace of Chigi ; with fuch refemblance of the 
 ftyle, pencil, colouring, and grace of Raphael, that they might, not unde- 
 fervedly, have been imputed to that illuftrious painter. 
 
 Penni, in conjunction with Julio and Pierino del Vaga, finifhed the celebrated 
 defigns of the battles of Conftantine, and feveral others which had been left im- 
 perfect by Raphael. But having fome difpute about a copy of the Transfigura- 
 tion, which the Pope intended for the King of France, they feparated. Julio 
 engaged himfelf with the Marquis of Mantua, and Penni went to Naples, to 
 enter into the fervice of the Marquis del Vafto ; but the air of that country dif- 
 agreeing with his conftitution, he died very loon after his arrival in that city. 
 
 Luca PENNI. 
 
 Painted Hijiory. 
 He was born at Florence, and was the brother of Giovanni Francefco Penni. 
 As he had a clofe connection with Pierino del Vaga, who had married his lifter, 
 he worked with that mafter for fome years at Genoa, Lucca, and other cities of 
 Italy, with great credit. Afterwards he went to England, and was employed by 
 King Henry the VHIth, for whom he painted feveral defigns ; and was alfo en- 
 gaged by fome of the merchants of London •, but at laft he almoft intirely 
 quitted the pencil, devoting all his time and application to engraving. 
 
 Santa PERANDA. 
 Painted Hijiory. 
 Died 1538, aged 72. 
 He was born at Venice, in 1466, and in that city learned the principles of the 
 art of painting; but he wenc to Rome, and continued there for fome 3 
 
 N n n ftudying 
 
PER [ 460 ] PER 
 
 itudying and defigning die antique fbatues, and the beft paintings of the modern 
 matters. By that method of practice, having perfected his talte of defign, he 
 returned to Venice •, and being then better qualified to obferve the wonderful 
 effect of the works of Titian, Tintoretto, and Paolo Yeronefe, he carefully ttudied 
 their ftyle of colouring, and gradually became as accomplished in that branch of 
 the art, as he had before rendered himfelf confiderable in defign. 
 
 I Ie riniihed fome noble compofitions in the palace of the Doge •, and for the 
 Princes of Mirandola and Modena, painted many fine defigns, which were gene- 
 rally admired. lie handled his pictures with abundance of care and delicacy v 
 and yet, by a judicious manner of managing his tints, he gave them a great 
 deal of force,, and good relief 
 
 Francis PERRIER. 
 
 Painted Hijlory, and Land/caps. 
 
 Died 1650, aged 60. 
 
 Me was born at Mafcon, in Burgundy, in 1590, and had a good genius for 
 painting. Having quitted his own country to improve his knowledge in the- 
 art, he travelled through molt parts of Italy, and at laft arrived at Rome •, where 
 he examined the works of the ableft artilts, and fixed on Lanfranc as his model 
 for imitation ; the paintings of that mafter, feeming to pleale his imagination, 
 and judgement, preferably to all others. 
 
 During his continuance at Rome, he acquired a good tafte, an eafy manner of 
 defigning, and tolerable correftneis ; but he had very little knowledge of per- 
 fpective ; his colouring is always too black, and the airs of his heads want 
 L;race, and elegance. However, he etched after his own drawings, an hundred 
 of the moft celebrated antiques, and fome of the works of Raphael, with a 
 great deal of lpirit ; though in fome parts not quite as correctly as could be 
 rviPncd. 
 
 Pietro PERUGINO. 
 
 Painted Hiflory. 
 Died 1524, aged 78. 
 
 This mafter was born at Perufia, in 1446, where his parents lived in very low 
 tircumflances, and they placed him with a painter, who, though no great pro- 
 ficient in the art, had diicretion enough to animate his pupil with an eager deiire 
 to obtain knowledge. Pietro applied himfelf with angular patience and in- 
 chiftry, to practife what appeared conducive to his advantage ; he fpent not oniy 
 all the day, but the greateft part of the night in ftudy, and at the lame time 
 ftruggled with fevere hardfhips, being obliged for feveral months to have no 
 other bed to lye on, than a large cheft. Yet his laborious perfeverance in draw- 
 ing, and defigning, qualified him to improve more readily under a iuperior 
 m a iter. 
 
 At that period of time, the finer arts were cultivated, and fiourifhed eminently 
 at Florence •, which induced Perugino to leek for inftrucYion in that city, and he 
 placed himfelf as a difciple with Andrea Verocchio. Under that famous artift bis 
 proficiency was remarkably great •, and in a fhort time, he was enabled to appear 
 
 with 
 
PER [ 4.61 ] PER 
 
 with credit in his profeffion. The firft work that railed his reputation, was a 
 picture of S. Jerom looking with a ftedfaft attention on a Crucifix. The figure 
 of the faint appeared fo mortified, foemaciated, and yet fo natural, as he hadde- 
 figned it after a living model, that the work was applauded in the higheft terms ; 
 and in a few years his fame was fo ipread abroad, that his paintings were not only 
 difperfed through all Italy, but fent alfo to Spain, France, and other countries of 
 Europe. 
 
 He was employed to paint a grand altar-piece for the monaftery of S. Clara at 
 Florence •, of which the fubject was a dead Chrift •, and he introduced a number 
 of figures in the defign. The colouring was truly beautiful, the heads of the 
 aged perfons had a graceful turn, and the air of the Virgin was eminently dif- 
 tinguiihed, as well by the dignity of character, as the peculiar expreffion of 
 forrow. He alfo introduced a landfcape in one part of the defign, which 
 (making a reaibnable allowance for that early age of painting) was at that time 
 accounted admirable •, and the whole composition was efteemed by the belt artifts 
 and judges, to be uncommonly excellent. A Florentine merchant offered treble 
 the ium that had been paid for it, but the propofal was rejected, becaule Peru- 
 gino declared that he was incapable of finilhing another fo well. 
 
 Vafari recites an incident in the life of this mafter, which, as I find it men- 
 tioned by moil of the fublequent writers on this fubject, cannot well be omitted. 
 The Monks of a monaftery at Florence, had engaged Perugino to paint in 
 freico, a piece of facred hiftory in their chapel •, and the Prior, who had agreed 
 to fupply the ultra-marine for the work, being of afufpicious difpofition, always 
 attended while it was ufed, left fome of it fhould be embezzled by the artift. 
 
 When Perugino perceived that the Prior's conftant infpection of the work, 
 was only occafioned by his diftruiiing the honefty of thofe employed by him •, he 
 took care to place a pot of water near him, in which he often dipped his pencil, 
 after he had loaded it with ultra-marine ; and the colour, by its weight, inflantly 
 was precipitated to the bottom. The Prior obferving the rapid confumpticn 
 of his rich colour, paffionately exprefied his aftonifhment ; but Perugino defired 
 him, neither to torment his own mind, nor indulge a difhonourable opinion of 
 artifts, who generally acted upon principles of honour-, and then, pouring off" 
 the water gently, hereftored to him the ultra marine which had fubfided ; only 
 reminding the Prior, that notwithftanding all his iuipicious fagacity, he might 
 be impoied on, if the artifts he employed, were lefs actuated by motives of 
 honour, than by the fear of detection. 
 
 Sixtus IV. engaged him to paint feveral defigns in his chapel, by which he 
 pained great reputation -, but, at his return to Florence, where Mich. Angel. 
 Buonaroti was at that time in the higheft efteem, he quarrelled with that great 
 man, from an avaricious difpofiticn, and was fo feverely fatyrized by the poets of 
 that city, that he was conftrained to quit Florence, and retire to his native city 
 Perufia. 
 
 This mafter had acquired from Verocchio, the habit of defigning his heads 
 with a graceful air, and particularly thofe of his female figures. His pencil is 
 light, and he fin'.fhed his pictures highly ; but his manner was dry, and flirt, 
 and his outline very often had great incorreetnefs. His higheft honour confifted 
 in his having been the inftructor of the inimitable Raphael Sanzio ; who, with 
 his father Giovanni Sanzio, affifted Perugino in a great number of his works. 
 
 N n n 2 He 
 
PER [ 462 ] PER 
 
 He was not more memorable for his paintings, than he was infamous for his 
 atheiftical and avaricious principles •, and having accuftomed himfelf, after he 
 grew extremely rich, to carry always along with him a box, in which he pre- 
 served a quantity of gold, the profpect of fuch a treafure induced a villain to 
 rob him of it •, and although, by the activity of his friends, the greateft part of 
 it was recovered, yet the vexation he endured, was thought to have been the 
 principal cauie of his death. 
 
 The moll capital work of Perugino, in oil colour, is in the church of S. Peter 
 at Perufia. It is an alrar-piece, of which the fubject is, the Afcenfion of Chriit, 
 with the difciples indifferent attitudes, directing their eyes up to Heaven, after 
 their Lord. The defign is excellent, and the whole is well executed. And in 
 a chapel belonging to the church of S. Giovanni in Monte, there is a picture of 
 the Virgin attended by feveral faints, which is elteemed one of the beft perfor- 
 mances of Perugino. In many refpects it has abundance of merit, but it muft 
 be confeiTed, that the compofition is very indifferent. 
 
 Petruccio PERUGINO. Vid. Montanini. 
 
 Baldassare PERUZZL 
 
 Painted Hiftory, and Perfpeclive Architecture* 
 Died 1536, aged 55. 
 
 This painter is laid to have been born at Siena; but a moft authentic * writer 
 on this Subject afferts, that Antonio Peruzzi, the father of this artift, was a rich 
 citizen of Florence, who, to avoid the miferies of a civil war r retired from that 
 city to Volterra, where Baldaffare was born, in 148 1 •, and in a few years after he 
 went to fettle at Siena, where he continued during the remainder of his life •, 
 which afforded Sufficient caufe to conjecture that his children were born diere, 
 and not at Volterra. 
 
 Baldaffare, who early fhewed a lively genius to painting, learned defign from 
 an eminent Goldfmith of Siena, and purfued his ftudies by the instruction of 
 thofe who were accounted moft ingenious in the profefiion of painting ; till 
 having gained a competent degree of knowledge, he applied himfelf with incre- 
 dible diligence, to practife after the works of the molt celebrated mafters, and 
 imitated them with lb much exactnefs and truth, as feemed wonderful to the 
 moft able connoiffeurs of that time. From Siena he went to Rome, where he 
 was employed by Pope Alexander VI ; and in the palace of that Pontif, as alfo 
 in feveral chapels and convents, he painted many grand defigns in frefco, which 
 were commended for their grace, and elegance of fiyle. His genius inclined 
 him particularly to paint perfpective, and architecture •, and as he underflood the 
 effential principles of the chiaro-fcuro in a degree far fuperior to any of his co- 
 temporaries, he managed it in fuch a manner, that he produced furprizing 
 effects. His ufual Subjects were views of ftreets, palaces, corridores, portico's, 
 and the infid.es of magnificent apartments, in which he reprefented every cornice, 
 frize, bas-relief, or fuitable ornament ■, and, by a judicious distribution of his 
 lights and fhadows, gave them a roundneis and projection, as natural, and as 
 ftriking, as if they wexe real. 
 
 • Vafari. 
 
 It 
 
PES [ '.463 ] PET 
 
 It is not poffible to give a nobler teftimony of the powerful effect of this 
 matter's painting, than to fay, it furprized and pleafed even Titian. For, when 
 that famous artift viewed fome of the perfpective works of Peruzzi, he was fo 
 deceived, that no arguments could perfuade him to believe, that any of the 
 objects he law were produced by the pencil, till he at laft changed his point of 
 view, and then he exprefied a much greater degree of aftonifhment, at the beauty 
 and artifice of the performance, and at the exquifite deception it created. He 
 excelled in painting fcenes for theatres, in which fubjects he introduced, with 
 extraordinary tafte and judgement, all thofe decorations peculiar to the ftage, and 
 he is accounted the firft who practifed that ftyle of painting. 
 
 He ftudied architecture, and became very eminent in it ; having received fome 
 inftructions from Bramante, the friend of Raphael. He wrote a treatife on the' 
 antiquities of Rome, and a commentary on Vitruvius ; but unhappily he died 
 before they were pubhfhed, being poilbned by fome perfons, who were envious 
 of his reputation, and of his talents. 
 
 Pesello PESELLI. 
 
 Painted Hijlory, and Animals. 
 
 Died 1 5 1 7, aged 7 7. 
 
 He was born at Florence about the year 1440, and became a difciple of 
 Andrea del Caftagno, whofe ftyle and manner he always imitated. He was par- 
 ticularly fond of painting animals, ftudying every fpecies after nature with An- 
 gular care ; and in order to have thofe objects ready on any occafion, to paint 
 them after the life with greater exactnefs, he conftantly preferved a variety 
 of animals under his own roof, to ferve him as models, and repreiented them 
 with a fpirit, life, truth, and nature, far fuperior to any of the artifts of 
 his time. 
 
 Till he was thirty years of age he continued with Caftagno, and by that time 
 he was confidered as a very eminent mafter. He painted hiftorical fubjects as 
 well as animals •, he worked in frefco as well as in oil ; and finifhed feveral fine 
 defigns in the chapels and palaces at Florence, which were beheld with ap- 
 probation. But he obtained uncommon applaufe for one compofition, which 
 was, the Wife-Men offering to Chrift, gold, and frankincenfe, and myrrh. His 
 merit in his profefiion procured him efteem, and he was. beloved by all his 
 fellow-citizens, for his amiable temper, and difpofition. 
 
 Gerrard PETERS. 
 
 Painted Converfations^ Land/capes, and Portraits in fmall. 
 
 He was born at Amfterdam, about the year 1580, and at firft ftudied the art 
 of painting under Jacques Lenards, who painted on glafs ; but afterwards he 
 was inftru&ed by Cornelius Van Haerlem, being the firft, and alio the beft 
 difciple of that mafter. 
 
 No artift in the Netherlands was equal to him for defigning the naked ; or 
 for giving his figures a certain air of elegance. He fpent fome years at Rome, 
 and when he found himfelf fiifficiently improved, he returned to his native city ; 
 where he had conftant employment, for converfations, landfcapes, and portraits 
 
 in 
 
IP E T [ 464 ] P E T 
 
 in a fmall fize, which he finifhed highly, and with ex fr ordinary truth and nature. 
 Govaerts, who proved an excellent landscape p.-.inttr, was the difciple of 
 this mafter. 
 
 Bona venture PETERS. 
 
 Pair. ted Sen- Pieces, and particularly Storms. 
 Died 1652, aged 38. 
 
 He was bom at Antwerp, in 1614, and became one of the mod eminent 
 painters in the Low Countries. The fubjects he delighted to reprefent, were 
 ftorms at fea ; in which he defcribed, in a lively, natural, and pathetic manner, 
 every circumftance that could fill the imagination with pity and terror. The 
 raging of the waves, the impending tempeft, the veffels foundering, or dafhed in 
 pieces againft rocks, the mariners perifhing in the deep, or feeming to dread a 
 more lingering death on a defart fhore, are expreffed by his pencil with the utmoft 
 truth, nature, and probability. But, although his general lubjects were of that 
 kind, yet he painted calms with an equal degree of merit, and likewife proipecls 
 of towns and caftles adjoining to the fea. 
 
 His pencil is light •, his touch neat, and full of fpirit •, his colouring exceed- 
 ingly tranfparent ; and his water, whether he defcribes it agitated, or ftill, has an 
 abundance of truth and delicacy. His pictures, however, are not equally good, 
 nor equally valuable ; for, in fome the figures are extremely well defigned, and 
 exquilitely finifhed •, and in others, the colouring of the whole is rather too 
 light, and the draperies of the figures are fometimes interfperfed with tints 
 which do not harmonize with others. But his bed works have extraordinary 
 merit, and muft always be very eftimable. 
 
 John PETERS. 
 Painted Sea-Pieces, and Sea-Shores. 
 
 This painter was brother to Bonaventure Peters, and born at Antwerp, in 
 1625. He painted the fame fubjects, for which his brother was io defervedly 
 famous, and many of the works of John, pafs for the works of Bonaventure ; 
 being as finely touched, as well coloured, as tranfparent, and adorned with ex- 
 cellent figures. 
 
 He frequently painted fea-fights, which were much admired for the goodnefs 
 of the defign, as well as for the clearnefs of the colouring ■, and he alfo painted 
 views of villages, towns, and fortified cities on the banks of rivers, which he de- 
 figned after nature, generally making an agreeable choice, and finifhing them 
 with remarkable neatnefs. 
 
 Francis Lucasz PETERS. 
 Painted Land/cape. 
 Died 1654, aged 48. 
 He was born at Mechlin, in 1606, and received his firft inftruclion from his 
 father, but afterwards he was placed as a difciple with Gerard Segers. 
 
 His genius inclined him principally to paint landfcapes with fmall figures, 
 which he executed with great correclnefs, and touched with exceeding de . 
 
 H The 
 
PET [ 465 ] PET 
 
 The beauty and merit of his paintings, recommended him to the favour of the 
 Arch-duke Leopold ; who retained him in his fervice for many years, and 
 always held him in the higheft efteem ; and as that Prince engroffed the greateft 
 part of his time, and his labours, the pictures of this artift are very fcarce, and 
 are rarely to be purchafed. 
 
 John P E T I T O T the Old. 
 
 Painted Portraits in Enamel. 
 Died 1 69 1, aged 84. 
 
 This memorable artift was born at Geneva, in 1 607, and having a peculiar 
 genius to miniature painting, he itudied the art of enameling with inexprefllble 
 application, and at laft arrived at fuch a degree of perfection, that he may juftly 
 be accounted almoft inimitable. There is not only a neatnefs of handling in all 
 his works, but a grace and exprefilon which can never be fufHciently admired, 
 and perhaps will never be excelled. Many of his portraits have been accounted 
 equal to Vandyke ; and it was thought, that Petitot was particularly directed 
 by that admirable mafter, in thofe portraits which he painted after the originals 
 of Vandyke •, becaufe, it is obferved that the befc performances of Petitot, are 
 thofe which are after that mafter. He was wonderfully patient in finifhing his 
 works, and had the judgement and (kill to conceal the labour, which the ma- 
 nagement of his colours peculiarly required. 
 
 It is aiferted by an ingenious French writer, that Petitot, and Bordier, his af- 
 fntant, derived the curious part of their knowledge, of the moft beautiful and 
 durable colours proper for enamel, from Sir Theodore Mayerne, at London. 
 That great phyfician was uncommonly {killed in chemiftry, and generoufly 
 communicated the fecrets he had difcovered to thofe painters, who improved 
 themfelves by continual experiments of their own, till at laft they brought their 
 colours to the utmoft perfection. 
 
 Petitot was, by the recommendation of Sir Theodore, made known to King 
 Charles I, and had the honour to paint the portraits of that Monarch, and the 
 whole Royal family. Pie continued in England till Charles was brought to the? 
 fcaffold, and in the year 1649 returned to Paris, where he was highly favoured 
 by Lewis XIV, and by his admirable works acquired an ample fortune. But, 
 on account of the revocation of the edict of Nantes, he with great difficulty, and 
 not without fome periccution from the Bifhop of Meaux, obtained permiffion to 
 retire to Geneva, having (declared himfelf a Protectant •, and alter a few years re-- 
 fidence in that city, he fettled at Veray in the canton of Berne, where he fpent 
 the remainder of his days in eafe and affluence, as alio in univerialelteem. 
 
 The ufual price he received for a portrait was thirty piftoles, and for feveral 
 years before his death, his price was increafed to forty. However, he only 
 painted the heads and hands of his figures ; for the hair, the grounds, and the 
 draperies, were executed by Bordier, who was brother-in-law to Petitot.. And it 
 may appear fomewhat extraordinary, that they aiTociated and laboured together 
 for fifty years, and in that great length of time, they never had the fmalleft coa-teft 
 or ftiifiindefftaoding. 
 
 The colouring of petitot is extremely foft and lively, and it is (o artfully ma- 
 naged, that it can never change ; which. circumftrt'nce.m.uft. always giv 
 
PET [ 466 ] P E U 
 
 works a fuperior value. He generally painted on plates of gold or filver, and 
 very rarely on copper. He had a fon, 
 
 P E T I T O T, called the Young, 
 
 to whom he communicated all his knowledge, which he had obtained by many 
 years of experience ; and chat fon, by copying the works of his father, and on all 
 occafions ufing them as his models, foon gained a confiderable reputation. He 
 fettled afterwards in London, where he followed his profeiTion with the utmoft 
 fuccefs and credit •, and feveral of the portraits which were painted by him, are 
 now fhcwn as the work of the Old Pctitot, although to a judicious eye they 
 appear far inferior. 
 
 Peter PEUTEMAN. 
 
 Painted Still Life. 
 Died 1692, aged 42. 
 
 He was born at Rotterdam, in 1650, and was a good painter of inanimate 
 objects •, but the mod memorable particular, relative to this artifl:, was that in- 
 cident which occafioned his death. 
 
 He was requefted to paint an emblematical picture of mortality, reprefenting 
 human fculls and bones, iurrounded with rich gems, and mufical inflruments, to 
 exprefs the vanity of this world's pleafures, amufements, or poffeffions ; and that 
 he might imitate nature with the greater exactnefs, he went into an anatomy 
 room, where feveral fkeletons hung by wires from the cieling, and bones, 
 fkulls, &c. lay fcattered about ; and immediately prepared to make his 
 defigns. 
 
 While he was thus employed, either by fatigue, or by intenfe ftudy, infenfibly 
 he fell aileep-, but was fuddenly roufed by a fhock of an earthquake, which 
 happened at that inftant, on the iSth of September 1692. The moment he 
 awoke, he obferved the fkeletons move about as they were fhaken in different 
 directions, and the look fkulls roll from one fide of trie room to the other-, and 
 being totally ignorant of the cavfe, he was ftruck with fuch a horror, that he 
 threw himfelf down ftairs, and tumbled into the ftreet half dead. His friends 
 took all poffible pains, to efface the impreffion made on his mind by that un- 
 lucky event, and acquainted him with the real caufe of the agitation of the fkele- 
 tons •, yet, the tranfaction flill affected his fpirits in lb violent a manner, that it 
 brought on adiforder, which in a very fhort time ended his days. 
 
 His general fubjects were either allegorical or emblematical allufions to the 
 fhortnefs and mifery of human life. 
 
 Christopher PIERSON. 
 
 Painted Hijlcry, Portraits, and Implements for Hunting. 
 
 Died 1 7 14, aged 83. 
 
 He was born at the Hague, in 1631, and ftudied under Bartholomew Mey- 
 
 burg, with whom he travelled to Germany ; and, in his return, happening to 
 
 vifit the Swedifh camp, he was engaged by General Wrangel to paint his por- 
 
 5 trait > 
 
PIE [ 467 ] PIE 
 
 trait, and the portraits of the principal officers of the army. Thofe perfor- 
 mances were fo much admired for the refemblance, the clearnefs of colour- 
 ing, the relief, and neatnefs of penciling, that the General endeavoured to pre- 
 vail on him to go to the court of Sweden, where he was allured of being ap- 
 pointed principal painter; but he declined that honour, out of a defire to return 
 to his own country. 
 
 For fome years, he employed himfelf in painting hiftorical fubjefts, and por- 
 traits, and found a conftant demand for his works at Gouda, fo as to acquire both 
 reputation and riches •, but having obferved that the pictures of Leemens, which 
 reprefented the utenfils uled in hunting, and other rural amufements, fuch as 
 guns, nets, bird-calls, pouches, powder-horns, &c. were exceedingly admired, 
 and brought good prices ■, he applied himfelf intirely to that manner of painting, 
 with fuch fuccefs, that he has never been equalled by any other mailer. Thofe 
 fubjects he ufually painted on a white ground, and gave themfojuft a degree of 
 light and fhadow, that every object feemed to project from the canvas. 
 
 This mailer had conflantly accuftomed himfelf to ftudy after nature, and in 
 hiftorical compofition fhewed a good tafte •, his colouring was agreeable, and 
 very natural, his pencil delicate, and he grouped his objects of ftill life with fin- 
 gular judgement. Undoubtedly thofe objects were but of a low rank, yet they 
 had abundance of merit for their exact refemblance to nature, and for that 
 linking effect produced by his maffes of light and fhadow. 
 
 It was obferved, that the latter works of Pierfon, were much fuperior to thofe 
 of his earlier time •, and that he continued to paint even till the laft year of a very 
 long life : nor, at fo advanced an age, was there the fmalleft perceptible dif- 
 ference in the fpirit of his works. 
 
 P I E T R O, or PERINO del V a g a. 
 
 Painted Hiftcry, atid Grctefque. 
 Died 1547, aged 47. 
 
 He was born at a village in Tufcany, near Florence, in 1500, of parents who 
 were extremely poor ; and his mother dying of the plague when he was only 
 two months old, he was reared by the milk of a goat. His original name was 
 Pietro Buonaccorfi •, but being called Perino in his infancy, he was ever after dif- 
 tinguifhed by that appellation. 
 
 While he was yet very young he went to Florence, and happened to be noticed 
 by one Andrea de Ceri •, who being exceedingly pleafed with the countenance 
 and vivacity of Perino, which feemed to promife lbmewhat above his prefent 
 condition, took him into his houfe, with a resolution to provide for him. Andrea 
 was but an indifferent artift, being accuftomed to paint little waxen figures, 
 which he fold in his fhop, from which circumftance he was nick-named De 
 Ceri •, but his houfe was frequented by a number of the young Florentine 
 painters. And when Andrea obferved by fome attempts of Perino, that he had 
 a genius fuperior to his years, he procured him fome inftructions from a youth 
 named Ridolfo, a fon of Domenico Ghirlandaic, who was remarkably expert at 
 defigning •, till by inceffant practice, Perino not only far furpaffed his inftructor, 
 but alio excelled all the other young artifts, who ufed to frequent the houfe of 
 Andrea. Then he began to ftudy after the works of Mich. Ang. Buonaroti, 
 
 O o o and 
 
PIE [ 468 ] PIE 
 
 and defifted not from his ardent purfuit after knowledge in the art, till he ar- 
 rived at a high degree of excellence. 
 
 At that time a painter of con fiderable repute, named Vaga, lived at Florence, 
 who being much pleafed with the promifing talents of Perino, took him along 
 with him to Rome, giving him alio the belt directions for his improvement ; 
 and when the urgency of his affairs recalled him to Florence, he recommended 
 Perino to all his acquaintance, and with as much affection as if he had been his 
 own fon, requefted them to countenance and favour him in his ftudies ; from 
 which incident he was ever after called Perino del Vaga. At Rome he was m 
 the mod neceffitous circumftances, but his love to the art enabled him to con- 
 tend with every difficulty, and every kind of diftrefs ; Co that he prudently de- 
 voted one half of the week, to work for the picture merchants, in order to pro- 
 cure fubfiftence, while he fpent the remainder in intenfe practice, to improve 
 himfelf in every branch of his profeffion. 
 
 He ftudied after the antique ftatues, he fearched after the beautiful baffo- 
 relievo's, and ornaments, among the ruins of the antient palaces, temples, theatres, 
 and baths ; he ftudied perfpective and anatomy, and particularly the infertion 
 of the mufcles, as well as the fwell and depreffion of each, occafioned by the 
 various motions and politions of the members of the human body •, nor did he 
 difcontinue that practice, till he furpaffed all the young artifts, in the fineft and 
 moft difficult parts of the art ; and defigned the naked with greater correctnefs 
 and elecrance, than many of thole who were accounted confiderable mafters. 
 
 Thofe accompliihments introduced him to the efteem of Julio Romano, and 
 Francefco Penni, and by their description of his merit he was made known to 
 Raphael-, who prized his talents exceedingly, and afterwards employed him 
 along with Giovanni da Udino, to aflift him in thofe grand works in which he 
 was eno-ao-ed. Perino was remarkably excellent in defigning the decorations, 
 and elegant ornaments of architecture, and in that branch feems to have been 
 without a competitor ; for, after he had for fome time executed the defigns of 
 Raphael, thofe of his own invention were full as highly applauded. 
 
 Although he at firft had formed his tafte from the works of Buonaroti ; yet, 
 he always adhered to the ftyle and manner of Raphael, which he preferred to the 
 other. It cannot be laid, that he poffelfed the fublime manner of thinking, 
 which conftantly appears in the compofitions of Raphael ; but he imitated Ra- 
 phael's manner of defigning, better than any of thofe who were taught in that 
 celebrated fchool, and his colouring was beautiful. His decorations were in- 
 vented with great eafe and readinefs •, he gave them uncommon grace, boldnefs, 
 and beauty, like the antique, nor were they inferior to it, cither in tafte or ele- 
 gance •, an id his fancy was inexhauftible. The moft material objection made to 
 the hilt wical compofitions of Perino, was, that there appeared too great a fame- 
 nefs in the turn and air of the heads of his female figures ; which was fuppofed 
 toari'e from his defigning them after the fame model. 
 
 1 [1 finiflied feveral admirable defigns in the palace of the Pope, and gained 
 the hichdl reputation by thofe works which he executed in the palace of Prince 
 Doria at Genoa. For, befides the fubjects of hiftory, and the reprefentation of 
 battles of hoi ie and foot •, thofe beautiful grotefques which he painted in the 
 true antique tafte ; the rich and elegant ornaments ; the poetical and fabulous 
 hiftories he introduced ; the mafques, boys, animals, and other productions of a 
 
 lively 
 
PIE [ 469 ] PIG 
 
 lively imagination, were fo charmingly defigned, and executed with fo much 
 fpirit, judgement, and relief, that it feems impoffible to defcribe, or to p aife 
 them in any degree proportionable to their merit. After the death of Raphael, 
 thofe defigns which were left imperfect by that illuftrious painter, were finifhed 
 by Perino, in conjunction with Julio Romano, and Francefco Penni, called 
 II Fattore. 
 
 Among a great number of excellent defigns by this great artift, the following 
 are particularly applauded. The Ifraelites taking Jericho ■, the Immolation of 
 Ifaac ; Jofeph fold by his brethren ; Jacob wreftling with the An^el • the 
 Drowning of Pharoah ; befides many fubjects taken from the hiftory of the New 
 Teftament. 
 
 PIETRO da PETRI. 
 
 Painted Hiftory. 
 Died 17 1 6, aged 51. 
 
 According to the teftimony of fome writers, this painter was born at Rome in 
 1665, but according to the Chronological Tables, at Novarra, and was the dif- 
 ciple of Carlo Maratti. 
 
 He painted in the ftyle of his mafter, but not with an equal degree of beauty 
 as to his colouring, nor with fo exquifite a pencil ; but, he proved a very good 
 defigner, and fometimes gave an air to his figures, that was amiable, and grace- 
 ful. He ftudied the works of Raphael with great attention, and became an ad- 
 mirable copyer of the works of other mafters, more efpecially of Raphael, and 
 Maratti ; and his paintings are at this day in very great efteem. 
 
 Simon PIGNONI. 
 
 Painted Hiftory. 
 Died 1698, aged 86. 
 
 He was born at Florence, in 1612, and at firft infixu<5ted in the art of paint- 
 ing by Fabrizio Bofchi, who taught him defign •, but he quitted that fchool to 
 enter under the tuition of Paffignano. Yet, although he became an excellent 
 performer, through the precepts of that mafter ; when he obferved the tafte of 
 Francefco Furini, it fo powerfully affected his imagination, by correfpondino- 
 exactly with his own turn of mind, that he determined to adhere to that ftyle, and 
 manner, in his fubfequent defigns. This was the only indifcreet and cenfurable 
 point in the conduct of Pignoni ; for, the peculiar tafte of Furini confuted in 
 defigning naked figures, and in fome of his pictures he was apt to expofe, with 
 too great a licentiouinefs, what modefty would have induftrioufiy concealed. 
 
 He went to Venice, to improve himielf in colouring, and ftudied with great 
 pleafure the tints of Titian, Albano, and Guido, in their naked figures, which 
 beft fuited his own fancy •, but he determined principally to imitate the tender 
 and lovely manner of the latter. However, after his return to Florence, he al- 
 tered the tone of colouring which he had affumed at Venice, and by a judicious 
 additional mixture of ultra-marine, rendered his carnations much more delicate 
 and beautiful. So that his works were univerfally admired and coveted, for 
 the charming forms of his figures, for their being excellently difpofed, and ad- 
 mirably coloured. 
 
 O o o 2 Kc 
 
PIN [ 470 ] PIN 
 
 He painted a number of facred fubje&s in an exquifite tafte, which are efti- 
 mated at a very large price, and preferved as curiofities in the cabinets of the 
 Italian nobility. At the approach of the diftemper of which he died, he ex- 
 preffed the ftrongeft concern for his having painted lafcivious fubjects, and died 
 remarkably penitent. 
 
 John P I N A S. 
 Painted Hi/lory, Portrait, and Land/cape. 
 
 He was born at Haerlem, about the year 1596, and in his native city learned 
 the firft rudiments of the art of painting ; but he travelled to Italy, and ftudied 
 for feveral years with Peter Laftman. His ftyle of colouring was ftrong, and 
 rather inclining too much to the deep brown or blackifh tint •, yet, in that 
 manner of painting he had many admirers, and lbme imagine that even Rem- 
 brant, in that refpect, imitated the ftyle of Pinas. 
 
 An extraordinary fine picture, by this mafter, is the Hiftory of Jofeph fold by 
 his brethren, which is highly commended, as well for the defign, as fox the g.ood 
 effect of the whole. 
 
 Jacques PINAS. 
 Painted Hiftory, Land/cape, and Portrait. 
 He was the brother of John Pinas, born likewife at Haerlem •, in which city 
 he was inftructed in the principles of defign and colouring, and continued there 
 to follow his profefTion. As he had not the fame opportunities of improving 
 himielf, by viiiting Italy as his brother had done, he was in no degree equal to 
 him ; but, after John's return to his own country, Jacques received confiderable 
 advantage from the directions of his brother ; and his works, though inferior to 
 diofe of John, were neverthelefs very well efteemed. 
 
 Bernardino PINTURICCIO. 
 
 Painted Hiftory, Portrait, and Grotefque. 
 * Died 151 3, aged $g. 
 
 He was born at Perufia, in 1454, and was a difciple of Pietro Perugino, who 
 in fome few years made him fo confiderable an artift, that he employed him on 
 many occafions as his alTiftant. He principally painted hiftory and. grotefque, 
 but he alfo excelled in portraits ; which he defigned well, and coloured with a 
 great deal of livelinefs and nature. Among the number of his belt portraits are 
 particularly noticed, thofe of Pope Pius II, and Innocent VIII ; of Giulia Far.- 
 nefe, Caefar Borgio, and Queen Ifabella of Spain. 
 
 He performed an abundance of works in Rome, and other cities of Italy, and 
 was much employed, though his manner was fo fingular, that it was not imitated 
 by any of his cotemporaries. For, he beftowed extraordinary care on the high 
 finifhing of his pictures, and endeavoured to add an unulual iplendor to his 
 paintings, by introducing a richnefs of gilding in feveral parts of the work, 
 blended with ornaments of architecture in relievo, quite uniuitable to the true 
 
 • In the Chronological Tables, it is very enoneoufly faid, that Plnturiccio was bom in 1497, 
 and died ia 1 533, at 36 yean of age ; though Vafari fays, he. was 59 when he died. 
 
 tafte 
 
P I O [ 471 J P 1 o- 
 
 tafte of elegant fimplicity in a picture. And, although fuch a ftyle might afford 
 pleafure to an injudicious eye ; yet, it mull always difguft thole who pofiefs a 
 more refined idea, and a more extenfive knowledge of the art. 
 
 The moft memorable performance of Pinturiccio, is the hiftory of Pius II, 
 painted in ten compartments in the library at Siena. In that undertaking, 
 Raphael, who was then a very young man, and bred under the fame matter as 
 Pinturiccio, fo far afilfted him, that he iketched many parts of the compofition, 
 and made cartons of the molt material incidents of the hiftory for him. 
 
 The laft work in which he was engaged, was a Nativity, for the Monaftery of 
 S. Francis at Siena •, and the Monks being defirous to accommodate him in the 
 belt manner, appropriated a chamber to his particular ufe, where he might work 
 without any interruption. But, as Pinturiccio was naturally of a peevifh and 
 impetuous temper, he exprefied great impatience to have the apartment intirely 
 cleared, and infilled that every thing fhould be moved out of it. The Monks, 
 willing to gratify him in all refpects, removed all the furniture as expeditiously 
 as pofiible, except one large old * cheft, almoft decayed by time, which could 
 not be moved from the fpot, without a probability of its being broken in pieces. 
 However, the pofitive painter infilled on its removal, and the Monks had 
 fcarcely ftirred it from its place, when one of the rotted planks giving way, 
 difcovered a treafure of five hundred pieces of gold, which had lain there 
 fecreted for many years. 
 
 The difcovery proved an inexpretfible joy to the Monks, and an equal 
 mortification to the artift ; who being conlcious that he loft the treafure by his 
 own indifcreet obftinacy, became fo tormented in his mind and fo depreffed in 
 his fpirits, that he furvived the tranfaction only for a very few months, and it 
 was generally accounted the cauie of his death. 
 
 Sebastian del PIOMBO, called alfo Venetians. 
 
 Painted Portrait, and Hi ft cry. 
 Died 1547, aged 62. 
 
 He was born at Venice in 1485, and learned the rudiments of the art from 
 Giovanni Bellini ; but afterwards he became the difciple of Giorgione, whole 
 beautiful ftyle of colouring he carefully ftudied,and imitated it with the greateft 
 fuccefs. 
 
 His firft attempts, when he enteredon his profeffion, were in portrait ; and 
 the approbation he received afforded him fo much encouragement, that at laft 
 he arrived at the utmoft perfection in that branch of painting. He was not 
 only admired for the ftrong refemblance of his pictures, but alio for the fweetnefs 
 of his manner of colouring, and the roundnefs, and bold relief of his figures ; 
 in all which parts he fo happily refembled Giorgione, that fevcral of the 
 oortraits painted by Piombo, were miftaken for thofe of his mailer. Nor could 
 
 * De Piles, and a few ether writers alTert, that the five hundred ducats of gold dropped out of 
 an old fuit of Armour, which Pinturiccio ordered to-be removed-; but, the word in Vuiari is Ca 
 naccio, which fignifies a great old box, cheft, or trunk, and it is fo tranflated by Altieri in his di 
 nary. Certainly, it mult at leait appear more comonant with probability, that_ fuch an antiquated 
 piece of furniture as an old cheft, might be made a repofitory for five hundred pieces of gold, rather 
 than.anv Dart of a fuit of fteel armour, whether old, or new. 
 
P I O [ 4/2 ] P I O 
 
 any artift be more highly celebrated, than he was for the portrait of Giulia 
 Gonzaga, the favourite of Cardinal Hippolito de Medici ; which, by all the 
 writers of that age, was called a divine performance. No mafter of his time, 
 had greater excel 'ence in defigning the heads and hands of his figures, and his 
 draperies were natural, and exquifitely finifhed. 
 
 As the reputation of Sebaftian had extended itfelf through moft parts of Italy, 
 it procured him the friendfhip of Agoftino Chigi, a rich merchant of Siena, 
 who traded at Venice -, and by his perfuafion, Sebaftian was, without any great 
 difficulty, prevailed on to accompany him to Rome. That city afforded him a 
 new fcene, to difplayhis talents ; and as his ftyle was foft and delicate, like that 
 of Giorgione, and very different in many reipects, from that which was ufually 
 practifed, by the eminent artifts of Rome at that period, his works, as well in 
 frefco as in oil, were exceedingly admired. He diftinguifhed himfelf equally 
 in hiftory and portrait •, and was allowed to have an exceeding good manner of 
 defigning, with a great deal of grace in his airs and attitudes. 
 
 His reputation was very much advanced, by the friendfhip which Michael 
 Angelo Buonaroti expreffed for him. That famous artift favoured him on all 
 occafions, preferred him before all the difciples of Raphael, and was zealoufiy 
 active in his praife and recommendation ; and as Raphael had painted the 
 celebrated picture of the Transfiguration, which was placed as an altar-piece in 
 the church of S. Peter a Montorio ; Michael Angelo advifed Sebaftian, to paint 
 in the fame church a grand compofition of the Refurrcction of Lazarus, to rtand 
 in competition with the picture by Raphael. It was affirmed, that either to let 
 the merit of Piombo in the ftrongeft point of light, or (what is more probable) 
 out of fome degree of envy at the inconteftable merit of Raphael, Buonaroti 
 promoted the undertaking, and it was laid that he even gave the defign. 
 
 When the work was finifhed, the abilities of Sebaftian were confefTed by the 
 ableft connoiflcurs ■, and although the wonderful compofition of the Transfigura- 
 tion, was accounted inimitable for defign, exprefiion, and grace, yet the work of 
 Piombo, even while compared with it, was exceedingly and universally admired ; 
 and after the death of Raphael, he was confidered as the beft artift in Italy. 
 
 He lived in the utmoft cfteem with Pope Clement VIII, whofeportrait he drew 
 with an amazing reiemblance of life and nature ; and he alfo painted the famous 
 Satyrift Aretine, in an equal degree of perfection. That portrait was afterwards 
 placed in the council chamber of Arezzo, not only as an honour to the poet, 
 but to the city which produced fuch a genius. But, none of the pictures of this 
 mafter feem to be mentioned with greater encomiums, than that of the martyr- 
 dom of S. Agatha, which he painted for the Cardinal of Arragon, and was in 
 the pofTeffion of the Duke of Urbino. That painting is defcribed as being 
 beautifully defigncd, charmingly coloured, and admirably finifhed •, and was 
 accounted to be in no refpect inferior to the beft of Raphael, Titian, or any other 
 of the great mafters. 
 
 J Ie was the inventor of the art of painting upon walls with oil -, which, it is 
 faid, was by a plaifter compofed of quick lime, pitch, and maftich. 
 
 David 
 
P L A [ 473 ] P O E 
 
 David Vander PLAAS. 
 
 Painted Portrait. 
 
 Died 1704, aged $j. 
 
 He was born at Amfterdam, in 1647, and had a manner of painting that was 
 very Angular, and peculiar to himielf. He fpent feveral years in Italy, and 
 particularly ftudied Titian, whofe works he made his model ; and in his ityle, 
 he feemed defirous to imitate the effe<ft produced by the colouring of that 
 eminent artift, though he attempted it by a very different manner of penciling. 
 For, he laid on his colours with a ftrong body, and by a proper fkill in the 
 chiaro-fcuro, his lights and fhadows were fo placed, as to produce a lively and 
 natural effect, without breaking the maffes, or fcumbling his colours to°-ether. 
 That method not only gave more force to his figures, but it alfo preferved his 
 colours from fading, and gave them a lafting beauty. Undoubtedly his pictures 
 could not admit of a near inflection ; but, when viewed at a competent diflance, 
 they have the appearance of life, and nature. 
 
 The picture which is mentioned as one of his moft capital performances, is 
 the portrait of the renowned admiral Van Tromp ; in which there is a fine 
 expreffion of the fortitude of foul, the fpirit, fire, and refolute boldnefs of that 
 great officer. 
 
 Matthew Van PLATTEN, called II Montagna. 
 Painted Land/capes, and Sea Views. 
 
 He was born at Antwerp, in 1640, and in that city learned the principles of 
 defign and colouring ; bur, he vifited feveral parts of Italy, to refine his tafte of 
 defign, by ftudying nature, and making accurate obfervations on the works of 
 the beft matters. He refided for a long time at Florence, along with John 
 AfTelyn, who was known there by the name of Crabbatje ; and was a painter of 
 extraordinary merit. 
 
 Van Platten was admirable in defcribing calms on the fea, and the reflections 
 of bodies on a tranfparent furface •, and was equally happy in reprefenting 
 ftorms on land or water -, but, in his land ltorms efpecially, the fkies, clouds, 
 and trees were wonderfully expreflive of true nature. His landfcapes are 
 remarkable for their lovely fituations, for their perfpective truth, for the beauty 
 of his diftances, for thofe elegant pieces of architecture which he introduced 
 and for their colouring, which was extremely pleafing and natural. 
 
 POCHETTI. Vid. Barbatelli. 
 
 Cornelius POELEMBURG. 
 
 Painted Landfcapes, Caves, and Grottos. . 
 
 Died 1660, aged 74. 
 
 He was born at Utrecht, in 1586, where he became the difciple of Abraham 
 
 Bloemart •, but he quitted that matter, as foon as he had made a reasonable 
 
 proficiency in the art, and travelled to Rome. His firft determination was to 
 
 imitate the manner of Elfheimer ; but he found himielf fo affected, while he 
 
 contemplated the works of Raphael, that he refolved on endeavouring to 
 
 imitate 
 ftr. 
 
POE [ 474 ] P O E 
 
 imitate the grace of that incomparable mafter, particularly in the naked. He 
 ftudied with advantage lb me or" Raphael's excellencies, but he did not fufficiently 
 attend to that part, which constitutes his higheft merit, which was defign. 
 
 He formed for himfelf a ftyle that was intirely new, and in many refpects 
 preferable to the Flemifh gufto •, but it did not refemble the ftyle of any Italian 
 mafter, except in the ruins of the antique buildings, with which he adorned his 
 landfcapes, and which he had with great care copied after nature. He lurpafied 
 all his cotemporaries in the delicacy of his touch, in the fweetnefs of his colouring, 
 and in the choice of agreeable objects and fituations. His fkies are clear, 
 •light, and tranfparent ; his back-grounds ornamented often with the veftiges of 
 magnificent Roman edifices, which always contribute to the harmony of the 
 whole compofition ; and his female figures, which he generally reprefented 
 naked, are beautiful and elegant forms. His greateft excellence appeared in the 
 fmall pictures of his hand ; for, in the larger fize he is not fo deferving of 
 commendation. 
 
 The Italians were exceffively pleafed with the works of Poelemburg ; and 
 fome of the Cardinals at Rome, of the fineft tafte, attended him frequently 
 while he was painting, to obferve his manner of working, and exprefTed their 
 admiration in the ftrongelt terms. 
 
 It was not without great regret that he left Rome, to return to his own 
 country ; though he afterwards found fufficient caufe, to be pleafed with the 
 honours he received from the Grand Duke at Florence, and the rrfpect fhewn 
 to him in every city through which he travelled, as well as in his native city 
 Utrecht. For, not long after his arrival, Rubens paid him a friendly vifit, and 
 having exprefTed a lingular plealure n examining the works of Poelemburg, he 
 purchafed fevcral for his own cabinet, a:id befpoke others. By which generous 
 conduct, he instructed the lovers of the art, toeftimate the merit of Poelemburg 
 as highly as they ought, and at the fame time advanced the fortune and the 
 reputation of that artist. 
 
 By King Charles I. he was invited to the court at London, where he painted 
 many curious pictures, for which he was nobly recompenced ; and that 
 monarch endeavoured earneftly, to induce him to continue in England •, bur, 
 his fondnefs for his own country prevailed over all other considerations, and he 
 returned to Utrecht, where he acquired an affluent fortune, and lived in univerfal 
 efteem. Several very eminent artiits procured him to paint the figures in their 
 works, particularly Steenwyck, and Kierings •, and the excellent perfpectives of 
 the former, are fome times rendered ftill more eftimable, by the pencil of 
 Poelemburg. The genuine works of this mafter are exceeding fcarce •, but, his 
 difciple John Vander Lis, imitated his manner fo fuccefsfully, that the paintings 
 of Lis, are very often taken for the works of his matter. 
 
 Charles Francis POERSON. 
 Painted Ilijlory, and Portrait. 
 Died 172/5, aged 72. 
 He was born at Paris, in 1653, and was a difciple of Noel Coypel, by whofe 
 instruction he proved a confiderable painter, in hiltory as well as in portrait. 
 His promifing talents procured him the countenance and protection of Monf. 
 2 Manfard • 
 
POL f 475 ] POL 
 
 Manfard •, by whofe recommendation he was introduced to the Court of LewiN 
 XIV. and appointed to paint the portrait of that monarch •, in which he fucceeded 
 fo well, that he was honoured with the order of S. Lazarus. 
 
 By the favour of his patron, who had conceived a very high opinion of the 
 merit of Poerfon, he was employed at the hofpital of the invalids ; but, when 
 the work was near finifhed, it did not appear, to the befc judges, a commendable 
 performance, either as to the compofition or execution ; nor equal to what was 
 expected from the character of the artift. For that reafon Manfard caufed it 
 to be intirely defaced, to quiet the fpleen of the multitude of criticks, who were 
 very loud and fevere in their cenfures. It certainly muft have been a fignal 
 mortification to the artift, to obferve fo general a contempt of his work ; but he 
 had a much greater mortification, when he faw Bon Boullongne who had lately 
 accomplifiied his ftudies at Rome, undertake the fame work, and fucceed in it 
 with univerfal applaufe. 
 
 However, his protector Manfard found out a means, fomewhat to raife his 
 fpirits from their dejection, by prevailing on the King of France, to appoint him 
 director of the French academy at Rome ; which ftation he filled with great 
 honour, and died Prince of the academy of S. Luke, to which he was elected 
 on the death of Carlo Maratti in i j 1 3. 
 
 P O L I D O R E. Vid. Glauber. 
 
 POLIDORO da Caravaggio. 
 
 Painted Hiftory, Land/cape, Animals., and Crotefqiie. 
 Died 1543, aged 51. 
 
 This extraordinary artift was born at Caravaggio in the Milanefe, in 1492, 
 and went young to Rome; where, to the aftonifhment of all the painters, the 
 feeds of that incomparable genius unfolded, which afterwards proved an orna- 
 ment to the profeffion. For, Polidoro was in fuch narrow circumftances, that 
 he was obliged to attend as a labourer, in preparing the ftucco for the artifts, 
 and continued -in that mean occupation till he was eighteen years of age. 
 
 At that period, being employed to attend on Giovanni da Udino, and atten- 
 tively obferving his manner of working, he was fo wonderfully affected, and 
 animated with a defire to learn the art of painting, that he folicited fome of the 
 young painters, who aflifted Raphael in his works at the Vatican, to teach him 
 the rules of defign. He ftudied their inftructions with moft laborious applica- 
 tion, and attached himielf particularly to Maturino, a young Florentine, who at 
 that time painted in the Pope's chapel, and was accounted an excellent defigner 
 in the ftyle of the antique. Polidoro practifed inceffantly under the directions of 
 Maturino, and in a very fhort fpace of time, gave fuch proofs of a fuperior 
 genius, as excited the admiration, and even the aftonifhment of all the artifts at 
 Rome, more efpecially of thofe, \yho remembered his late fervile occupation. 
 
 A fimilarity of tafte and talents in Polidoro, and his inftructor, produced a 
 difinterefted affection in both ; and they determined, during the remainder of 
 their lives, to aflbciate as brothers, to live and labour together, and to have but 
 one purie, as they appeared to have but one heart ; nor did they ever violate 
 that friendly compact, till the death of Maturino. 
 
 P p P From 
 
POL [ 476 ] POL 
 
 Fronv nature Polidoro poflefled a lively and fertile genius, and the rapidity 
 of his progreis fo furpriied and delighted Raphael, that he engaged him as one 
 or" his ulliftants at the Vatican ; where he gained more honour than any of the 
 difciples of that great mafter. I Be had obicrved that Raphael formed his tafte 
 of defign, by his peculiar attention to the antique •, and therefore he devoted his 
 whole time to that ftudy, and fpent intire days and nights in defigning after 
 thole incomparable models •, till at laft he made himfclf eminent as well for the 
 extreme coivcctiiefs of his defign, as for the grandeur of his tafte. He was 
 particularly fond of the antique bas-relief, and imitated it lb happily in many of 
 his compofitions, that his works in that (tyle, are confidered as the ftandard of 
 fine talle, and true elegance. 
 
 He underftood, and practifed the Chiaro-Scuro, in a degree fuperior to any 
 of the Roman fchool ; and as hejoined the ftudy of nature to the knowledge of 
 the antique, his works (hew a beautiful mixture of both. The airs of his heads 
 are graceful., his attitudes well chofen, his draperies difpofed with eafe and 
 elegance, and his figures have a noble expreffion. His pencil is light, foft, and 
 free, and it is impoffible for ajudicious eye to behold his performances, and not 
 admire them. When he paints the frizes of antient architecture, or when his 
 fubject requires vafes, ftatues, urns, or the apparatus for facrifices, to be intro- 
 duced as ornaments, he defigned them admirably, and always gave them the 
 true air of Greek and Roman antiquity. He finithed an incredible number of 
 hiftorical pictures at Rome, both in frefco and oil, in conjunction with Matu- 
 rino •, few of the churches, palaces, or gardens, being without fome of his 
 paintings. 
 
 But, amidft all the happinefs that fame or fortune could confer on him, he 
 was forced to fly from Rome when it was ftormed and pillaged, and compelled, 
 along widi other eminent artifts, to feek for refuge in other cities of Italy. At 
 firit he retired to Naples, where he met with no encouragement, and from 
 thence vifited Medina in Sicily, where he was employed to paint the triumphal 
 arches, erected for the reception of Charles V. after lib victory at Tunis •, and 
 by that and other grand compofhions, he obtained a large fum of money, and 
 very great reputation. 
 
 Thus enriched, and Rome being refcored to its peace, he was impatient to 
 return to that city -, and the day before his intended departure, he drew all his 
 money from the bank of Mcilina. But, his valet, who was a Sicilian,, knowing 
 the intention of his mailer, and having dilcovered that a confiderable fum was 
 in his cuftody, confpired with fome other affafiins, who murdered Polidoro in 
 his bed ; and to avert all fufpicion of the real murderers, they depofited the 
 bodv at the door of a lady who had been a favourite of Polidoro, to induce the 
 pub'lick to believe, that he had received his death from a rival. 
 
 The aflb'Tins lied that night from Meffina, as foon as the plunder was divided, 
 except the valet, who concluded himlelf iecure from conviction ; and the next 
 morning he went, as if conducted by the hand of providence, to wait or 1 
 nobleman who had been a moll cordial friend to Po'idore, to acquaint him v. 
 the death of his mailer. But the Count replied, that Polidoro had too much 
 probity and goodnefs to excite the enmity of any ; and therefore, he was 
 perfuaded that none could be guilty of fuch a villany, but his valet. And as 
 he-obferved a vifibie alteration in the countenance of that aflaflin, he caufed him 
 •; to 
 
POO [ 477 ] POO 
 
 to be tortured, which foon urged him to cor.fefs the whole tranfaction ; and he 
 differed the judpunifhment of his crime, his flefh being torn off with burning 
 pincers, as he was carried to execution. 
 
 The laft work of this great m after was a Crucifixion, in which he defio-ned a 
 multitude of figures, cr horfemen, foldiers, Pharifees, women, and children, 
 who attended on that occafion ; and he difpofed them with the utmoft elepance, 
 and propriety of character. The whole was painted admirably, and in that 
 compofition he feemed defirous to give an inconteftable proof of his refined 
 tafte, his extenfive genius, and the power of his pencil. 
 
 POMERANCIO. Vid. Christofano Roncalli. 
 Antonio and Nicolo POMERANCIO. Vid. Circignano. 
 
 Rachel Van POOL, or Ruisch. 
 
 Painted Fruit, and Flowers. 
 Died 1750, aged 86. 
 
 This paintrefs was born at Amfterdam, in 1664, the daughter of the famous 
 anatomy profeffor Ruiich, and was indructed in the art by William Van Aflft, 
 an eminent painter of flowers. In a few years (lie appeared equal to that mafter, 
 and wanted no other affiftance but to ftudy nature, which (lie did with a curious 
 and penetrating eye, and imitated nature in fo lovely a manner, that (he was 
 confidered almoft as a prodigy, and allowed to be the mod able artift of her 
 time. Her choice of objects was elegant •, her manner of painting them was 
 exquifite ; and (he contralted them in all her compofitions with unulual beauty 
 and delicacy •, fo that her reputation was fpread through mod parts of Europe. 
 
 She was appointed court paintrefs to the Elector Palatine, and that Prince, as a 
 teftimony of refpect for her merit, fent her a complete fet of filver furniture for 
 her toilet, confiding of twenty-eight pieces, and fix candlefticks of wrought 
 plate for wax tapers. Pie did indeed engrofs the greated part of her works ; 
 and not only payed for them with a princely liberality, but always made her 
 fome additional prefent. 
 
 It is very remarkable, that (he continued to paint to the lad period of a very 
 long life •, and that the pictures finiihed by her at t-be age of eighty, were as neatly 
 penciled, and worked up as highly, as thofe which had been painted when (lie was 
 thirty. She was one of the mod complete artids in her ftyle, that almoft any 
 age hath produced. She compofed her fubjects with extraordinary (kill and 
 judgement •, ihe worked them up to the higheft degree of traniparence ; and 
 her colouring was not only beautiful, but it {hewed fo much truth and nature, 
 that every plant, flower, or infect might delude the eye to believe them real ; 
 and her paintings were allowed to be, in many refpects, fuperior to thofe of 
 Mignon. Her pictures are uncommonly rare, being treafured up as curiofities 
 in Holland and Germany, in the cabinets of princes, or in the collections of the 
 molt wealthy connoiiieurs. 
 
 P p p 2 J V R I A E N 
 
POO [ 478 ] P O R 
 
 JURIAEN POOL. 
 Painted Portrait. 
 Died 1745, aged 79. 
 
 He was born at Amfterdam, in 1666, and was the hufband of the celebrated 
 Rachel Ruifch. He excelled in painting portraits, and his lingular 'merit in 
 that ftyle, recommended him to the efteem of Rachel, preferably to ieveral 
 other competitors, of much greater confequence and fortune. 
 
 He fhared the favour of the Elector Palatine along with his wife, to whom 
 that prince was a mod munificent patron, and he admired the works of both. 
 After the death of the Elector, Juriaen intirely quitted his profeffion of painting-, 
 to the great regret of all the lovers of the art, who could never afiign any juft 
 caufe for fo fudden a refolution ; and he gave himfelf up wholly to a commercial 
 life. 
 
 Giovanni Antonio Licinio P ORDENONE, called the Old. 
 
 Painted Hijlory. 
 Died 1540, aged 56. 
 
 He was born at Pordenone, a caftle in Friuli, about twenty-five miles diftant 
 from Udino, in 1484, and without any particular inftructor, merely by the 
 ftrength of a happy natural genius, aided by an invincible love to the art of 
 painting, he arrived at a very high degree of perfection ; having only lludied 
 carefully the works of Giorgione. But, to accomplifh himfelf ftill more efFec? 
 tually, he applied himfelf to ftudy nature •, he defigned human figures after 
 living models •, and fketched every action, air, and attitude, that his eye or his 
 judgement approved ; and endeavoured to imitate the beautiful effects of light 
 and ihadow, fo as to give every object a natural and becoming relief. By which 
 courfe of ftudy and practice, he became an artift of the firft rank, and was 
 univerfally confidered as one of the bed painters of his time. 
 
 At firlt he painted in frefco with great applaufe, and executed feveral grand 
 compofitions in that manner of painting at Udino, Vicenza, Mantua, and 
 Venice •, but he alfo painted in oil, with an equal degree of excellence ; and 
 diftinguifhed himfelf above all his cotemporaries, in the art of fore-fhortening 
 his figures. His invention was fertile ; his tafte of defign, good •, his colouring 
 like that of Titian ; and his works had a great deal of force, with an appearance 
 of eafe. 
 
 A ftrong emulation perpetually fubfifted between Pordenone and Titian ; and 
 the former painted a chapel in the church of S. Roch, profeiTedly in competition 
 with the latter -, with which performance the fenate of Venice feemed fo highly 
 pleafed, that they appointed him a penfion during his life, as a publick reward 
 for his merit. However, although it was no inconfiderable honour to him, to 
 be able to difpute the fuperiority with fo applauded a mafter as Titian ; and 
 though partiality, prejudice, and want of competent judgement, might occafion 
 many to decide in favour of Pordenone ; yet pofterity, which is always impartial, 
 hath determined the conteft in favour of the other. If we may rely on the 
 teftimony of Vafari, he affirms, that the works of Pordenone arc far inferior to 
 thole of Titian ■, and that it was only from a fpirit of envy and malignity to that 
 
 incomparable 
 
POR [ 479 ] P O R 
 
 incomparable artift, that Pordenone was, by fome judges, placed on an equality 
 with him. 
 
 And that this was certainly the cafe, may be conjectured from his undertak- 
 ings at Genoa. For, the Prince Doria having employed Pierino del Vaga, to 
 decorate fome of the grand apartments in his palace, and obferving him to be 
 too dilatory in the execution, engaged Pordenone to proceed in the work, and 
 he painted the fable of Jafon failing in fearch of the Golden Fleece. But, when 
 his work was compared with that which Pierino had finifhed, the prince was fo 
 greatly difiatisfied, that he immediately difmifTed him, and he returned to 
 Venice. 
 
 From that city he was invited to Ferrara, by the Duke, who carefled him 
 exceedingly, and fhewed him many marks of his favour and efteem ; but he 
 died there foon after, and it was fuppofed, that his death was occafioned by a 
 dofe of poifon, adminiftered to him by fome of his own profefTion, who envied, 
 him thole honours, which the Duke condefcended to confer upon him. 
 
 Giulio Licinio PORDENONE, called the Young. 
 
 Painted Hijlory. 
 Died 15 70, aged 50. 
 
 He was born at Venice, in 1520, and was the nephew as well as the difciple 
 of Giovanni Antonio Pordenone. He imitated the manner of his uncle, and 
 painted fo like him, that their works are often miftaken. That performance by 
 which his reputation is perpetuated, is a painting in frcfco, on the front of a 
 houfe in Auglburg, which is fufficient to afcertain the ftyle, and the merit of 
 this matter. 
 
 Giuseppe PORTA, called S a t v 1 a t i. 
 Painted Hiflcry. 
 Died 1585, aged 50. 
 
 He was born at Caftel-Novo, in 1535, and being fent very young to Rome, 
 configned to the care of his uncle, who was fecretary to the Archbifhop of Pifa,, 
 he was placed as a difciple with Francefco Salviati ; under whofe direction, in a 
 fhort fpace of time, he acquired an excellent tafte of defign, with a beautiful ftyle 
 of colouring, and was ever after diftinguifhed by the name of his mafter Salviati. 
 
 Francefco having received an invitation to Venice, took his difciple along with 
 him, and Porta finding great encouragement in that city, made it his place of 
 refidence, and moll of his future works were for the churches and palaces at 
 Venice. He had a good tafte of defign, a ready and fine invention, and a tone 
 of colouring not much inferior to the greateft mafters ; but, his compofitions. 
 would have appeared abundantly more pleafing, if he had not marked the 
 rnufcular parts of his figures too ftrong. 
 
 Flis moft capital performances (though many of his productions deferve the 
 largeft commendation) are in the palace of the Doge ; of which the fubjefts are 
 the Sybils, the Prophets, and the Cardinal Virtues, which have been exceedingly 
 admired and applauded. 
 
 An d r c A 
 
P O S [ 480 ] P o s 
 
 Andrea P O S S O, or P o z z o. 
 Painted Architecture., Hijiory, Land/cape, mid Portrait. 
 Died 1709, aged 67. 
 
 He was born at Trent, in 1642, and at firft was inflructcd by an artift of 
 very mean abilities, who obferved in his difciple a progrefs that foon rendered 
 him iuperior to himfelf •, and being unwilling to appear incapable of inftructing 
 him farther in the art of painting, he let him to defign after the bed pictures 
 that were to be feen in that city. By a continual application to thofc (Indies, 
 Polio made a great number of good defigns, even while he was yet very young. 
 But, afterwards he became the difciple of a painter, who had ftudied feveral 
 years at Rome, and at that time accidentally lived at Trent ; whofe works 
 mewed a much better tade of defign, and greater elegance in the dilpofition of 
 his fubjects, than any of the artifts who practifed there. 
 
 With that painter he went to Milan as his pupil ; and yet, notwithftanding 
 the many proofs of an elevated capacity, and genius, which that mailer could 
 not but dilcover in his difciple, he treated him molt ungcneroufly ; and would 
 have prevented him from vifiting either Rome or Venice, though for that only 
 purpofe, he had with great difficulty faved every fma'l fum that fell into his 
 hands. However, he found a patron and protector in Milan, who was a lover 
 of the art, and whofe liberality afforded him the opportunity he dented, of 
 purfuing his favourite dudies of perspective and architecture •, who alfo rewarded 
 him in a noble manner, far beyond the expectation of Poffo, for every fmall work 
 lie prefented. But unhappily, by having plenty of money to fquander away, he 
 fell into vicious company, and grew extremely diflblute •, till he was fo affected 
 by a pathetick difcourle of an eminent preacher, that he fuddenly refolved to 
 retire from the world, and at the age of twenty-three, was admitted into the 
 focicty of the Jefuites. 
 
 Thofe fathers having obferved Poflb to be fond of defigning, and painting, 
 having alfo feen two pictures of his own invention, and being always invariably 
 attentive to every incident that might conduce to the benefit of their own body, 
 refolved to have him inftructed by an able artift •, and they prevailed with 
 Ludovico Scaramucchia to take Poflb under his care. By the precepts of that 
 mafter, he acquired a grand and magnificent ftyle of compofition, and painted 
 feveral fubjects taken from facred hiftory, in frefco as well as in oil. Every 
 work he finifhed, added dill to his reputation, and at laft he became confeflldly 
 Iuperior to all his cotemporaries. 
 
 He executed fome noble defigns at Turin, and being called alfo to Rome, he 
 there indulged his genius, by ftudying accurately the molt fuperb ftructures in 
 that city ; and performed a great many admirable' works in different parts of 
 Rome, and in the principal cities of Italy, which aftonilhed every judicious eye, 
 that obferved the variety, the elegance, the grandeur, and the elevation of his 
 id. .1 . 
 
 No painter could poflefs a more exter-.five knowledge of perfpective, than 
 Polio ; he was a'ofolute mafter of the true principles of the art, and not only had 
 a clear conception of them himfelf, but he bad the fkill to explain them 
 intelligibly to others ; and thofe volumes which he publifhed on that fubject, 
 *vill be as lading a proof of his excellence in writing, as his works are of his 
 
 excellence 
 
P O S [ 481 ] P O 9 
 
 excellence in painting. All his defigns in perfpective architecture are furpriz- 
 ingly grand, rich, and in an exquifite tafte ; fo as not only to entertain the eye 
 of a fpe&ator, but pleafingly to deceive it. He excelled in hiftory, landfcape, 
 and portrait, and almoft in every branch of the art, though his correctnefs and 
 expreffion were not equal to his elevated ideas •, but, in architecture and 
 perfpective, he was critically and wonderfully exact. 
 
 His fineftyle in portrait painting, procured him the particular efteem of the 
 Emperor Leopold I, who invited him to his court, fat to him for his portrait, 
 and appointed him to paint the portrait of the Archduke Jofeph •, which was 
 extremely applauded, as well for the likenefs, as for the fpirit and dignity of the 
 attitude. Among a number of hiftorical fubjects which he painted at Vienna, 
 that of the Wife-Men offering to Chrift, is particularly mentioned, as being fo 
 highly admired by the Emprefs, that fhe ordered it to be placed in her own 
 chapel. 
 
 He died at Vienna •, and the portrait of Poffo, painted by himfelf, in a very 
 exprefiive attitude, with a piece of architecture for the back-ground, is at prefent 
 in the celebrated gallery of painters at Florence. 
 
 Francis POST. 
 
 Painted Landfcape Views of the Weft Indies. 
 Died 1680. 
 
 He was born at Haerlem, the fon of John Poft a painter on glafs, who ■ 
 taught him defign and colouring; and he practifed under the infpection of his 
 father, till he was fufficiently qualified to appear with credit in his profeffion. 
 He had a brother who was an expert architect, and for fome years had been 
 retained in the fervice of Prince Maurice of Naffau •, and by his recommendation 
 Francis was alio employed by the Prince, and went in his train to the Weft 
 Indies. There he fketched the moft extraordinary views of that country after 
 nature, and at his return to Holland, he fcarce ever painted any other fubjects. 
 
 His works, in his life time, were greatly admired, not only on account of 
 the novelty of his fcenery, but alfo as they were well handled. Thefituations 
 in his landscapes are generally agreeable, and well chofen ; his ikies are clear,. 
 and hisdiftances remarkably blue ; his figures have no great elegance in their' 
 forms, nor have they correctnefs of outline, but they fill their places with, 
 propriety, and they fhew the drefs, manners, fports, employments, or amufe- 
 ments of the natives ofthofe countries, very diftinctly. In moft of his pictures, 
 the plants, trees, fruits, fifties, and wild as well as tame animals, are defcribed 
 with truth and nature ; his trees are touched freely, and ibme of them are loofe,, 
 and finiftied with a mafterly pencil ; but all of them have a true refemblance to 
 the models from which they were defigned. However, the pictures of this mailer's 
 hand would undoubtedly have a much more pleafing effect, if the fore-grounds 
 were not fo frequently too dark, and fome of his verdures too green, by which 
 means the harmony of the whole is very often deftroyed. And it ought alfo to 
 be obferved, that there is a great inequality of merit in the landfcapes of Poft, 
 many of them being truly worthy of commendation, and fame of them very 
 indifferent, and flight!}- Ibifued. 
 
 P.A.U L 
 
POU [482] POU 
 
 Paul POTTER. 
 
 Painted Cattle, and Land/cape. 
 
 Died 1654, aged 29. 
 
 He was born at Enkhyfcn, in 1625, and learned the principles of painting 
 from his father, Peter Potter, who was but a moderate artifl: ; yet, by the power 
 of an enlarged genius, and uncommon capacity, which he difcovered even in 
 his infancy, his improvement was fo extraordinary, that he was confidered as a 
 prodigy, and appeared an expert mafter in his profeffion, at the age of fifteen. 
 
 His fubjects were landfcapes, with different animals •, but principally cows, 
 oxen, fheep, and goats, which he painted in the higheft perfection. His 
 colouring is foft, agreeable, and transparent, and appears to be true nature ; his 
 touch is free, and exceedingly delicate, and his outline very correct. His ikies, 
 trees, and diftances, fhew a remarkable freedom of hand ; and a mafterly eafe 
 and negligence •, but, his animals are cxquifitely finifhed, and touched with 
 abundance of fpirit. 
 
 He is efteemed one of the beft painters of the Low Countries, not only for 
 the delicacy of his pencil, but for his exact imitation of nature, which he 
 inceflantly ftudied, and reprefented in a lovely manner. His only amufement 
 was walking into the fields ■, and even that amufement he fo managed, as to 
 make it conduce to the advancement of his knowledge in the art ; for, he 
 always fketched every fcene and object on the fpot, and afterwards compofed 
 his fubjects from his drawings •, though, frequently he etched thofe fketches, 
 and the prints are defervedly very eftimable. 
 
 The paintings of Potter are exceedingly coveted, and bear a high price ; 
 becaufe, befide their intrinfick merit, the artifl: having died young, and not 
 painted a great number of pictures, they are now fcarcely to be procured at any 
 rate. One landicape which originally he painted for the Countels of Solms, 
 was afterwards fold (as Houbraken affirms) to Jacob Van Hoeck, for two 
 thou fund florins. 
 
 The correctnefs of the animals of Potter, in their various actions and attitudes, 
 the natural verdure of his trees, and the carelefs manner of his leafing, are 
 fuflicient marks of the genuine works of that mafler. 
 
 o 
 
 Peter POURBUS, called the Old. 
 Painted Hiftory., and Portrait. 
 Died 1683, aged 73. 
 He was born at Gouda, in 1610, but fpent the greateft part of his life at 
 Bruges, where he was educated, and inftructed in the art of painting. He 
 was very fuccefsful in hiftorical compofitions, and alfo very eminent in portrait ; 
 in which ftyle his moll capital picture, (according to Van Mander) is the portrait 
 of the Duke of Alenfon ; which is accounted excellent in refpect of the 
 refemblance, as well as of the handling and colour. But, he painted a great 
 number of hiftorical fubjects, for the churches and convents ; and the perfor- 
 mance which is mentioned as his principal work, is the hiftory of S. Hubert, 
 which is placed in the great church at Gouda. According to the defcription of 
 Sandrart, it reprefents a Bifhop baptizing two Catechumens, attended by two 
 
 5 perfons 
 
P O U [ 483 ] P o u 
 
 perfons who hold wax tapers ; and the back ground, is a perfpective view of the 
 infide of a temple, executed with great elegance. 
 
 Francis POURBUS, called the Young. 
 
 Painted Portrait, Hiftory, and Animals. 
 * Died 1580, aged 40. 
 
 He was born at Bruges, in 1540, and received his firft inflxucYion from his 
 father Peter Pourbus, but afterwards he was the difciple of Francis Floris ; 
 under whom his proficiency was fo great, that Francis ufed frequently to 
 compliment him fo far, as to call him his mafter. And in reality he far 
 excelled Floris in colouring, as he alfo proved fuperior to his father, in every 
 branch of his profeffion. 
 
 He painted all kinds of animals extremely well, and in his landfcapes he was 
 fo exact, that every fpecies of fruit or foreft trees might readily be diftino-uifhed. 
 However his greateft excellence eonfifted in portrait, which he painted with life, 
 fpirit, and ftrong likenefs •, and in all the heads of this artifl, there may be 
 obferved great truth, and admirable colouring. 
 
 Francis POURBUS. 
 
 Painted Hiftory, and Portrait. 
 Died 1622, aged 52. 
 
 This painter was the fon of Francis Pourbus, born in 1570, and he acquired 
 the knowledge of painting from his father ; but in fome years, he furpaffed him 
 in feveral branches of his art. He travelled through different parts of Europe, 
 and fixed at laft at Paris, as he there found an encouragement for portrait 
 painting, equal to his wifh • for, he gave his figures a good expreffion, and 
 difpofed his draperies with a noble fimplicity. In the hiftorical fubjects which 
 he defigned, he was remarkably correct -, and in all his works he fhewed a very 
 pleafing and commendable tone of colouring. 
 
 His own portrait, painted by himfelf, is honoured with a place in the famous 
 Florentine gallery ; and in the collection of the French King!, are Hill prefcrved 
 the portraits of Henry IV, and Mary de Medicis, by this matter. And in the 
 church of the Abbey of S. Martin at Tournay, there is a Crucifixion, painted by 
 Pourbus, which is very highly commended. 
 
 Nicolo POUSSIN. 
 Painted Hiftory, and Landfcapes, 
 Died 1665, aged 71. 
 This eminent painter was born in Normandy, at a fmall city called Andel or 
 Andily, in 1594, and was at firft inftructed, by one Ferdinand Elk a portrait 
 painter, for a few months, but afterwards he fpent about a monch with 
 L' Alternant. Yet finding both thole artifts incapable of inftructihg him, in a 
 manner fuitable to thole elevated ideas he had conceived of the arc, he applied 
 
 * De Piles, who allows Francis to be the fon of Peter Pourbus, fays, that he died in 1622 ; 
 but he n.iftakes the fon, fir the gran Jlbn of Peter, who did die in 1622; for, the fon of Peter, 
 died, as Saridrart affirms', in 1500. 
 
 Q^q q himfelf 
 
P O U [ 484 ] P o u 
 
 himfelf to ftudy after the works of fuch matters, as were confefiedly of the firft 
 rank. By that means his improvement was fo confiderable, that it procured 
 him fome employment ; but as his utmoft ambition was to fee Rome, he 
 haftened as much as pofRble, to finiih a few paintings in which he was engaged, 
 and immediately travelled to Italy. 
 
 Sandrart fays, he began his ftudies at Rome in 1622, in the twenty-eighth 
 year of his age, and other very authentick writers affirm that his arrival at 
 Rome was in 1624, when he was thirty •, but in that city he had many difficulties 
 to contend with, by the death of his principal friend the Cavaliere Marino. He 
 applied himfelf, however, with redoubled induftry to his ftudies, and copied 
 fcveral of the works of Titian, which for a time improved his ftyle of colouring ; 
 and alio attentively obferved the excellencies of Raphael, and Domenichino ; 
 from whole works, aflifted by his tafte for the antique, he imbibed that correct 
 tafte of defign, and that truth of expreffion, which animate and adorn all his 
 compofitions. He indeed devoted almoft his whole attention to the antique 
 ftatues, and bas-reliefs, which appeared to him more worthy of curious and 
 critical obfervation, than the fineft efforts of modern genius in painting ; for, 
 he feemed perfuaded, that every grace and beauty of the human form, was 
 comprifed in thofe antient fculptures, which have juftly been the admiration of 
 the judicious in all fubfequent ages. 
 
 The firft fubjects he painted were Bacchanalians, fatyrs, and nymphs, which 
 he introduced in his landfcapes, the ftories being principally taken from Ovid ; 
 and he enriched his fcenes with elegant buildings, which he defigned after thofe 
 magnificent edifices, that are in Rome and its environs. But afterwards, his 
 fubjects were fometimes taken from the facred hiftory, and oftener from the 
 Greek, and Roman ; in which he always obferved the coftume ftrictly, with an 
 equal degree of judgement and learning. Ashe had been exceedingly ftruck 
 with the works of Titian at his firft going to Rome, he endeavoured to imitate 
 his colouring ; but when once he gave himfelf up to an enthufiaftick admiration 
 of Raphael and the antique, he altered his tone of colour intirely, and loft all 
 ■that warmth in his carnations, which appeared in his early productions. 
 
 His invention was as happy, as it was lively, and he defigned with fpirit and 
 correclnefs ; though, he was not always happy in the difpofition of his figures, 
 which too often were diftributcd in the fame line, by his want of ftudying the 
 chiaro-fcuro as he ought. In perfpective and architecture he was perfectly 
 accomplifhed ; which enabled him to give an air of grandeur to his landfcapes, 
 that captivates the moft judicious. The fcenes and fituations of his landfcapes, 
 are exceflrvely pleafing, and they receive a peculiar beauty, from the novelty of 
 the objects he introduces, from the variety of his trees, buildings, and other 
 ornamental incidents ; every part being lightly and delicately touched, and 
 exhibiting at once great truth, and equal judgement. 
 
 By his fuperior fondnefs for the ar.dque, the hiftorical compofitions of Pouffin 
 are very correct, and the airs and at.itudes of his figures are generally beautiful, 
 though not always graceful •, but by his neglecting to ftudy nature with a pro- 
 portionable attention, his airs and attitudes want that variety, which perpetually 
 entertains, and delights us. The colouring or Pouffin did not in any degree 
 correfpond with his other powers in the art ; it is cold, feeble, and hard, and 
 more fimilar to the marble of thofe antiques which lie rapturoufiy admired, than 
 
 ta 
 
POU [ 485 ] POU 
 
 to the carnations of nature, or the flefhy tints of other eminent painters. And 
 either from his being unacquainted with the true principles of colouring, or 
 defpifing the art of colouring in comparifon with defign, he feems never even to 
 have endeavoured to alter his ftyle in that refpect, though he could not but feel 
 the force of the colouring of Titian, and Guido. 
 
 At his return to Rome from Paris, whither he had been honourably invited 
 by Lewis XIII, he painted for the Prince Juftiniani an hiftorical picture, 
 reprefenting Herod's cruelty, an admirable compofition, in which he gave to 
 every character fuch an expreffion, as could not but excite pity, and terror, in 
 every beholder. And he afterwards finiflied the celebrated pictures of the 
 leven Sacraments of the Romifh church, on which he bellowed the labour of 
 ieveral years. Sandrart afferts, that Pouffin painted thofe defigns more than 
 once, as there is one undoubted original fet of them at Rome, and another at 
 Paris. After perfecting that extenfive work, he defigned the applauded hiftory 
 of Germanicus dying, which is well known to every lover of the art. 
 
 At S. Germain's the altar-piece reprefenting the Laft Supper, is of the hand 
 of Pouffin. The defign is noble, the compofition in the higheft degree accurate, 
 the expreffion ftrong and elegant, and the whole full of fpirit. In the gallery 
 of the Prince Delia Torre at Naples, are to be feen the Annunciation, and the 
 Flight into Egypt, both of them excellent for the compofition, expreffion, and 
 beauty of defign, but in refpect of the colouring defective, like his other works. 
 None of the defigns of Pouffin have been more univerfally admired, than that 
 of Germanicus ; and if he had never painted another picture, he would have 
 gained immortal honour by that alone. 
 
 He never engaged in grand works, but confined himfelf to eafel pictures, for 
 which he had a perpetual demand •, and his method was, to fix the price 
 expected for each, on the back of the picture, which was readily paid. 
 
 There is a remarkable difference in the performances of Nicolo Pouffin •, for, 
 many of thofe which he executed in the declining years of his life, are much 
 inferior to thofe performed in his prime, and middle period. The fame tafte, 
 and the fame genius appear in all, but the handling difcovers an unfteadinefs, 
 that is not obfervable in his earlier works ; as if he continued to paint, when his 
 hand was unequal to his genius. But upon the whole, he is allowed to have been 
 an admirable artilt, and the immenfe price, which his pictures produce in every 
 part of Europe, is an inconteftable proof of his eftablilhed merit. 
 
 Gasp a r POUSSIN, or Dughet. 
 
 Painted T_.andjcc.pe. 
 * Died 1663, aged 63. 
 He was born in France, in 1 600, but was induced to travel to Rome, not 
 only from having a ftrong defire to vilit his filter who was married to Nicolo 
 Pouffin, but likewife out of a love to the art of painting, for which he very early 
 
 * Some authors fay, that Gafpar Poullin was born in i 600, and died in i66^, aged 60 ; and 
 the authors of the Abr^-ge de la Vie des Peintres, differ from all other writers that I have 
 confulted, placing the year of his birth in 161 3, at Rome, and not in France, and fixing his death 
 in 1 O75, at the age of 62, twelve years later than other biographers. But perhaps thofeWntlemen 
 may have fome greater authority for their dates, than the other writers, who aflirm that he was 
 born in 1600, died in 1663, and at the age of 63. 
 
 Q^q q 2 difcovered 
 
P O U [ 486 ] PRE 
 
 difcovered an apt genius. Sandrart fays, that Gafpar was employed at firft, only 
 to prepare the palette, pencils, and colours for Nicolo ; but, by the inftructive 
 precepts, and excellent example of that eminent mafter, he became fo great a 
 proficient, that he gradually rofe into the higheft reputation. While he con- 
 tinued at Rome he changed his name, affuming that of his brother-in-law and 
 benefactor ; and he is known by no other name at this day, than that of Gafpar 
 Pouflin. 
 
 Undoubtedly he is one of the mod celebrated painters of landfcape that ever 
 appeared ; and it is generally thought, no painter ever ftudied nature to better 
 purpofe, or reprefented the effects of land-ftorms more happily than Gafpar ; 
 every tree fhews a proper and natural degree of agitation, every leaf is in 
 motion. His fcenes are always beautifully chofen, as alfo are the fites of his 
 buildings •, and thole buildings have a pleating effect, by a mixture of fimplicity 
 and elegance. His diftances recede from the eye with abundance of peri pective 
 beauty, his grounds are charmingly broken, and his figures, trees, and other 
 objects, are lb judicioufly placed, and proportioned to the diftance, as to create a 
 molt agreeable deception. He had a free and delicate manner of penciling, and 
 was exceedingly expeditious in his work ; for his imagination was fcarcely more 
 ready to invent, than his hand was to execute ; and it is confidently reported 
 by authentic writers, that he finifhed a large landfcape, and inferted all the re- 
 quifite figures, within the compafs of one day. 
 
 By fome connoiffeurs it has been obferved, that the pictures of Gafpar have 
 fometimes too great a verdure j that his maffes are often too much of one 
 colour ; and that frequently there is too much blacknefs in the fore-grounds of 
 fome of his compofitions •, but, notwithftanding the imputation of fuch fmall 
 imperfections, his paintings are always truly beautiful. 
 
 Gafpar had three manners in his paintings, which are diftinguifhable without 
 any great nicety. The firft was rather dry, and the laft, though agreeable, was 
 unequal to thofe of his middle time. But, his fecond manner was, by many 
 decrees, his beft, as it was more fimple, and more learned •, and his colouring 
 appeared lb lovely, fofrefn, fo full of truth and nature, that no eye can behold 
 one of his landfcapes of that period, without feeling a rapturous degree of ad- 
 miration. 
 
 ! ie defigned human figures but very indifferently, and for that reafon, he fre- 
 quently prevailed on Nicolo to paint them for him ; and they were always in- 
 troduced with the utmoft propriety, and judgement. . No commendation can 
 be beftowed on the works of Gafpar, that can feem fuperior to their defert ; 
 and the exceeding great prices they afford, fhew that they are defervedly admired 
 in every nation, where the art of painting is either cultivated, or underftood. 
 
 Chevalier Mattia P R E T I, called Calaerese. 
 
 Painted llijlcry. 
 Died 1699, aged 86. 
 He was born in Calabria, in * 1 61 3, but ftudied at Rome, and principally at- 
 tended to the antique ftatues, and the works of Raphael, Buonaroti, and An- 
 
 * The authors of the Abrege Uj la Vie des Peintres in 410. vol. 1, p. 3+7, fay, that Preti was 
 liorn in 1643, and died in 1699, which makes him but 56, a: his death ; and yet they fay he died 
 at 86 years of age, whic an overfight. They fay alfo th..i he Wuj a diiciple of Lanfranc, 
 
 though other authors affirm, that he was the difciple of Gucrcino. 
 
 2 nibal 
 
PRE [ 487 ] P R I 
 
 nibal Caracci. By that means having acquired a good tafte of defign, he placed 
 himfelf as a difciple in the fchool of Guercino, where he learned a firm manner 
 of colouring, and a remarkable freedom of pencil. But, being ftill ambitious 
 of gaining improvement, he travelled through Venice, Bologna, Parma, Milan, 
 and Genoa, to obferve the works of the moft celebrated painters which are pre- 
 ferved in thofe cities ; and he afterwards vifited Rubens, to obtain the advantage 
 of his converfation. By that method of ftudy, he qualified himfelf to appear 
 with all pofiible honour in his profeffion, and his paintings were exceedingly- 
 prized, and coveted. 
 
 Calabrefc had a ready and rich invention, his ftyle of compofuion was grand, 
 his manner of colouring bold and full of force, and his management of the 
 chiaro-fcuro was equal to that ofhismafter Guercino, by which his pictures had 
 a great effect ; yet frequently he was incorrect, and not only wanted grace, but 
 elegance of choice. 
 
 The academy of S. Luke at Rome, having appointed the Triumph of Ofyris 
 the conqueror of Egypt, as a fubject for an hiftorical picture, and propofed a 
 confiderable premium for the beft performance; the fuperiority was adjudged 
 to Preti, though ieveral of his cotemporaries,, who were competitors for the 
 prize, were of the firft rank among the artifts. 
 
 In the Palazzo Zambeccari at Bologna is to be fcen the figure of Homer, an 
 half-length as large as life. It is painted in his ufual ftrong manner •, the head 
 and the hands are beautiful, and excellent •, but the fhadows are too black, and 
 the colouring is rather bluifli. And in the Palazzo Ratta at Bologna, there is a 
 picture by this mailer, reprefenting fome faint coming out of a tomb, which is 
 compofed in the ftyle and tafte of Paolo Veronefe, and admirably executed. 
 The fhadows of the principal figure are indeed fomewhat too dark, according to 
 his general manner •, but all together the colouring has a fine effect, and the 
 defign is agreeable. 
 
 Francesco PRIMATICCIO. 
 
 Painted Hiftcry. 
 
 Died 1570, aged 80. 
 
 He was born at Bologna, in 1490, of a noble family, and in his youth was 
 intended to be bred up to commercial bufinefs ; but having too elevated a mind 
 to adapt himfelf to that occupation, and prompted by his natural genius, he 
 began to learn defign and colouring from Innocenzio da Imola, and Bagna Ca- 
 vallo ; and in a fhort time was enabled, by his inceffant induftry, to give ma- 
 nifeft proofs of extraordinary talents. He then quitted his native city, and went 
 to Mantua, where he became a difciple of Julio Romano •, who at that time was 
 engaged in feveral grand works, at the palace of the Duke, being affifted by a 
 number of young artifts, who had received their inftrudtion in his fchool. Pri- 
 maticcio continued under the direction of Julio for fix years, and by indefati- 
 gable application to his profeffion, acquired an excellent knowledge of colour- 
 ing, and a fine tafte of compofuion. He worked in frefco as well as in oil, in fo 
 diftinguifhed a manner, that he was accounted fuperior to the beftof his fellow- 
 diftiples, both in colouring and defign. 
 
 PrimaticcM- 
 
P R I f 488 ] PRO 
 
 Primaticcio effectually eftabliftied himfelf in the favour of the Duke of 
 Mantua, by his performances in one of the grand apartments of his palace ; 
 and on that account, he vas recommended in the ftrongeft terms by that Prince, 
 to Francis, the King of France, who took him immediately into his fervice, 
 and appointed him to execute a great number of defigns in frefco and in oil. 
 This artift was not lefs fortunate and fuccefsful with the King, than he had 
 before been with the Duke ; his works were approved and admired, and he 
 adorned Fontainbleau, and molt of the Royal palaces in France, with his com- 
 pofitions. 
 
 At the fame time that Primaticcio was engaged by Francis, Roflb was alfo 
 retained and employed at his court, between which two painters, a violent rival- 
 fhip and jealouly fubfifted •, and it was thought, that the King, who was de- 
 firous to quiet their diflention, lent the former to Rome to purchale antiques, as 
 that Monarch had conceived the higheft opinion of the tafte and integrity of 
 Primaticcio. That artift acquitted himfelf of his commiflion very happily, and 
 in a very fhort time colle&ed an * hundred and twenty-five ftatues, bufts, and 
 mutilated figures ; and procured moulds of the moft celebrated ftatues, which 
 were not to be purchafed, fuch as the Laocoon, the Tiber, and Nile, the Venus, 
 Commodus, and Cleopatra ; and from thole moulds Barozzi caft ftatues in brafs, 
 fo exquifitely finilhed, that the beauty of the originals is admirably preferved in 
 the copies. 
 
 He was recalled from Rome, to perfect a large gallery begun by Roflb, but 
 left unfinifhed by the death of that mafter ; and the King, to exprefs his efteem 
 for Primaticcio, and his public approbation of the merit of that eminent mafter, 
 conferred on him the abbey of S. Martin at Troyes, which he enjoyed as long 
 as he lived. 
 
 He compofed well, and was accounted the beft defigner in the fchool of Julio 
 Romano. His attitudes were well underftood, and in thofe he feemed to imi- 
 tate the ftyle of Parmigiano. His touch was light, and his colouring lively •, 
 yet his pictures are not, in many parts, equal to what could be either wifhed or 
 expected. That expeditious manner which he purfued, occafioned him to 
 neglect feveral very effential articles, fuch as correctnefs and nature, which 
 always makes him appear a mannerift. 
 
 Camillo PROCACCINI. 
 
 Painted Hijlcry. 
 Died 1626 aged 80. 
 He was born at Bologna, in 1546, and proved a very eminent arcift, though 
 his works are almoft equally remarkable, for their excellencies, and defecls. He 
 followed the guidance of his own genius, without fufficiently applying himfelf 
 to the ftudy of nature-, and by that means deprived himfelf of the ability to re- 
 prefenthis objects with correftnefs and truth. 
 
 The limbs of his figures are frequently too long, efpecially the legs and arms . 
 the feet and hands are as often too big for the proportion of the body ; and by 
 
 * De Piles makes the number of ftatues brought into France by Primaticcio, an hundred and 
 fouifvore. befutes the bufts ; but Vafari fays, he brought from Rome into Frauce, only an hundred 
 and twenty-five, and according to Sandrart, not above 124. 
 
 2 inju- 
 
PRO [ 489 ] PRO 
 
 injudicioufly defigning fome of his figures of too large a fize, the others look di- 
 minished, and appear too fmall. But, when he allowed himfelf time to revife 
 his work, and ftudy it with proper care, he was capable of drawing correctly ; 
 and his pictures, when attentively executed, were well efteemed, and feemed as 
 different from thofe which were negligently performed, as if they had not been 
 the work of the fame hand. 
 
 Camillo had a ready genius, a ftrong manner of colouring, and an extraordi- 
 nary power of the pencil and freedom of hand ; his draperies were calt in a 
 noble tafte, the airs of his heads were elegant, and his beft works generally (hewed 
 a good expreffion ; fo that in many refpects, he was accounted equal to Ludo- 
 vico Caracci. 
 
 There is a Laft Supper by this mailer, on the infide of the facade of the ca- 
 thedral church at Genoa, which is in a grand ftyle of painting. The figures are 
 confiderably larger than life, and their fize adds a majefty to the compofuion. It 
 is remarkable for a happy invention, and for having greater beauty in the dil- 
 pofition, than appears either in the works of his father Ercole, or his brother 
 Julio Ctefare. The figures in this picture are much more correct, than he gene- 
 rally defigned them ; and his ftyle is always great; the fpirit and invention in his 
 works, fcarce leave a fpectator room to dwell on the want of lefier perfections. 
 In a chapel belonging to the church of S. Dominick at Genoa, is to be feen a 
 noble picture of the Circumcifion of Chrift, painted by Procaccini. The compo- 
 fition is truly grand, the defign and difpofition are extremely good, the heads of 
 the figures are in a fine tafte, though the form of the Virgin cannot be called 
 beautiful, and the colouring is bold, producing an excellent effect. This picture 
 is by fome afcribed to Julio, but by moft to Camillo. 
 
 Julio C je s a r e PROCACCINI. 
 
 Painted Hiftory* 
 Died 1626, aged 78. 
 
 He was a younger brother to Camillo, born at Bologna, in 154S, and at firfl 
 was inftructed in the art of painting by his father Ercole •, but he very foon 
 quitted his manner, and devoted himfelf intirely to the direction of the O.racci, 
 and under thofe accomplifhed matters, the progrefs he made was lurpriz- 
 ingly rapid. 
 
 He became the beft artift of the family of Procaccini, and was far fuperior to 
 his brother Camillo ; not only in the ftrength and boldnefs of his figures, but 
 alio in the purity and correctnefs of his outlines. He ftudied Titian,- Raphael, 
 Tintoretto, Correggio, and the Caracci ; and his ftyle, which feemtd an agree- 
 able mixture of them all, appeared natural, true, and very pleafing, and his co- 
 louring was excellent. His diftinguiihed merit and modcicy, recommended him 
 to the favour of perfons of the higheft rank, by whom his friendfnip was eager!'/ 
 courted •, and his houfe at Milan, was frequented by the nobility, and all the vh> 
 tuofi in that city. 
 
 Many of the works of this mafter are preferved in the churches, and palaces 
 of Genoa, Milan, Venice, and other cities of Italy. At Genoa, in the church 
 L'Annonciata, is a Laft Supper, finely executed, defigned in a grand ftyle, and 
 coloured with great force, and beauty. In the Palazzo Durazzo is a lovely pic- 
 
PRO [ 490 ] PUG 
 
 ture, reprefenting the Woman taken in Adultery, defigned in an exceeding 
 grand taite, and wonderfully well coloured. And in the Palazzo Caregha, in 
 the fame city, is a picture of the Virgin and Child, which, in refpect of its beau- 
 tiful defign and colouring, is truly admirable. 
 
 Carlo Antonio PROCACCINI. 
 
 Painted Fruit, Land/capes, and Flowers. 
 He was brother to Julio and Camillo, born at Bologna, and learned the art of 
 painting fro r his father. He defigned landfcapes agreeably, and gained a con- 
 siderable reputation by his pictures in that ftyle, and alio by the fruit and flowers 
 which he copied after nature. He had a very good understanding cf the harmony 
 of colours, but never had either genius or invention, fufficient to enable him to 
 arrive at the eminence of his brothers in hiftorical compo'iti' n •, for which 
 reafon, he difcreetly declined that ftyle of painting, and chofe other fubjecls, 
 which were better adapted to his talents. 
 
 Ercole PROCACCINI, called the Young. 
 Painted Land/cape, Hiftory, and Flov:ers. 
 Died 1676, aged So. 
 He was born at Milan, in 1 596, the fon of Carlo Antonio, and ;.■-.-, 1 difciple 
 of his uncle Julio Caefare. Though he frequently painted hiflnry and landicapei 
 yet his greateft excellence appeared in his flower-pieces, as he painted thofe 
 fubjects to great perfection •, and for one of his performances in that ftyle, he 
 was honoured with a chain of gold, as a public acknowledgement of his extra- 
 ordinary merit. 
 
 Marcello PROVENZALE, da Cento. 
 
 Painted Hiftory, Portrait, and Mofaick. 
 Died 1639, aged 64. 
 
 He was born in 1575, was a difciple of Paolo Rofetti, and became very emi- 
 nent as a painter of hiftory and portrait •, but his fuperior merit confifted in 
 mofaic, which he executed with aftonifhing beauty, and exquifite neatnefs. 
 
 In the palace of Cardinal Borghefe at Rome, there is a poi trait of Pope 
 Paul V. in mofaic, by this mafter, which is wrought with inimitable art and 
 judgement. It is worked in imitation of the mofaic of the antients •, but it is 
 fuch an imitation as excels all that can be feen of the originals. The face alone 
 confifts of more than two millions of pieces, many of them being of no larger 
 dimenfion than a grain of fand ; and it is moil defervedly efteemed one of the 
 greateft curiofities in Rome. 
 
 Peter Paul PUGET. 
 
 Painted HiJIory. 
 Died 1695, aged 72. 
 This artift was born at Marll-illes, in 1623, and is accounted one of the beft 
 matters among the French. He was extremely famous as afculptor and archi- 
 tect, and equally excelled in painting -, for, although he devoted the greateft 
 
 portion 
 
PUL [49i] PUN 
 
 portion of his time to the two former arts, yet at particular times he applied 
 himfelf to the latter. 
 
 His ftyle of defign and colouring refembled the manner of Mich. Ang. Buo- 
 naroti •, but he was more natural, and more delicate ; and thofe pictures which 
 are of this mailer's hand, are much valued and admired in France. In the cathe- 
 dral church at Aix there is an altar-piece painted by Puget, reprefenting the 
 Annunciation, in which the defign is correct, and there appears an eafe in the 
 call of the draperies ; a bold relief, with confiderable grace, in the figures ; and 
 a good expreffion in their countenances. Alfo, at the Jacobins in Toulon, is 
 a picture of the fame fubject, but much in the tafte of Pietroda Cortona •, and 
 though the effect is but weak, yet the colouring is agreeable. 
 
 Domenico PULIGO, or PUGLIO. 
 
 Painted Hi/lory. 
 Died 1527, aged 52. 
 
 He was born at Florence, in 1475, and was a difciple of Ghirlandaio ; in 
 whole fchool being emulous to furpafs his companions, it excited in him fuch 
 a fpirit of induftry and application, that he not only became fuperior to them all, 
 but was efteemed to be at leaft on an equality with his matter. He had the 
 happinefs of a molt ftrict intimacy with Andrea del Sarto, by which he was 
 greatly improved, and might have reaped much more abundant advantage from 
 thatfriendly connection, if his love of pleafure had not rendered him neceffitous, 
 and if to fupply his demands, he had not painted more for immediate gain, than 
 with any profpect of advancing his reputation. 
 
 He had a commendable talte of compofition and defign, and was very excel- 
 lent in his colouring. His principal talent lay in painting portraits and Ma- 
 donna's, which he executed with extraordinary applaufe •, but, he alio painted 
 hiltorical fubjects, by which he obtained great credit ; and among the number, 
 are particularly mentioned a Defcent from the Crofs, a Lucretia, and a dying 
 Cleopatra. 
 
 Giacomo Carucci da PUNTORMO. 
 
 Painted Hijlory, and Portrait. 
 
 * Died 1558, aged 65. 
 
 He was born at Puntormo, in 1493, and at thirteen years of age was fent to 
 Florence, where he became a difciple of Lionardo da Vinci. He afterwards 
 ■ftudied under Mariotto Albertinelli, and Pietro Cofimo, till he was near nine- 
 teen •, and then completed his Itudies in the fchool of Andrea del Sarto. Flis 
 earliefc performance was a picture of the Annunciation, which he painted tor 
 fome perfon in Florence, while he was under the care of Albertinelli -, but the 
 perfon for whom it was painted, dying before it was finifhed, Albertinelli 
 ihewed it, for the honour of the young artift, to all the men of genius who fre- 
 quented his houfe ; and among the number fhewed it to Raphael, who com- 
 
 * According to Vafari he was born in 1493, and died in 1558, aged 65 ; but De Piles and the 
 authors of the Abrege de la Vie des Peintres fix his birth in the fame year, and his death in 
 1556, at the age of 63. 
 
 R r r mended 
 
PUN [ 492 ] PUN 
 
 mended it exceffively, and foretold the future eminence of Puntormo, from 
 that fpecirnen of his abilities. Nor was he lefs commended by Mich. Ang. Bu- 
 onaroti ; who, on feeing fome of the works of Puntormo in frefco, before he was 
 arrived at the age of twenty, faid publickly, that fuch a genius at fuch years, 
 would carry the art of painting to its higheft pitch. By which difinterefted ap- 
 probation of thofe illuftrious artifts, Puntormo was lb animated, that he exerted 
 all his powers to arrive at perfection in his art. His tafte of defign was grand, 
 and his colouring excellent •, he had a ready invention, and confiderable 
 elegance ; but, his compoficions were not without fome degree of dryneis. 
 
 His lafl matter, Andrea del Sarto, foon diicovered the great talents of his 
 pupil, and made ufe of his affiftance in many of his grand undertakings ; and 
 yet, on feeing afterwards fome extraordinary proofs of his excellent tafte of 
 defign and colouring, in one of his compofitions •, even that great man appeared 
 to be envious of his merit, and to dread in his difciple, an artitt fuperior to 
 himfelf. 
 
 However, Puntormo had a very different manner of thinking, and acting; he 
 laboured to excel, but neither envied, nor depreciated his competitors, or their 
 works. He was naturally too diffident of his own abilities, and was often in 
 danger of lofing his own graceful manner, by imitating others who were in many 
 refpects his inferiors. For, at the time when the prints and paintings of Albert 
 Durer, were extremely noticed and applauded at Florence, Puntormo deter- 
 mined to imitate that manner, only blending the German with the more refined 
 gufto of the Italian fchool ; and he would have deftroyed his own tafte, which 
 was infinitely preferable to that of Albert, if he had not at laft been difiuaded 
 from a conduct fo very injudicious •, and thofe pictures which he painted, after 
 his attachment to the ftyle of Albert, are accounted lefs eftimable, than thofe 
 of his earlier time. 
 
 He defigned and coloured almoft intirely in the ftyle of his mafter Andrea del 
 Sarto, and compofed his fubjects with fufficient readinefs ; but, he might have 
 been more expeditious, and perhaps much more commendable, if he had taken 
 lefs pains to alter and improve, as well as to finifti his works. He certainly had 
 the idea of perfection in his mind, fo that he could never prevail on himfelf to 
 believe any of his performances complete, even whilft they were highly ap- 
 plauded by others ; and from that principle, he would have defaced feveral of 
 his paintings, out of a defire to improve them, if he had not been prevented, 
 and compelled to defift. Fie painted equally well in frefco and in oil, and was 
 full as famous for painting portraits, as he was for painting hiftory. 
 
 Puntormo had one peculiar turn of mind, which was, that he frequently chofe 
 to employ his pencil for the middling clafs of people, who could afford to give 
 him but a moderate price for his pictures ; rather than paint for the nobility, and 
 perfons of high rank, who would gladly have given him whatever he pleafed to 
 demand. 
 
 The laft work of this mafter was in the chapel of S. Lawrence at Florence, 
 which he undertook at the requeft of the Grand Duke ; and in that work he 
 propofed to furpafs all his predeceffors, and cotemporaries. His fubjects 
 were, the hiftory of Adam and Eve, the death of Abel, the Deluge, 
 Noah leaving the Ark, the Refurreilion, and Final Judgement; and after 
 he had fpent eleven years on that grand compofition, it appeared to be far 
 
 inferior 
 
P Y N [ 493 ] Q^U A 
 
 inferior to his other productions, while he laboured to furpafs the beft in his pro- 
 fefiion. It was by many perfons thought, that he died of grief for being lb un- 
 fuccefsful ; but the real caufe of his death was an incurable dropfy. 
 
 The moll celebrated paintings of Puntormo were, a S. Cecilia; the Vifitation 
 of the Virgin •, the Refurrection of Lazarus ; and the Hiftory of Jofeph receiving 
 his father Jacob and his family in Egypt •, which lafl compofition, for the 
 defign, colouring, and fpirit, was generally accounted the mafter-piece of Pun- 
 tormp. There is alfo an altar-piece, which is one of his moft capital perfor- 
 mances •, it reprefents the Hoiy Family; in which the Virgin is defcribed fitting, 
 and presenting to Jofeph the young Saviour ; who is diltinguifhed by fuch an 
 exprefiive, amiable fmile, as conciliates love, admiration, and reverence, beyond 
 del'cription. 
 
 Adam PYNAKEk. 
 
 Painted Land/cape. 
 
 Died 1673, aged 52. 
 
 He was born at the village of Pynaker, between Schiedam and Delft, in 
 1621, and always retained the name of the place of his nativity. He went for 
 his improvement to Rome, where he ftudied for three years, and chofe the works 
 of the great mailers for his models ; and he alfo ftudied after nature thofe 
 beautiful fcenes, ruins, views, and buildings, which adorn that country. 
 
 By a happy application of his time and talents, while he continued in Italy, he 
 returned to his own country an accomplifhed painter, and his works role into 
 the higheft efteem. He had a judicious method of diftributing his lights and 
 fhadows, and he managed them in his compofitions in fuch a manner, as to pleafe 
 and relieve the eye, by their agreeable oppofitions. His fmall pictures are far 
 preferable to thole which he painted in a larger fize ; and they are admitted to a 
 place in the cabinets of the curious, among the paintings of the greateft matters. 
 He was generally fond of a ftrong morning light, which allowed him to give a 
 more lively verdure to his trees. His diftances dye away by proper break- 
 ings of the ground, diverfified with hills and valleys, extending the view as 
 far as the eye can be fuppofed to reach ; and his landfcapes are ufually enriched 
 with elegant ruins, or pieces of architecture, as likewife with figures well de- 
 figned, and extremely well adapted to his fubjecls and fituations. 
 
 Ludovico QJU A I N I. 
 Painted Hiftory, and Land/cape. 
 Died 1717, aged 74. 
 He was born at Bologna, in 1 643, and was inftructed in the rudiments of 
 the art by his father •, but being related to the celebrated Carlo Cignani, he 
 became his difciple, and by the excellent precepts of that great mailer, his im- 
 provement was fo extraordinary, that in a few years he was employed by Carlo 
 
 Ji r r 2 as 
 
Q^U A [ 494 ] Q.UE 
 
 a? an affiftant, in painting fome of thofe grand defigns in which he was em- 
 ployed. And it reflected the utmott honour poffible on Quaini, that his work, 
 was not to be diftinguifhed from that of his matter. 
 
 Francefchini and Quaini were at the fame time difciples of Cignani, and their 
 manner of handling and colouring was fo fimilar, as to make it difficult to deter- 
 mine, which was the work of the one, or of the other. In the chief defigns of 
 Cignani, the landfcape, architecture, and other ornaments, were painted by 
 Quaini, as he understood thofe particulars even better than his matter. Bur, 
 Francefchini was principally employed about the figures, in which confifted his 
 greateft excellence. Cignani infpected, guided, and directed the whole •, he al- 
 lowed the merit of both, and encouraged thofe young artitts by juft commenda- 
 tions ; but, in refpect to the carnations, and the graceful airs of the heads, he 
 ieemed to prefer the tatte of Francefchini, to that of Quaini. 
 
 The livelinefs of his imagination, enabled him to compofe his fubjects with 
 great eafe, and with an elegance of tatte •, and thofe paintings which were in- 
 tirely the product of his own invention, and finifhed by himfelf, were excellent 
 performances. Several of thofe are mentioned with great honour to Quaini ; 
 and it is obferved, that although they had not all the force of thofe that were 
 defigned by Cignani, and painted under his immediate inflection, yet they had 
 more beauty, and more grace. 
 
 Erasmus QJJ E L L I N U S the Old. 
 
 Painted Hijtory, and Landfcape. 
 Died 167S, aged 71. 
 
 He was born at Antwerp, in 1 607, and at firft was educated in every branch 
 of polite literature ; but afterwards, finding in himfelf a predominant inclina- 
 tion to painting, he placed himfelf as a difciple with Rubens. He foon fhewed, 
 that he poffeffed an excellent genius ; fo that in a few years of application, 
 under lb eminent a director, he appeared with honour in his profeffion. He 
 ttudied architecture and perfpective, and employed his knowledge of thofe 
 branches very fuccefsfully in all his future compofitions, and his works gra- 
 dually role into iuch reputation, that he found conftant employment, and by 
 that means his credit daily increafed, and his circumftances became affluent. 
 
 His manner of defigning was good, his touch free and fpirited, and the beauty 
 of his colouring, fufficiently fhewed the fchool in which he imbibed his know- 
 ledge. He painted landfcape, as well as hiftory, in a very agreeable ftyle ; and 
 his great, as well as his fmall compofitions, are allowed to have abundance of 
 merit ; but, in the latter his penciling was more neat, and his colouring more 
 tranfparent. His tatte of defign, though confiderably tainted with the Flemifh 
 gufto, is tolerably correct •, and in many refpects his ideas are juft, learned, and 
 elevated, though his drawing is often not exact. 
 
 A celebrated picture of this matter, is in the grand dining apartment at Ant- 
 werp, of which thefubject is, Chrift in the houfe of the Pharifee, where Mary 
 Magdalen wafhes his feet •, and in that compofition he has fhewn a fine difpofi- 
 tion, good penciling, and a very pleafing tone of colour. 
 
 T II N 
 
Q_U E [ 495 ] Q.U E 
 
 John Erasmus QJJ E L L I N U S, called the Young. 
 
 Painted Hijiory. 
 Died 1 7 15, aged 85. 
 He was the fon and difciple of Erafmus, born at Antwerp, in 1 630, and being 
 inftructed in the fame principles of the art, which his father had derived from 
 the fchool of Rubens, his proficiency was very remarkable. He had heard his 
 father often regret that he never had been at Rome, and therefore, as foon as he 
 expreffed an eager defire to vifit Italy, he found his father ready to concur with 
 his inclination, and thoroughly plealed with the propofal. 
 
 He travelled through moft parts of Italy, and having a very happy genius, 
 he took pains to improve it by ftudying after the belt models ; till at laft by 
 clofe application, he perfected his tafte, judgement, and execution, fo effectually, 
 that he was employed for feveral grand works at Rome, Venice, Florence, and 
 Naples, which fpread his reputation abroad, and extended it alio to his own 
 country. 
 
 As Erafmus felt a fenfible delight, by the accounts he received of his fon's 
 performances in Italy, he wifhed him to return •, that he might be an eye-witnefs 
 of his merit, and have the happinefs of feeing his works. Young Quellinus 
 obeyed, and on his arrival at Antwerp, found as much employment for the de- 
 coration of the churches and convents, as he could poffibly execute ; and main- 
 tained that high character at home, which had fo very defervedly been given 
 him abroad. 
 
 This mafter is accounted one of the beft of the Flemifh painters, next to 
 Rubens, and Vandyck ; fome of his pictures having been compared to thofe of 
 Paolo Veronefe. Nor is it to be much wondered at, if it be confidered, that he 
 particularly ftudied the manner of that mafter, and all his grand compofuions 
 are in imitation of the ftyle of Veronefe. 
 
 His defign was correct, his draperies were large, noble, and Bowing ; and h\% 
 back-grounds, to which he feemed to have a peculiar attention, were enriched, 
 like thofe of Veronefe, with obelifks, monuments, or magnificent architecture. 
 His figures are difpofed with propriety and judgement ; his expreffion is lively ; 
 and his colouring agreeably heightened, by a fine effect of the chiaro-fcuro. 
 Many of his works are improperly afcribed to the old Quellinus, though who- 
 ever obferves the works of both artifts, cannot but perceive, at firft fight, that 
 the fon was far fuperior to the father, as well in the tafte of defign, and" the dif- 
 pofition of his fubiects, as in the correctnefs of his figures, and the elegance of 
 their forms. 
 
 His moft capital painting is in the church of the abbey of S. Michael at An- 
 twerp. The figures are as large as life, and the fubject is, Chrift healing the 
 Difeafed. It is a large, or rather a vaft compofition ; and is fo much in the ftvle 
 of Veronefe, that it might, without deducting from the. merit of that mafter,'be 
 afcribed to him. The ornamental architecture is admirable; there appears a 
 wonderful variety of objects to entertain the eye, and although the compofition 
 confifts of a prodigious number of figures, yet the whole looks without -the 
 fmalkft confufion. 
 
 Ji 
 
R A C [ 496 ] RAD 
 
 R. 
 
 Bernardo RACCHETTI. 
 
 Painted Architecture. 
 Died 1702, aged 63. 
 
 He was the nephew anddifciple of the celebrated Giovanni Ghifolfi, born in 
 1 639, and was inftrudted in the belt principles of the art by his uncle, who took 
 all polTiblecare to guide him in that method, which was moft likely to render 
 him eminent. 
 
 For a confiderable time, he itudied perfpective and architecture ; and at laft, 
 painted extremely well, in the fryle and manner of his mafter. He diftinguifhed 
 himfelf exceedingly, above all his cotemporaries, by the elegance of his com- 
 pofitions, by the luperb architecture he painted generally, and by the pleafing 
 deception occafioned by the truth of his perfpective, and his artful manage- 
 ment of the chiaro-fcuro. 
 
 He lived in the higheft efteem at Milan, where a great number of his works 
 are to be feen, which are very little inferior to thole of Ghifolfi's own hand ; and 
 ieveral of the works of one artift are taken for the work of the other. 
 
 Gerard R A D E M A K E R. 
 
 Painted I/iJlory, and Architecture. 
 
 Died 171 1, aged 38. 
 
 He was born at Amfcerdam, in 1673, and learned the principles of perfpec- 
 tive and architecture from his father, who was much efteemed by Lairelle, and 
 other artifts, for his knowledge in that branch. But, the matter under whom he 
 learned the art of painting, was one Van Goor, with whom he accidentally hap- 
 pened to be acquainted •, and while he continued with that matter, he applied 
 himfelf to his ftudies with invincible patience and perfeverance. 
 
 At his firft fetting cut in his profeflion, he had the good fortune to be engaged 
 by the Bifhop of Sebatto, to inftruct his niece in drawing and defign •, and by 
 his agreeable conduct, he fo won the efteem of that Prelate, that he was taken in 
 his train to Rome, where he fpent three years, in ftudying every thing that could 
 contribute to his improvement. At his return to his own country, his extraor- 
 dinary merit procured him friends, favour, and employment ; his work was 
 eagerly purchafed by perfons of the firft rank •, he was engaged in ieveral confi- 
 derable undertakings ; and the richnefs of his genius, as well as the facility with 
 which he worked, enabkd him to finifh abundance of defigns, in a fhort compafs 
 of time. 
 
 He is efteemed one of the good mafcers of the Dutch fchool ; and his ftyle 
 of compofition fhews, not only the extenfiver.efs and grandeur of his genius, 
 but fhews alio, a genius well culvivated, by ftudying tl I ;-.odels. In ar- 
 
 chitecture and perfpective few of Lis cotemporaries were his equals •, and a per- 
 ,v of St. Peter's church at Rome, which he painted, is accounted a 
 1 matter- 
 
RAD [ 497 ] RAM 
 
 mafter-picce, as well for the handling, as for the truth and exactnefs of the 
 Another picture by this mafter, is likewife mentioned as a fine per- 
 formance. The fubject is hiftorical ; and as he was generally fond of introduc- 
 ing bais-relief, and embotfed work, in moft of his compofitions, he has enriched 
 this with a variety of thole ornaments, which are reprefented with fingular (kill 
 and art, as alfo with a great deal of truth and elegance. 
 
 Abraham RADEMAKER. 
 
 Painted Land/capes, and Views of Towns in Holland. 
 
 Died 1J35, aged 60. 
 
 He was born at Amfterdam, in 1675, and is an uncommon inftanceof an artifc 
 who arrived at great eminence in his profeffion, without the affiftance of any 
 mafter. At firft he lpent whole days and nights in drawing and copying with 
 Indian ink, till he arrived at great perfection in that manner of painting ; and he 
 alio practifed to paint with water-colours, which he managed with full as much 
 freedom of touch, as if he had painted in oil ; to the furprize, as well as the ap- 
 probation of all the artifts of that time. 
 
 His invention was remarkably fertile, and he was never at a lofs to furnifh an 
 endlefs variety of fcenes, and fubjects, from the power of his own active imagi- 
 nation, without having recourfe to nature for the fites of his landicapes. He 
 compofed readily and agreeably ; and filled his landicapes with fuitable figures, 
 and animals, which were well defigned, and well grouped. And as he had ap- 
 plied himlelf, for fome time, to the ftudy of architecture and perfpective, he 
 uiually adorned his defigns with elegant ruins, or the veftiges of antient edifices. 
 His colouring is bright, ftrong, and of a very pleafing tone, which compenfates 
 for the appearance of a little drynefs, obfervable in his larger works ; which 
 defect, it is fuppofed, he contracted by his general habit of working in fmall. 
 
 He went to refide at Haerlem, where he was admitted into the fociety of artifts ; 
 but unhappily, while he was intent on his work, a number of illiterate peafants 
 afiaulted his houfe, being unaccountably perfuaded that he was contriving fome 
 fcheme againft their religion, and with difficulty he efcaped out of their hands •, 
 but the terror he endured from that incident, never ceafed to prey upon his 
 fDirits, till it brought him to his end. 
 
 A great number of this matter's drawings, limnings, and defigns, in 
 water-colours and Indian ink, are to be feen frequently in the collections of the 
 curious, which are much valued, for the neatnefs and delicacy with which they 
 are finifhed. 
 
 R A I B O L I N I. Vid. Francesco Francia. 
 
 Padre Felice RAMELLI. 
 
 Painted Portrait, and Hiftory, in Miniature, 
 
 Died 1 740, aged 74. 
 
 He was born at Afti, in 1666, and learned the art of painting from Padre 
 
 Abbate Danefe, but finifhed his ftudies at Rome, where he became an ecclefiaftic, 
 
 and was one of the canons in the church of S. John Lateran. He was truly e»- 
 
 .-. 
 
RAO [498] RAP 
 
 cellent in his art, and painted hiftory, and portrait with equal delicacy in mi- 
 niature. He was invited by the King of Sardinia to Turin, and painted for that 
 Monarch, the portraits of the moil celebrated mafters in fmall, from originals 
 done by thole mafters themfelves ; for which purpofe, he copied fome, after 
 their portraits in the famous Florentine gallery, and he alfo painted feveral hif- 
 torical compofuions. 
 
 He finifhed his pictures with incredible neatncfs and delicacy, and in a fmall 
 compafs, gave every portrait the look of real nature and life. Thofe curious 
 works of Ramelli are preierved in the cabinet of miniatures, in the King of Sar- 
 dinia's palace at Turin ; and among the heads of the artifts, he has taken care 
 to perpetuate his own, which he has reprefenred in the habit of his order. His 
 ftyle of painting is exquifitely beautiful, and his colouring uncommonly natural 
 and lively. Molt of the performances of Ramelli are at Rome, the ulual place 
 of hisreiidence, and they are held in the higheft eftimation by the curious. 
 
 John RAOUX. 
 
 Painted Hiftory , and Portrait. 
 Died 1734, aged 57. 
 He was born at Montpclier, in 1 677, and was the difciple of Bon Boullongne ; 
 but he ftudied at Rome and Venice for ten years, where he acquired a good 
 manner of colouring, and followed his profefiion in feveral parts of Italy, with 
 Cieat credit. He painted hiftorical fubjecls and portraits ; and when he quitted 
 Italy, he redded for fome time in England, where he was particularly employed 
 by Sir Andrew Fontaine ; and his paintings were in confiderable efteem. The 
 principal work of this mafter, in France, was the reprefentation of the different 
 ages of man, comprized in four -pictures, which he painted for the Grand Prior 
 .of Vendome, and they are ftill preierved in the palace of that nobleman. 
 
 RAPHAEL SANTIO, da Urbino, 
 
 Painted Hiftory, and Portrait. 
 Died 1520, aged 37. 
 The fuperior merit of this fublime genius, is too well known to require an en- 
 comium, or a dclcription of thofe amazing powers, which he, and he alone pof- 
 fefled •, for, he excelled in every part of his profeflion to fo elevated a degree, as 
 to fecure the applauie of the age in which he fiourifhed, and the admiration of 
 all fucceeding ages. 
 
 He was born at Urbino, in 14S3, the fon of Giovanni Santio, a painter of no 
 extraordinary eminence ; who obferving the early inclination of his fon to the 
 art of painting, inftrueted him in the rudiments of it, while he was extremely 
 young ; and Raphael ihewed fuch a wonderful capacity and genius, that in a few 
 years, he was enabled to aflifthis father in fome of thofe works, in which he was 
 e nployed at Urbino. But, Giovanni, defirous to give his fon the beft opportu- 
 nity of improving his talents, placed him as a difciple with Pietro Perugino, who 
 then in his higheft reputation. 
 The genius of Raphr.el ibon difplayed itfelf under that artift, and in a fhort 
 time he initated the ftyle of his mailer in fo exact a manner, that the work or" 
 
 the 
 1 
 
Pv A P [ 499 ] R A P 
 
 the one could hardly be diftinguifhed from that of the other ; and as a proof of 
 this, a picture of the Crucifixion is cited, which by all the ableft judges and 
 artifts, would have been accounted the performance of Perugino, if it had not 
 been inlcribed with the name of Raphael. 
 
 However, he foon perceived, that by adhering to the manner of his mafter, he 
 mould never attain that perfection to which he afpired •, and therefore he devoted 
 himfelf to the ftudy of the antiques, and made himfelf thoroughly acquainted 
 with all their beauties, in order to transfufe them through his own compofitions. 
 The more he ftudied them, the more he was enamoured of their excellencies ; 
 and not content with the perufal of thofe wonderful fculptures of the antient 
 artifts, to which he had accefs, he employed at his own expence feveral good 
 painters to defign every object that was curious, at Puteoli, Baja;, and the dif- 
 ferent cities of Greece, either in ftatuary, or architecture ; of which he made a 
 charming and judicious ufe, in his fubfequent compofitions. 
 
 As the works of Lionardo da Vinci, and Michael Angelo Buonaroti, at Flo- 
 rence, were at that time univerfally admired, he went thither; and having ob- 
 ferved the ftyle of each of thofe famous painters, with the utmoft accuracy, he 
 faw fufficient merit in both, to improve his own tafte of defign, and altered that 
 manner which he had acquired in the fchool of Perugino. He alfo confiderably 
 advanced his knowledge of colouring, by obferving the manner of Mafaccio at 
 Florence •, and gained an additional (kill in perfpective, as well as in the ma- 
 nagement and union of colours, by his intimacy with Bartolomeo Baccio. 
 
 Every accomplifhment and qualification neceffary to form an illuftrious 
 painter, were combined in Raphael •, a fublimity of thought, a fruitful and rich 
 invention, remarkable correctnefs of drawing and defign, and a wonderful difpo- 
 fition and expreffion. His attitudes are noble, natural, and graceful, and con- 
 trafted without the fmalleft appearance of affectation, or conftraint ■, and to the 
 elegance and grandeur of the antique, he added the fimplicity of nature. For, 
 though he admired the antique ftatues as highly as he ought, yet he ftudied 
 nature with equal afiiduity ; from which combined attention to both, refulted 
 that amazing variety and elegance in the forms, actions, and attitudes of his 
 figures, and thofe delicate and graceful airs of the heads, which diftinguifh his 
 compofitions from all others ; and in which he furpaffed the greateft mafters, 
 who flourifhed fince the revival of the art of painting. 
 
 It has been objected to Raphael, that by too nice a regard to the purity and 
 correctnefs of his outline, his out-line often became hard : but whatever final I 
 imperfections may be imputed to that inimitable artift, he is allowed to have dif- 
 fuled more grace through all his works, more truth, nature, and fublimity, 
 than any painter who has yet appeared. Correggio alone could enter even into 
 a competition with him for grace ; but he was unequal to Raphael in every 
 other branch of his art. 
 
 At different periods of his life, Raphael had very different manners. His 
 firft was derived from the fchool of Perugino, which he retained for a long time ; 
 and it is the opinion of fome writers, that he never intirely abandoned it. But, 
 as foon as he had contemplated the cartons of Buonaroti, and Lionardo da Vinci, 
 he in a great meafure diverted himfelf of the drynefs of his firft mafter •, and, 
 blending the boldnefs of Michael Angelo, with his own graceful ideas, he 
 formed a ftyle of defign more perfect than his model ; and at laft, ftruck out a 
 
 S f f manner 
 
RAP [ 5°° ] R A P 
 
 manner peculiar to himfelf, and fuperior to all others, full of grace, dignity, 
 eafe, and elegance, which he retained as long as he lived. Every new compo- 
 fition added to his fame, and his lateft work of the Transfiguration, is accounted 
 his belt. 
 
 He excelled in portrait as well as in hiftory, and by his pencil immortalized 
 Pope Julius II, and Leo X, with many of the Caidinals of his time ; reprefenting 
 them with fuch life and nature, fuch dignity of character, and fuch exprefiion, 
 as furpafTes the power of delcription. He finifhed his pictures, efpecially his 
 eafel- pictures, exquifitely ; and took all pofiible care to give them the utmoft 
 perfection ; and yet, it is faid, he was expeditious in his method of working. 
 From the time that he fhook off the dry tafte of Perugino, his draperies were 
 caft in a moft noble ftyle •, difpofed with an elegant mixture of fimplicity, and 
 grandeur ; and always fo placed, that the finer parts of the naked, particularly 
 about the joints, were difcernible. in every figure. 
 
 It is remarkable, that the moft capital frefco paintings of Raphael in the 
 Vatican, do not ftrike one immediately with that furprize, which undoubtedly 
 is expected from the fame of that illuftrious matter •, and a ftory is related, that 
 a perfon of acknowledged tafte and judgement, who alfo was an idolizer of 
 Raphael, vifiting the Vatican with an eager defire to ftudy his works ; palled 
 by thofe very compofitions with indifference, which were the objects of his 
 inquiry, and curiofity, till he was recalled by his conductor, who told him, thac 
 he had overlooked what he fought for. 
 
 That effect is fuppofed by De Piles, to be occafioned, by the want of a 
 ftrength of colouring proper for each object; that colouring, not being fuffi- 
 ciently fupported, by a powerful c'aiaro-fcuro. But, another fine * writer 
 accounts for it in a different manner. He obferves, that the works of Raphael 
 ftrike little at firft fight, becaufe he imitates nature fo well, that a fpectator is 
 no more furprized, than when he fees the object itielf, which would excite no 
 degree of furprize at all. But, that an uncommon exprefllon, ftrong colouring, 
 or odd and Angular attitudes of an inferior artift, ftrike us at firft fight ; becaufe 
 we have not been accuftomed to fee them elfewhere. And to illultrate this 
 point, he compares Raphael to Virgil, fubiime, eafy, natural, and majeftick ; 
 and the Venetian painters, with their conftrained attitudes, he compares to 
 Lucan. Virgil, more natural, ftrikes us at firft leis, to ftrike us afterwards 
 more fenfibly ; Lucan ftrikes immediately, but ftrikes us abundantly lefs after. 
 And certainly there cannot be a ftronger teft of the excellence of any perfor- 
 mance, either in poetry or painting, than to find the furprize we at firft feei, to 
 be not very powerful, and yet to find, by more frequently converfing with it, 
 that it not only fupports itfelf, but increafes continually in our efteem, and at 
 Lit leads us to admiration. 
 
 The prodigious number of works in which Raphael was engaged loaded him 
 i riches and honour, and conftrained him to procure young artifts to aflift 
 him in the execution of his defigns ; and by that means, many eminent painters 
 were formed under his direction. But, he was fo particularly careful, that he 
 corrected with his own hand, whatever he found imperfectly executed by his 
 difciples ; and gave thole finifhing touches to the whole, which have rendered 
 thofe' works the admiration cf the world. 
 
 * Montefquicu* 
 
 Though- 
 
RAP [ 501 ] R A P 
 
 Though in feveral of his paintings, the colouring may not feeni to equal the 
 perfection of the other parts ; yet, mod of his portraits, and many of his eafel- 
 pictures, for their high finilhing, and exquifite colouring, are not furpafled by 
 the pencil of the greateft painter, not even by Titian. And of this, the 
 portraits of Julius, Leo, and Alexander Farnefe who was afterwards Paul III, 
 as alio the S. Michael, and the Holy Family, which are in the Royal collection 
 in France, and the S. John in the Defart, are inconteftable evidences. 
 
 To enumerate the various and extenfive works of this aftonifhing genius, 
 would require a volume ; and to defcribe them juftly, in proportion to their 
 merit, would demand an underftanding as enlarged as his own ; but, as they are 
 now univerfally known to all the lovers of the art, by the multitude of prints 
 publifhed after his defigns ; and as the works of Raphael, hive been examined 
 by the curious of all nations, who have travelled through the different parts of 
 Europe ■, a particular defcription, or recital, feems to be the lefs neceflary j 
 though I cannot omit the mentioning of a few. 
 
 In the Royal collection of his Majefty King George III, are thofe celebrated * 
 cartons, which have been for fo many years the glory of England, and the envy 
 of all other polite nations. And hisMajefty, who is fo eminently diftinguifried 
 as an encourager of the finer arts, muft merit the applaufe of pofterity, as well 
 as of the prefent age, for exprefiing fuch a judicious attention to thofe precious 
 treafures, as to order them to be removed from Hampton Court, where they 
 were evidently in danger of perifhing, to place them under his own royal care, 
 and infpection : his Majefty having, at the fame time, manifefted a more refined 
 tafte, for thofe ineftimable performances, than hath been Ihewn by any of his 
 predeceflbrs who poiTeffed them. 
 
 In France are the pictures of S. Margaret, and S. George •, the latter of 
 which (according to Sandrart) was formerly in the polTefilon of King Charles I, 
 as alio the remarkable and lovely pictures, of S. John in the Defart, and that 
 
 * Abbedu Bos in his treatife on poetry and painting, explaining the beauties of the cartons of 
 Raphael, is guilty of fuch a miftake, as cannot but appear unpardonable, in a writer of fo -much 
 tafte and genius, as he is generally efleemed. The Abbe had fufHcient opportunity, to commend 
 Raphael for his real excellencies, without applauding him fot"B defect ; and fuch a defect, as the 
 judgement and knowledge of Raphael would not permit him to be guilty of. 
 
 DuBos, in defcribing the -carton of the miraculous draught of fillies, points out with propriety, 
 the expreilion of S. Peter, S. John, and other difciples, and proceeds at laft to illuftrate a Angular 
 character, which he feems particularly to admire, for the ftrength and juftnefs of the exprefiion. 
 That figure (according to his opinion,) being reprefented withaconfufed countenance, amelancholy 
 complexion, and feeming to be devoured by black jealoufy ; in which perfon (he fays) it is eafv to 
 diftinguifh Judas. -, 
 
 Now, if that very ingenious writer Mr. Du Bos, had but maturely confidered, the precife time 
 that Raphaelchofe for his fubjeet, which the Ev'angelift tells uf, was the third time of his appearing 
 to the difciples after hisrefurredtion, and coufequently fome weeks after the death of Judas, who 
 hanged himfelf when Chrill was condemned ; or, had he even counted the number of figures in 
 the compofnion, which is only eleven, and the Lord ; he could never have erred fo unaccountably, 
 as to imagine, that Raphael deferved commendation, for being foabfurd as to introduce fo infamous 
 a wretch, at fuch a point cf time, when Chriil was directing his difciples to take care of his flock ; 
 or, for grouping fuch a perfon among the Apollles, who, as he was dead before, could not affociate 
 with them ; and who, if he had beea alive, they would have avoided with deteftation and abhorrence. 
 Certainly the Abbe, with ever fo little reflection, muit have perceived, that the difcernment and 
 judgement of Raphael, would not have permitted him to be guilty of fo grofs an anachronifm. 
 
 Perhaps the beft apology, and probably the true!!, that can be made for this miftake of Du Bos, 
 is, that he was much more converfant, and better acquainted with the works of Raphael, than with 
 the works of the Evangelifts. 
 
 Sffz Holy 
 
RAP [ 502 ] RAP 
 
 Holy Family mentioned by Sandrart, in which an Angel is reprefented fhedding 
 flowers around the Virgin. In the treaiury of Loretto is one of Raphael's 
 pictures, amazingly fine, reprefenting the Virgin* with Chrift on her Lap -, 
 which cannot be looked on, without feeling a veneration and awe, as well as 
 admiration •, the grandeur of the object excluding all idea of the painter ; for, 
 it appears more a reality, than a picture. There appears in the face of the 
 Virgin, fomewhat that looks more than mortal ; and the infant, though in the 
 innocent pofture of throwing up the legs and arms, though all the air of infancy 
 is in the face, has yet fomething, that is divine, in every part. The look is 
 fvveeter than that of a human face, and yet with all the grace that is diffufed 
 through it, there is an air that is aweful. The dilpofition in this picture has an 
 inimitable dignity and eafe •, the drapery of the Virgin has a noble fimplicity, 
 and the attitude of the head hath fuch an inconceivable grace and foftnefs, as 
 not only charms, but aftonifhes every beholder. 
 
 The original defign for the famous picture of the School of Athens, is 
 preferved in the Ambrofian library at Milan. 
 
 RAPHAEL daRhegio, called Raphaeiino. 
 Painted Hijicry, and Portrait. 
 Died 1580, aged 28. 
 He was born at a village near Rhegio, in 1552, and his parents being but 
 poor, he was employed in low and fervile offices, while he was young; which 
 gave him a difguft to that kind of life, and induced him privately to quit the 
 place of his nativity. As the impulie of his genius directed him to painting, 
 he fought out theartiftsin that profeffion ; and by having an amiable perfon, 
 with an agreeable conduct, he was treated by them with great kindnefs, and 
 i-nllructed in the rudiments of the art. Afterwards, he became the difciple of 
 Frederick Zucchero, and made fuch an incredible progrefs under the guidance 
 of that m after, that in the compafs of only one year, his performances ware 
 accounted equal to thofe of his inftructor. 
 
 He was employed in the principal churches at Rome, and in many of the 
 palaces of the nobility •, he worked with equal beauty in frefco and in oil, in 
 portrait and hiftory, and rofe into the higheft efteem ; fo that moft of the 
 young anifts of his time, admired his ftyle, and induftrioufly ftudied to imitate 
 his manner. He pofijfied many of the moft eftimaple parts of the art of 
 painting •, his defign was fpirited, and correct ; there appeared great union, and 
 harmony in his colouring ; he had alfo a confiderable portion of grace, and Lis 
 pictures had a bold relief, by the decpnefs of his fhadowings, which were 
 managed with fo much (kill, as to give a luftre to the brighter tints. 
 
 Among the capital works of this mafter, two are particularly mentioned; the 
 
 _ct of one, Ls the Cripple reftored to the uie of his limbs by S. Peter and S. 
 
 J »hn, the fame fubject which Raphael deiigned in one of the cartons ; the other 
 
 lew conducting his brother Peter to Chrift. Both thele are excellent 
 
 compofitions, correctly drawn, and finely coloured •, the draperies are broad, 
 
 and in a grand tafte ; and the trees and landfcape in the latter, are beautifully 
 
 :tcd. 
 
 • Vid. Letters from the EalL. 
 
 T O H N. 
 
R A V [ 503 ] R A V 
 
 John Van RAVESTEYN. 
 Painted Portrait. 
 
 He was born at the Hague, about the year 1580, and although it is uncertain 
 to what mailer he owed his inftruction, yet his works are fufficient evidences of 
 his extraordinary merit. He was confeiTedly fuperior to any of the preceding 
 artiils among the Flemings, and (excepting Rubens and Vandyck) equal to the 
 beft of his cotemporaries, and perhaps iurpafied them. 
 
 His compofition is extremely good, and full of fpirit ; his attitudes are eafy, 
 and have an agreeable variety, his lights and fhadows arejudicioufly diftributed ; 
 his colouring is remarkably good, and his touch is broad and firm. His 
 knowledge in perfpective was very extenfive, and he particularly excelled in that 
 part of it, which is called Aerial ; nor was there any painter of his time who 
 (hewed more (kill in the harmonious mixture of his colours. 
 
 Several large pictures of this matter's painting, are to be feen in the grand 
 banqueting hall at the Hague, which will juftify all that can be faid in his 
 commendation. One of them is fifteen feet long, and in it are reprefented the 
 Magiftrates of the Hague, feated at a table. It contains twenty-fix figures, 
 portraits of the principal perfons, and all the figures are as large as life. The 
 difpofition is very judicious, the attitudes well contrafted, and the likenefs in 
 each of the portraits, is laid to have been furprizingly ftrong. 
 
 Hubert Van RAVESTEYN. 
 Painted Still Life, and Converfations. 
 
 He was born at Dort, about the year 1 647, and became a painter of very 
 great reputation ; making a proper allowance for the meannefs of his fubjects. 
 They were all taken from the loweft life, fuch as the houfes of Boors, and 
 villagers •, and generally he chofe to defcribe the infides of thofe miferable 
 habitations, where Pneep were penned up, and maids were bufied In (cowering 
 the kitchen utenfds, flaughtering times, boys blowing up bladders of animals, 
 entrails of Hogs, faufages, bafkets, and fuch like objects. But, it muft be 
 confeffed, that every iubjecl he painted, (hewed a wonderful neatnefs in the 
 execution. 
 
 The tints of his colouring had truth and nature to recommend them to the 
 eye •, his drawing was correct ; his pictures (hewed that the artift had a fine 
 underftanding of the Chiaro-Scuro, and they were remarkably tranfparent. 
 
 Nicholas Van RAVESTEYN. 
 Painted Hiftcry, and Portrait. 
 Died 1750, aged 89. 
 He was born at Bommel, in 1661, and was originally educated for a literary 
 profefTion, though his father Henry Ravelleyn, who was a good painter, gave 
 him fome inftruction in drawing and defign. But being deprived of his father 
 while he was purfuing his claffical ftudies, he changed his refolution, and 
 determined to make the art of painting his profeffion •, as feveral of his family 
 had gained considerable riches, and reputation, in that way of life,, and he placed 
 himjelf at firft under the direction of William Doudyns, though he afterwards 
 ftudied with John de Baan. 
 
 He 
 
R ED [ 504. ] RED 
 
 He imitated the manner of both matters ; but he took care to add to his 
 odier knowledge, the knowledge of- nature, to which he perpetually attended •, 
 not permitting even the moll minute object to pafs unnoticed, or without his 
 endeavouring to defign after it. 
 
 His firft appearance as an artift was in his native city, where he foon found 
 employment among perfons of the greateft diftinction ; and in a fhort time 
 p?rceived, that he was unable to execute one half of the bufinefs he was lblicited 
 to undertake. What increafed his reputation exceedingly, was, his painting the 
 portrait of the Princefsof Waldeck, after her death ; for which purpofe, he had 
 be^n invited to the court of Kuilenburg. As no painter had been fo fortunate, 
 as to hit her likenefs while me was alive, Ravelteyn himfelf, as well as his 
 employers, had very fmall hopes of fuccefs •, and yet, he was fo happy as to prove 
 fuccefsful, even to the admiration of all -, and received fuch prefents from that 
 court, as were a publick teftimony of his uncommon abilities. 
 
 But, although he excelled in portrait, yet he alfo diftinguifhed himfelf as a 
 painter of hiftory ; in which he fhewed genius, and elevation of thought. He 
 defined in a good tafte, he had a free and eafy manner of handling, and a 
 pleafing tone of colour. For the mod part, he painted his portraits in the 
 hillorical tafte, and his figures had not only a ftriking refemblance, but the 
 diipofition of them was elegant. 
 
 This mafter lived to a great age, and painted to the laft year of his life ; yet 
 even in his lateft performances it is very oblervable, that no traces can be difcerned 
 of the weaknefs or infirmities of old age. 
 
 Tommaso RED I. 
 Painted Hiftory, and Portrait. 
 Died 1726, aged 61. 
 
 He was born at Florence, in 1665, and placed as a difciple with Domenico 
 •Gabbiani, who had juft returned from perfecting his ftudies at Rome and other 
 parts of Italy, to fettle in his own country. He had not been for any length of 
 time under the direction of Domenico, till he gave exemplary proofs of a 
 proficiency, beyond the expectation of all the profefled artifts, in correctnefs and 
 elegance. And to improve thofe talents which appeared fo promifing, he was 
 lent to the Florentine academy at Rome, which was at that time conducted by 
 Ciro Ferri, and Carlo Maratti, and maintained by the liberality of the Grand 
 Duke Cofmo III •, where he accompliftied himfelf in defign and colouring, fo 
 as to have very few who could enter into competition with him. 
 
 At his return to Florence, his merit procured him the patronage, and particular 
 efteem of Cofmo, who employed him in feveral works for his palaces ■, and he 
 was alfo folicited to adorn many of the churches, convents, and houfes of the 
 nobility in that city. He compofed a great number of fubjects, (acred and 
 profane, and feveral from poetick, or fabulous hiftory, as alfo fome that were 
 allegorical, which were eagerly purchafed by the Florentines. A few of the 
 hiftorical compofitions of Redi, were bought by Englifh noblemen, whole names 
 are not recited, though the fubjects of fome of them are noticed ; particularly 
 the apparition of Caefar to Brutus ; Cincinnatus, taken from the plough to 
 aflame the Dictatorial office ; and the Continence of Scipio. 
 
 He 
 
RET [ 505 ] RET 
 
 He painted portraits in an excellent ftyle; and defigned molt of the antique 
 monuments of Tuicany, with fingular exactnefs, which were afterwards engraved 
 and publifhed. The Czar Peter, who in his travels had an opportunity of 
 feeing fome of Redi's performances, and was exceedingly anxious to introduce 
 the polite arts into his dominions, fent four young gentlemen to Florence, to be 
 taught the art of painting, under his direction. At their return to Mofcow, the 
 Czar was fo highly plealed with their proficiency, that he determined to erect an 
 academy at Mofcow for painting ; and offered twelve hundred crowns annual 
 penfion to Redi, befide other emoluments, to induce him to undertake the 
 direction of it; and that mafter, would willingly have embraced fo honourable a 
 propofal, had he not been, by the mod prefllng entreaties of his friends, detained 
 in his own country. 
 
 In hiftory, this artift defigned with very great elegance and correctnefs ; his 
 ftyle of colouring is fweet, being an agreeable mixture of the tints of his two 
 Roman matters, Carlo Maratti, and Ciro Ferri. His attitudes, in general, are 
 v/ell choien ; his portraits very happily exprefs the character of his models •, and 
 in all parts of his profeflion,, he mewed a ready invention, great freedom of 
 hand, and a good difpofition of his figures. 
 
 R E G I L L O. Vid. Pordenone. 
 
 Wenceslaus Laurent REINER. 
 Fainted Hijlory, Land/capes, and Battles^ 
 Died 1743, aged 57. 
 
 He was born at Prague, in 1686, and was the fon of an- indifferent fculptor, 
 who endeavoured, according to his ability, to inftruct him in drawing and paint- 
 ing ; but, his chief knowledge was derived, from the rules and directions given 
 him by Brendel, a painter of fome confideration in that city. As Reiner grew 
 defirous to obtain greater improvement, he ferved an apprenticefhip of three 
 years to a profeffed, but wretched, artift, from whom it was impoffible for him 
 to acquire, what he fought for induftrioufiy ; and finding his time unprofitably 
 wafted, being alfo difappointed in his hopes, he determined to truft to the ftrength 
 of his own genius. He therefore diligently ftudied after the beft models he 
 could procure, he attended to nature, and at laft became a painter of diftinction ; 
 having rendered himfelf mafter of the true principles of his art. He painted 
 hiftory,) landlcape, animals, and battles, with great credit, and worked as 
 expertly in frefco as in oil ; fo that, he was employed in feveral. grand defio-ns 
 at Vienna, Brefiau, and in Bohemia, for the altar-pieces of churches and convents, 
 which he executed with reputation. 
 
 The compofitions of this mafter are always filled with a number of figures, . 
 and his defign and colouring are commendable. His landfcapes are ftronoly. 
 coloured, and fliew a great deal of truth and nature ; and the figures, as well as 
 the atwtaals which he introduces, are much in the ftyle and manner of Van -, 
 Bloemen. Some of the paintings of Reiner, are honoured with a place in the 
 grand gallery of Auguftus King of Poland, and many of his works were in the 
 pofleflion of the late Count Bruhl, 5 
 
 REM, 
 
R E M [ 506 ] RE M 
 
 REMRRANT Van Rvn. 
 
 Painted Hijtcry, and Portrait. 
 
 * Died 1674, aged 68. 
 
 He was born at a village near Leyden, in 1 606. His real name was Gerretfa •, 
 but he is known by tiie name of Van Ryu, an appellation given him, from the 
 place where he fpent the youthful part of his life, which was on the borders of 
 the Rhine. As he gave very early tokens of a flrong genius to painting, he was 
 at firft placed under the care of Jacques van Zwanenburg, in whole fchool he 
 continued for three years •, and in that time, afforded fuch evident proofs of 
 uncommon and fuperior talents, as extremely furprized his inftrudor. After- 
 wards he was the difciple of Peter Laftman, but ftaid no longer than fix months 
 with that mailer ; and for the fame length of time, he lludied under Jacob 
 Pinas ; from whole manner, it is faid, Rembrant acquired that tafte for ftrong 
 oppofitions of light and fhadow, which he ever after lb happily cultivated. He 
 formed his own manner intirely, by ftudying and imitating nature ; which he 
 copied in its moft fimple drefs, without any apparent attention to elegance of 
 choice. But, although it was not his talent, to feleift what was moft beautiful 
 or graceful in nature -, vet had he an amazing power, in reprefenting every 
 object that was before his eyes, with fuch truth, force, and life, as nothing but 
 nature itfelf can equal. 
 
 By the advice of an artiftwhowas his friend, Rembrant was prevailed on to 
 carry one of his firft performances to the Hague ; and he there offered it to an 
 able connoifleur, who treated him with great kindnefs and refped, and prefented 
 him with an hundred florins for the picture. That incident, though not feeming 
 to be. of any great confequence, yet laid the foundation of Rembrant's fortune-, 
 for, it not only ferved to make the publick acquainted with his abilities, but it 
 alfo contributed to make him more fenfible of his merit. And, as hefoon after 
 was folicited for his works, by many perfons of diftindion, he fettled at Amfter- 
 dam, where he might follow his profefiion with more eafe, and advantage. 
 
 Incefiant bufinefs crowded on Rembrant immediately, lb as fcarcely to allow 
 him time, to gratify the general demand for his paintings ; and he had fuch a 
 number of pupils, that wealth flowed in upon him plentifully, from many 
 fources. For, as moft of his difciples, were the fons of people of condition, or 
 fortune, he received from each of them an hundred florins a year for their 
 inftru<ftion •, and he had fagacity enough to raife a confiderable fum, by the fale 
 of thofe copies, which they made after his pictures, and defigns. For, he 
 always retouched them in feveral parts, with his own free pencil, to increafe 
 their value, by inducing purchafers to believe them to be really his own. And 
 we are allured by Sandrart, that by fuch kind of traffick, and an artful manage- 
 ment of the fale of his etchings, he gained every year, at the lead, two thoufand 
 five hundred florins. 
 
 His ftyle of painting, in the firft years of his practice, was very different from 
 that of his latter time; for, his early performances were finifhed highly, and 
 with a neat pencil, refembling thofe of Mieris ; but he afterwards aifiimed a 
 ftyle of colouring, and handling, as oppofite to it as poffible, ftrong, bold, and 
 with a degree of force that aftonilhes ; in which he has been unexcelled by any 
 
 • According to De Piles, Rembrant died in i663,aged62. 
 
 5 artill, 
 
REM [ 507 ] REM 
 
 artift, though Eeckhout, and fome of his beft difciples, have approached very' 
 near him. In his firft manner are, the hiftorical picture of Ahafuerus, Efther, 
 and Haman ; the Woman taken in Adultery ; and S. John preaching in the 
 wildernels ; which are mentioned as being exquifitely finished, and yet touched 
 with inexprefftble fire and Spirit. Houbraken ieems to aicribe more real merit 
 to his former, than his latter works, although at that time he painted with 
 amazing expedition. 
 
 The invention of Rembrant was very fertile, and his imagination lively and 
 active •, but his compofition, notwithstanding it was remarkable for Strength of 
 expreSTion, was destitute of grandeur ; and although his genius was full of fire, 
 yet he wanted elevation of thought, and had little or no notion of grace, or 
 elegance. It has been Said, that if Rembrant had vifited Rome, his tafte would 
 have been proportionably refined ; and that the knowledge of the antique, 
 added to his other eminent qualifications, might have produced a mafter equal 
 to the molt exalted character. But, that this would certainly have been the 
 effect of his vifiting Italy, may juitly be doubted, when the prevalence of habit 
 is confidered ; when his mind was Stored with ideas, taken from grofs and 
 heavy nature, to which he had been familiarized from his infancy •, and if it be 
 alio particularly confidered, that he took pains to furnifh himfelf, with a collec- 
 tion of the fineft Italian prints, drawings, and defigns, many of them taken 
 from the antiques, which he feems to have Studied with pleafure, but without 
 the fmalleft improvement of his talte. It appears, as if he had more Solid 
 delight, in contemplating his own repofitory of old draperies, armour, weapons, 
 and turbans, which he jocularly called his antiques •, than he ever felt, from 
 furveying the works of the Grecian artilts, or the compositions of Raphael. 
 
 As to his colouring, it was Surprizing •, his carnations are as true, as frelh, 
 and as perfect, in the Subjects he painted, as- they appear in the works of 
 Titian, or any other matter ; with this only difference, that the colouring of 
 Titian will admit of the ncareit inspection, whereas that of Rembrant mult be 
 viewed at a convenient distance •, and then an equal degree of union, force, and 
 harmony may be observed in both. 
 
 His portraits are confefiedly excellent; but, by his being accuftomed to 
 imitate nature exactly, and the nature he imitated being always of the heavy 
 kind, his portraits, though admirable in refpect of the likeneis, and the look of 
 -life, want grace and dignity, in the airs and attitudes. In regard to other 
 particulars, he was So exact in giving the true relemblance of the peribns who 
 lat to him ; that he distinguished the predominant feature, and character, in 
 every face, without endeavouring to improve or embellish it. And, in many of 
 his heads, may be Seen fuch a minute exactness, that he represented even the 
 hairs of the beard, and the wrinkles of old age ; yet, at a proper diftance, the 
 whale has an effeft that aftonifhes. For, he imitated his model in fo true, fo 
 plain, and ib faithful a manner, that every portrait appears animated, and as 
 if Starting from the canvas. 
 
 . His local colours are extremely good •, he perfectly un lerfiood the principles 
 of the Chiara-Scuro ; and it is reported, that he generally painted in a chamber 
 !b contrived, as to admit but one ray of light, and th it, from above. The 
 lights in his pictures, were painted with a body of colour unufually thick, as if 
 the artift had an intention rather to model, thai to rai it ; but, he knew the 
 
 T t t nature 
 
REM [ 508 ] REM 
 
 nature, and property, of each particular colour fo thoroughly, that he placed 
 every tint in its proper place ; and by that means, avoided the neceflity of 
 breaking and torturing his colours, and preferved them in their full frefhnefs, 
 beauty, and luftre. 
 
 One of his greateft defects appeared in his defigning the naked ; for, in fuch 
 figures he was exceffively incorrect ; the bodies were either too grofs, or toa 
 lean ; the extremities too fmall, or too great ; and the whole figures generally 
 out of proportion. But in other parts of his, fuch as colouring, exprefiion, and 
 the force produced by lights and fhadows happily and harmoniouily oppofed, he 
 had few equal to him, and none fuperior. 
 
 The etchings of Rembrant are exceedingly admired, and collected with great 
 care and expence for the cabinets of the curious, in mod parts of Europe ; . and 
 it is remarked, that none of his prints are dated earlier than 1628, nor later, 
 than 16^9, though there are feveral of his paintings dated in 1660, and partial-, 
 larly the portrait of a Francifcan Friar. He had the fame fpirit in every ftroke 
 of the graver, as in the markings of his pencil •, there feems not to be a fingle 
 touch that does not produce exprefiion and life. 
 
 The o-enuine works of this mafter are rarely to be met with, and whenever 
 they are to be purchafed, they afford incredible prices. Many of them are 
 preferved in the rich collections of the Englifh nobility ; fome are in the Duke's . 
 palace at Florence, where the portrait of Rembrant painted by himfclf is placed 
 in the nailery of artifts ; a few of his works are at Genoa, one or two at Turin, 
 and feveral in the cabinets of the French King, and the Duke of Orleans. 
 
 R E S C H I. Vid. Pandolfo. 
 
 Peter REUVEN. 
 Painted Hiftory, and Portrait. 
 Died 1718, aged 68. 
 
 He was born in 1650, and was a difciple of Jacques Jordaens, with whom 
 he ftudied and practiled fo induftrioufly, that he became very confiderable in his. 
 profeilion. 
 
 He was moftly employed in great works, fuch as the decorations of magnifi- 
 cent halls, falons, and grand apartments ; in which he generally painted the 
 cielings. He defigned the triumphal arches for the reception of King William 
 III, at the Hague •, and in that work, the merit of his compofition as well as his 
 execution, procured him extraordinary applaufe. The fineft apartments at Loo, 
 are painted by this mafter, who was remarkable for the variety which appears in 
 his compofition, for the readinefs of his execution, and the freedom and firmnefs 
 of his pencil ; and it feems inconceivable, to thole who obferve how carefully 
 his works arefinifhed, how they could be accomplifhed in fo fhort a time, as in 
 reality, they were •, confidering at the fame time the goodnefs of the colouring, 
 and the abundance.of figures which are introduced. 
 
 J a N 
 
R E C [ 509 ] R E C 
 
 Jan d e R E Y N, or R h e n i, called Lang Jan. 
 
 Painted Hiftcry, and Portrait. 
 Died 1678, aged 68. 
 
 This painter was born at Dunkirk, in 1610, and had the happinefs to be a 
 diiciple of Vandyck. Under the conduct of that eminent mafter, he diftinguifhed 
 himfelf in fuch a manner that he was efteemed the bed performer in thatYchool, 
 and an honour to his inftruftor. He was fo attached to his mafter, that he 
 followed him to London •, where, it is thought, he continued as long as he 
 lived. In thefe kingdoms he is moftly known by the name of Lang Jan. 
 
 Noartift approached fo near to Vandyck, as de Reyn, in every part of paint- 
 ing; he ftrongly refembled him in the lovely tone of his colour, in the fpirit of 
 his touch, and in the delicacy of his pencil. His defign is very correct, and the 
 hands of his figures have the fame elegant turn, and exactnefs, which are 
 obfervable in all the works of his mafter. His compofition is generally in a 
 noble ftyle, though fome think it to be rather a little encumbered, and confufed ; 
 but in other refpects, his manner was extremely grand. His draperies are 
 broad, and well caft, and in all his paintings he fhews a fine intelligence of the 
 Chiaro-Scuro. 
 
 It is imagined that the fcarcity of the works of Lang Jan, is occafioned by fo 
 many of them being imputed to Vandyck, and fold for the performances of 
 that incomparable mafter ; which circumftance, if true, is undoubtedly more to 
 his honour, than any f thing that could be faid in his commendation. Among 
 the indifputable works of this artift, are mentioned, the Baptifm of Totila, 
 which is in a church at Dunkirk ; and in the hall of the Jefuits in the fame 
 city, are painted the figures of feveral Saints, larger than life ; and alio a grand 
 altar-piece in the parifh church of S. Martin, at Bergues, reprefentino- Herodiaa 
 bringing the head of S.John, to Herod ; which is exceedingly admired. 
 
 R I B E R A. Vid. Spacnoletto. 
 
 Sebastian RICCI. 
 
 Painted Hijiory. 
 Died 1734, aged 7 5. 
 
 He was born at Belluno near the Marquifate of Trevigiano, in 1659, and 
 having discovered a very early genius to the art of painting, he was conducted 
 by his father to Venice, and placed as a difciple with Frederico * Cervelli, a 
 Milanefe painter of good reputation, under whom he diligently ftudied defio-n 
 and colouring, for nine years. Afterwards, he improved himfelf at Bologna, 
 and other cities of Italy through which he travelled, by copying the works of" 
 the great mafters ; and in his progrefs, obtained the favour and patronage of 
 Ranuccio II, Duke of Parma, for whom he finiihed fome very grand defio-ns. 
 
 By the liberality of that Prince, he was honourably maintained at Rome, to 
 improve himfelf ftill more, by ftudying the productions of the beft antient and 
 modern artifts ; and he there eftablifhed his tafte, and formed that grandeur of 
 
 * In the Abrege, &c. this Milanefe painter is called Corvelli, but according to the Mufeum 
 
 Ftarentinuna, Cervelli. 
 
 T t t 2 ftyle 
 
RIG [ 510 ] R I C 
 
 ftyle, which procured him univerfalefteem. Having at length quitted Rome„ 
 and rimmed ibme excellent defigns at Milan, he returned to Venice •, where his 
 ] leafing manner of colouring attracted the attention of every lover of the art, 
 and he was fo eagerly folicited for his paintings, that he could barely allow 
 himfelf leifure, to take even his neceffary refreihments. 
 
 The fame of Sebalcian fled fpeedily through every part of Europe, and he 
 received an invitation to the court of the Emperor, at Vienna, to adorn the 
 magnificent palace of Schoenbrun ; by which work, he not only added highly 
 to his reputation, but alio to his fortune. From Vienna, he was encouraged to 
 vilit London, where he was immediately and inceflantly employed, by the court, 
 by the noblity, and by a number of perfons of ample fortune, who were com- 
 petent judges of his extraordinary merit, and were defirous to pofiefs fome of 
 ins productions. 
 
 He rcfiued in England for ten years, and immortalized his name by feveral 
 grand compofuions •, and being enriched by that generous nation, who are 
 uncommonly liberal to all kindsof merit, lie returned to Venice, accompanied 
 by his nephew Marco Ricci, and fettled in that city for the remainder of his life. 
 
 He had a fruitful, and fine imagination ; a grandeur, and elevation of 
 thought; his compofuions are remarkable for their judicious ordonnance, and 
 harmony •, his touch is light ; he had a ready, and great execution - "; and his tone 
 of colouring is agreeable, though fometimes he is a little too black. Had he 
 confulted nature more attentively, his figures would have been more correct ; 
 but he was too apt to undertake too many things at one time, which caufed him 
 principally to work from imagination ; and that always conftrains an artift, to 
 keep too much to one and the fame manner. However, his paintings have 
 maintained an univerfal reputation, and are bought by the mod able judges at 
 confiderable prices. 
 
 Among many excellent works of this matter, befides thofe at Chelfea, and 
 Montague-houfe, three are particularly applauded, which are in the church of 
 S. Colmus and Damian, at Venice. One is the representation of David bringing 
 back the Ark in triumph ; another is, the Dedication of the Temple by 
 Solomon ; and the third, Moles commanding water out of the Rock ; which 
 is enriched with an admirable landfcape, painted by his nephew Marco Ricci. 
 
 Marco RICCI. 
 Painted Landfcape, Ilijlory, and Perfpefiive Architecture. 
 Died 1730. 
 ITe was the nephew and difciple of Sebaftian Ricci, equally eminent for 
 painting hiftory, architecture, and landfcape ; but, in the latter, his ftyle and 
 tafte of clefign appear truly excellent. He ftudied, and alio defigned, the moft 
 utiful edifices, ruins, and fcenes, that engaged his attention either in Rome, 
 or in the villages around it, with which he enriched his ideas ; and being poflefled 
 or a very happy genius, it directed him to make an elegant ufe of thofe rich 
 1 by introducing into his landscapes, fuch noble remains of antient 
 rificenee, as diftiftguifh his compositions from thofe of any other artift. Ihv 
 choice of his ; led lunations, in the breaking of his grounds, and 
 
 ■ nducting his diftances with perfpective truth, he was fuperior to moil of his 
 5 cotemporaries. 
 
R I C £ 511 ] R I C 
 
 cotemporaries. In fhort, in every part he fhews evidently, that he had ftudied 
 nature in its moft beautiful drefs •, and fo much grandeur of tafte appears in 
 the whole, as can rarely be feen in the works of any other mafter. 
 
 It has been indeed, notunjuftly obferved, that the colouring of Marco has not 
 that force and luftre, which feem neceffary to engage, and fatisfy, the eye of 
 the fpeftator ; but, the grandeur of his ideas, and the elegance of his tafte, muft 
 for ever afford a fenfible delight to a judicious obferver. He painted both in 
 oil, and in diftemper, but he is accounted much more excellent in the latter, 
 than in the former. 
 
 Many of the pictures painted by this mafter are to be feen in England. At 
 Burlington-houfe fiome of the cielings were painted by him ; and alio a piece of 
 ruins in theftyle of Viviano ; and at Bulftrode, a feat belonging to the Duke of 
 Portland, he painted in the chapel, the Laft Supper ; in which compofition, he 
 has introduced his own portrait in a modern habit, with an equal degree of 
 vanity, impropriety, and abfurdity. 
 
 RICCIARELLI. Vid. Daniel da Volterra. 
 
 Domenico RICCIO, called Brusa-Sorci, 
 
 Painted Hijicry. 
 Bled 1567, aged 73. 
 
 He was born at Verona, in * 1494, and was a difciple of Giovanni Francefco 
 Caroto ; who taught him defign and colouring, and qualified him to appear 
 with credit in his profeffion. But being ambitious to obtain a more extenfive 
 knowledge of the art, than he could acquire in the fchool of Caroto, he went to 
 Venice, to ftudy the works of Giorgione and Titian. 
 
 To difcover the peculiar excellencies of thofe great artifts, he was indefatigable 
 in making obfervations, and full as diligent in endeavouring to imitate what he 
 approved." At laft he arrived at fuch perfection, that his works were generally 
 admired and coveted, for the beauty of his colouring, and the attitudes of his 
 figures, that were full of motion, and life. 
 
 In the Cardinal Gonzaga he found a zealous protector and friend, who 
 invited him to Mantua ; and during his refidence in that city, he had the 
 honour of painting in competition with two of the moft celebrated matters of 
 his time, Paolo Veronefe, and Paolo Farinato. 
 
 In the church of S. George at Verona, is a picture by this mafter, reprefenting 
 the gathering of the Manna in the Wildernefs, which is accounted a fine compo- 
 fition ; and in refpect of the colouring, has much more force, than a famous 
 picture by Farinato, which is placed not far from it. 
 
 * Among many errors in the Chronological Tables of the eminent painters, publifncd by Harms, 
 there appears one unaccountable miftake, in reference to Domenico Riccio ; f r, in Table V, he 
 fetsdown that mafter as being born in 1484, or i486, only taking notice that he ftudied Giorgione 
 and Titian ; and yet ki th? very next Table VI, he mentions the very fame mailer, as being born 
 in 1 494, and the difciple of Cai oto. 
 
 C L A U D I O 
 
RID [ 512 ] RIE 
 
 Claudio RIDOLFI. 
 Painted Hiftory, and Portrait. 
 
 Died 1644, aged 84. 
 
 This artift was born at Verona, in 1560, and learned defign and colouring 
 from Dario dal Pozzo ; but after he had fpent a few years under the direction of 
 that mafter, he went to Venice, and entered himfelf as a difciple in the fchool of 
 Paolo Veroncfe •, where he exerted his utmoft induftry to copy the compofiuons 
 of that famous painter, and to guide his practice intirely by his precepts. 
 
 By that prudent method of conducting his ftudies, he eftablifhed his tafte, 
 and refidedfor feveral years at Venice, to perfect himfelf as much as poffible in 
 his profeflion ; and at laft vifited Rome, and Urbino. In the former city, by 
 converfing with the works of the antient artifts of Greece, and Italy, he gained 
 a correct manner of defigning, and likewife the habit of introducing judicioufly 
 one broad mafsof light in the principal part of his pictures, which produced an 
 extraordinary fine effect. And at Urbino, by fpending fome time with Frederico 
 Baroccio, he acquired a delicate touch, a fweetnefs of colouring and penciling, 
 and the art of giving graceful airs to the heads of his figures. It is afierted by 
 fome writers on this fubject, that while he continued at Urbino, he painted a 
 moll celebrated picture, reprefenting the Annunciation, which for beauty of 
 colour, and excellent exprefiion, is admired to a degree little fhort of 
 adoration. 
 
 At Rome he finifhed a great number of portraits, remarkable for the dignity 
 of their attitudes, as well as for their exprefiion, and ftriking relemblance ; and 
 thofe procured for him fuch general applaufe, as gave him a juft title to be 
 ranked in the number of the beft painters of Italy. 
 
 John Klaasze RIETSCHOOF. 
 
 Painted Sea-pieces. 
 Died 1 7 19, aged 6 j. 
 
 He was born at Hoorn, in 1652, and was at firft inftructed by Abraham 
 Leidts, but afterwards perfected himfelf in the fchool of Ludolph Backhuyfen ; 
 whofe manner of handling and defign, he imitated with fo great fuccefs, that he 
 is very defervedly ranked, among the moft efteemed painters in that ftyle. 
 
 He was remarkably modeft, and although he obtained praile for every work 
 he finifhed, he could never prevail on himfelf to believe he deferved it ; which 
 feems to be an uncommon difpofition of mind in a painter. He alfo pofTefied 
 another quality full as fingular, which was, that he appeared fanguine, in giving 
 a juft commendation, to the character and talents of any other artift, and filent 
 with regard to his own. 
 
 Henry RIETSCHOOF. 
 
 Painted Sea-pieces. 
 He was the fon and only difciple of Klaafze, born at Hoorn in the year 1678. 
 As he learned the art of painting from his father, he gave himfelf up intirely to 
 5 his 
 
RIG [ 5*3 ] RIG 
 
 His manner, and induftrioufly ftudied his ftyle of colouring, handling, and 
 defign ; though fometimes he made the works of Backhuyfen his model, and 
 copied feveral of them with incredible exaftnefs. 
 
 The fubjects which he moil frequently painted, were rough gales of wind, 
 ftorms, enraged feas, tempefts attended with lightning, (hipwrecks, and the 
 diftrefs of thofe who were whelming in the deep, or with difficulty efcaping to 
 the more ; and in thofe fubjects, he was accounted a good painter. 
 
 Hyacinth RIGAUD, Chevalier. 
 Painted Portrait. 
 Died 1 743, aged 80. 
 
 He was born at Perpignan, in the province of Languedoc, in 1663, and' 
 received his earlieft knowledge of the rudiments of the art, from his father 
 Matthias Rigaud, a painter of ibme note. But, happening to be deprived of 
 his director,- when he was only eight years of age, the matters under whofe care 
 He was afterwards placed, were incapable of affording him fuch a degree of 
 inftruction, as he feemed capable of receiving, by the livelinefs of his genius and 
 talents. However, at laft he contracted an intimate friendfhip with an excellent 
 painter named Ranc, who was in high reputation for portrait painting, and 
 efpecially for his colouring. 
 
 With that matter Rigaud acquired a good tafte, and freedom of hand ; but 
 his principal improvement was derived, from his habituating himfelf to copy the 
 works of Vandyck ; and after a few years diligently employed, in a conftant 
 courfe of ftudy and practice, his pictures could (land in competition with thofe 
 of his matter Ranc, for truth, for livelinefs, and for expreffion. 
 
 He felt an impatient defire to vifit Italy, but was diffuaded from takino- that 
 journey, by Le Brun, who prevailed on him to continue at Paris, and perfect 
 himfelf there in portrait painting, by which he might affure himfelf of reputa- 
 tion and fortune. He therefore purfued that plan, and foon diftinguifhed 
 himfelf in fuch a manner, that the King of France, the Princes of the blood, the 
 prime nobility of that kingdom, and many foreign Princes, fat to him for their 
 portraits, which procured him very great applauie •, and by Lewis XV. he was 
 honoured with the order of S. Michael, as alio with a very confiderable penfion, 
 in 1727. 
 
 He is accounted one of the bett among the French matters, and his works 
 are exceedingly prized in that kingdom. He had a free and fpirited pencil, a 
 lively tone of colouring, and, in many parts of his profeffion, fhews a great deal 
 of merit. But, allowing Rigaud his juft praife, far thofe parts in which he par- 
 ticularly excelled ; it cannot but beconfeffed, that his draperies are too violently 
 agitated, fo as to compel the fpedtator's attention to them, more than to the oor- 
 trait. Nor can fuch a difpofnion in the draperies appear even natural, when' the 
 perfon is reprefented as under cover in an apartment, and at the fame time the. 
 Hair and the draperies appear as if the perfon fat abroad in a ftorm. . 
 
 J H X 
 
R I L [ 514 ] P. I M 
 
 John RILEY. 
 
 Painted Portrait. 
 * Died 1 69 1 , aged 45. 
 
 He was born at London, in 1646, and inftrucled in the art of painting by 
 Fuller, and Zoult. An ingenious writer (in the Anecdotes) afferts that he war. 
 one of" the bell native painters that has flourifhed in England ; and that there 
 are draperies and hands painted by him, that would do honour either to Lely, or 
 Kneller-, the portrait of the Lord Keeper North, at Wroxton, being in every 
 lelpeci a capital performance. 
 
 Undoubtedly he had a great deal of merit, and fome of his portraits juflly 
 deferve commendation ; for, his ftyle of painting was agreeable, and his colour- 
 ing extremely pleafing. But, by being preceded by feveral eminent artiils in 
 his profeffion, fuch as Vandyck, Doblbn, and Lely, and cotemporary alio with 
 Kneller •, it leems no way furprizing that his reputation was not advanced, in 
 proportion to his merit ; or that his works did not engage the public attention, 
 as much as they really deferved. However, perhaps that lingular modelt diffi- 
 dence, which Riley always had in refpect to his own paintings, might alio in 
 fome degree have contributed to make his merit lefs noticed ; for nothing is 
 more frequent, than to lee vanity, which is rarely the attendant on true merit, 
 much more fuccefsful In pufhing a man's fortune, to an unexpected and unme- 
 rited heighth ; than the more amiable qualities of humility, and modeily, though 
 accompanied (as they generally are) with real and folid merit. 
 
 After the death or Sir Peter Lely, he advanced in the efleem of the public, 
 and had the honour to paint the portraits of King Charles II, King James, and 
 his Queen, and was appointed {late-painter. He made nature his principal 
 ftudy, without adopting the manner of any mailer, and as far as he thought it 
 prudent, he improved or embellifhed it in his pictures ■, and like many other 
 men of genius, he feems to be more relpected by pollerity, than by the age in 
 which he flourilhed. 
 
 O r a z 1 o R I M I N A L D I. 
 
 Painted FUJI cry. 
 Died 1630, aged 32. 
 
 He was born at Pifa, in 1598, (though the Chronological Tables fix his birth 
 in 1586) and at firlt was a difciplc of Aurelio Lomi ; but he atterwards became 
 the difciplc of Orazio Gentiielchi at Rome. To the inftruftions of that mailer, 
 he added an inceflant application to the fcudy of the antiques, and a diligent ob- 
 fervation of the excellencies of the different modern mailers ; fo that, on his 
 return to his native city, he found encouragement and employment, even 
 beyond his expectation. 
 
 liie pictures of this mailer which are moll commended, are Sampfon deilroy- 
 ing the Philillines ; the Brazen Serpent in the Wildernefs ; and the Affumption 
 of the Virgin'; by thofe he firmly eilablifhed his reputation, not only on account 
 
 * In the Chronological Tables, it is affirmed, that Riley died in 1717, at the age of 71, which 
 appears to be a very great rniftake j for the moft authentic writers aflert, that he died in 1691, at 
 the age of 45. 
 
 of 
 
R I V [ 5 i 5 ] ROE 
 
 of the goodnefs of the compofition, but for the beauty of the defign, the elegant 
 choice of the attitudes, and the free and firm ftyle of his colouring. 
 
 Unhappily he died of the plague, when he was yet young, and at a time 
 when there was the greateft probability that he would arrive at the utmoft ex- 
 cellence in his profeffion. 
 
 Anthony RIVALZ. 
 Painted Hijlory, and Portrait. 
 Died IJ25-, aged 6S. 
 
 He was born in 1667, and was the fon of John Peter Rivalz, a painter of fome 
 note, who lived at Thouloufe, where it is fuppofed Anthony was born. His firft 
 knowledge in the art of painting was derived from his father ; but his greateft 
 improvement in defign and compofition, he derived from Le Fage. 
 
 Though he vifited Paris, and other cities of France, yet he perceived that at 
 Rome only he could perfect himfelf in the belt principles of his art ; and there- 
 fore directed his courle to that city ; where he defigned after the antiques, after 
 the works of Raphael, and other celebrated artifts, and produced fome compo- 
 fitions, which (according to the French writers) excited the envy of the Italians, 
 when they were publicly exhibited. 
 
 One of the chief excellencies of Rivalz, confided in copying the works of the 
 great mailers •, and by order of Cardinal Janfon, the French Ambafiador at 
 Rome, he copied a Holy Family from Raphael, which performance was fent to 
 the French King, and it is at preient in the Royal collection. He likewife co- 
 pied fevcral pictures of Guido, Caravaggio, and Valentino, which have (as the 
 French authors affirm) deceived very able connoifieurs. 
 
 The ftyle of painting of this mafter was bold, his invention ready, and his 
 defign correct •, his local colours were true, and he gave his pictures a great deal 
 of force by the deepnefs of his fhadows, in the tafte of Caravaggio, and Valen- 
 tino •, but, his colouring was very unequal, fometimes a leaden grey tint predo- 
 minated, fometimes the red, and often the blue, and reddifh brown. 
 
 R O B U S T I. Vid. Tintoretto. 
 
 Peter ROESTRAETEN. 
 
 Painted Portrait, and Still Life. 
 Died 1698, aged 71. 
 He was born at Haerlem, in 1627, and became a difciple of Francis Hals, 
 whofe ftyle and manner he followed with great credit for fome years after he 
 quitted that mafter, principally painting portraits. But, the tendency of his o-e- 
 nim feemed to incline him more to paint fubjects of ftill life ; and in that ftyle 
 he fhewed himfelf equal to any artifts of his time. Nothing could poffibly ap- 
 pear with ftronger characters of nature and truth, than every object he painted 
 appeared in his compofitions. He grouped them with (kill, and contrived the 
 darker objects to be always fo placed, as to give a ftriking luftre to thofe that 
 were naturally more bright, or more pellucid •, and by an artful management of 
 the chiaro-fcuro, produced a fuitable roundnefs and relief. 
 
 U u u His 
 
ROE [ 51-6 ] ROE 
 
 ' fabjects generally were muficaj FfrftmnieBts •, gold, filver, or rhryftat 1 
 vales; china-ware, agates, and fhells that were curious. His patnjtfngs were., 
 for their neatneis of penciling, and delicacy of colour, fuperior to thoie 
 painted by any of his cotemporaries •, and in his time were fo highly efteemed,. 
 that many of them are faid to have been fold by him for forty and fifty pounds 
 a-piece. But it ought to be obferved, diat the prefent improved tafle of the 
 lovers of the art, makes them juftly conlider all thofc kind of lu bj eels with abun- 
 
 - tly lefs regard, than th;y kemed to be entitled to formerly j and for that 
 fe, the works of Roeftraeten, notwithstanding their intrinfic merit, have pro- 
 portionably funk in their value. Yet even Hill, it is impoiTible to behold the 
 Is of gold and filver, painted with fo much accuracy by this artift, with fuch 
 uncommon luflre, and fuch true imitation of nature, without commending them ; 
 though at the fame time one cannot avoid wifhing, that fo able a mafter had em- 
 ployed his pencil on more interesting fubjects. 
 
 Mr. Defcamps, and foms other writers aliedge, that Sir Peter Lely diverted 
 him from painting portraits, out of a principal of envy and jealoufy, left he - 
 .mould have found in R.ceftraeten too powerful a rival •, promiiing to procure - 
 him a creater a rvafltage from his pi- fines of ftill life, than he could gain by por- 
 tr::;:s, "and TO enrich him by his recommendation. But that ftory feems not to 
 ha e i ny decree of probability •, for the fame of Lely was then fuffkiently efta- 
 
 Ihefl •, nor have we any ntteftcd aWcmnt, of Rorftraeten's extraordinary meril 
 except in the peculiar ftyle he purfued. Sir Peter did indeed molt zealoufly re- 
 commend him, and by t] ins did really enrich him •, but an impartial and 
 benevolent mind would conclude, that the recommendation rather proceeded 
 from an approbation of the work of that artift, than from fo fervile and fordid 
 a motive, as the fear of his becoming a competitor. And although Defcamps 
 feerns to hint, that the Englilh nation is fo extravagantly fond of the works of 
 Roeftraeten, that they will hardly fuffer them to be carried out of the kingdom ; 
 fo falfe a fuggeftion depreciating the Engliih tafte, which is allowed through 
 all Fr.ivpe to be far fuperior to the French} yet certainly Mr. Defcamps muft 
 have been of a very different opinion had he been in England, and had ever 
 fered to become a purchailr of the pictures of this mafter •, for he would have, 
 found the rates at which they are commonly fold, very far inferior to their in- 
 trinfic value. 
 
 C O N R A D E R O E P E L. 
 Fainted Fr::ir.', Plants, and Tkw&u 
 Died 1748, aged 69. 
 He was born at the Hague, in 1679,. anL ^ was a difciple of Conftantine Nee- 
 dier, wh.o defigned to form him to portrait painting •, but Roepel being of a 
 weakly conftitution, and ordered,, for the benefit of his health, to refide in the 
 r air of the country, he took fo much delight in his garden, that he became 
 fond of pal. ints, and flowers, and fuccceded beyond his hope. One of 
 
 thegreateft at the Hague, furniihed him with the molt beautiful flowers 
 
 in :. .ion, to ferve him as models, in order to have ft picture painted after 
 
 them for-his own pleafurep and Roepel difpofed every object lb agreeably, and 
 . ith to. much truth, nature, and clearnels of colour, that it at 
 
 once 
 
ROE f 5*7 ] R O G 
 
 once eftubliihed his reputation, and fortune. Such unexpected fuccefs, deter- 
 mined him to devote himfelf intirely to that fcyle of painting -, and in a fhort 
 time, he was confidered as being equal to the beft artifts in that country, Van 
 Huyfum only being excepted; 
 
 By the lblicitation of the Count Schaefbergen, he was induced to vifit the 
 Court of the Elector Palatine, and he carried along with him one of his pictures •, 
 with which the Elector was ib highly pleafed, that he payed him generoufly for 
 it, employed him immediately, and alio honoured him with a gold chain and a 
 medal, condefcending to place the chain round the neck of the artiit with his 
 own hands. The reception which he met with at Duffeldorp, gave an addi- 
 tional value to his works, when he returned to his own country ; and he found 
 the number of his admirers and employers greatly increafed. 
 
 All thofe plants, fruits, and flowers, from which he compofed his fubjects, 
 were carefully cultivated in his own garden ; and in that place, which is repre- 
 fented as a delicious retirement, he was vitited by perfons of the firft rank : a 
 temperate life, and the innocent amufements in which he delighted, prolonged 
 his life beyond all expectation, as he was naturally of a tender and weakly con- 
 futation ; and at his death he was director of the academy of paintino- at 
 the Hague. 
 
 Not with Handing the abundant merit of Van Huyfum, the works of Roepel 
 are very highly efteeined in Holland •, and always afford large prices, whenever 
 they are to be purchaild. 
 
 ROGER of Brussels. Vid. Vander Weyde. 
 
 Roland ROGHMAN, 
 
 Painted Landfcape. 
 
 Died 1686, aged 89. 
 
 He was born at Arnfterdam, in 1597, and learned the art of painting in his 
 native city ; but he formed his manner intirely by ftudying after nature, without 
 attending to the ftyle of any particular mater. He travelled through feveral 
 parts of Germany, merely to furniih himfelf with materials for future compo- 
 fitipns •, deijgning every fcen'e that pleafed his imagination, every ruin, caftle, 
 village, or building which engaged his attention, as well as the figures and 
 cattle ; thofe he generally fketched on the fpot, and many of them are ftill pre- 
 ferved in the collections of the curious. 
 
 He had a firm and free manner of painting, his keeping was tolerably good ; 
 and fome of his pictures have a pleafir.g effect •, but there is a rawneTs fre- 
 quently in his colouring-, his grounds and trees are very often too brown, too 
 dufky, and not of the tints of nature ; and though his figures are ufually too 
 much laboured, they want elegance and character. The choice of his fituations 
 cannot be commended, nor is there a competent variety in the forms of his trees, 
 to allure the eye agreeably ; but in regard to many parts of his art, His merit 
 war. conlklerable. 
 
 It is by all writers mentioned to his honour, that a moft fincere and dif- 
 Interefted friendfhip always iubfifted, between Roghman, Rembrant, and 
 Eeckhout. 
 
 R O K E S. Vid. S r & h. 
 
 U u u 2 Giovanni 
 
R O M 
 
 5i8 ] 
 
 ROM 
 
 Giovanni Francesco ROMANELLI, Cavulicrc. 
 
 Painted IHJlory. 
 Died 1662, age d 45. 
 
 He was born at Viterbo, in 161 7, and was a difciple of Pietxo da Cortona - % 
 who, with inexpreffible fatisfaction, obferved the extraordinary proficiency of 
 his pupil, and equally loved and reipected him, for the amiable difpofitions of 
 his mind, as he admired him for his comprehenfive capacity, and genius. By the 
 attention he fhewed to the precepts of his matter, he became the beft, and the 
 moil favourite difciple of Cortona ; his ftyle and handling were in imitation of 
 that eminent artift, nor were his ideas, or his compofition, any wav inferior to 
 him, and he was accounted more correct; though in his colouring, his works 
 appeared much colder than thofe of Pietro. 
 
 His invention was eafy and agreeable, his drawing correct, and he generally 
 g.we a great deal of grace to the airs of his heads ; being therefore poflefied of 
 lo many of the perfections requifite to conftitute a great painter, it is no wonder 
 that he ihould be confidered as one of the beft artifts of his time. 
 
 With an equal degree of. freedom and fpirit he painted in oil, and in ffefco, 
 but he was accounted particularly excellent in the latter. For feveral years he 
 was employed by the French King, who honoured him with the order of S. Mi- 
 chael ; and in that ccurt he acquired a plentiful fortune, with abundant reputa- 
 tion. Flaving atlutt finillied, with great applaufe, thole grand defigns in which 
 he had been engaged, he returned to Rome, and fpent the remainder of his life 
 in that city, as much beloved for his virtue, as he was admired for his merit. 
 
 His works aredifperfed through moft parts of Europe, and are accounted an 
 ornament to the richeft collections. Two of Romanelli's -pictures, which were 
 efteemed as fome of the beft of his performances, were tranfmitted from Italy 
 to King Charles I ; one was a bacchanal, and the other a banquet of the gods. . 
 
 Urbano ROMANELLI. 
 Painted Hiftory. 
 Died. 1682, aged 44. 
 He was the fon and difciple of Giovanni Francefco, born at Viterbo, in 1638, 
 } \c painted in the manner and ftyle of his father, but was not in any refpect comr 
 parable to him. And yet, fome ofhis copies after the works of Francefco, and 
 alfo fome ofhis own compofitions, have been afcribed to his father, though a ju- 
 dicious eye will readily difcerh the difference ; efpecially in thofe which were- 
 defigned by Urbano, as they are very deficient in regard to correctnefs and. 
 grace, which are always to be found in the genuine works of Francefco. 
 
 Girolamo ROMAN I. NO.. 
 
 Painted Hijlcry. 
 
 He was born at Rome about the year 1504, but it is not afcertained by any 
 
 writer, under what matter he learned the rudiments and principles of painting, 
 
 From Rome he travelled to Venice, in order to complete nis ftudies, and there 
 
 perfected himielf particularly in the knowledge of colouring ; but having fpent 
 
 feveral 
 
ROM [ 519 ] ROM 
 
 feveral years in clofc application, he vifited Brefcia, where he followed his pre*- 
 feflion with univerfal applaufe. Vafari recounts none of the works of this mailer, 
 except what are to be feen at Brefcia ; but he fays, there are in that city many 
 proofs of his extraordinary merit. 
 
 No artift could be more celebrated than Romanino, for a fine invention, for 
 correctnefs of defign, for the force and beauty of colouring, and a faithful re- 
 femblance of nature, not unlike the ftyle and tint of Titian. He was accounted 
 to be profoundly fkilled in every branch of his art, and lived in as high efteem 
 as any painter of his time. 
 
 He finiihed a prodigious number of defigns in the churches, convents, and 
 palaces at Brefcia, in frefco, and in oil ; but his moil capital performance was 
 a fcriptural fubject, which he painted for the grand altar in the church of 
 S. Francis, in that city. In the old Louvre at Paris, and principally in the 
 apartments of Anne of Auftria, and the gallery of Apollo, are feveral of his 
 paintings in frefco ; which, though they are fome of his eariieft effays, mew 
 more than the promife of an exalted genius. The correctnefs of the defign, and. 
 the graceful eafe of the draperies, not only afford pleafure to thofe who are 
 competent judges, but even to thofe who are no great adepts in the art. 
 
 ROMANO. Vid. Julio. 
 
 Theodore ROMBOUTS. 
 
 Painted Hijiory, and Converfations. 
 Died 1637, aged 40. 
 
 He was born at Antwerp, in 1597, and was a difciple of Abraham Janffens, 
 under whom his progreis was remarkably great. In his twentieth year, the defire 
 he had to improve himfelf by feeing the works of the antient and modern 
 great artifts, induced him to travel to Rome •, and not long after his arrival in 
 that city, being engaged to paint two fubjects, taken from the Old Teftament, 
 they proved a fortunate means of making his merit known •, they introduced 
 him to the acquaintance and favour of the great ; and he had the fatisfaclion to 
 find a number of perfons, very defirous to obtain fome of his work. 
 
 While he continued at Rome, he was induftrious to increafe his reputation, 
 till he was honoured with an invitation to Florence, by the Duke of Tufcany •, 
 and he executed feveral grand compofitions for that Prince, with fo much fuc- 
 cefs, that he was not only honourably rewarded for his performances, but he 
 alfo received many valuable prefents from the Duke, as marks of his particular 
 efteem. 
 
 At his return to Antwerp, he found Rubens in the height of his glory ; and. 
 had caufe to perceive, that his own abilities, though they were in reality very 
 great, were much obfcured by the perfections of that eminent mafter. That ob- 
 servation, not only excited in Romboiits a ftrong emulation, which probably was 
 not unattended with fome latent degree of envy, but it likewife urged him to 
 paint fome hiftorical pictures, confeffedly in competition with Rubens; Of 
 which number, were S. Francis receiving the five wounds -, Abraham offering up 1 
 Ifaac •, and an emblematical piclure of Juftice with her attributes, for the Court- 
 houfe at Ghent.; and in the latter, fo much elegance appeared in the compo- 
 frnon, that it is faid Rubens feemed furprized when he faw it, 
 
 Ger-- 
 
RON 
 
 [ 520 ] 
 
 RON 
 
 Certainly it cannot truly be affirmed, that he was equal to Rubens, though in 
 many reipects he had extraordinary merit ; and it may be efteemed as an 
 honour to Rombouts, that he was accounted to approach near to that celebrated 
 a'rtift. He had a lively genius, a good imagination, and confiderable elegance 
 in his ftyle of compofition. His figures generally are near as large as life, and 
 well defigned; his pencil is free, his colouring warm, and his exprefiion ex- 
 cellent. 
 
 It was lamented, that he often demeaned his pencil by painting low fubjects ; 
 fuch as mountebanks and their attendants, inns, taverns, and foldiers playing at 
 cards, which he did merely to get money -, however, they were well executed, 
 and much valued; but the hiftorical pictures of Rombouts, will forever fup- 
 port his reputation, and make him appear a very eminent mailer. 
 
 Christofano RONCALLI, called Pomerancio. 
 
 Painted Hijlory. 
 Died 1626, aged 74. 
 
 He was born at Pomerancio, in the territory of Tufcany, in 1552, and was a 
 difciple of Circignano ; but his greateft improvement arofe, from his defigniDg 
 after the antique ftatues, and the belt paintings of illuftrious modern artifts. As 
 foon as his works were known, they engaged the public attention and efteem -, 
 and he was employed by the principal nobility of Rome, and alfo for the 
 churches and chapels. His performances gained him the higheit applaufe, for 
 their lingular elegance of tafte, and correct defign, and he was defervedly 
 ranked among the molt famous artifts of his time. 
 
 His engagements in fome of the principal cities of Italy, detained him there 
 for feveral years, and his labours were repaid with honour and riches •, but after- 
 wards he was invited to different courts of Europe, and he vifited Germany, 
 England, Flanders, and France ; and in each country through which he tra- 
 velled, every work he finilhed, contributed to add to his reputation. 
 
 N. RONTBOUT. 
 
 Painted Land/cape. 
 
 He was born in Flanders, and learned the art of painting in his native 
 country •, but, as the Netherlands could not fupply him with fuch a va- 
 riety of fcenes as fuited his genius, he determined to learch them out in other 
 countries. He directed his courfe to Italy, through feveral parts of Germany, 
 and Switzerland •, and as he ftudied intirely after nature, he fketched every ro- 
 mantick fcene that occurred to him in his travels •, he defigned moftof thole de- 
 licious views which are in the neighbourhood of Rome ; and from thofe defigns 
 he generally compofed his future landfcapes. 
 
 His pictures are incomparably painted ; and having fo evident an appearance 
 of nature and truth, mult always afford pleafure to a judicious eye. His pencil 
 is free, and firm ; his ikies are clear, -and charmingly adapted •, his colouring is 
 extremely good, particularly his local colours •, his figures, though perhaps not 
 legant as might bewiftied, are yet introduced with great judgement and pro- 
 priety ; and by a fkilful management of the ckiaro-lcuro, his pictures have a 
 linking effect. 
 
 5 Tiie 
 
R O O [ 521 ] R O O 
 
 The paintings of this matter are rarely to be met with, and afford confiderablc 
 prices whenever they are to be purchafed. They may readily be known by the 
 richnefs and warmth of the tints in the fore-ground, by their fine perlpective, by 
 an uncommon tranfparence of colour, by the firmneis and freedom ot handling; 
 united with delicate fin ifhing, and by a peculiar form in many of his trees, re- 
 fembling the Pine, or the Larinx. 
 
 An excellent landicape painted by this mafter, in his bell flyle, is in the pof- 
 feffion of Thomas Cobbe, Eiq-, it reprefents a view of a bridge between two high 
 hills ; and in perfpective under that grand arch, is an agreeable profpect of a 
 river, a diftant range of hills, and an antique tower on the border of the ftream, 
 which has a fine effect. The name, of Rontbout is infcribed on this picture. 
 
 John Albertz ROODSEUS. 
 Painted Portrait. 
 Died 1674, aged 59. 
 
 He was born at Hoorn, in 1615, was a difciple of Peter Laftman, became an 
 exceeding good painter of portraits, and was held in almoft as great efteem as 
 Vander H: 1ft. He had a beautiful and fweet manner of colouring, and finifned 
 his pictures with neatnefs and fpirit. 
 
 The figures which he defigned were always as large as life, and he particu- 
 larly excelled in reprelenting perfons fhooting at butts ; in which fubjects, the 
 attitudes and actions were natural, and becoming ; and his paintings in that 
 ftyle, are much commended and admired in Holland. 
 
 Jacques de ROORE. 
 
 Painted Hijiory, and Conversations. 
 
 Died 1747, aged 61. 
 
 He was born at Antwerp, in 1686, and received his firft: inftructionsin paint- 
 ing from Lewis Vanden Bofch; but afterwards he ftudied for two years under 
 the direction of Vander Schoor, and at the la ft was placed as a difciple with Van 
 Opftal. He copied the works of the bed matters, and made fo good a pro- 
 ficiency, that he was appointed to copy the S. Chriftopher of Rubens, which was 
 intended for the court of France ; and he finifhed it fo extremely exact, that it 
 ga"ve Van Opftal as much furprize as fatisfaction, and he only (lightly re-touched 
 it in a few places. 
 
 As foon as de Roore had accomplished that work, he commenced artift, and 
 compofed every fubject he painted, fometimes in the tatte of Van Orlay, and 
 fometimes in the ftyle of Teniers, and for each picture his ufual price was fifteen 
 pounds, and often much more. So that in a few years, his works were in fuch. 
 general efteem, that althou h he was very laborious, he found, it impoffible to 
 anfwer the demands made for his performances. 
 
 At Leyder:, in a grand falcn, he painted the hiftory cf Achilles •, and on the 
 rieling, the apotheofis of that hero, which added coniiderably to his reputation. 
 Several other hiftorical fubjects of his compofition are recited, with great com- 
 mendation ; among which are, Brennus befieging the capitcl, and Antony pre- 
 fenting a crown to Julius Csefar. 
 
 De 
 
R O O [ 522 ] R O O 
 
 De Roore had a good genius, and a ready invention •, he compofed with eafe, 
 but he wanted that elegance and tafte of defign, which he might have acquired 
 by feeing Rome. His colouring generally is agreeable, and his eafel pictures 
 are rimmed with fuch delicacy, that they were exceedingly coveted ; elpecially 
 thole which he painted in his latter time ; when, by obferving the works of the 
 great matters, he had learned to avoid the appearance of too much labour, and 
 acquired greater freedom in his manner of handling. 
 
 John Hendrick ROOS. 
 
 Painted Landfcapes, Animals, and Portraits. 
 Died 1685, aged 54. 
 
 He was bom at Otterberg, in 163 1, and at the age of nine years was placed 
 with Julian Jardeyn, at Amlterdam, where he continued for feven years •, but he 
 afterwards ttudied with Adrian de Bie, and profited fo exceedingly by the pre- 
 cepts and example of that matter, that he foon rofe to the highelt eminence in 
 his profeflion. 
 
 His genius principally directed him, to delight in painting landfcapes and cattle, 
 horfes, oxen, bulls and cows, fheep, goats, and camels, which he reprefented with 
 the utmoft truth and accuracy, as he defigned every object after nature ■, and he 
 had habituated himfelf to fuch fingular exactnefs, that in every fpecies of ani- 
 mals which he painted, the males and females were diftinguifliable at the firft 
 fight. His landfcapes had uncommon variety in the breaking of the grounds, 
 in the cottages and huts of fhepherds, the rocks, ruins, mountains, and falls of 
 water, which he introduced with great propriety and judgement ; always adapt- 
 ing his fcenes to the particular hiftorical fubject he intended to defcribe. For 
 the moft part, he chofe thofe kind of fubjecls which admitted of the largeft 
 number, and the greateft variety of cattle •, fuch as Jacob leaving Laban, and 
 driving his flocks and herds along with him •, Efau meeting Jacob, his family, 
 and cattle •, and Moles tending the cattle of Jethro. In all his pictures the 
 cattle were correctly drawn, and penciled in a free, mafterly manner, with a 
 touch that feems very peculiar, and full of fpint. 
 
 For fome time he was employed at the court of the Elector Palatine, where 
 his talents were defervedly refpected, and nobly rewarded. But, although his 
 principal plealure was in landfcape ; yet he painted portraits in an admirable 
 ttyle ; and on that account, he was invited to paint the portrait of the Elector of 
 Mentz, which afforded that Prince fo much fa:isfaction, that; he rewarded him 
 liberally for the performance, and prefented him with a chain of gold and a 
 medal. At feveral other courts in Germany he had equal fuccefs •, and befide 
 being generoufly paid for his work, he had the honour to receive feveral chains 
 of gold. 
 
 there was one circumttancc, that rendered the portraits of Roos particularly 
 agreeable ; which was, that he introduced in their back-grounds fome landfcape 
 finely conducted, fo as to add force to the principal object ; fome fcene, diverfi- 
 fied with a pleafing diftant profpect of groves and hills ; fome groupes of cattle, 
 charmingly difpofed and defigned •, or fome incident taken from facred, or pro- 
 fane hiltory ; which enlivened his pictures furprizingly. Ey that means he ac- 
 quired a confiderable fortune, and a very extenfive refutation. 
 
 5 But, 
 
ROO [523] ROO 
 
 But, unhappily, he was, almoft in an inftant, deprived of that wealth, accu- 
 mulated by the labour of his whole life. For, an accidental fire broke out in 
 the city of Frankfort, near the houfe of this artift ; and as it happened during 
 the ftillnefs of the night, it fpread fo rapidly, that the dwelling of Roos was in a 
 fhort time furrounded with the flames. He might have efcaped unhurt ; but 
 in the confufion, endeavouring to fave a vafe of porcelane, that had a golden 
 cover, he dropped it when he was nearly out of the houfe, and ftooping down to 
 fearch for the cover, he was fuddenly fuffbcated. He left four fons, who were. 
 all painters, and proved very eminent in their profefiion. 
 
 Theodore ROOS. 
 
 Painted Portrait, and Land/cape. 
 Died 1698, aged 60. 
 
 This painter was the younger brother of Hendrick Roos, born at Wezel, in 
 1638. He learned defign in the fchool of Adrian de Bie, but he continued 
 only a few months under his direction, when he quitted that mailer, and fet up 
 as an artift. For two years he followed his profefiion, but then altered his 
 manner of life by meeting with his brother, who at that time was in high reputa- 
 tion. Hendrick gladly communicated to him every obfervation he had 
 made, for the improvement of his own knowledge in the art; and oave him all 
 the inftruction that feemed requifite, or beneficial. From that time, they for 
 fome years aflbciated together, particularly at the court of Heffe ; where they 
 jointly finifhed feveral noble works in the landfcape ftyle, and a great number of 
 portraits, which contributed to the honour and advantage of both. 
 
 When they feparated, Theodore went to the court of the Elector Palatine, 
 where his paintings procured him many marks of favour ; and by that Prince, he 
 was appointed to paint the portraits of the Duke of Orleans, and the Princefs Pa- 
 latine. Thofe pictures he finifhed fo much to his own honour, and the approba- 
 tion of the' whole court, that he not only received an ample gratuity for his 
 work, but was prefented with a gold chain, to which was affixed a rich medal, 
 imprefied with the heads of the Duke and Dutchefs of Orleans. 
 
 His manner was broad, eafy, and free, and his colouring was lively and 
 flrong •, fo that it was imagined by the ableft judges, that if he had for fome time 
 ltudied at Rome, to improve his tafte of defign, and render it equal to his colour- 
 ing, none of his cotemporaries would have been his fuperiors. But he indif- 
 creetly appropriated too fmall a portion of the early part of his life, to ftudy the 
 principles of defign, or by practice to acquire correctness -, and by that means, 
 he was ever after deficient in that point, although his compoiitions fhew fuch 3 
 itrength of genius, as will render his works eitimable. 
 
 Philip ROOS, called Rosa d e Tivoli. 
 
 Painted Landfcape, and Cattle. 
 
 Died 1705, aged 50. 
 
 This artift was the fecond fon of John Hendrick Roos, born at Frankfort, im 
 
 1 655, and from his infancy fhewed an extraordinary genius to painting. By the 
 
 X x x excel- 
 
R O O [ 524 ] R O O 
 
 excellent inftrucuon which he received from his father, his advancement in the 
 knowledge of the art feemed furprizing for his years ; and it particularly re- 
 commended him to the favour of the Landgrave of Heffe ; who became his pa- 
 tron, and prefented him with a '/urn of money to enable him to go to Rome, where 
 he might improve his promifing talents, intending to employ him in his fervice, 
 whenever he returned to his own country. 
 
 On his firft entrance into Rome, happening to pafc by the arch of Titus, he 
 faw a few young artifts attentively engaged in Sketching the baffb-relievo's ; 
 and observing, that grand monument of antiquity to have a picturefque appear- 
 ance, he requelted a crayon and paper from one of the ftudents, and in half an 
 hour produced a defign, firufhed with incredible correunefs, and elegance, to 
 the aftonilhment of them all. 
 
 The diligence of Roos at his ftudies, was more remarkable than that of any 
 of his cotemporaries ; belaboured incelfantly, devoted his whole time to his im- 
 provement, and omitted nothing that he thought might perfect him in his pro- 
 fcfllon ; by which unremitted practice, he obtained fuch a readinefs of hand, 
 fuch freedom and command of his pencil, as have diftinguifhed him above all 
 other artiffs. And on account of his expeditious manner of painting, as well as 
 the livelinefs of his imagination, the Bent Vogel fociety of painters at Rome, 
 called him Mercurius. He ftudied every object after nature, the fites of his 
 landscapes, the cattle, ruins, buildings, figures, rocks, and rivers ; and to enliven 
 his imagination, he chofe to live at Tivoli, which furnifhed him with a lovely va- 
 riety. It was his cuftom to keep in his own houfe feveral of thofe animals, which 
 he particularly intended for models •, and on account of the number, and the 
 different kinds which he always maintained there, his houfe was generally called 
 Noah's Ark ; however, it anfwered his intention effectually, for, no painter ever 
 imitated nature with greater truth. 
 
 Though he had married a molt beautiful * woman, the daughter of Hya- 
 cintho Brandi, an eminent hifforical painter ; and although he had been fo paf- 
 iionatelv in love with her, as to change even his religion to obtain her ; yet 
 neither beauty, nor her amiable qualities, could reftrain him from a life of extra- 
 vagance and diihpation, which rendered him continually neceffitous. The abi- 
 lity he perceived himielf poffeffed of, in working with fuch uncommon expedi- 
 tion, induced him to truft too much to the rapidity of his pencil, and impaired 
 his fortune, though it happened not to injure his reputation, in reipect to his. 
 painting. 
 
 It was cuftomary with him to ride from Rome to Tivoli, attended by his fer- 
 vant, whenever his purfe was exhaufed ; and alighting at the firft tavern he faw, 
 he fat down to paint, and in a fhort time finilhed a picture, which he lent directly 
 by his fervant to be difpofed of. But, by this expedient too frequently prac- 
 tifed, he increafed the number of his pictures to fuch a degree, that the prices 
 they afforded were not any way proportioned to their value. His fervant, there- 
 fore, who appears to have had much more difcretion than his mafter on that 
 occafion, paid him the higheft prices that were offered by others, and referved 
 the pictures till they became more fcarce, and more eagerly fought for ; by 
 which conduct he acquired a confiderable fortune. 
 
 * Vid. Hyacintho Brandi, 
 
 Yet, 
 
ROO [ 525 ] R O O 
 
 Yet, though this great mafter painted fuch a number of pictures, it is ob- 
 ferved, as an evidence of the livelinefs of his imagination, that in every one of 
 his compofitions there is a variety, either in the fcenes, the buildings, the 
 groupes of catde, or the figures ; in which refpect he proved himfelf eminently 
 iuperior to the Baffans, who introduce repeatedly the fame objects, and the fame 
 figures and cattle, in almoft every one of their defigns. 
 
 As an inftance of the incredible power of Roos in execution and invention, it 
 is recorded, that the Imperial Ambaffador, Count Martinetz, wagered a large 
 fum of money with a Swedifh General, that Roos would paint a picture of a three 
 quarter fize, while they were playing one game of cards ; and in lefs than half an 
 hour the picture was finifhed, though it confifted of a landfcape, with two or 
 three flieep and goats, and one figure. That wonderful proof of his readinefs and 
 genius, was amply rewarded by the Ambaffador •, for, he beftowed on the artift, 
 one haif of the fum that had been won by his dexterity. 
 
 This mafter defigned his fubjects in a grand ftyle, and his defign is always 
 correct ; his colouring is bold, and full of force ; his touch is remarkably free, 
 firm, and fpirited •, and his fcenery is elegantly agreeable. His lights and 
 fhadows are diftributed with peculiar judgement, his figures and cattle are fkil- 
 fully grouped, and the hair and wool of his animals have a ftrong look of nature, 
 and a bold effect, by the broad manner of his penciling. His fkies, back- 
 grounds, fituations, and diftances, fhew an elegant choice, and a mafterly obfer- 
 vation, as well as execution ; and in every one of his compofitions we fee truth, 
 and real nature. 
 
 It cannot but be regretted, that with fuch a genius, he fhould fo often be com- 
 pelled to paint out of neceffity •, and rarely to lit down to employ his pencil, ex- 
 cept to procure an immediate fupply. His expenfive manner of living un- 
 doubtedly feemed to demand fuch a readinefs of hand to fupport it ; but, in 
 thofe pictures which he handled with the utmoft expedition, he paid fuch an at- 
 tention to his fame, that he took care to finifh them in fuch a manner, as to 
 render them juftly eftimable. 
 
 His genuine works are, at this day, as much admired as they have ever been, 
 and produce very high prices •, and they juftify one obfervation, which is, that 
 what is truly excellent, will always be truly valuable. 
 
 A capital picture by Roia de Tivoli, reprefenting an kerdfman with cattle, as 
 large as life, is at Wilton, the feat of the Earl of Pembroke. 
 
 John Melchior ROOS. 
 
 Painted Landfcape, and Cattle. 
 
 Died 1 73 1, aged 72. 
 
 He was a brother to Philip Roos, born at Frankfort in 1659, and learned the 
 art of painting from his father. His fubjects were the fame as thofe of his 
 brother, and he fupported a good reputation at the courts of Hefie, Wurjtzburgh, 
 and Brunfwick, where he principally was employed, as alfo in his native city. 
 
 But, although his fubjects were fimilar to thofe of Philip, yet his colouring and 
 penciling were extremely different ; for, the pencil of his brother was free, flow- 
 ing, and agreeable, but Melchior laid on his colours with fuch a body, that he 
 
 X x x 2 feemed 
 
R O S [ 526 ] R O S 
 
 feemed as if he intended rather to model than to paint, as has been noticed in the 
 colouring of Rembrant. 
 
 Salvator ROSA. 
 
 Painted lliftory, Land/cafes, Bo.itles, and Sea-Pieces. 
 
 Died 1673, aged 59. 
 
 This admirable painter was born at Naples, in 1614, and received his firft 
 knowledge of defign and colouring from Francefco Francazano, who was his 
 kinfman ; but, by the death of his father, being reduced to the lowed poverty, 
 he was conftrained to provide a maintenance, by fketching defigns on paper, 
 and felling them at a very mean price, to any who feemed inclined to pur- 
 chafe them. 
 
 In that wretched fituation he laboured for fome time, till one of his defigns, 
 and an hiftorical picture of Hagar and Ifhmael, which he painted, accidentally 
 happened to fall into the hands of Lar.franc ; and that famous artift was fo af- 
 fected with the fight of thofe performances, that he eagerly inquired after the 
 author •, expreffed an eager defire to know him ; and as foon as he faw him, took 
 him under his protection, providing for him generoufly. Such an unexpected 
 and happy alteration, in the circumftances of Salvator, enabled him to be ad- 
 mitted into the fchool of Spagnoletto, and alfo to receive additional inftruction 
 from Daniel Falcone, a diftinguilhed painter of battles, at Naples. Under the 
 direction of thofe mafters, he acquired more freedom of hand, and a much 
 greater force of colouring ; and painted hiitory, landfcape, and battles, partly in 
 the manner of Spagnoletto, and partly in the ftyle of Falcone. 
 
 Salvator had an enlarged and comprehenfive genius, a lively, fertile and poetic 
 imagination. He ftudied nature with a fagacious attention, and exquifite judge- 
 ment, and always chofe to reprefent nature in her utmoft grandeur, and magni- 
 ficence ; for, every tree, rock, fituation, or even cloud, that enters into his com- 
 pofition, manifefts fuch an elevation of thought, as extorts our admiration. Fie 
 compofed all his fubjects in a grand tafte, and was fingularly correct in his 
 defign ; but he principally delighted in landfcape, which he always enriched 
 with elegant figures, reprefenting fome memorable incident, related by the 
 Roman, Grecian, or fabulous hiftorians. The ftyle in which he painted, was 
 formed by his own elevated genius, nor was he indebted to any preceding artift, 
 for any of his ideas, or for any traces of the manner which he always followed •, 
 though many fubfequent mafters have obtained applauie, by endeavouring to 
 imitate Salvator. In the forms of his trees, and in the breakings of his grounds, 
 a grandeur of thought appears through all his compofitions ; the leafing of his 
 trees is light, and admirably touched ; the figures have attitudes and actions 
 that are eafy, and natural, yet full of dignity, and his exprefiion is ex- 
 cellent. 
 
 Salvator was alfo equally eminent for painting battles, animals, and fea or 
 land ftorms •, and he executed thofe different fubjects in fuch a talk, and with 
 fuchfpirit, as make his works readily diftinguilhed from almoft all others, by 
 the inimitable freedom of his pencil, and diat fire which animates every com- 
 pofition of this mafter. 
 
 Hi* 
 
R O S [ 527 ] R O S 
 
 His genuine works are exceedingly rare, and valuable ; but many of them 
 are in the rich and curious collections of the Englifh nobility, and gentry. A 
 moil: capital picture by Salvator is at Verfailles, of which the fubject is Saul an J 
 the Witch of Endor ; and that fingle performance, difplays the merit of the 
 painter in the ftrongeft point of light. The attitude of Saul is majeftick, while 
 the expreffion in his countenance is a judicious mixture of anxiety of heart, and 
 eagernefs for information. It is alio obferved by good judges, that there is a 
 dignity in the character of the witch, but it is a kind of dignity, very different 
 from that of the monarch •, it is enthufiafm. In the whole, there is a wonderful 
 fpirit, and with that fpirk a freedom of pencil, that very few have equalled. 
 
 ROSA D£ TIVOLI. Vid. Philip Roos. 
 
 ROSALBA Carrier a. 
 
 Painted Portraits, in Crayon and Miniature. 
 Died 1J57, aged 82. 
 
 This paintrefs was born in 1675, at Chioggia, a village about twenty-five 
 smiles from Venice, belonging to the Dukedom of that city j and having (hewn 
 early proofs of an apt genius to painting, {lie was inftructed by Giovanni 
 Diamantini, an artift of fome note, from whom fhe learned defign, and alio the 
 art of painting in oil. In that kind of colouring, fhe copied a great number of 
 the works of the beft mailers-, but at laft, applied herfelf to miniature with 
 extraordinary diligence, being ambitious to arrive at fuch a degree of perfection 
 in that way, as might enable her to contribute to the comfortable fupport of her 
 parents. 
 
 In the year 1700, when there was a great concourfe of eminent perfons at 
 Venice, her reputation wasfo well eftablifhed, that fhe was continually employed, 
 and her works were by that means difperfed through every part of Europe. 
 However, although fhe had all the fuccefs fhe could defire in her miniature 
 paintings, fhe exerted all her abilities to excel alfo in painting with crayons ; and 
 after fome practice, became as eminent in that manner of painting, as fhe had 
 proved herfelf to have been in oil, or miniature. 
 
 In 1 709, Frederick IV, King of Denmark, paffing through Venice, fit to 
 Rafalba for his portrait •, and by his order, fhe made ieveral copies of it, which 
 were delicately and highly finifhed. Soon after he employed her to paint 
 twelve portraits of Venetian ladies-, which fhe performed lb much to his latis- 
 faction, that he condefcended to fhew her many particular marks of his favour, 
 and befide gifts of great value, paid her for her work with a truly royal muniii- 
 cence. 
 
 She vifited France in company with Pellegrini, who had married her fiPcer, 
 and at Paris had the honour to paint the Princes and PrincefTes of the blood, 
 molt of the nobility, and many others of high diftinction. From thence fhe 
 vifited the courts of Vienna, and Modena -, at each court being carefled in a 
 very lingular manner, fuitable to her extraordinary merit. But at her return to 
 Venice fhe determined that the remainder of her days fhouid be fpent in quirt, 
 finding herfelf poffefTed of as much fame as fhe could defire, attended with 
 honour and riches. However, fhe was continually emploved 1 and in gartkul ij . 
 
 by 
 
K O S [ 528 ] R O S 
 
 by the Engliih nobility and gentry, who adorned their own country with her 
 excellent performances. 
 
 To her own great affliction, and the regret of all admirers of the art of paint- 
 ing, fhe was deprived of her fight, by the incefiant application to her work ; in 
 which condition fhe continued during thelait ten years of her life, and devoted 
 all her time, as well as a great part of her fortune, to acts of piety, charity, and 
 univerfal benevolence. 
 
 The portraits of Rofalba are full of life, and fpirit, exceedingly natural, and 
 they had uiuallyan agreeable refemblance of the perfons. Her colouring isfoft, 
 tender, and wonderfully delicate •, her tints are clear, and well united ; and flie 
 generally gave a graceful turn to the heads, specially to thofe of her female 
 
 Cosimo ROSELLI. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1484, aged 68. 
 
 He was born at Florence, in 1416, and became an artift of fome note in that 
 citv, by having fuccefsfully painted the portraits of Picus Mirandola, and alio 
 leveral of the Florentine nobility ; having likewife painted fome hiftorical defigns 
 in the convents, and chapels. 
 
 Afterwards, he was engaged to paint three pictures in the chapel of Pope 
 Sixtus IV, along with Sandro Boticello, P.etro Perugino, and others •, and his 
 fubjecls were the drowning of Pharaoh, the Laft Supper, and Chrift preaching 
 near the lea of Tiberias ; fubjects, which it was faid the Pope particularly 
 chofe, who at the lame time promifed an honorary premium for the bed per- 
 formance. 
 
 Rofelli, who feems to have had but a mean opinion of the tafte of Sixtus, 
 beincr confcious that he could have no hope of lurpaffing the other artifts in 
 colouring and deiign, (in which parts of his profeffion his fkill was but indiffer- 
 ent,) concluded he might conceal thofe defects, by giving his pictures an 
 uncommon brilliancy. He therefore ufed the pureft ultramarine, and the molt 
 Marine colours, in every part of his painting, and illuminated the trees, draperies 
 and principal objects with gold, fo as to dazzle the eye at the firft fight, to com- 
 penlate for his want of a true and elegant tafte, by the glittering richnefs of the 
 general appearance •, and he fatisfied himfelf with a certainty of iuccefs. 
 
 But to the great mortification and difappointment of Rofelli, when the Pope 
 went to his chapel to obferve the works of the different artifts, thofe of Rofelli 
 were uniyerfally condemned, and ridiculed ; and by order of the Pope, the 
 greateft part of his compofitions were altered, and retouched by thofe very 
 painters who were his competitors. 
 
 ROSSO, called alfo Maitre Roux. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1 54 1, aged 45. 
 
 He was born at Florence, in 1496, and without any regular inftrudtion from 
 
 aprofeffed artift, by the efforts of his own genius, he arrived at a confiderable 
 
 2 degree 
 
ROS [ 529 ] R O S 
 
 degree of merit in the art of painting. His firft attempts fhewed fufficiently the 
 greatnefs of his talents, but they likewile fhewed a want of that knowledge, 
 which he might have derived from the precepts of an able mailer. 
 
 While he was yet young, he painted a few fubjects taken from the New 
 Teftament, which were in many refpects commendable •, but he afterwards, by 
 obfervation and experience, became as remarkable for his colouring, as for any 
 other of his accomplifhments. Even in thofe early productions, the counte- 
 nances, and the attitudes of the Apoftles, were above cenfure, although the 
 draperies were rather too heavy. But, he formed himfelf by ftudying the 
 works of Michael Angelo Buonaroti, and attended fo accurately to anatomy, 
 that he wrote two treatiies on that fubject for the ufe of defigners. Roflb fhewed 
 great truth in his manner of defigning the human body •, his naked figures were 
 peculiarly beautiful, and their attitudes were proper and expreffive. The 
 countenances of his old men, were remarkably well reprefented in many of his 
 works ; and he had fuch a flow of invention, that his compofitions were 
 always properly filled, nor didany partfeem deftitute of a fuitable ornament or 
 decoration. 
 
 The flyle of this mafter was very fingular, and although he derived his 
 greateft knowledge from the works of Buonaroti, yet he did not make him a 
 model for his own imitation. He had fomewhat of a wildnefs and irregularity 
 in his ideas and defigns, and yet he had alfo fomewhat that engaged the 
 approbation of the connoiffeurs ; the exceeding readinefs with which he invented 
 and defigned, hindered him from ftudying either nature, or the antique, as 
 attenfively as he ought, which occafioned that imperfection which is obiervable 
 in all h's works. 
 
 It mult however be acknowledged, that he had a thorough underftanding of 
 the mixture of colours, and the proper diftribution of lights and fhadows, lo 
 as to produce a good relief-, but in other refpects he followed the chelates of his 
 own fancy, more than the dictates of judgement, or the rules of his art •, an i 
 was iometimes guilty of fuch extravagancy as was very injurious to his repu- 
 tation. 
 
 At Rome, in the church of S. Salviati, is a picture of the Decollation of S. 
 John, by this mafter ; and many of his works are at Perufia, Florence, Arezzo, 
 and at Fountainbleau in France. The wretched condition to which he was 
 reduced, after he had loft all his fubftance at Rome when that city was pillaged -, 
 compelled him to feek the means of re-eftablifhing his affairs, by vifiting France, 
 and he there had the good fortune to fucceed. The king, and the nobility, 
 lhewed him every mark of efteem ; he was appointed fuperintendant of the 
 royal buildings and paintings, with a large penfion •, and he lived in affluence 
 and honour. 
 
 The world was deprived of this artift by a very fingular accident. One 
 Francefco da Pellegrino, a Florentine painter, and a moft intimate friend of 
 Roffo, having paid him a vifit, and Roffo being foon after robbed of a great fum 
 of money ; he fufpected, accufed, and profecuted his friend, who was put to 
 the torture, and endured it with fuch fortitude of mind, that he was declared 
 innocent. Pellegrino, as foon as he was releafed, publiihed a juft and fevere 
 ftate of his cafe, and appealed for juftice ; but as Roffo had nothing to plcatl in 
 his j uftifkation, and perceived that he mult be for ever branded with infamy, he 
 
 immediately 
 
ROT [ 530 ] ROT 
 
 immediately ("wallowed poifon, and died univerfally detefted. His principal 
 work is in the gallery of Fontainbleau, reprefenting the hiftory of Alexander, in 
 : ;ty-four pieces. 
 
 R O S S I V 1 C E N T I N O. Vid. P a s q_u a l i n o. 
 
 Francesco ROSSI. Vid. Francesco Salviati. 
 
 Pietro ROTARI. 
 
 Painted Hiftory, and Portrait. 
 
 He was alive in 1757, being then 50. — He was born at Verona, in 1707, of 
 a noble family, and was at firft taught defign only as an accompliftiment -, but 
 as he advanced in years, he grew fo padionately fond of the profeflion, that he 
 became the difciple of Antonio Baleftra, who obferving the pregnancy of his 
 genius, took unulual care to inftruc~t him, and foretold that excellence to which 
 he afterwards arrived. 
 
 At the age of eighteen he went to Venice, and continued there for two years, 
 ftudying after the works of Titian, and Paolo Veronefe ; but, for his farther 
 improvement he travelled to Rome, and fpent four years in continual application 
 to copy the antiques, and other curiofities of art in that city, under the direction 
 ofFrancefco Trevifani ; and afterwards vifited Naples, merely out of a defire 
 to converfe with Solimena, with whom he refided for three years, with equal 
 fatisfaclion and advantage. By that courfe of ftudy, he gained an elegant tafte 
 of compofition and defign, and a fingular degree of corre&nefs in his drawing, 
 with a ftyle of colouring that was exceedingly beautiful ; fo that when he returned 
 to his native citv, he appeared fo completely accomplifhed, that his works were 
 highly admired^ not only by his own countrymen, but by foreigners from all 
 parts of Europe who vifited Verona. 
 
 For fome time he declined employment-, but at laft he found it impoiTible to 
 refill the importunate folicitations of many of the princes and eccleliafticksof 
 Italy, who were eager to have their churches and palaces adorned by his pencil. 
 He therefore undertook, and executed feveral grand defigns, in different cities of 
 Italy 1 and having finifhed thoi'e works with extraordinary applaufe, he vifited 
 moft of the courts of Germany, and at every place' his reputation procured him 
 a generous reception. But, he was more particularly honoured at Drefden, and 
 Vienna, where he painted the portraits of the Electoral and Imperial family ; 
 and by the Emperor's order, the portrait of Rotari was placed in the Florentine 
 gallery, among the moft famous artifts. While he continued at Vienna, Count 
 Beftuchef, Grand Chancellor of Ruflia, invited Rotari fo earneftly to go to the 
 court of Petcrfburgh, that at laft he determined to undertake the journey. In 
 the year 1756 he arrived at Petedburgh, and painted the portraits of the Czarina, 
 of Pen r, at that time Grand Duke of RufTia, and his confort Sophia Auguftaj 
 and for the Emprefs, he finifhed feveral hiftorical piclures from facred and 
 profane hiftory, which were efteemed to be excellent performances. One in 
 particular is very highly commended, of which the lubjecl is the Continence of 
 Scipio •, it is compoled with great judgement and tafte, it is full of elegance and 
 truth in the exprefiion, and exceedingly beautiful in the colouring. 
 
 John 
 
ROT [ 531 ] ROT 
 
 John ROTHENAMER. 
 
 Painted Hiftory. 
 
 Died 1 604, aged 40. 
 
 This painter was born at Munich, in 1564, where he was taught the rudi- 
 ments of the art by one Donouwer, an indifferent artifl ; whofe inefficiency 
 appeared fo evident to Rothenamer, when his knowledge in the art was more 
 advanced, that he determined no longer to mifpend his time with fuch an in- 
 ftructor, but to feek tor real improvement at Rome. 
 
 "When he firft offered his works to the publick, he painted hiftorical fubje&s 
 on copper, of a fmall fize,_very delicately penciled, and agreeably coloured ; but 
 foon after, he finifhed a picture of a very large dimenfion, reprefenting the Saints 
 in Glory, which added greatly to his reputation, as it fhewed a good invention, 
 good colouring, conliderable elegance in the airs of his heads, and variety in the 
 draperies. And it appeared very extraordinary to the judicious of that time, to 
 fee him adapt his pencil fo happily to compofnions of fuch different fizes, and 
 change his manner with fo good an execution. 
 
 From Rome he went to improve himfelf at Venice, particularly in colouring, 
 and fixed on Tintoretto as his model, which he always endeavoured to imitate- 
 not only in his colouring, but in his tafte of defign, and the manner of his dif- 
 pofing the figures. He painted both in freico, and in oil, but was much more 
 pleafed by being employed in the former, than in the latter ; becaufe it afforded 
 him the opportunity of painting in large, for which he had a prevalent inclina- 
 tion, though his fmall paintings on copper, were generally in greater efteem, and 
 even in his life-time were fold for a very high price. 
 
 On his quitting Italy he fettled at Augfbourg, where are ftill to be feen a 
 number of the works of Rothenamer ; and although he had fpent a great many 
 years at Rome and Venice, by which he had learned to defign with more ele- 
 gance, and with a nearer approach to the graceful, than moft of his countrymen, 
 who were his cotemporaries, yet he could never totally dived himfelf of the 
 German tafte. It is eafy to perceive that he was fond of defigning naked figures, 
 and in fome of them he was very fuccefsful. He had a ready invention, and his 
 defign was tolerably correct ; his attitudes were ufually genteel, his tone of 
 colouring was agreeable, and his pictures were well finifhed ; but he fhewed 
 his greateft excellence in his fmall fized paintings, in which he had the good 
 fortune to be affifted by two celebrated artifts, Paul Bril, and the Velvet 
 Brueghel, who frequently painted the landfcapes and back-grounds of his hifto- 
 rical compofitions. 
 
 The Emperor Rodolph II. was a great benefactor to Rothenamer, and for that 
 monarch he painted the Banquet of the Gods, in which he introduced a multi- 
 tude of figures, and gained a very high reputation by that performance. How- 
 ever, the indifcretion of this matter was at leaft equal to his merit •, for, not- 
 withftanding the large fum of money acquired by Rothenamer for his works, 
 which Sandrart allures us was fourfcore thoufand florins, yet he contrived to be 
 perpetually neceffitous, by his profufion and extravagance ; and died fo 
 extremely poor, as to be buried at the expence of his friends. 
 
 Y y y James' 
 
ROU [ 532 ] R O U 
 
 James ROUSSEAU. 
 Painted Land/cape, Perfpeclive, and ArcbiteSlure. 
 Died 1694, aged 68. 
 
 Though the writers who mention this artift agree, that he learned the art of 
 painting from Herman Swanefeld, yet they all fuppofe him to have gone after- 
 wards to perfect himfelf in Italy. But, as it appears from the moft authentick 
 accounts, that Swanefeld went from his own country to Rome when he was very 
 young, and there became the difciple of Claude Lorraine ; that he fpent his 
 whole life from that time in, or near, the city of Rome, and died there •, it can 
 hardly feem probable, that Rofieau, who was only fix years younger, could 
 receive any inftruftions from Swanefeld, except in Rome •, and muft therefore 
 have obtained his firft knowledge in the profeffion before he went to Italy, from 
 fome matter in his own country, though that circumftance is no where men- 
 tioned. 
 
 He was born at Paris, in 1626, and being allied to Herman Swanefeld, an 
 excellent painter, who had been the difciple of Claude Lorraine, he was by him 
 eftablifhed in the true principles of the art, and acquired a flyle and manner 
 exceedingly agreeable. When he had laid a good foundation under the conduct 
 of fo able an artift, being determined to negled nothing that might conduce to 
 his improvement, he ftudied after nature with inceffant pains and care, and alfo 
 after the works of the moft eminent painters of Italy ; that his imagination and 
 his judgement might be equally improved. He particularly ftudied perfpettive 
 and architecture ; was extremely curious in obferving and defigning the magni- 
 ficent buildings, ruins, and beautiful veftiges of antiquity, as well as the fcenes 
 that were proper for his landfcapes, and became an admirable painter in that 
 
 ftyle. 
 
 When he returned to his own country, he was employed by the French 
 King in the palace at Marly ; but as the proteftants were at that time under a 
 moft rigorous perfecution, through every part of France, and as Rouffeau was 
 of that religion, he apprehended himfelf to be infecure, either in regard to his life 
 or his property, and therefore retired to Switzerland, and afterwards to Hol- 
 land. There he had the good fortune to be engaged by the Duke of Montague, 
 ro adorn his houfe in Bloomfbury, in conjunction with la Foffe, and Baptift ; and 
 his paintings in feveral parts of that noble building which now is the Britifh 
 Mufeum, are a fufficient proof of his abundant merit. 
 
 In the choice of his fcenes he (hews remarkable elegance of tafte •, his grounds 
 ,*re well broken, his diftances well conducted, his fkies finely imagined as well 
 as judicioufly adapted, and there appears great harmony in moft of his compo- 
 fitions. He ornamented his landfcapes with edifices and ruins, in the Roman 
 tafte of architecture, after the manner of Pouffin •, his figures were placed in 
 nich perfpeclive proportions, as deluded the eye agreeably to the proper point 
 of fight ■, and in his architecture, we fee elegance of fancy united with nature 
 and truth. 
 
 The pictures of this mafter are not frequently to be purchafed, and when 
 they are, their eftimation is high. He was a man of probity, piety, and bene- 
 volence, and at his death he bequeathed the greateft part of his fubftance, to 
 relieve thofe in England who, like himfelf, were refugees on account of the 
 
 French perfecution. 1 
 
 Made- 
 
ROZ [ 533 ] RUB 
 
 Mademoiselle ROZEE. 
 Painted Hijlory, Land/cape, Portrait, and Flowers. 
 Died 1682, aged 50. 
 
 She was born at Leyden, in 1632, and proved the moft extraordinary paintrefs 
 that perhaps ever appeared. Houbraken fays, he cannot tell how fhe managed 
 her work, nor with what inftruments ; but, that fhe painted on the rough fide 
 of the panel, in fuch tints, and in fuch a manner, that at a competent diftance, 
 the picture had all the effect of the neateft pencil, and high finifhing. 
 
 Yet other writers affirm, that fhe neither ufed oil. nor water colours, in her 
 aftonifhing performances •, and only worked on the rough fide of the panel, 
 with a preparation of fi Ik flofs, felefted with inexpreffible care, and difpofed in 
 different boxes, according to different degrees of the bright and dark tints ; out 
 of which fhe applied whatever colour was requifite for her work, and blended, 
 foftened, and united the tints with fuch inconceivable art and judgement, that fhe 
 imitated the warmth of fiefh, with as great a glow of life, as could be produced 
 by the moft exquifite pencil in oil. Nor could the niceft eye difcern, at a proper 
 diftance, whether the whole was not the work of the pencil, till it was more 
 nearly examined. But, by whatever art her pictures were wrought, they were 
 truly beautiful, and like nature. Her portraits had as ftriking a likenefs as 
 poffible, and every object was a juft imitation of her model, whether her fubject 
 was portrait, architecture, landfcape, or flowers ; and as her manner of working 
 could not well be accounted for, fhe was diftinguifhed by the name of ths 
 Sorcerefs, as if her work had been the effect of magick. 
 
 One landfcape of her painting, (according to Houbraken,) was fold for five 
 hundred florins ; the fubject of the defign, was only the trunk of an old tree 
 covered with mofs, and a large fpider finifhing its web among the leaves and 
 branches ; but every part appeared with fo great a degree of force, fo relieved, io 
 true, and fo natural, that it was always beheld with aftonifhment. One of her 
 principal performances is in the cabinet of paintings at Florence, for which fhe 
 received a very large gratuity, and it is considered as a very Angular curiofity in 
 that celebrated collection. 
 
 Sir Peter Paul RUBENS. 
 
 Painted Hijlory, Portraits, Landfcapes, and Animals. 
 Died 1640, aged 63. 
 
 This admired artift was of a diftinguifhed family at Antwerp, but his father, 
 being under a neceffity of quitting his country to avoid the calamities attendant 
 on a civil war, retired for fecurity to * Cologne, and during his refidence in that 
 city, Rubens was born, in 1577. 
 
 From his infancy he difcovered a lively and prompt genius, and was therefore 
 educated with great care in every branch of polite literature, when his family 
 returned to Antwerp after the troubles ; and as hefhewed a particular inclination 
 to defign, he was at firft inftructed by Tobias Verhaecht, a painter of architecture 
 and landfcape. Afterwards he ftudied under the direction of Adam Van Oort, 
 
 * In the Anecdotes it is faid he was born at Antwerp. 
 
 Y y y 2 but 
 
RUB [ 534 ] RUB 
 
 but he foon perceived, that the abilities of Van Oort were infufficient to anfwer 
 his elevated ideas •, and befides, his temper, which for the moft part was furly 
 and morofe, was difguftful to Rubens, whole natural difpofition was modeft and 
 amiable. 
 
 Thofe circumflances induced him to place himfelf as a difciple with O&avio 
 Van Veen, a painter of fingular merit, more generally known by the naae of 
 Otho Venius, who was not only thoroughly fkilled in the tine principles of the 
 art, but was alio eminent for his learning, and other accomplifhments. Between 
 that mafter and his difciple, there appeared an uncommon fimilarity of tempers, 
 inclinations, and ftudies ; which animated Rubens with a more ardent love to 
 the art, and induced him to purfue it as a profeffion. He gave up to it his 
 whole thought and application, obferving and imitating his mafter, with fuch 
 difcernment and readinefs of execution, that in a fhort time he became his equal. 
 Sandrart, wh:> was intimately acquainted with Rubens, and accompanied him 
 when he travelled through Holland, tells us, that the Archduke Albert, gover- 
 nor of the Netherlands, conceived fo high an opinion of Rubens, from the 
 accounts he had received of his fuperior talents, that he engaged him in his 
 lcrvice ; employed him to paint feveral fine defigns for his own palace; and * 
 recommended him in the moft honourable manner to the Duke of Mantua ; in 
 whofe court he might have accefs conftantly, to an admirable collection of 
 p i Kings and antique ftatues, and have an opportunity of improving himfelf by 
 ftudyng, as well as copying, the fjrmer, and defigning after the latter. On 
 Lis arrival at Mantua, he was received with a degree of diftinction worthy of 
 his merit ; and while he continued there, he added confiderably to his knowledge, 
 though he attached himfelf in a more particular manner, to the ftyle of colourt 
 ing peculiar to the Venetian fchool. 
 
 From Mantua he vifited Rome, Venice, and other cities of Italy, and ftudied 
 the works of the greateft painters, from the time of Raphael to his own -, and 
 accomplifhed himfelf in. colouring, by the accurate obfervations he made on the 
 ftyle of Titian, and Paolo Veronde. However,. he neglected to refine his tafte 
 as mixh as he ought, by the antique, though moft of the memorable artifts m 
 painting, had fublimed their own ideas of grace, exprcfTion, elegant fimplicity, 
 beautiful proportion, and nature, principally by their making thofe antiques, 
 their perpetual ltudies and' models. 
 
 In a few years, the fame of this mafter flew through every part of F.urope, 
 nor were the works of any painter m >re univerfally admired, or coveted. His 
 .liiibg-iifhed powers in the art, procured him employment for the ornaments of 
 churches, convents, palaces of the principal crowned heads, and the houfes of 
 the nobility and gentry of all nations; whilft his learning, his politenefs of 
 manners, and amiable accomplifliments of mind, introduced him to the parti- 
 cular affection of the kings of England, Spam, and other monarchs, by each of 
 
 • Di Files reprcfent:, this transition v.\ a different manner, and fays,- that Rubens went from 
 twerp to Venice, and in thai city commenced an acquaintance with one of the Duke of 
 
 Mantua s gentlemen, who invited him into the fcrvicc of that prince. 
 
 Ht.v.(-v L r, Sanl.-An's aceount fecms to Le much more authentick ; it has no appe?rance-of 
 . iter probability and truth, and is alio a much more honourable tcflimony of the early reputation 
 
 of Rubens. Eut certainly, t!.a account of Sandrart deferves to be preferred to any other, as he was 
 
 ggffonall - with that illullrious painter, of whom he writes. 
 
 whom 
 
RUB [ 535 ] RUB 
 
 whom he was careffed', honoured, and fplendidly rewarded. He was even 
 employed in a minifterial capacity by the King of Spain, to make overtures 
 from that court, to the court of London •, and although the rank, of Rubens 
 would not permit King Charles I, to receive him in a publick character; yet, 
 he fhewed him all poffible marks of refpect, on account of his excellence in his 
 profeffion •, and having engaged him to adorn fome of the apartments at 
 Whitehall, he conferred on him the honour of knighthood, as a publick ac- 
 knowledgement of his merit. That tranfaction has been fhamefully mifrepre- 
 fenced by fome French writers ; who, through an excefs of ignorance and 
 effrontery, have abfurdly affirmed, that Rubens was knighted by the king, 
 fitting on his throne in full parliament. 
 
 The extenfive knowledge of Rubens, in claffical and polite literature, qualified 
 him to excel in allegorical and emblematical compofitions ; and the publick 
 may fufficiently judge of his genius, in that manner ofdefigning, by his paint- 
 ings in the Luxemburgh gallery, which defcribe the life of Mary de Medicis ; 
 and which are too well known to require a particular defcription, the prints after 
 thofe celebrated defigns, being in the hands of molt of the lovers of the art. 
 
 His ftyle of colouring is lively, glowing, and natural •, his expreffion noble., 
 and juft •, and his invention amazingly fertile. His pencil is mellow, his exe- 
 cution remarkably free, and his pictures are finifhed in fuch a manner, as to 
 produce a pleafing and a ftriking effect. He is by all allowed to have carried the 
 art of colouring to its higheft pitch ; for, he fo thoroughly underftood the true 
 principles of the chiaro-icuro, and fo judicioufly and happily managed it, that 
 he gave the utmoft roundnefs, relief, and harmony to each particular figure, and 
 to the whole together •, and his groupes were difpofed with fuch accurate fkii.1, 
 as to attract, and indeed generally to compel the eye of the fpectator to the 
 principal object. His draperies are ample, but grand, broad, and well placed ; 
 and his carnations have truly the look of nature, and the warmth of real life. 
 The greateft excellence of Rubens appeared in his grand compofitions •, for as 
 they were to be ken at a diftance, he laid on a proper body of colours with an 
 uncommon freedom of hand, and fixed all his different tints in their proper 
 places ; by which method, he never impaired their luftre by breaking or tor- 
 turing them, but touched them only in fuch a manner, as to give them a lading 
 force, beauty, and harmony. 
 
 As the demand for his works from all parts of Europe was incredibly great, 
 he 'ntructed a number of young men of genius, as his difciples, who afiifted 
 him in the execution of his defigns. He iketched in (mail, what they were to 
 paint in large, and afterwards he infpected the whole, pointed out to them their 
 imperfections, directed them in the management of their colours, and by his own 
 free, fpirited, and judicious retouching, gave the whole an appearance of being 
 only the work of one hand. However, although that method of expediting 
 grand undertakings* might foon enrich) Jtch a mailer as Rubens ; yet, it was 
 more for his immediate profit, than for any great addition to his fame .; becaufe, 
 many of thofe works combinedly painted, by his difciples and himfelf, are 
 inferior in feveral refpects to others which are intirely of his own pencil ; 
 although fome of thofe difciples became afterwards exceedingly famous, as 
 Vandyck, and Snyders. 
 
 He alio painted landfcapes admirably, in a ftyle fcarce inferior to: Titian, 
 with unufual force and truth, though the foims of' his trees are net always . 
 5 elegante 
 
RUB [ 536 ] RUG 
 
 elegant- But, notwithstanding his extraordinary talent for painting landfcapes 
 and animals, yet where thofe subjects were to be introduced into his compofitions, 
 he rarely painted them with his own hand ; but employed Wildens and Van 
 Uden for the former, and Snyders for the latter, who finifhed them from the 
 designs of Rubens. 
 
 Undoubtedly, that great artist poflefled many excellencies, and accomplifh- 
 ments in his art •, it is however generally allowed that he wanted correctnefs in 
 ids drawing, and defign, his figures being frequently too Ihort, and too heavy, 
 and the limbs in fome parts very unexact in the outline. And although he had 
 ipent fcveral years in Italy, where he ftudied the antiques with fo critical an 
 obfervation, as not only to perceive and underftand their beauties, but even to 
 write a diflertation on their perfections, and the proper ufe an artift ought to 
 make of them ; yet his imagination was fo prepoffeffed with that nature, with 
 which from his youth he had been converfant in his own country perpetually, 
 that he could never wholly diveft himfelfof his national tafte, though, to confider 
 him upon the whole, he was one of the greateft painters. 
 
 It is the obfervation of Algarotti, that he was more moderate in his movements 
 than Tintoretto, and more loft in his chiaro-fcuro than Caravaggio ; but, not 
 fo rich in his compofuions, or fo light in his touches, as Paolo Veronefe •, and in 
 his carnations, always lefs true than Titian, and lefs delicate than Vandyck. 
 Yet, he contrived to give his colours the utmoft tranfparency, and no lefs 
 harmony, notwithstanding the extraordinary deepnefs of them •, and he had a 
 ftrength and grandeur of ftyle, peculiarly and intirely his own. 
 
 It would require a volume to recite, and defcribe, the prodigious number of 
 pictures painted by this truly famous artift ; every part of Europe poffefling 
 fome of the productions of his pencil. Many of them are in the elegant col- 
 lections of the nobility and gentry of Great Britain and Ireland ; and fo many 
 prints have been engraved after his defigns, that a particular defcription of any 
 of them teems to be the lefs necellary, as they are fo univerfally known. 
 
 George Philip RUGENDAS. 
 
 Painted Battles. 
 Died 1742, aged 76. 
 
 He was born at Augfbourg, in 1666, where he became the difciple of Ifaac 
 Fifches, a painter of hiftory, with whom he continued five years •, and that 
 matter, who loved him for his difcretion as well as his diligence, took pains to 
 improve him, by procuring for him fome original paintings of Bourgognone, and 
 other eminent painters of battles, that he might ftudy and copy them. 
 
 By fome unaccountable weakness in his right hand, he was almoft difqualified 
 for following his profeffion •, but by patience and application he acquired fo 
 much power with his left, that he ever after ufed it as readily as the other. 
 However, after fome years, a bone which from his infancy had difabled his 
 right hand, difcharged itfelf without any affiftance of art, and he gradually 
 regained the perfect ufe of it, fo as to work with both hands with an equal degree 
 of eafe. He had gained a confiderable fhare of knowledge in defign and colour- 
 ing, under the direction of Fifches ; but his principal improvement was derived 
 from the instructions of Molinaer, or Molinaro, a hiftory painter at Venice, 
 
 whofc 
 
RUG [ 537 ] R U Y 
 
 whofe compofitions were in high efteem ; and he alfo added to his fkill by 
 vifiting Rome, and ftudying the works of thofe great mailers, whofe ftyle fuited 
 the turn of his own genius. 
 
 When he had finifhed his ftudies in Italy, he returned to his native city 
 Augfbourg, where he found fufficient employment ; but, as that city happened 
 to be befieged in a fhort time after, Rugendas had an opportunity (though 
 probably not a very defirable one) of defigning attacks, repulfes, and engage- 
 ments, around his own dwelling; and he very frequently ventured abroad,°to 
 obferve the encampments, and fkirmifhes of the'armies, from which he compo'fed 
 his fubjecls with great truth, and remarkable exactness. 
 
 From the year 17 19 to 1735, he worked in mezzotinto, having an expecta- 
 tion of making a large fortune for his family by his prints •, and for leveral years it 
 fucceeded to his wifh. But, at laft he found it neceffary to refume the pencil, 
 and although he was diffident of his own ability to paint, after a difcontinuance 
 of practice for fixteen years, yet to his furprize as well as his fatisfaction, he 
 found himfelf as expert as ever. 
 
 This mailer deferves to be ranked among the good painters of battles j he was 
 correct in his defign, he difpofed his fubjects with judgement, and by the aerial 
 perfpecYive threw off his diftances in a very natural manner. His colouring in 
 fome of his performances, is very commendable ; he executed his work with 
 great freedom and eafe ; and although he had a lively and fruitful imagination, 
 he always confined himfelf to reprefent only fuch objects, expreffions, actions, or 
 attitudes, as he had obferved in nature. 
 
 Whenever he talked cf his own works, he ufed to remark, that his firft per- 
 formances pleafed, by their colouring and the freedom of his pencil, though the 
 defign was but indifferent ; that his fecond manner had more of nature, but was 
 fcfs agreeably coloured ; but, in his third and beft manner, he attended to 
 the expreffion, difpofition, fpirited action, and attitudes ; and alfo to fet his 
 defigns off with a fuitable colouring. Thofe pictures which are painted in his 
 beft llyle, were finifhed from the year 1709, to 1716. 
 
 Rachel R U I S C II. Vid. Pool. 
 
 Jakob RUYSDAAL. 
 Painted Land/cape. 
 Died 1 68 1, aged 45. 
 This mafter was born at Haerlem, in 1636 ; and though the artift by whom 
 he was inftructed is not afcertained, yet it is affirmed, that at the age of twelve, 
 fome of his productions furprized the beft painters to whom they were fhewn. 
 It is mod certain, that a ftricT: intimacy fubfifted between him and Berchem, and 
 it is thought, that Ruyfdaal was animated with that fpirit which we fee in all his 
 compofitions, by his connexion with that admirable mafter. For, it afforded 
 him an accefs at all times to the houfe of Berchem, where he had a conftant 
 opportunity to obferve his manner of handling, defigning, and colourinq; ■ and 
 by that means, to form a ftyle peculiar to himfelf, in which he was accounted 
 little inferior to the other. 
 
 However, nature was his principal inftructor, as well as his guide ; for he 
 ftudied her inceffantly. The Icenes, trees, fkies, waters, and grounds, of which 
 
 his 
 
RUY [ 538 ] R U Y 
 
 his fubjefts were compofed, were all taken from nature, and fketched upon the 
 ipot,juft as they allured his eye, or delighted his imagination. Some writers 
 affirm, that both Ruyfdaal and Berchem improved their tafte in Italy, by that 
 beautiful variety of fcenery, which is perpetually to be obferved in the environs 
 of Rome •, but, other authors as pofitively afiert, that neither of thefe mailers 
 were ever in Italy. Yet, whoever attentively confiders many of the compofi- 
 tions of Berchem, cannot but be almoft convinced, that he muft have travelled 
 out of his own country, to collect fuch ideas of grand and elegant nature, as are 
 furnilhed in his works ; though perhaps by the ideas of Ruyfdaal, obfervable in 
 molt of his defigns, one could as readily believe, that he had never travelled far 
 from his native foil. 
 
 No painter could poffibly poffefs a greater fhare of publick efteem, or admi- 
 ration, than Ruyfdaal ; nor has the reputation of that artift been impaired, even 
 to this day. The grounds of his landscapes are agreeably broken, his fides are 
 clear, his trees are delicately handled, every leaf is touched diftinctly, and with a 
 areat deal of fpirit, and every part has the look of true nature. He fhews, that 
 he perfectly underftood the principles of the chiaro-fcuro, and alio of perfpeclive ; 
 for his diftances have always a fine effect, and his maffes of light and fhadow 
 are distributed with fuch judgement, and contrafted with fuch harmony, that 
 the eye and the imagination are equally delighted. His works are diftinguifhed 
 by a natural and pleafing tone of colour ; by a free, light, firm, and ipirited 
 pencil ; and alio by a very agreeable choice of fuuations. His general fubjects 
 were views of the banks of rivers ; hilly ground, with natural cafcades ; a 
 country interfperfed with cottages, and huts ; folemn fcenes of woods and 
 oroves, with roads through them ; windmills and watermills •, but he rarely 
 painted any fubject without a river, brook, or pool of water, which he exprefled 
 with all pofiibh truth, and tranfparency. He likewife particularly excelled in 
 reprefenting torrents, and impetuous falls of water, in which fubjects the foam 
 on one part, and the pellucid appearance of the water in another, were defcribed 
 with force and grandeur, and afforded a true image of beautiful nature. 
 
 As he could not defign figures with any degree of elegance, he was frequently 
 affifted in that refpeft, by Oftade, by Adrian Vander Velde, and often by 
 Wouwermar.s, which adds confiderably to the value of his pictures. Mod of 
 the collections in England, and Ireland, are adorned with fome of the works of 
 this matter •, and in the Palazzo Ricardi, as well as in the cabinet of the Grand 
 Duke at Florence, are preferved fome excellent landfcapes of his hand. 
 
 Solomon RUYSDAAL. 
 Painted Landfcape. 
 Died 1670, aged 5 4. 
 He was born at Haerlem, in 161 6, and was the elder brother of Jakob 
 Ruyfdaal. He alfo was a painter of Landfcapes, but in every refpedt appeared 
 far inferior to Jakob •, for the beft commendation given him by the writers on 
 this fubject, is, that he was a cold imitator of Schoeft, and Van Goyen. And 
 although his pictures have fomewhat that is plaufible, fufficient to engage the 
 attention of thofe who are prejudiced in favour of rjie name of Ruyfdaal, yet to 
 perfons of true judgement and tafte, they are in no great eftimation ; and the 
 eye is difgufted with too predominant a tint of yellow, which is diffufed through 
 the whole. 
 
 He 
 
R Y C [ 539 ] R Y C 
 
 He rendered himfelf, however, confiderable, by having difcovered the art 
 of imitating variegated marbles with furprizing exaftneis ; and he gave to his 
 compofition an appearance, fo curioufly llmilar to the real marble, that it was 
 fcarce pofiible to difcern any difference, either in the weight, the colour, or the 
 luftre of the pohfh. 
 
 Martin RYCKAERT. 
 
 Painted Land/capes, with Architecture, and Ruins. 
 
 Died 1636, aged 45. 
 
 He was born at Antwerp, in 1 59 1 , and gave very early proofs of a good genius 
 to painting. He was for fome time under the care of Tobias Verhaecht as his 
 difciple, but having frequent opportunities of feeing the paintings of fome very 
 famous Italian mafters, in the collections at Antwerp, to which he had accefs •, 
 and comparing the ftyle of thofe mafters, with that of his own countrymen •, it 
 infpired him with a commendable ambition to vifit Rome, for his farther in- 
 ftrucf ion and improvement. 
 
 He fpent feveral years in Italy, and employed himfelf in defigning the mod 
 elegant objects which offered themfelves to his obfervation ; in fketching the 
 beautiful fcenes, ruins, and edifices that any where occurred to him. At his 
 return to his native city, he painted his pictures from thofe defigns which he had 
 ftudied after nature, and gained extraordinary applaufe, as well for the elegance 
 of his choice, as for the goodnefs of the execution. 
 
 As he was particularly curious, in taking the views of fortified towns, that 
 lhewed any uncommon appearance of grandeur, in order to introduce them in 
 his own compofitions, he very unthinkingly endangered his life, by drawing 
 the view of the caftle of Namur, which he intended as an ornament to one of 
 his landfcapes. For, while his whole attention was engrafted by the fketch of 
 that grand fortfefs, he was fuddenly feized by the foldiers, and hurried to the 
 governor ; and would have infallibly been put to death, if the governor had not 
 been, with the utrnoft difficulty, prevailed on to pardon him, by the ftrongeft 
 attestations of his innocent intention, his probity, and his eminence in his 
 profefiion. 
 
 He was extremely efteemed by Vandyck, and by all perfons of diftinction in 
 his own country ; his works are very rarely to be purchaied, and are exceedingly 
 prized by thofe who poffefs them. 
 
 David RYCKAERT, the Young. 
 Painted Converfations, and Apparitions to S. Anthony. 
 He was born at Antwerp, in 161 5, and learned the art of painting from his 
 father, whofe name alfo was David. He principally ftudied and painted after 
 nature, and his firft fubjects were landfcapes •, in which he introduced the huts 
 and cottages of ftiepherds and fanners, which he expreifed with abundance of 
 truth, and difpofed his figures and every other object, with great judgement. 
 But, in fome time he undertook to imitate the ftyle of Brouwer, Teniers, and 
 Oftade -, and the value that was fet on his firft performances in that ftyle, was a 
 fufficient inducement to him to perfevere. He continued therefore to paint 
 
 Z z z converfations, 
 
R Y S [ 540 ] R Y S 
 
 converfations, but he fucceeded bcft in fubje&s that were bright, as he had a 
 peculiar art of managing his lights in an unufual manner, which had an extraor- 
 dinary effect ; and for that reafon, he was fond of reprefenting figures by the light 
 of a candle or flambeau. 
 
 At firft, he painted and defigned fubjects that were agreeable, and entertaining ; 
 but in his fiftieth year, he altered his ftyle of defign, and grew fond of reprefent- 
 ing imaginary and whimfical forms, with a fruitful wildnefs of fancy, fuch as ap- 
 paritions, nocturnal afiemolies of witches and devils, temptations of S. Anthonv, 
 and fuch like, in the manner of the Hellifh Brueghel ; and in fome of his defigns, 
 he reprefents the devils flying away from the Crofs. And although fuch fubje&s 
 are but difagreeable, yet by the fpirit of his touch, his penciling, and colouring, 
 and by the livelinefs of his imagination, he has given to his figures fuch variety 
 and humourous expreffion, that they had many admirers, and were very eagerly 
 purchafed by the Archduke Leopold, and feveral other princes. 
 
 It is obferved of this mafter, that his firft works were not fo well coloured as 
 thofe of his latter time ; his firft were rather too grey, but afterv/ards, his 
 pictures had remarkable warmth. The heads of his figures were painted with 
 great art, and precifion; but he feems to have been too negligent ot the hands 
 and other extremities. 
 
 Peter RYSBRAECK, or RYSBRECHTS. 
 
 Painted Land/cape. 
 
 He was born at Antwerp, in 1 6$j, and became a difciple of Francefco Millee ; 
 under whom he very foon imbibed a fondnefs for the works of Pouffin, which 
 he ever afterwards retained. He ftudied him inceffantly, and at laft fo fuccefs- 
 fully imitated that eminent artift, that feveral of the pictures of Ryfbraeck, were 
 fold for the paintings of Gafpar. He lived in great efteem at Paris, and was 
 much folicited to continue in that city ; but he returned to his native city, and 
 there followed his profeffion with credit, and with advantage. 
 
 Sometimes he painted in the manner of Pouffin, and fometimes in the ftyle 
 of his mafter Francefco Millee ; but, in all his compofitions, he is a conftant 
 imitator of thole two eminent artifts, though at the fame time, he took care to 
 ftudy and to imitate nature. His manner of painting was expeditious, with a 
 free and firm pencil, and a good tone of colour j his figures and his trees are 
 well defigned, and he finifhed his pictures with a great deal of fpirit. However, 
 it muft beconfefled, that either through a want of genius, or invention, or by 
 painting fuch a number of pictures as he did, his landfcapes have not that 
 pleafing variety which might be expected, though in other refpeeb they have 
 confidcrabie merit. 
 
 The works of this mafter, ought not to be confounded with thofe painted by 
 another j. erfon of the fame name, who lived at Bruffels ; whofe landfcapes are 
 verv indifferent, and in no degree of efteem. 
 
 N I C HO- 
 
RYX [ 541 ] SAC 
 
 Nicholas RYX, or Ryckx. 
 
 Painted Land/capes, and Views of Pakjline. 
 This matter was born at Bruges, in 1637, and in that city learned the art of 
 painting. As foon as he had qualified himfelf to appear with credit in his 
 profeffion, he undertook a voyage up the Mediterranean, and travelled through 
 many of the eaftern countries, obferving exactly the habits of the different nations 
 through which he journied, and particularly attended to the manner of travelling 
 peculiar to the Caravans. Hefpentfome years in Paleftine ; and in that country 
 fketched after nature the agreeable and romantick views of memorable places, 
 which he intended for the fubjedsof his future landscapes ; and when he returned 
 to Bruges, his compofitions were much coveted, as they reprefented the profpedts 
 of Jerufalem, and the neighbouring country ; which were enriched with a 
 number of figures, horfes, and camels, touched with fpirit, and finifhed with 
 great freedom of hand, and good colouring. His tafte of defign was much in 
 the manner of Vander Cable, but he was generally more clear. 
 
 s. 
 
 Andrea SACCHI, or Ouche. 
 
 Painted Hijiory, Portrait, and Architecture. 
 Died 1668, aged 74. 
 
 This celebrated painter was born at Rome, in * 1594, and was a difcipleof 
 Francefco Albano •, with whom he fpent feveral years in fuch clofe application, 
 that at laft he was accounted luperior to his mafter in his tafte of defign, and in 
 the correftnefs of his drawing. He devoted a great part of his time to the ftudy 
 of the antiques j he defigned after them induftrioufly, and alio added to his 
 improvement, by making himfelf thoroughly acquainted with the works of 
 Raphael, and the molt illuftrious artifts who preceded him. By that method of 
 conducting his ftudies, and by having an accurate judgement and tafte, 
 to difcerh the excellencies of the great mailers, he formed his own peculiar 
 manner, which had no refemblance to any of them ; and that manner he never 
 altered. 
 
 He diftinguifhed himfelf in a very eminent degree by his paintings in frefco - r 
 and was accounted to have no fuperior in that manner of working. A ftrong 
 emulation, however, fubfifted between him and Pietro da Cortona, as they were 
 cotemporary artifts •, as both of them were men of genius, and extraordinary 
 abilities ■, and, as both were equally ambitious of immortalizing themfelves by 
 their works. And it is highly probable, that by fuch a conteft for fame and 
 honour, each of them arrived at a higher degree of perfection in that kind of 
 painting, than either of them might have done, without fuch a competition. 
 
 * The authors of the Abrege de la Vie des Peintres fix the birth of Andrea Sacchi in i 599, and 
 his dfe^th in 1661, at the age of 62 ; but moil authors agree that he was born in 1594, and that he 
 died in i£>68, at the age of 74. 
 
 Z Z Z 2 
 
SAC { 542 ] SAC 
 
 The ideas of Sacchi were grand, and elevated ; and he gave to his figures a 
 beautiful, and fine expreffion. The choice of his draperies is judicious, the 
 difpofition of them is delicate, and they fhew inch an union of elegance and 
 firrrplicity, as is rarely to be met with in other painters. His works are fintfhed 
 with uncommon care and exactnefs, and they have fuch intrinfick merit in 
 refpect of tafte, compofition, correftnefs, elevation of thought, colouring, and 
 expreflion, as will fecure the admiration and applaufe of the judicious, and 
 r.lways render them truly valuable. 
 
 Some of the works of this mafter are in the principal churches at Rome ; and 
 particularly in the church of S. Peter is a picture of S. Auguftin ; likewife in 
 the church of S. Jofeph, an altar-piece reprefenting the Angel appearing to 
 Jofeph. But in the Palazzo Barberini, are feveral compofitions of Sacchi, 
 which are exceedingly capital, efpecially an allegorical picture reprefenting divine 
 Wifdom •, and it cannot be too highly praifed, for the invention, the grandeur 
 of defign, the delicacy of the expreffion, or the fweetnefs of the colouring. He 
 was a perfect mafter of perfpective, and executed ibme very grand compofitions, 
 with a multitude of figures, and elegant architecture, in true and beautiful 
 perfpective, at Rome; which procured him as much honour, as any of his other 
 performances. The fubject of one of thofe paintings, was a defcription of the 
 military fports of the Roman youth on horfeback, which was exhibited with 
 extraordinary magnificence by order of the Pope. 
 
 Cornelius SACHTLEVEN, or Zaftleven. 
 Painted Land/capes, Drolls, Corps de Garde, and Farm-houfes. 
 
 He was born at Rotterdam, where he learned the art of painting, but im- 
 proved himfelf by ftudying after nature, and carefully fketching every object 
 which he intended to infert in his future compofitions. It is generally thought, 
 that he was the elder brother of Herman Sachtleven, but appeared far inferior 
 to him, as well in- the choice of his fubjects, as in the tone of his colouring ; 
 moft of the pictures of Cornelius being remarkably too yellow. 
 
 He painted the infides of farm-houfes, as alfo the employments and recreation? 
 of villagers, fometimes in imitation of the ftyle of Teniers, and lbmetimes in 
 the manner of Brouwer. Thofe ruftick fports, in which he endeavoured to 
 refemble the former, are well defigned, and executed with a free pencil -, and 
 when he imitated the latter, he gave his pictures a great deal of force. His 
 corps de garde are particularly commended, as being well grouped •, and hfs 
 converfations have a ftrong character of truth and nature, with a tolerable 
 degree of humour, and expreffion. 
 
 On the fore-grounds of his pictures, which reprefented Soldiers in their guard- 
 room, he ufuatly placed helmets, drums, armour, embroidered belts, and 
 implements of war -, which he copied exactly from nature, and fhewed confide- 
 rablejudgement, by difpofing them in fuch a manner as to produce an agreeable 
 effect. 
 
 Herman SACHTLEVEN, or Zaftleven. 
 
 Painted Land/cape. 
 Died 1685, aged 76. 
 He was born at Rotterdam, in 1 609, and inftructed i 1 the art by John Van 
 ■Go. en, a \ery celebrated painter of landfcape ; yet he did not confine himfelf to 
 
 the 
 
SAC [ 543 ] SAL 
 
 die manner of that maftef , but alfo ftudied the ftyle, tafte, and touch of othe r 
 eminent artifts. He determined, however, principally to attend to nature, a s 
 being the bell, and moll unerring director ; and for his improvement made 
 abundance of {ketches, drawings, and defigns, which by the curious are ac- 
 counted not the leaft valuable of his works. But, the views of nature in the 
 Low Countries, where he was born, were by no means fuitable to the tafte of 
 Sachtleven, as they could not furnifh him with a competent variety •, there 
 being no mountains or rocks in that tract, to diverfify the fcene. He therefore 
 went to ftudy nature on the borders of the Rhine ; where, by the windings of 
 that river, by the antique edifices, the woods, the water-falls, and grounds dif- 
 ferently broken, the views were more picturefque, and more capable of affording 
 him agreeable materials for his landfcapes. It is alfo affirmed by fome writers, 
 that he likewife vifited Italy, where he improved himfelf considerably ; and 
 certainly, all that induftry exerted to render himfelf eminent in his profefiion, 
 received its juft reward, in the univerfal approbation given to his works. 
 
 He took pains to finifh his pictures with extraordinary neatnefs, and by a 
 light, free touch, as well as by a fkilful management of the aerial perfpective, he 
 gave to his diftant hills, grounds, and trees, a very happy and pleafing effect. 
 His Ikies and diftances are generally clear, and all his objects recede with per- 
 fpective truth ; and although many of the fcenes which he copied from nature, 
 were not very ftriking from that point of view where he flood to defign them, yet 
 he had the fkill fo greatly to improve, vary, and enrich them, by figures and 
 buildings, that he made them agreeable fubjects in his paintings, Hill preferring 
 the appearance of the real place which he defigned. 
 
 The pictures of Sachtleven painted in his befl manner, are not very common, 
 and are highly efteemed •, and they may be known without much difficulty, by 
 a neatnefs of touch in the figures,, and buildings •, by an endeavour to exprefs 
 the vapour, between the eye and the objects that are remote, like Berchem and 
 Wouwermans ; and by a pleafing bluifh tint in his diftances. 
 
 Ventura SALIMBENI, called B e v i l a qjj a. 
 
 Paint-ed Hiftcry. 
 Died 1 6 1 3 , aged 5 6. 
 
 He was born at Siena, in 1557, and learned the art of painting from his 
 father Archangelo Salimbeni, a painter of principal note in that city. "When he 
 had made a competent progrefs in the knowledge of defign and colouring, he 
 travelled through feveral parts of Italy, particularly through Lombardy, and im- 
 proved himfelf exceedingly, by his obfervations on the celebrated performances 
 of the great mafters, which occurred to him in his travels. But, when he ar- 
 rived at Rome, where he had fufficient opportunities to ftudy the antiques, he 
 there applied himfelf with fo much diligence, that he perfected himfelf in 
 defign, and acquired a good ftyle and manner of painting, which A'ery much re- 
 fembled that of his brother Francefco Vanni, though it did not equal it. 
 
 He had a good invention, and great harmony in his colouring, as well as ele- 
 gance in his figures. While he continued at Genoa, he affociated with Aspftino 
 Taffi,an excellent painter, who had been a difciple of Paul Bril ; and in the errand 
 compofitions of Salimbeni, the back-grounds were painted by Tafil. This 
 
 mafier 
 
SAL [ 544- ] SAL 
 
 mafter is more generally known through Italy by the name of Bevilaqua, than 
 by that of Salimbeni •, the Cardinal Bonifacio Bevilaqua, who was his patron, 
 and his friend, having, from particular efteem, given him that name. 
 
 The principal works of this mafter, are in the churches and convents in his 
 native city Siena, at Florence, Genoa, and Umbria, in all which cities his paint- 
 ings were highly commended ; and at Wilton, in the collection of the Earl of 
 Pembroke, there is a picture reprefenting the Defcent of the Holy Ghoft, by 
 this mafter. 
 
 Van S A L M. 
 Painted Sea-Pieces, in Black and White. 
 
 Neither Houbraken, nor Weyerman, mention any particulars relative to the 
 time when this artift was born, or died ; but, his ftyle of painting makes it very 
 probable, that he was a difciple of Cornelius Bonaventure Meefter, commonly 
 and corruptly called Bo Meefters. 
 
 He had a remarkable manner of painting in black and white, in imitation of 
 drawings with a pen ■, nor is it eafy to conceive how he managed his pencil, fo as 
 to give every line the form and exact refemblance of the ftroke of the graver. 
 His only fubjects were fea-pieces, and fea-ports, with a diftant view of the cities 
 and towns ; and thofe fubjects he ufually handled with a great deal of neatnefs. 
 His mips are correctly defigned, but they want the elegance and grace of Van- 
 dervelde, and Backhuyfen •, nor have they the freedom and delicacy of thofe 
 executed by Bonaventure Meefter. In his reprefentation of ftorms, the agitation 
 of the waters is tolerably well expreiTed, though the waves often appear hard ; 
 and in his calms the veflels are agreeably difpofed. Some of his pictures, in- 
 deed, are finifhed with fo much truth and fpirit, that at firft fight they have all 
 the appearance of excellent drawings, nor do they lofe any of their merit, by a 
 more minute examination. But the pictures of Van Salm are not equally good, 
 fome of them being far fuperior to others •, and even his beft, are not in thefe 
 kingdoms held in any great efteem by the connoifieurs. 
 
 Giovanni Battista S A L V I, called Sassoferrato. 
 
 Painted Hijlory. 
 Died 1590, aged 86. 
 
 This mafter was born in 1 504, at an antient caftle on the borders of the ter" 
 ritory of Urbino, called Sallbferrato, from which he was afterwards named. 
 Under what mafter, or in what city he learned the firft principles of his art, is 
 not afcertained ; but he went to Rome, to ftudy the works of Raphael, which 
 were then the admiration of the whole world ; and his knowledge was exceed- 
 ingly promoted by the precepts of Francefco Penni, Raphael's favourite 
 difciple. 
 
 By the direction of that able artift, Salvi applied himfelf to copy the works of 
 the molt eminent in the proiefiion ; and he at laft obtained fuch (kill, and fuch 
 powerof execution in that manner of painting, imitating the ftyle and touch of 
 every different mafter lb admirably, that his pictures were generally taken to be 
 
 real 
 2 
 
SAL [ 545 ] SAL 
 
 real originals of thofe artifts, of whom they were only copies, or at the beft, only 
 imitations. 
 
 Giuseppe SAL VI ATI. Vid. Porta. 
 
 Francesco SALVIATI, or Rossi. 
 
 Painted Hijtory, and Portrait. 
 Died 1563, aged 53- 
 
 He was born at Florence, in 15 10 ; his parental name was RoiTi ; but, being 
 taken into the fervice of Cardinal Salviati, and honoured with his favour and 
 protection, he was ever after diftinguifhed by the name of his patron. He owed 
 a great part of his early inftruclion to that intimate friendfhip which he had con- 
 tracted with Giorgio Vafari in their youth-, for, Vafari was the difciple of Andrea 
 del Sarto, and communicated all the rules, directions, and defigns, which he re- 
 ceived from his matter, to his friend Salviati, and explained every precept in the 
 mod clear and intelligible manner. However, neither of thofe young artifts found 
 their improvement under Andrea, anfwerable to their fanguine expectations ; 
 and therefore they placed themfelves with Baccio Bandinelli ; under whom 
 they made a greater proficiency in one month, as Sandrart alTerts, than in two 
 years fpent under the other. 
 
 Salviati foon rofe into high reputation, and was not only engaged by his pa- 
 tron the Cardinal, but was employed alfo at the Pope's palace, in conjunction 
 with his friend Vafari. He painted with as much fuccefs in frefco and diftem- 
 per, as in oil ; and acquired extraordinary honour by the cartons he defigned 
 for tapeftry, reprefenti'ng the memorable actions of Alexander the Great. Nor 
 did the pencil of Salviati appear to lefs advantage in portrait than in hiftory ; 
 many of the prime nobility of Rome, and other cities of Italy, were painted by 
 him ; and he gained extraordinary applaufe by a portrait of Aretine, the famous 
 fatyrift, which was fent as a prefent to Francis I, King of France. 
 
 The invention of this mafter was rich, and copious ; but, he feemed to want 
 elevation of genius, and to have rather too great a luxuriancy of fancy, though 
 that fancy was not of the grand and majeftic turn. His carnations were deli- 
 cate, particularly in his naked figures, and he defigned fuch figures with grace 
 and correctnefs. In others which were cloathed, his draperies were full, broad, 
 and genteel, elegantly marking the turn of every limb, fo as to render it per- 
 ceptible, though thinly covered. His ufual ftyle of colouring was lively, and 
 he gave his figures eafy and becoming attitudes, yet he had not a talent for grand, 
 compofitions, being often but mean in his defign. 
 
 The merit of Salviati procured him many friends, but lie frequently loft them, 
 by his peeviih and capricious temper-, and Sandrart obierves, that many who 
 were defirous of having fome of his work, were reftrained from employing him, 
 becaufe he always appeared difiatisfied, even when he was largely overpaid for 
 his performances. 
 
 He might have had fufficient fuccefs in France ; but his difagreeable conduct; 
 in many refpects, and his fevere cenfures of other artifts, gave fuch a general of- 
 fence, that he quitted that kingdom in as much contempt, as he had entered it_ 
 with honour, and publick refpect, So unlooked-for a difappointment caufcd 
 
 hira 
 
SAL [ 546 ] SAN 
 
 11 to return to Rome, where he fell into new contentions with Daniel da Vol- 
 terra, with Pietro Ligorio, the Pope's architect, and with moft of the artifts of 
 that time, and died there of a broken heart. 
 
 A number of poetical fubjedts were painted by Salviati, in oil, for Ludovico 
 Farnefc, and he alfo Hnifhed leveral altar-pieces for the churches of Rome, and 
 Florence. A moft capital picture of his painting, is ftill preferved in the church 
 of the Celeftins at Paris, being the ornament of their grand altar. The naked 
 figures in that compofition have an eafe, and grace, which might appear worthy 
 cl an artift -, the draperies of thofe figures that are cloathed, flow with an ealy 
 negligence, neither too cumberibme, nor too glaring •, and in moft of his pic- 
 ruits, a great deal of the manner of Baccio Bandinelli is obfervable, but in this 
 there appears much more of the ftyle of Andrea del Sarto. It is remarked 
 rhatfome of his pictures, painted only in two colours, are accounted his beft. 
 
 Joachim SANDRART. 
 
 Painted Hijiory, and Portrait. 
 
 Died 1683, aged 77. 
 
 He was born at Franckfort on the Maine, in 1606, and had for his firft 
 matters Theodore de Bry, and Matthew Merian, who were engravers ; but after- 
 wards he became the difciple of Gerard Ilonthorft. His improvement under 
 that matter, diftinguifhed him above all the difciples in that fchool, and engaged 
 the efteem of his inftructor fo effectually, that he took him to London as an 
 afllftant in thofe works, which were to be executed by order of the King of 
 England ; and he gained fo much credit by his performances, that when Hon- 
 thorft returned to his own country, Sandrart was retained in the fervice of 
 the King. 
 
 By having accefs to the Royal collection of paintings, Sandrart laid the foun- 
 dation of his fubfeq-.ient merit ; for, he ftudied and copied fome of the fineft 
 productions of Titian, Correggio, Guido, Veronefe, and Vandyck ; and two ca- 
 pital works are particularly mentioned by the writer of Sandrart's life, (at the end 
 of his lives of the painters) by which he was principally improved •, the one was 
 Mercury teaching Cupid to read, at the requeft of Venus, by Correggio ; the 
 other, Titian's twelve Csefars as large as life, which, after the death of the Duke 
 of Buckingham, were purchaied by the Emperor Ferdinand III, at an immenfe 
 price. Undoubtedly, he eitabliihed his reputation during his continuance in 
 England, by leveral excellent paintings -, and efpecially by the pictures of 
 Henry VIII, Sir Thomas More, and Erafmus, which he painted for the Earl of 
 Arundel, after the originals of Holbein •, and it is mentioned to the honour of 
 Sandrart, that his imitation was fo exact, as to make it no eafy matter to deter- 
 mine which were the copies. 
 
 V> hen he left England, lie vifited Venice, Bologna, Naples, and Rome, at each 
 of which cities he ftudied and defigned every thing that teemed curious, or 
 worthy of his obfervation •, and added confiderably to his knowledge, by his inti- 
 macy with Bamboccio, Jan Lis, Albano, and Guido ; who not only fhewed him 
 their works, but freely communicated to him every obfervation relative to the 
 art, which might be any way advantageous to him in his profeflion. 
 
 A 
 
SAN [ 547 ] SAN 
 
 A picture of 3. Jerom, and a Magdalen which he painted at Rome, procured 
 fiim the favour of Cardinal Barberini, and obtained for him the honour of paint- 
 ing the portrait of Pope Urban VIII ; and the King of Spain having fent an 
 order to Rome, for twelve pictures of the fame dimenfion, to be executed by- 
 twelve of the moft eminent mailers in Italy, Sandrart was appointed one of the 
 number, and the other eleven were Guido, Sacchi, Guercino, Giufeppe D'Ar- 
 pino, Cortona, Lanfranc, Domenichino, Nicolo Pouffin, Maffimi, Valentino, and 
 Gentilefchi. Their performances were publickly exhibited at a grand procef- 
 fion on a feftival, and perhaps it may not prove unentertaining to the reader, to 
 know the fubjefts of thofe memorable paintings, efpecially as they are defcribed 
 by very few writers, and in books that are rarely to be met with. 
 
 The fubject of Guido's picture, was the Rape of Helen •, in which he repre- 
 fented that fair fugitive, conducted to the fea-fhore by Paris, attended by a few 
 female figures ; and in every part of the compofition fuch genius, invention, and 
 difpofition, were difplayed, as made it doubtful whether art, nature, or grace had 
 the fuperiority. 
 
 Guercino's defign was Dido (tabbing herfelf on the funeral pile ; in which the 
 expreffion of the principal figure, and the variety of pafiions in the attendants, 
 as grief, pity, terrour, and aftonilhment, were ftrong, lively, and natural. 
 
 The genius and fine invention of Pietro da Cortona, were nobly manifefted in 
 his compofition, which reprefented Romulus giving the fignal for the Rape of 
 the Sabines •, in which he fliewed fuch a variety of actions, attitudes, and paf- 
 fions, fuch eager refolutenefs in the Romans, fuch a mixture of timidity and 
 refentment in the women, as made that performance be confidered as one of the 
 moft capital defigns of that mafter. 
 
 Andrea Sacchi's picture was emblematical, and reprefented Divine Wifdom as 
 feated on a throne furrounded by feveral Virtues ; but, the excellence of the 
 compofition, the profound ikill and tafte in the defign, and it's, fingular correct- 
 nefs, were much more applauded than the colouring. 
 
 The fubject of Lanfranc's defign, was the dilcovery of Califto, and the Death 
 of Actseon ; which feemed to be principally admired for its ftrong character of 
 truth and nature. 
 
 That of Domenichino, reprefented Diana appointing prizes for thole nymphs 
 who excelled in rural fports, and exercifes ; in which compofition was teen a va- 
 riety of actions, and attitudes, of nymphs exerting themfelves in the chace, and 
 of others returning triumphantly with the game, or refreftiing their limbs in the 
 bath after their toil ; while their hounds are either drinking at the brook, or lye 
 in different poftures expreffive of fatigue. This performance was univerfally 
 admired, and allowed to have as high a degree of merit, as any of the paintings 
 exhibited on the occafion. 
 
 Nicolo Pouffin reprefented in his defign the Plague of the Philiftines at Afh- 
 dod, and introduced a number of figures differently affected ; fome fickenin°-, 
 others pining and languifhing under the diftemper, or attended by phyficians •, 
 ibme dying, and many dead ; but with fuch abundant variety, and admirable ex- 
 preffion, as gained him the greateft honour. 
 
 Valentino chofe for his fubject, the Five Senfes, which he defcribed by 
 figures in a banqueting-room ; fome eating and drinking •, others engaged at 
 cards, or amuiing themfelves with the fmell of flowers •, fome liftening to others 
 
 A a a a who 
 
SAN [ 548 ] SAN 
 
 who performed on mufical inftruments ; and fome fighting and wounding each 
 other. But this work was not commended either for the goodnefs of the inven- 
 tion, or the correftnefs of drawing, and was only efteemed for the elegant ftylc 
 of the colouring. 
 
 The defign of Sandrart's picture was, Seneca in the Eath, (his veins opened 
 by order of Nero) with a philofophical firmnels of mind difcourfing with his wife 
 Paulina, and his friends Demetrius and Philo •, in which the expreffion was na- 
 tural, the figures were correctly defigned, and the colouring was extremely 
 good. But the pictures of Gentilefchi, D'Arpino, and Maffimi, not being quite 
 finifhed, were not publickly exhibited. 
 
 Sandrart travelled through moil parts of Europe, and found favour and em- 
 ployment wherever he went, fo that he v/as greatly enriched when he re- 
 turned to his own country ; and the (ketches he drew of buildings, an- 
 tiquities, ftatues, or beautiful views after nature, together with his pictures, 
 and curiofities, produced, at different fales, twenty-two thoufand kven 
 hundred and twenty-one florins. A great number of his works are in Italy, 
 Germany, and the Low Countries, where they are much efteemed ; but 
 his moil capital peformance, is, the reprefentation of the Lafb Judgement, 
 in which there are a multitude of figures, well defigned, and well co- 
 loured. He publifhed feveral volumes, and one in particular, which contains 
 (what he calls) the Lives of the molt famous Painters. It is a tranfiation, by 
 way of abridgment, from Valari, Van Mander and Ridolfi, but the greateft 
 part of thofe artifts of whom he treats, are mentioned in too flight and fuper- 
 ficial a manner, afFording the reader much lefs inftruction and fatisfaclion, than 
 might rcafonably be expected from the reputation, and extenfive knowledge o\ c 
 the author. 
 
 S A N E S E. Vid. Memmi. 
 
 John Baptist SANTERRE. 
 Painted Portrait. 
 Died 1 7 17, aged 66. 
 This painter was born in Fiance, near Ponthoife, in 1651, and was a difciple 
 of Bon Boullongne, under whom he made a confiderable proficiency ; but his 
 greateft improvement was derived from his obferving nature, and by his fingular. 
 attachment to that point, he was enabled to produce fome cftimable work?, 
 although he poflefied but a moderate portion of genius, and his pencil was but. 
 flow in its execution. He perceived that his imagination and invention were in- 
 fufficient for undertaking hiltorical compofitions, which required a variety of 
 figures-, and therefore he employed himfelf in painting heads, and half-length 
 ures, from, imagination, or after the life, and thofe he finifhed with care, and 
 great delicacy. 
 
 He defigned with tolerable correctnefs, and had confiderable merit in the atti- 
 tudes, and expreffion of fome of his portraits; but his draperie.-> were generally 
 neither well chofen, nor judicioufly diipofed. However, he took great pains 
 to acquire the knowledge of anatomy and perfpective, being fludious to acquaint 
 himfelf vyith every branch conducive to his improvement in his profelfion. He, 
 
 was 
 
SAN [ 549 ] SAN 
 
 was particularly induftrious, to difcover the means of rendering his colours 
 bright, and durable ; and for that purpofe fpent many hours in obferving the 
 paintings on the figns, as he walked along the ftreets, to remark what colours en- 
 dured the air, fun, and moifture, with the lean: appearance of perifhino-, and at 
 laft his labour was very fuccefsfully rewarded ■, for his piclures, efpecially in the 
 carnations, Ihewed an uncommon tranfparence and brilliancy : and it is men- 
 tioned as a Angularity in Santerre, that he never put any kind of varnilh on his 
 piclures in lefs time, than ten years after they were finifhed. 
 
 S A N T I d i T I T I. 
 
 Painted Hiftcry, and Portrait. 
 Died 1603, aged 65. 
 
 He was born at Florence, in 1538, and at firft. was initrufted in defign by 
 Baftiano, a painter of no great reputation ; but afterwards, being placed as a 
 difciple with Agnolo Bronzino, he foon gave manifeft proofs of the noble 
 talents which he poiTeffed, and in a fliort time {hewed himfelf far fuperior to all 
 his companions. 
 
 But, although he made a remarkable progrefs under Bronzino, yet he was 
 confcious that his knowledge of the true and grand principles of defign, was (till 
 but imperfe<5t ; and therefore he determined to improve himfelf to the utmcft 
 in that refpect, by vifiting Rome ; in order to enrich his mind with more elevated 
 ideas, by ftudying the antiques, which are the beft guides to all thole painters, 
 who defire to imitate nature with grace, fimplicity, and elegance. 
 
 While he continued at Rome, he was indefatigable in his ftudies •, he acquired 
 an admirable tafte of compofition, and correctnefs of defign ; and gained fo far 
 the publick approbation, that he was efteemed one of the beft painters of his 
 time. His extraordinary merit immediately diftinguifhed him, and his per- 
 formances for fome of the Nobility and Cardinals, railed his reputation fo high, 
 that it occafioned his being folicited to return to Florence, where he painted a 
 multitude of incomparable defigns. His genius was not limited to hiftory alone, 
 but he was equally excellent in portraits ; of which he finifhed many that were 
 exceedingly applauded, for their ilrong and lively refemblance, as well as for the 
 beauty of the colouring. 
 
 This mailer has always been accounted an honour to the Florentine fchool •, 
 and was univerfally admired, for his corredtnefs and tafte; for the lightnefs and 
 freedom of his hand •, for a furprizing force of colour •, and for the peculiar 
 grandeur of his manner and ftyle; Among a great number of fine pictures 
 painted by Santi di Titi at Florence, there is one very capital defign in the Pa- 
 lazzo Corlini in that city, reprefenting the Baptifm of S. John, entirely in the 
 manner, and with all the grace and delicacy of Albano. The defign is in an ex- 
 cuifite tafte, and exceedingly correct ; the heads are fine •, thole of the female 
 figures are elegantly drelTed ; and the whole is finifhed with moft extraordinan 
 neatnefs and care. 
 
 SAREZANA. Vid. Fiasella, 
 
 Aaaa2 Andre* 
 
S A R [ 550 ] S A R 
 
 Andrea del SARTO, or Andrea Vanucchi. 
 
 Painted Hijlory, a»J Portrait. 
 
 Died 1530, aged 42. 
 
 This matter was bom at Florence, in 14S8, and received his firft inftruction in 
 the art from Giovanni Barile, a very mean painter, with whom he fpent three 
 years, with intenfe application ; and in that time difcovered fuch uncommon 
 talents as aftonifhed Barile, and he placed Andrea as a dilciple with Pietro Co- 
 fimo, who was accounted one of the beft painters in Italy. 
 
 His induftrious perieverance in his ftudies under that matter, rendered him 
 in a fhort time very eminent ; but the morofe temper of Cofimo compelled 
 Andrea to quit him, and to endeavour to perfect himfelf by attending to the 
 works of other famous artifts •, though he had appropriated every faint's day and 
 feftival (while he was in the fchool of Cofimo) to defign after the works of 
 Vinci, Raphael, and Buonaroti, to which he had accefs in Florence. He there- 
 fore perfifted in the fame method of practice, and by that means formed an ad- 
 mirable tafte, and fignalized himfelf above all the young painters of his own 
 country, or foreigners, by correctnefs, colouring, and a profound knowledge of 
 the art. 
 
 At that time, Andrea contracted an intimate friendlhip with Francefco Bigio : 
 as there feemed to be a remarkable agreement in their tempers, as well as in their 
 ftudies. They determined to live together, and they painted a great number of 
 works in the churches and convents of Florence in concurrence ; but the repu- 
 tation of Andrea was perpetually promoted, by every work he finifhed, either in 
 frefcoor in oil. At laft, his fame was raifed to it's higheft pitch, by that noble 
 defign which he executed for the bare-footed Carmelites at Florence, reprefenr- 
 ing the preaching of S. John. The attitude, and air of the head of the principal 
 figure, were exceedingly fine ; the countenance was full of fpirit and wifdom, 
 and ftrongly exprefiive of his character •, and the fun-burned tint of his flefh, 
 was properly fuited to his manner of life in the defart. The expreffion of the 
 auditors was natural, and fhewed abundant variety •, fome attentively liftcning, 
 fome in admiration and aftonifhment at the novelty of his doctrine, and the 
 energy of his difcourfe -, others, with a look of apparent approbation, and con- 
 viction •, and the whole performance was admirable, for the colouring, correct- 
 nefs of outline, difpofition, and fimplicity, united with elegance. 
 
 Although he had as much employment at Florence, as he could poffibly finifh, 
 yet could he not refift the impulfe he felt to fee the works of Raphael at Rome ; 
 he went therefore to that city, and examined every thing with a judicious atten- 
 tion. He ftudied the manner of that inimitable artift carefully, and alio obferved 
 with a critical eye the grandeur of ftyle in the compofitions of Buonaroti ; nor 
 did he neglect to attend to the antiques, and all the curious remains of art and 
 magnificence, which offered themfelves to his obfervation, by which he received 
 considerable improvement ; and it was obferved, that his manner was altered 
 much for the better, after he had vifited Rome. However, it became evident, 
 that he did not continue there a fufficient length of time, to ftudy and confider 
 things with fuch exactnefs as he ought ; and it is not doubted, that if he had re- 
 lided for fome years at Rome, and devoted more of his ftudy and practice to the 
 2 antiques 
 
S A R [ 551 ] S A R 
 
 antiques and Raphael, he would have furpalTed all the artifts of his time, as he 
 had naturally a graceful manner of defign, and his colouring was lively. 
 
 He painted with great freedom, and readinefs ; his colouring in frefco, as well 
 as in oil, was full of fweetnefs and force •, and his carnations are beautiful. His 
 draperies are marvelloufiy eafy, graceful, and natural, and they are touched with 
 uncommon fpirit •, the airs of his heads have an elegant variety ; and his boys, 
 as alfo the extremities of his figures, are fcarcely inferior to thofe of Raphael. 
 The naked figures in his compoiitions are excellently defigned ; but, from a cer- 
 tain timidity of mind, his figures, both of men and women, feem to want that 
 fire and vivacity, which animate the works of other great painters, though they 
 recommend themfelves by their correctnefs, truth, and noble fimplicity. 
 
 The excellence of Andrea's pencil, and his power of imitation, cannot be 
 more ftrongly illuftrated, than by that memorable incident mentioned circum- 
 ftantially by Vafari ; that by order of Octavian de Medici, he copied a portrait 
 of Leo X, between Cardinal Medici, and Cardinal Roffi, the heads and hands of 
 the figures having been painted by Raphael, and the draperies by Julio Romano •, 
 and he imitated every part of it with fuch amazing exaclnefs, that Julio, after 
 the moft minute inflection, and alfo being allured that it was a copy, could not 
 di(lino;uiih it from the original. 
 
 The fuperior talents of Andrea del Sarto, might have raifed him to be as rich 
 in his fortune, as in his reputation, if his own indifcreet conduct had not reduced 
 him to very diftrelsful circumflances ; for, the French King Francis I, was fo 
 exceffively fond of his works, that he invited him to his court, defrayed all the 
 expences of his journey, received him with great distinction, and made him many 
 valuable prefents. The firft work in which he was employed for that Monarch, 
 was a portrait of the Dauphin, who was then but a few months old -, and he was 
 rewarded (as Vafari teftifies) with three hundred crowns in gold, for that per- 
 formance. Afterwards, he painted an incomparable picture of a Charity, and a 
 multitude of other defigns for the principal nobility about the court, lb that he 
 lived in an ample enjoyment of every tiling conducive to happinefs, either in 
 refpect of efteem, affluence, or honour. 
 
 But, amidft this flow of good fortune, while he was employed by the Queen- 
 Mother to paint a picture of S. Jerom, when it was hardly half finifhed, he re- 
 ceived letters from his wife, foliciting his return to Florence ; and to indulge her 
 defire, he requefted permiffion for a few months abience, promifmg to return 
 with his family and fettle in France. The King confided in his integrity, and 
 not only made him feveral prefents with a Royal liberality, but intruded him 
 with large fUrrfs of money to purchafe ftatues, paintings, defigns, etchings, or 
 any thing that was curious, or worthy of his polleffing. However, Andrea foon 
 forgot his engagements, and violated every tye of honour, after he arrived at 
 Florence. He fquandered away the whole ilock, the King's property as well 
 as his own, and never returned to his friend and benefactor. At laft he funk 
 into that poverty, to which by his prodigality and ingratitude, he feemed very 
 juftly intitled ; he fuffered a variety of difficulties and diftrefles ; and died of the 
 plague, abandoned by his wife, and by all thole friends who had been the part- 
 ners of his extravagance. 
 
 Abundance of the works of Andrea are in the churches, convents, and pa- 
 laces at Florence, and in thofe the merit of Del Sarto is ihewn in a proper light •. 
 
 for, 
 
S A V [ 552 ] S A V 
 
 for, they are far preferable to what is feen of his hand, either in Rome, or in any 
 other city of Italy. Among a number of his capital paintings, there is. one ad 
 mhable picture in the Palazzi Pitti at Florence. The fubjeel: is the Virgin and 
 Child, with S. John, and S. Francis ; the colouring has an extraordinary force ; 
 the ftyle is exquifitely delicate -, the draperies are call in a grand tafte, and look 
 unufually frefh ■, and the heads are exceffively fine, though the head of the 
 Viro-in, is rather beautiful, than formed with a becoming dignity of character. 
 
 SASSO-FERRATO. Vid. S.uv 1. 
 
 Roland SAVER V. 
 
 Painted Land/capes, and Animals. 
 
 Died 1639, aged 63. 
 
 He was born at Courtray, in 1576, the ion of Jacques Savery, an indifferent 
 painter of animals, from whom he received his inftruction in the art ■, though 
 lie profited afterwards a great deal more, by the directions of his elder brother, 
 who was a much better artift. 
 
 Some writers alledge, that he was a difciple of Paul Bril, and there is cer- 
 tainly fomewhat in his manner, that might feem fufficient to juftify fuch a fuppo- 
 fition ; but others are of opinion, that he only Studied the works of Bril, and en- 
 deavoured to imitate his manner of handling and colouring. He painted land- 
 scapes, which he frequently adorned with historical figures, and animals of dif- 
 ferent kinds ; and alio painted infects and reptiles, which were touched with a 
 great deal of fpirit. 
 
 The Emperor Rodolph having feen fome of the works of this mailer, admired 
 them fo highly, that he engaged him in his fervice •, fettled on him a confider- 
 able penfion •, and enabled him to travel to Tirol to improve his tafte, and fur- 
 nifh his imagination with more elegant objects, by Surveying beautiful nature in 
 all its wildnefs, among the vales, lulls, mountains, and precipices of that tract of 
 country. 
 
 He Spent two years in clofe application to his ftudies, and defigned after 
 nature thofe fituations which appeared to him moil agreeable, romantick, and 
 Suitable to his fancy ; he made (ketches of thofe rocks-, rivers, cafcades, torrents, 
 and ftupendous falls of water which occurred to his obfervation ; and filled a 
 large volume with thofe defigns, which proved of the utmoft benefit to him ia 
 his future competitions •, not only for thofe which he painted for the Emperor 
 in his gallery at Prague, but alio for the eaftl pictures which he finifhed at his 
 return to Utrecht. 
 
 He had a delicate pencil, and touched his objects with a great deal of fpirit 
 and freedom •, the fcenes which he defcribes are grand and folemn, he Shews a 
 pleafing opposition in his lights and Shadows, his fubjects are full of an agreeable 
 variety, and his pictures are generally excuted in a mafterly manner ; though 
 fo ne of the pictures of Savery are much fuperior to others. H!s drawing is not 
 always correct, nor is the tone of his colouring always pleafing ■, for fometiir.es 
 the blue tint predominates too much, and the green frequently appears too vivid. 
 But, upon the whole, he was an excellent maitcr, and his works are very highly 
 efteemed, particularly his fmall eafel pictures, which are accounted but little in- 
 ferior to Paul Bril, and Brueghel, in the neatnefs of the finiihir.g. 
 
 His 
 
S C H [ 553 ] S C H 
 
 His mod capital performance, in the gallery of the Emperor at Prague-, 
 (according to Sandrart) is a charming landscape, in which S. Jerom is repre- 
 lented mortifying himfelf in the deiart ; and one of his belt pictures in the Low 
 Countries, (according to Houbraken) is a landfcape, in which Orpheus is intro- 
 duced among a variety of animals. 
 
 Gilles SCHAGEN. 
 
 Painted Hijlory, and Portrait. 
 
 Died 1668, aged 52. 
 
 He was born at Alkmaer, in 1616, and from the exertion of his own genius T 
 worked out fome knowledge of the art of painting, when he was very young •, 
 but, afterwards he was a difciple of Solomon Van Raveftein, and when he quitted 
 that mailer, he received further in ftructions from Peter Verbeek. To improve 
 himfelf by obierving the works of other eminent artifts, he travelled through 
 feveral parts of Germany •, and at Elbing, became intimate with the Emperor's 
 painter, one Strobel, by whole kindnefs he was made known to StaniJlaus, King 
 of Poland, who fat to him for his portrait. His fuccefs in that performance 
 was equal to his moft fanguine expectations ; but the beauty and merit of the 
 work, excited fo much furprize and jealoufy in his friend Strobel, that he thought 
 it imprudent to encourage him any longer to continue in that city. 
 
 Schagen therefore returned to Alkmaer, and from thence went to Paris ; 
 where he followed his profefiion induflrioufly, and painted a great number of 
 portraits and other fubjects, and lived in credit and affluence. He was an ex- 
 cellent copyer, and acquired a high reputation by copying a picture of Chrift and 
 S. John, after Michael Angelo Buonaroti, and a Virgin and Child after Rubens ; 
 in the latter of which he (hewed a free and mafterly pencil, a great power of exe- 
 cution, and atone of colour that was but little inferior to the original. One of 
 his moft remarkable compofitions, was the reprefentation of the lea-engagement 
 between Van Tromp, and Oquendo the Spaniard, which he fketched during 
 the fight, by order of the Dutch Admiral. 
 
 Godfrey SCHALCKEN, or Scalken. 
 
 Painted Hiftcry, Portrait, and Converfations. 
 
 Died 1 706, aged 6%. 
 
 He was born at Dort, in 1643, and learned the firft. principles of painting 
 from Samuel Van Hoogftraeten ; but he accomplished himfelf afterwards in the: 
 art, by becoming the difciple of Gerard Douw, with whom he ftudied for fome 
 years, ncr did he leave that fchool till he found himfelf qualified to imitate the 
 ltyle, and manner of handling of his mafter with great fuccefs. 
 
 When he began to follow his profefiion, he very foon gained a considerable re- 
 putation, and was much employed for portraits, of which there are many at 
 Dort, of the principal families in that city. One very celebrated picture of that 
 kind is the portrait of a lady, in the character of a nymph, keeping under the 
 fhadovv of a tree. His colouring at firft was not fo clear as could be wifhed, but 
 
 5 after.- 
 
S C H [ 554 ] S C H 
 
 afterwards he (hewed himfelf in that refpect greatly improved. He was remark- 
 able for painting in a variety of manners, and in every one of them his pencil 
 was excellent. Particularly he delighted in night-fubjects, becaufe he knew how 
 to diftribute the light of a flambeau or taper with lb much fkill, as to diffufe a 
 brightnefs over his object, by a proper oppofition of fhadow, which only nature 
 could equal ; and in that way of painting he feems to be without a competitor. 
 
 Houbraken mentions an hiftorical night-fcene of this matter, which was ex- 
 ceedingly admired •, the lubject was S. Peter denying Chrift ; and in that defign, 
 the maid is reprefented as holding up a light to the face of the apoftle. That 
 picture is defcribed as having a good expreffion, and a greater aflemblage of 
 figures than are ufually to be feen in any of his compofitions. There appears in 
 it great correctnefs of defign, and great harmony in the whole •, which are cir- 
 cumttances, that do not always occur in the works of Schalcken. For, although 
 in his penciling he might almoft be compared to Mieris, orVander Werf, yet in 
 the correclnefs of drawing he was far inferior. 
 
 Some of his performences being much admired by feveral Englifh gentlemen, 
 who travelled through the Low Countries, they encouraged him to vifit 
 London •, and for fome time he had all imaginable fuccefs, while he painted in 
 fmall, as his greateft power of execution was fhewn in that fize. But, when he 
 attempted to enter into competition with Kneller, by painting portraits in a 
 a larger proportion, he injured his fortune and reputation, as thofe portraits had 
 neither fo much force, truth, grace, or fpirit, as the portraits of Kneller. Hap- 
 pily for himfelf, he perceived his error in a proper time, and purfued his firft 
 plan of painting in fmall ; by which he loon recovered his credit, and was enabled 
 to live in affluence. 
 
 It was obferved of him, that he was not fo fuccefsful in the portraits of women, 
 as he generally was in thofe of men ; becaufe he wanted elegance in his choice. 
 He copied nature exactly after his models, without flattery, and without ftudying 
 to add even a graceful air to his fubjects ; not confidering that his female models, 
 would have been much more pleafed to fee charms and graces in their portraits, 
 which were denied them by nature, fo as the refemblance was preferved ; rather 
 than to have their likenefs very exact, without fome additional embellifhments. 
 
 While he refided in London, he had the honour to be appointed to paint the 
 portrait of King William III, which he chofe to reprefent by candle-light •, and 
 having prefented to the King a taper, that he might hold it in a proper pofition, 
 the taper accidentally melted in fuch a manner, as to drop on the fingers of that 
 Monarch. The King endured it with great compofednefs, being unwilling to 
 difconcert the artift; though Schalcken, with extreme unpolitenefs, continued 
 his work, without once endeavouring to relieve the King from that difagreeable 
 fituation. Such an unrefpectful conduct was quickly noticed by the courtiers ; 
 and it intierly loft him their favour and encouragement for the future. When 
 he found his bufinefs on the decline in England, he retired to the Hague ■, 
 wherefiis reputation was fo well eftablifhed, that he found a prodigious demand 
 for fmall paintings, and he fold them for very high prices ; but thofe of a larger 
 fize were in no great cfteem. 
 
 His pencil was foft, mellow, and delicate ; his pictures are finifhed with ex- 
 ceeding neatnefs ; and they fhew the chiaro-fcuro in great perfection. He imi- 
 tated nature with Angular exactnefs, as well in the truth of his colouring, as in 
 
 the 
 
S C II f 555 ] S C II 
 
 the maffes of his light and fhadovv ; nor did he account any part of the art fo 
 deferving of the ftudy and attention of a painter, as the effect of light on differ- 
 ent bodies, either opaque or pellucid, and the variety of reflections and refrac- 
 tions from different furfaces. 
 
 Although the pictures of Schalcken feem to be touched with the utmoft 
 delicacy, and highly wrought, yet he had acquired a habit of painting with 
 great readinefs, and a free pencil ; which is a particularity rarely obierved in 
 thofe works, where the finifhing is laborioufly neat. Yet, notwithstanding he 
 confeffedly had abundance of merit, in many refpects, he did not fufficiently 
 attend to defign •, nor had he an elegance of choice in any of his models, but 
 merely copied nature, as it was placed before him. His figures frequently are 
 ftiff, the hands rather heavy, and the other limbs often too lean, without grace 
 or elegance in the contours. _ 
 
 William SCHELLINKS. 
 
 Painted HiJlon\ Landfeape, and Sea-ports. 
 Died 1678, aged 47. 
 
 He was born at Amfterdam, in 1631, and learned the art of painting in that 
 city ; but to improve himfelf, he travelled through feveral parts of Europe, and 
 particularly vifited England, and Italy. In the former, he fketched the (hips, 
 fea-ports, and noble views of that beautiful country, after nature ; and in the 
 latter, he obierved every thing that was curious in the buildings, profpecfs, 
 monuments of antiquity, ports, or other objects which merited his notice, and 
 defigned them on the fpot. 
 
 His manner of painting greatly refembled that of Karel du Jardyn, and the 
 perfpective parts, repreienting veffels lying at the wharfs, or at anchor before fea- 
 ports, were in the ftyle of Linglebach, but rather fuperior to that mafter. He 
 had an excellent touch, with great freedom of hand, and his defign was in gene- 
 ral correct. He ufually painted in a frriall fize, and always took care to finiih his 
 pictures very highly ; fo that in fome of them the figures and horfes have a great 
 refemblance of Wouwermans. 
 
 Houbraken mentions a very capital compofnion of Schellinks, which was the 
 embarkation of Charles II, at his return to England after the reiloration. On 
 the fhore were reprefented a multitude of figures, well grouped, with a furprizing 
 variety of foldiers, horfe and foot, coaches, and other carriage;, with a diitant 
 view of the fleet waiting to convoy that monarch to his dominions ; the whole 
 being exceedingly well defigned, and judicioufly executed, 
 
 Daniel SCHELLINKS. 
 
 Painted Land/cape. 
 
 Died 1 701, aged 68. 
 
 He was the younger brother of William, born at Amfterdam, in 1635, and 
 
 was alfo his difciple. He painted landicapes, and fometimes views of places in 
 
 the manner of his brother, and had the reputation 01 being an extraordinary pood 
 
 artift. 
 
 B b b b Andrea 
 
SCH [ 556 ] S C H 
 
 Andrea SCHIAVONE. 
 
 Painted Ilijlcry. 
 
 Died 1582, aged 60. 
 
 He was born at Sebenico, a city in Dalmatia fubject to the Venetians, in 
 1522, and was fent by his parents to Venice, when he was very young. At 
 firft lie had no other employment, than to attend ibme indifferent painters who 
 worked for the (hops ; but even that low occupation, ferved to animate him 
 with a defire to follow the profeffion of painting. The feeds of genius foon 
 began to expand, and by a happy cultivation they were brought to fufficient 
 maturity. 
 
 His knowledge of the firft principles of defign, was derived from his ftudying 
 the etchings and compofitions of Parmigiano, but his tafte of colouring was 
 acquired from the works of Giorgione, and Titian •, and from thofe great 
 matters, he formed a peculiar manner and ftyle, which railed him to the higheft 
 reputation, and rendered him fuperior to mod of his cotemporaries, in the 
 delicacy of penciling, and the richnefs of colour. 
 
 At his firft fetting out as an artift, he ftruggled with many difficulties ; he 
 found himfelf under a neceffity of undertaking any kind of work that offered, 
 and at his difengaged hours painted for the dealers in pictures •, till it happened 
 that fome of his pictures fell under the obiervation of Titian, who feeing the 
 merit of Schiavone, and being informed of the wretchednefs of his fituation, 
 took him under his own care, and employed him, along with Tintoretto and 
 others, as an afliftant in thofe grand works, which he had undertaken for the 
 library ofS. Mark's church. There Titian afforded Schiavone an opportunity 
 ofdifplaying his talents, and three intire cielings of his painting, are itill to be 
 feen in that celebrated repofitory. 
 
 Schiavone was undoubtedly one of the fined colourifts of the Venetian fchool ; 
 his manner was lively, and exceedingly pleafing-, he Ihewed an elegant choice in 
 the attitudes of his figures, and contrafted them with judgement ■, and the 
 graceful tafl.e of his draperies was admired by all the artifts of his time. The 
 heads of his old men are touched with abundance of fpirit, and the heads of his 
 women are charmingly executed. The only imperfection in this mafter was 
 the incorrcctnefs of his defign •, and it was much regretted that he appeared 
 defective in that point, as in every other refpect he was an accomplished artift. 
 He painted with eafe, and with a clean pencil •, and by a fkilful management of 
 his tints gave his carnations fuch truth,, frefhnefs, and warmth, that they had 
 all the look of real life. Notwichftanding the defects that may juftly be imputed 
 to him in fome parts of the art, yet the beauty of his colouring, the fine diftri- 
 bution of his lights and fhadows, and the delicate and natural relief of the 
 figures, will always make the works of Schiavone juftly eftimable. 
 
 The hiftoryof Perllus and Andromeda by this mafter, is in the Royal palace 
 at Windfor -, and in the fame collection is another, reprefenting the Apoftles at 
 the Sepulchre. 
 
 JB"A R- 
 
SCH [ 557 ] S C H 
 
 Bartelemi SCHIDONE. 
 Painted Hijiory, and Portrait. 
 Died 1616, aged 56. 
 
 He was born at Modena, in 1560, and learned defign and colouring in the 
 fchool of the Caracci ; but when he quitted that academy, he devoted himfelf 
 intirely to ftudy the manner of Correggio, and imbibed fo ftrongly the graces 
 and delicacies of that wonderful artift, that none ever imitated his ftyle and lovely 
 ideas, more happily than Schidone. Even his firft performances in his native 
 city, were looked upon with admiration j and his future works were proportion- 
 ably ftill more excellent. 
 
 He was foon taken into the fervice of Ranuccio, Duke of Parma, and had the 
 diftinclion of being appointed his principal painter. He finilhed for that 
 prince feveral compofitions of facred fubjects, and fome taken from the 
 Roman writers, extremely in the tafte of Correggio •, but his principal employ- 
 ment was, to paint the portraits of his patron and all his family •, in which he 
 fhewed fuch an amiable variety of airs, and attitudes, as well as foch delicacy of 
 colouring, as caufed him to be numbered among the belt mafters of Italy. He 
 alio painted the portraits of all the princes of the houfe of Modena, with an 
 equal degree of merit ; and moftof the works of this mailer are in Modena, and 
 Placentia. 
 
 The genius of Schidone was noble and elevated ; his ftyle of painting is 
 exceedingly elegant •, his touch light, delicate, and admirable ; and although 
 he is not always critically correft in his outline, yet the airs of his heads are 
 remarkably graceful, and all his pictures are finilhed in an exquifite manner. 
 His paintings, as well as his defigns, are exceedingly fcarce, and valuable ; and 
 when they are to be met with, are as frequently taken for the work of Correggio, 
 or Parmigiano. 
 
 Unhappily for himfelf, and for every lover of the art, he grew paffionately 
 fond of gaming, and indulged that appetite fo far, as to conlume abundance of 
 his time unprofitably in that amufement, to which error the great fcarcity of 
 his works is generally imputed. And it is afTerted, that having in one night 
 loft a very large fum of money, much more than his fortune could bear, it 
 affected him fo violently as to occafion his death. 
 
 In the church of S. Francis at Placentia, is preferved a capital performance 
 of Schidone, reprefenting the Virgin attended by feveral Saints and Angels •, and 
 in the collection of the Duke of Orleans, there is an Holy Family, in which the 
 Virgin feems engaged in teaching Chrift to read. 
 
 Anthony SCHOONJANS. 
 
 Painted Hijiory, and Portrait. 
 Died 1726, aged 71. 
 He was born at Antwerp in * 1655, and had the good fortune to be placed, 
 while he was very young, as a difciple with Erafmus Quellinus, who had been 
 bred in the fchool of Rubens. The progrels he made under that matter was 
 
 * Mr. Defcamps fixes the birth of Schoonjans in 165c, but in the Mnfeum Flcrentinara the 
 year of his birth is 1655. 
 
 B b b b 2 extraordinary; 
 
S C II [ 558 ] S C FT 
 
 extraordinary ■, .for, by attending carefully to the works of Qjielfinus, and alio 
 to the Gompofitions and handling of other eminent painters, he became very 
 excellent in colouring. But, having a ftrong ambition to improve himftlfas 
 much as poflible in his profefiion, he determined to travel, and directed his 
 journey, through Paris and Lions, to Italy. 
 
 On his arrival at Rome, he devoted his whole time to ftudy the antiques, to 
 riefign aft-, r the find 1 : of them, and likewife to copy the works of the mofl 
 celebrated matters among the moderns •, till his mind was lb filled with thole 
 admhable objects, and they were imprefTcd lb retentively on his memory, that 
 he could de y of them exactly, even when they were not before his eyes. 
 
 He continued at Rome for ten years, improving his tafte by incefTant ftudy, and 
 perfecting his hand by afliduous practice. Then, he vifued Vienna ; where his 
 uncommon abilities foon procured him the favour and elteem of Leopold I ; 
 who took him into his f rvice, appointed him his cabinet painter, and honoured 
 him with a prelent of a gold chain, and a rich medal of the lame metal. 
 
 Eefide the great number of portraits which he painted for the Imperial familv, 
 for the chief officers of the court, and the principal nobility, he was abundantly 
 employed by others •, his portraits being much admired not only on account of 
 their ftriking likenefs, but for the expreffion, for the character of the mind 
 viiible in the countenance, and for a certain agreeable livelinefs, which he dilTufed 
 through the faces of all his lubjects. He had a thorough knowledge of the 
 principles of the chiaro-fcuro, by which he diftributed his lights and fhadowsfo 
 judicioufly, as to give his figures a roundnefs and relief like nature itfelf. 
 
 Tn the hiftorical ftyle, he painted feveral grand altar-pieces, for the churches 
 and convents through the Auftrian dominions ; but his principal works are at 
 Vienna. The fame of his performances recommended him to moft of the polite 
 courts in Europe, and particularly to many Englifh noblemen who vifued the 
 Emperor's court ; and, as they had conveyed ibme of the paintings of Schoonjans 
 to England, where they feemed to be exceedingly admired, he was invited to 
 that kingdom, and obtained the Emperor's permiffion to Ipend fome time at 
 London. There he met with an encouragement worthy of his great talents ; 
 the Englifh being univerfally diftinguifhed, for their benevolence and liberality 
 to merit in every profefiion. 
 
 In his return to Vienna from England, he was prevailed on to execute a few 
 defigns for the Elector Palatine, with which that Prince appeared to be fo highly 
 plealed, that he prefentcd Schoonjans with a chain and medal of gold •, and 
 wifhed to have engaged him in larger works, if the time allowed him by the 
 Emperor's licence could have permitted him to undertake them •, but being 
 C )nltrained to quit DulTeldorp, he returned to Vienna, where he was carcfTed, 
 employed, and honoured as long as he lived. 
 
 John Henry S CIIOONEFELD, or Schoenefeld. 
 Painted Hijfcry, Land/capes, Animals., and Archiieclure. 
 Died 1689, aged 70. 
 He was born at Bibrach, an imperial city, in * 16 19, of a noble family, and 
 earned the art of painting from John Sechelbein ; but he afterwards went 
 
 • The author of rh ! ~!c.il Tables by milbke fives the year of his birth in 1609, and 
 
 ndrart ; whereas Sandrart in his Lives of the Tanners, F a £ e 3 2 4> ^ atts tn: 
 biiihoft cifety in 1619, 
 
 through 
 
S C H [ 559 ] SCH 
 
 through fevcrral cities of Germany to improve himfelf, and in the compifs of a 
 few years, gave evident tokens of fuch an elevation of genius, as would render 
 him a confiderable artift. For, he acquired with eafe, and in a ihort time, thofe 
 accomplifhments in the art, which are in others the remit of uninterrupted 
 application for a number of years. 
 
 When he had taken a progrefs through a great part of Germany, he travelled 
 to Rome, and by ftudying the celebrated mafter-pieccs of painting and archi- 
 tecture, as well as of iculpture, he refined his talie ; he obtained a more per- 
 fect idea of defign and compofition ; and diftinguifhed himfelf by a readinefs of 
 invention, as alfobya freedom of execution, which was correct and uncommon. 
 
 He fhewed abundance of grace in all his compofitions, and pofieffed fo fertile 
 an invention, that his own ready pencil, though exceedingly expeditious, was 
 fcarcely active enough to exprefs what the livelinefs of his imagination dictated. 
 He excelled equally in hiftorical liibjects taken from facred, profane, and 
 poetical writers, and in landfcapes, lea-ports, architecture, ruins of grand edifices, 
 and animals of every fpecies. His figures were defigned with elegance, and all 
 his fubjects were difpoled with judgement and art. 
 
 At Augfbourg, in the church of the holy crofs, are two very capital paintings 
 of this mailer •, the one, Chrift conducted to his execution •, the other, a Delcent 
 from the Crofs, in which the figures and the difpofkion are excellent. And in 
 the Senate-houfe is preferved a fine compofition, reprefenting the Race of 
 Hippomenes and Atalanta, which deferves the higheit commendation ; not 
 only for the expreflion and action of the principal figures, but likewife for the 
 variety of attitudes and paffions in a great number of others, fuppofed to be 
 Ipectators of the conteil. 
 
 John SCHOREL, or SCHOREEL. 
 
 Painted Hiftcry, Land/cape, and Portrait. 
 Died 1562, aged 6y. 
 
 He was born at a village called Schorel, near Alkmaer in Holland, and was 
 at firft placed as a difciple with William Cornells, an indifferent painter, with 
 whom he continued for three years ; and afterwards he lludied under Jacques 
 Cornelis, a much abler artift, and more expert in defign. But, although the 
 latter mailer took abundance of care to improve Schorel, yet the fame of John 
 de Mabufe, who at that time lived in high efteem at Utrecht, induced Schorel 
 to fix himfelf under his direction •, though he was obliged to quit him in a fhort 
 time, on ..ccount of his dilTblute manner of living, by which Schorel was often 
 exceedingly diltreffxl, and Ids life frequently endangered. He therefore retired 
 from Holland, and wefifi through feveral parts of Germany, where he procured 
 a comfortable iubiiflence by his work ; as he was remarkably expeditious, and 
 rinifhed more in cne week, than others could execute in a month. He fpentl'ome 
 Brae at Spire to itiidy perfpective and architecture ■, and in every city through 
 which he paffed, he vifited the moft eminent artifts, to obferve their differerHi 
 n.ar.iv.-rs -, and his own eafy and pieafing ftyle of painting, procured rum 
 admirers wherever he went. 
 
 Having arrived at Venice in his progrefs, he was prevailed on to undertake a 
 voyage to Paleftine ; and in his paffag.; defigned the moft pieafing views of 
 
 Cyprus, 
 
S C H [ 560 ] S C H 
 
 Cyprus, Rhodes, and other iflands ofthe Mediterranean, with all thofe antient 
 buddings, or memorable caftles, ruins, rocks, or beautiful fcenery, which had 
 an appearance of elegance or grandeur in their conftrudtion, or fituation. On 
 his arrival in Paleftine, his p-incipal employment was, to fketch after nature the 
 profpedte of the country near Jerufalem ■, the adjacent villages ; the particular 
 views of that celebrated city ; the iepulchre, the fcenes about Jordan •, and 
 \. iMtever appeared to him worthy of his attention. And of thofe fketches he 
 made a very judicious nfc, when he returned to his native country, by compof- 
 ing fuch fubjectsfrom facred hiftory, as would fuit with thole fcenes or edifices, 
 which he had defigned with great truth and exactnefs after nature. Of this he 
 gave an excellent proof, in a picture which reprefented the paflage of the 
 Ifraelites over Jordan ; and alio in another, defcribing the memorable event of 
 Chrift entering into Jerufalem. 
 
 When he returned to Europe, his utmoft ambition was to fee Rome ; and 
 there he carefully ftudied the antiques, the works of Raphael, and the grand 
 compofitions of Michael Angelo Buonaroti, as well as other greac mafters, and 
 defigned the molt magnificent ruins in that city and its environs. He was the 
 firit of the Flemifh painters who introduced the Italian tafte and ftile into his 
 own country ; and prepared them for receiving farther improvement from 
 Francis Floris, and others, who after his time ftudied at Rome. 
 
 His manner was rather dry, but the airs of his heads had a good deal of 
 grace •, his landicape was always well adapted to the hiftory which conitituted 
 the principal fubject ; and his colouring, though not excellent, was not 
 unplealing. A picture of S. John Baptizing Chrift, painted by this matter, is 
 mentioned as a very fine performance ; the airs of the heads are graceful, and 
 the landicape feems to enrich the cornpofition. 
 
 Cornelius SCHUT. 
 
 Painted Hiftory. 
 
 "Died 1660, aged 60. 
 
 This matter was born at Antwerp, in the year 1600, (according to the moft 
 2uthentick accounts,) though Defcamps feems to fix the time of his birth in 
 1590. He was a difciple of Rubens, and having a fruitful genius, and lively 
 imagination, he mewed himfelf worthy ofthe fchool from whence he derived his 
 initruction, and rendered himfelf very confiderable as a painter of hiftory. 
 
 It is no fmall attestation of his merit, that Vandyck painted his portrait, as 
 one of the eminent artifts of his time ; but the fuperior merit of Rubens, pre- 
 vented him from being as much diftinguilhed, or employed, as he very juftly 
 defer ved. So great a difappointment, and obftruction to his making a figure in 
 his profefiion, inspired him v.ith an implacable enmity to Rubens •, but, that 
 truly great man, initead of expre fling any refentment, was only more active to 
 procure him emplovment, by a generous and zealous recommendation of him 
 
 . his performances. 
 
 i [q had a poetick imagination, and generally chofe to paint fubjects of the 
 fabulous kind, from Ovid and other antient writers •, but, although his compo- 
 fitio'n was ingenious, and fhewed a fpirited fancy, yet what rendered the work', 
 of Schut lcls eftimable, was a greyifh tint in his colouring, an incorrectnefs of 
 
 defign 
 
SCH [ 561 ] S C H 
 
 defign and outline, and a want of having fufficiently ftudied and confulted 
 nature. However, he had a free and firm pencil, and his ftyle of colouring 
 plainly fhewed the fchool of Ruben?. 
 
 He was fometimes engaged by other artifts to infert figures in their pi&ures, 
 and particularly by Daniel Segers, for whom he very frequently painted the 
 bas-reliefs, and figures coloured in imitation of marble, which are feen in the 
 middle of the flower-pieces of that mafter. 
 
 He compofed fubjeds of facred as well as poetick hiftory ; and many of his 
 performances adorn the churches and chapels of the Low Countries. The 
 Cupola of the church of Notre Dame at Antwerp is of his hand •, and in a 
 chapel of that church, is an altar-piece, of which the fubjed is the Martyrdom 
 of S. George ; but one of his moil capital paintings is in the church of the 
 Jeiluts at Ghent, reprefenting the Afiumption of the Virgin. 
 
 Theodore Vander SCHUUR. 
 Painted Hiftory, and Portrait. 
 Hied 1705, aged 7 j. 
 
 He was born at the Hague, in 1628, and when very young went to Paris, 
 and placed himfelf as a difciple with Sebaftian Bourdon ; with whom he made 
 a great progrefs, in the theory and practice of his art. 
 
 When he found himfelf capable of receiving farther improvement, by 
 viewing the curiofities of Italy, he travelled to Rome, applying himfelf incef- 
 fantly to his ftudies •, ?.nd after a critical fur+ey of the works of the beft mafters, 
 he particularly chofe to copy the compcfitions of Raphael and Julio Romano, 
 in which he fucceeced lb happily, that his performances engaged the notice and 
 approbation of the ableft iudges at Rome. His reputation rofe at laft to fuch a 
 height, that Queen Chriftina honoured him with her favour and patronage ; fhe 
 employed him in feveral confiderable defigns •, and payed him with a liberality 
 becoming a crowned head. 
 
 At his return to the Hague, he found his countrymen prepoflefied fo ftrongly 
 in his favour, that he received all poffible encouragement. He was engaged 
 by the principal perfons in that city, and acquired extraordinary honour by a 
 grand compoiition, which he painted on a cieling of the town-houfe, in the 
 apartment of the Burgo- mafter ; being an allegorical reprefentation of Juftice, 
 Temperance, and Fortitude. 
 
 It is obierved of this mafter, that his works have abundantly more of the 
 Italian, than of the Flemifti tafte. He had a good manner of defign, a fine 
 underftanding of perfpeclive, and architecture, and alv/ays enriched his back- 
 grounds, with noble remains of Greek and Roman antiquities. 
 
 Christopher S C H W ARTS. 
 
 Painted Hiftory. 
 
 Died 1594, aged 44. 
 
 He was born at Ingolftad, in 1550, (though Vanmandcr, and after him De- 
 
 fcamps, mention Munich as the place of his nativity,) and was diflingurihed by 
 
 the appellation of the German Raphael. He learned the firft principles of the 
 
 5 art; 
 
sen [ 562 ] g 
 
 art in his own country, but rimmed his (Indies at Venice •, where he not only 
 nude the works of Titian his model, but had the advantage alio, of receiving 
 Ibmcindrudions from that illuftrious mailer. 
 
 1 Ie fpent fome years at Venice with fuccefs, and qualified himfelf to appear 
 with honour in his own country. His works were foon in the highefl efteem, 
 is his manner of painting was very different, from what the Germans had been 
 accuftomed to before that time •, and, he was immediately invited by the 
 Elector of Bavaria to his court, and appointed his principal painter. 
 
 He was allowed to have a genius for grand compofnions ; but, although he 
 {hook off fome of his national tafte, during his refidence in Italy, yet he could 
 never intirely divert himfelf of it. His colouring was lively and natural, he 
 had alfo a light, free pencil, which enabled him to work with great eafe and 
 readinefs ; but, he was incapable of giving his figures either the elegance, the 
 grace, or the correctnefs of the Italian matters. He gave up his whole attention 
 to colouring, and feemed indifcreetly to negle<ft other parts of his art, which, 
 were at leaft as efTential, if not much more lb. Even to the laft he retained a 
 mixed manner, participating of the Roman, Venetian, and German : in the 
 attitudes and difpofnion of fome of the figures in his compofnions, he had fome 
 relemblance to the two former fchools •, but in the airs of his heads, the coun- 
 tenances, and the expreffion, he feemed totally German. 
 
 The molt capital works of this mafter, as well in frefco as oil, are in the palace 
 at Munich, and in the churches and convents •, particularly in the grand hall of 
 the Jcfuits in that city, there is a picture of the Virgin and Child, in which the 
 air of the head is noble, and the countenance fhews fuch an expreffion of modefty 
 and innocence, as is truly worthy of the character ; and alio a degree of grace, 
 that is very rarely obfervable in his figures. 
 
 Bernard SCHYNDAL, or Schendel. 
 
 Painted I-liJlory, and Converfations. 
 
 Died 1 716, aged 57. 
 
 He was born at Haerlem, in 1659, and became adifciple of Mommers. His 
 iubjects were taken from nature, but they were copied from low life •, fuch as 
 cor. variations, merry-makings, and feaits ; with views of theinfide of the huts of 
 Shepherds, Doors, or Peafants. He had a neat manner of penciling, and in his 
 ityle ordefign and colouring imitated Oltade •, and although he proved inferior 
 to that mafter, he was at leaft on an equality with Brakenburg. 
 
 SEBASTIAN del Piombo. Vid. Piombo. 
 
 Gerard SEGERS. 
 
 Painted Hificry, and Portrait. 
 
 Died 1 65 1, aged 62. 
 
 He was born at Antwerp, in 15S9, and learned the art of painting from * 
 
 Abraham JaniTens •, but when he had gained a gocd degree of knowledge under 
 
 the direction of chat matter, he travelled to Italy to perfect himfelf in his 
 
 » Defcamps fays, he learned the art of painting from Henry VanBalcn. 
 
 5 profeffion . 
 
6 
 
 S E G [ 563 ] S E G 
 
 profeflion. At Rome, he took pains to copy forne cf the moft celebrated 
 paintings-, but, principally imitated the maimer of Manfredi, with broad lights 
 oppoied by ftrong fhadows, which gave his figures a look of life, and an 
 aftqnifhing relief and roundnefs. 
 
 The fubjevfts which he painted when lie returned to Antwerp, were generally 
 like thofe of Manfredi, fbldiefs playing at card 5, or mufirians performing on 
 various inftruments, with figures at half length ; which had fo great' an 
 appearance of an Italian mailer, that his works were exceedingly commended, 
 and coveted. By the confeant employment of his pencil in thole kind of com- 
 petitions, as well as religious hiftorical fubjects for churches and convents, he 
 amaffed fuch a fortune, as enabled him to live fplendidly, and to expend fixty 
 thoufand florins in the p'ufchale of capital pictures, the wo ks of other great 
 maflers, for the ornament of his houfe. 
 
 Cardinal Zapata, the Spanifh ambaflador at Rome, fhewed fo high an opinion 
 of the merit of Segers, that he prevailed on him to go with him to Spain, where 
 he recommended him to the king in the ftrongeft terms. He painted feveral 
 grand defigns, fo much to the fatisfaction of that monarch, that he loaded Segers 
 with favours and rich prdents, and folicited him earneftly to continue in his 
 fervice ; but, he preferred the pleaiure of revifiting his native city, to the moft 
 alluring profpects of honour and riches. However, forne of the moft capital 
 paintings of Segers, are preferved in the Royal collections in Spain. 
 
 Whatever hiltorical pictures were painted by this mailer; for the decoration 
 of churches, had the figures full as large as life ; and the particular merit of thofe 
 compofitions, confided in the juftnefs and ftrength of the expreflion. He 
 afforded a remarkable proof of his ability in that refpect, by thofe pictures which 
 reprefented the Crucifixion of Chrift, and the Martyrdom of forne of the 
 Apoflles ; in which the expreflion was fo affeetingly true and natural, fo lively, 
 and fo pathetick, as to call forth involuntary tears from the eyes of the fpectators. 
 Sandrart, who was intimately acquainted with Segers, obferves that he avoided 
 ufing the bright blues, yellows, greens, and glaring colours, being always 
 careful to preferve a general harmony in his colouring ; and yet his pictures had 
 fo great a degree of force, that they made moft other paintings look weak and 
 faint. In the latter part of his lire, he altered hisflyle of colouring into a much 
 brighter tone, like that of Rubens •, and was in reality compelled to do fo, by 
 the tafte of the publick, who preferred the colouring of Rubens and Vandyck, 
 to that of the beft artifts of Rome, or Venice. But as Segers had fo extenfive 
 a knowledge of the true principles of his art, the alteration of his firft manner was 
 not attended with any great difficulty. Sandrart allures us, that when he vifited 
 Segers, and faw forne of his latter performances, he could not believe them to 
 be of his hand, till Segers hirnfelf affirmed that he painted them, and declared, 
 that he was under a neceffity of changing the ftyle he moft approved of, to 
 comply with the tafte of the world, and to facrifice his fame, to his fortune. 
 
 This mailer compofed his fubjects t xtremely well; he was correct in his defign, 
 excellent in his expreflion", and his colouring was- warm and full of force ; fori, 
 the oppofition of his lights and fhadows was conducted by a perfect underlland- 
 ing of the chiaro-fcuro. One of the moft capital defigns of Segers, is a picture 
 reprelenting the Denial of S. Peter : but, his moft celebrated work is the Marriage 
 of the Virgin ; a noble compofition, which is the grand altar-piece in the church 
 of the barefooted Carmelites at Antwerp. 
 
 C c c c Daniel 
 
S E G [ 564 ] S E G 
 
 Daniel S E G E R S. 
 Painted Flowers., Fruit, end InfeSIs. 
 
 * Died 1660, aged 70. 
 
 I le was the younger brother of Gerard Sogers, born at Antwerp in 1590, and 
 by his brother was inftructed in the principles of painting ; but he afterwards 
 was the difcipleof Velvet Brueghel, who at that time was in the higheft reputa- 
 tion for painting flowers. The genius of Segers directed him, to the choice of 
 the fame fubjecls that rendered his mafter fo eminent ■, he ftudied nature moll 
 diligently, to qualify himfelf as thoroughly as pofiible; and imitated his models 
 with extraordinary truth, exactnefs, and delicacy. 
 
 As he was of a ftudious difpofition, and appeared in his youth to have very 
 promifing talents, he was prevailed on to enter into the fociety of the Jefuits ; 
 and foon after, was permitted by his fuperior to vifit Rome, and other parts of 
 Italy, in order to his improvement. Wherever he travelled, he was critically 
 curious in obferving the flowers, fruits, plants, and infects peculiar to each 
 place ; and in defigning after them fo accurately, that on his return to Antwerp, 
 he had a furHcient fupply, to furnifli him with beautiful objects for his future 
 compofitions. 
 
 His ufual manner of difpofing his fubjecls, was in garlands of flowers, and 
 fruits, or in feftoons around elegant vales of marble. The centre of thofe 
 ■•lands contained hiftorical defigns, which were inferted by different mailers, 
 as Rubens, Schut, and others •, and the vafes were alio ornamented by other 
 hands, with figures reprefenting religious tranfactions of Legendary Saints, and 
 fometimes Bacchanals ; but he always difpofed his objects with fuch art, and 
 elegance, as eafily diftinguiihed his works from thofe mafters who painted in 
 his ftyle. 
 
 His pencil was light, his touch free and delicate, his flowers have all the 
 frefhnefs and bloom of nature, and he rinifhed every object with uncommon 
 neatnefs. He had a particular excellence in painting white lillies, and red rofes^ 
 and through all his pictures lhewed a fine ftyle of colouring. His tints were 
 tranfparent and natural •, and thofe infects which he introduced among the 
 flowers, feemed to be real nature. 
 
 Two of his piclures, moft exquifitely finiihed, were prefented to the Prince of 
 Orange, in the name of the fociety of which Segers was a member ; for which 
 rhat fociety were fplendidly repaid. But, his moft capital performance, was in 
 the jefuits church at Antwerp. The piclure was a Garland, compofed of 
 flowers and fruits, in which feemed to be collected and combined, every thing 
 that was beautiful in nature, of thofe kind of objects, as well as infecls ; and in 
 the middle was the piclure of the Virgin and Child, painted by Rubens. 
 
 Many piclures which are afcribed to this mafter, are by others, painted in 
 imitation of his ftyle, or copies after him •, and fome of them not only unlike 
 him, but totally unworthy of his pencil, or his ideas •, yet the genuine works of 
 Segers, are always very highly and defervedly valued. 
 
 » AccurJ'ng to fotr.c writers, liiej in 1C68, aged 78. 
 
 He r- 
 
S E G [ 565 ] SIB 
 
 Hercules S E G E R S, or Zecri 
 Painted Land/cape. 
 
 This painter was a cotemporary of Paul Potter, and excelled in landfcapc- 
 He had a fine invention, a ready genius, and a clear judgement. His compoli- 
 tion was rich, and full of a plcafing variety of mountains, vallies, and villages 5 
 his grounds were well broken, and by a judicious management of his tints, 
 improved by a fkilful oppofition of light and fhadow, his distances appeared 
 exceedingly remote, and thefceneof his landfcape looked uncommonly extenfive. 
 His rocks and mountains were touched with great fpirit, and tor fweetnefs of 
 colouring, he was fcarcely inferior to any of the artifts of his time. 
 
 And yet, although he had the greateft application, joined to very fingular 
 merit, he was depreifed and mortified almoft to death, by obferving others to 
 have more conftant employment, whole works delerved abundantly lefs appro- 
 bation. He was remarkable for having invented a method of ftamping landfcapes 
 on cloth, in which every objeft appeared in its natural colour ; but, his project 
 was not attended with fuch adegree of fuccefs, as the ingenuity of the contrivance 
 juftly merited ; and he continued, to the laft period of his life, opprefied by 
 undeferved poverty. Though after his death, his works rofe confiderably in 
 their value, and were exceedingly coveted. 
 
 Girolamo SEE. MONET A. Vid. S 1 c 1 o l a n t e. 
 
 C^ESARE DA SESTO. 
 
 Painted Hiftory. 
 
 He was born at Milan, about the year 1480, and bred to the profeffion of 
 painting, in the fchool of Lionardo da Vinci •, where he diftinguifhed himfelf 
 above all the difciples of that famous academy. When he found himfelf 
 fufficiently inftructed to appear as an artift, he quitted Lionardo, and went to 
 Rome ; where he improved himfelf ftill more, by the ftudy of the antiques, and 
 was employed in the palace of the Pope, as alio in the apartments of the prime 
 nobility. 
 
 The compofition of this mafler was very learned, his tafte elegant, and he 
 defigned hiftorical figures with a great deal of grace ; nor can there be a more 
 inconteftable evidence of the merit of this mafter, nor any commendation fa 
 much to his honour, as to mention what is attefted by writers on this fubject, 
 that he was highly eileemed by Raphael. 
 
 John S I B R E C T S, or Sybrech.t. 
 
 Painted Landfcape, and Cattle. 
 Died 1703, aged 78. 
 He was born at Antwerp in 1625, and learned the rudiments of the art, from 
 his father •, but, having taken pains to ftudy after nature for fome years, he 
 applied himfelf afterwards to ftudy the works of Berchem and Jardin, and 
 proved lb happy in his imitation of thole mafters, that fome of his copies have 
 been fuppofed originals of thofe great artifts. 
 
 C c c c 2 He 
 
SIC [ 566 ] S I G 
 
 1 le was invited to England by the Duke of Buckingham, and employed by 
 him at CHveden-houfe for three or four years-, and afterwards found fufficiem 
 encouragement from many of the nobility and gentry at London ; for whom he 
 painted a number of pictures, in water-colours as well as in oil, with credit. 
 
 G irolamo SICIOLANTE, da Sermoneta. 
 
 Tainted Iliftory, and Portrait. 
 Died 1550, aged 46. 
 
 He was born at Sermoneta in 1504, and received his firft infiru&ion in the 
 art, from Leonardo da Piftoia, with whom he was placed as a difciple ; but he 
 acquired a much greater degree of improvement, under the direction of 
 Pierino del V 
 
 His manner of painting was very agreeable, it was bright and pleafan.t ; his 
 compofition was good, and his tafte of defign elegant, as he made Raphael his 
 model, and in all his works endeavoured to refemble him. He was employed 
 by the Pope to adorn feme of his palaces, along with the moft eminent painters 
 at Rome ; and in the chapel of Sixtus IV, he defigned the hiftory of Pepin 
 King of France, giving Ravenna to the church of Rome ; as alio, in another 
 chapel, he painted a Nativity, which is accounted a very grand performance ^ 
 the airs of the heads being extremely line, and the whole tolerably well 
 coloured. 
 
 L u c a S I G N O R E L L r. 
 
 Painted Ilijlory, and Pcrtrr.it. 
 Died 15.21, aged $2. 
 He was born at Cortona, in 1439, unc ^ placed as a difciple with Pietro v 
 Pranceka, who was alio diflinguifhed by the name of Pietro dal Borgo San 
 Sepulchro. He profited fo much under the guidance of that mailer, that; it 
 kerned fcarce poflible to determine which was the work of the one, or of the 
 other ; and he became not only a moft exact imitator of Pietro, but he con- 
 fiderably iurpafled him. 
 
 No artift of his lime was more admired, for defigning naked figures, 
 giving them elegant forms, and a juir character of nature and life. And an 
 undoubted teftiruopy of his merir, is the approbation of Michael Angelo 
 Buo • not only publickly commended his works, but barro raj^. 
 
 of his ideas ■, and transferred ibme of the figures of Signor. ki's compofition, 
 into his own gr a | 1 nance of the La ft judgement. 1 le worked equally 
 well in frefco and in oil, (hewing as re.: an excellence in portrait as in 
 
 hiftory •, and in bis celebrated defign of the final diilolution of the world, which 
 he painted in the chapel of the Virgin at Orvieto, he introduced the pom 
 many e r.-nent perlbns, with whom lie was. connected in friejidGup, or \\b 
 been his patrons or benefaftors. It was to that particular picture Bu 
 
 indebted, for mar// figures of Angel;, Lemons, and hui n , which 
 
 tr in his Laft Judgement, painted in the chapel or Sixtu; IV, 
 
 I'he invention oft! ht mafter was ready and fertile ; his manner of 
 
 reprcki, I naked, was delicate; he gave a great degree of grace to the 
 
 5 airs 
 
SIR [ 567 ] SIR 
 
 airs of his figures ; and the difpofition of thofe which were hiftorical, (hewed an 
 excellent judgement, with elegance of tafte. 
 
 It is recorded of Signorelli, chat a fon of his, (an amiable youth of very 
 promifing talents,) being killed at Cortona, he had fuch an uncommon firmnefs 
 of mind, that though he loved that fon with the utmoft parental tendernefs, vet 
 when he received the afflicting account of his death, he ordered the body to be 
 laid naked in his painting room ; and there, without fhedding a tear, painted 
 from the corps a living likenefs of his fon ; perpetuating by the power of his 
 art, what nature had formed perifhable. 
 
 A great number of the works of Signorelli, are in the churches of Arezzo, 
 Perufia, Cortona, Siena, Loreto, and Florence, which are exceedingly efteemed ; 
 and his compofitions were the means of enabling fucceeding artifts, to approach 
 much nearer to perfection. 
 
 Giovanni Andrea SIRANI. 
 
 Feinted Hiftory. 
 
 Died 1 6 jo, aged 60. 
 
 He was born at Bologna, in 1610, and learned the art of paintino- in the 
 
 fchool of Guido. He ufually painted in a large fize, and a grand ftyle, like that 
 
 of his mafteri but his manner was ftrong, and rather too dark, thoup-h his 
 
 compofition is good, and a great deal of grace appeared in his attitudes, and in 
 
 the airs of his heads. 
 
 At Rome there is a Laft Supper, of this mailer's hand, which alone would 
 be fufflcient to prove him a very diftinguilhed painter. 
 
 Elizabetha SIRANI. 
 
 Painted Hiftory. 
 Died 1664, aged 26. 
 
 She was the daughter and difciple of * Andrea Sirani, born at Bologna in 163S, 
 and was accounted a prodigy, as well for invention as execution, before me 
 arrived at her fifteenth year. She painted in the manner of her father, but not 
 with an equal freedom of hand, though her works might, in many refpects, 
 (land in competition with his. 
 
 At a time, when (lie was univerfally admired for her performances, and 
 efteemed for her amiable qualities, (he died of po'; r on, adminiftered to her by 
 perfons who were never discovered; though it was generally believed, that (lie 
 was poifoned by thofe who envied her merit. 
 
 In a chapel of the church of S. Leonardo at Bologna, is an admired piclure, 
 painted by Elizabetha Sirani ; of which the fubjeft is S. Anthony of Padua 
 killing the feet of the Infant Jelus. It is a beautiful compofition, and'is executed 
 i.n a firm and free manner ; the heads of the figures are full of grace, and the 
 
 * Mr. Cocliin in his Voyage D'ltalic, vol. II. p. 123, mentions Elizabetha Sirani as a difciple 
 of Guido, pnd fome other writers are guilty of the fame millake ; but, as fhe was net born rill 
 the year 1638, and Guido died in 1642, fhe could have been but four years old at the death of 
 Guido, and therefore it was impoffibJe that (he could have been his difciple ; hut fhe learned ths 
 a;t of painting from her father, who had been the difciple of t'r.at inimitable mailer. 
 
 whole 
 
SIR [ 568 ] SIR 
 
 whole is excellently coloured. And in tlie Palazzo Zambeccari at Bologna, 
 there are three paintings of this female artift, which are very highly commended •, 
 one is a picture of the Virgin; another a Magdalen, which is extremely fine ■, 
 and a third is a representation of S. Jerom. 
 
 Viol ante Beatrice SIRIES. 
 
 Painted Portrait, and Hiftory. 
 
 This paintrefs was born at Florence, in i7io,and became thedifcipleofGiovanna 
 I-ratellmi, who at that time lived in very high efteem at Florence •, by whole- 
 excellent inftruction flic made an extraordinary proficiency, and practifed water- 
 colour and crayon painting under her direction, till fhe was lixteen years of age. 
 She then quitted her native city, and went to Paris with her father, who was 
 appointed goldfmith to the king of France •, and in that city, fhe redoubled her 
 application to learn the art of painting in oil, having an eminent Flemiih painter 
 fur her director. She continued at Paris for five years, and not only enriched 
 her mind with every kind of ufefbl knowledge-, but, fhe alio fhewed her ability 
 in colouring, by feveral portraits of perfons who were of the firft rank among 
 the nobility, which fhe had finifhed after the life. 
 
 Thole performances procured her fuch general applaufe, that (lie was invited 
 to paint the portraits of the Royal family -, yet fhe was under a neceffity of 
 declining that honour, by returning with her father to Florence, as he had a 
 very lucrative employment conferred on him by the Grand Duke. 
 
 Notwithstanding the great improvement (lie had already acquired, and the 
 reputation which very delervedly fhe had eftablifhed, yet being (till ambitious of 
 gaining all poflible affiftance to excel in her profeffion ; fhe engaged Francefco 
 Conti, an artift of fingular merit, to give her farther inftruction, as foon as fhe 
 arrived in her native city ; and from him fhe learned to defign correctly, with 
 elegance of tafte, and a beautiful tone of colouring. 
 
 The Grand Duke expreffed an extraordinary efteem for this paintrefs, and 
 honoured her not only with his patronage, but ordered her portrait to be placed 
 in the celebrated gallery of artifts at Florence ; and it is obfervable, that to 
 perpetuate the memory of her father, fhe introduced his portrait along with her 
 own, giving at once a publick proof of her filial piety, and her diftinguifhed 
 merit. 
 
 She painted equally well in oil, and with crayons •, her pencil is light, delicate, 
 and free ■, her carnations are natural and full of warmth and life •, and as fhe 
 underftood perfpecYive and architecture thoroughly, fhe made an elegant ufe of 
 that knowlege, by enriching her pictures with magnificent ornaments. Her 
 draperies are generally well chofen, full of variety, and remarkable for a noble 
 fimplicity. 
 
 One of her capital performances, is a picture in which are reprefented the 
 portraits of the imperial family. The defign confifts of fourteen figures, in a 
 luperb apartment of the richeft architecture ; and through the whole compofi- 
 tion appears a fine tafte of defign, a judicious difpofition, lovely colouring, and 
 the dreffes of the figures have a becoming grandeur, fuitable to the dignity of the 
 perfons. Molt of her paintings are in oil, in which fhe frequently painted 
 hifforical fubjects, as alio fruits and flowers ; and fhe executed every fubjectwith 
 ( traordinary tafte, truth and delicacy. 
 
 J O HM 
 
SLI [5 6 9] S L U 
 
 John Peter Van SLINGELAND. 
 Painted Portraits, and Converfations. 
 Died 1 69 1 , aged 5 1 . 
 
 He was born at Leyden, in 1 640, and was a difciple of Gerard Douw, 
 whofe manner he always imitated ; and in the opinion of fome good judges, he 
 even furpaffed his mafter, in the delicate and high polifh which he gave to his 
 pictures ; yet, his figures are confeffedly much more ftiff. 
 
 The neatnefs of his penciling compelled him to work exceedingly How •, and 
 an inftance of his laborious patience is cited, in refpect to one family picture of 
 Mr. Meermans •, which he finifhed fo exquifitely, that he fpent three whole 
 years on that fingle picture. By that manner of working, it was not poflible 
 for him to grow rich •, for, although he demanded, and received very large 
 prices for his paintings, yet he was, in reality, but poorly paid for the time' he 
 employed about them. 
 
 He imitated nature exactly, but without any great delicacy of choice. His 
 colouring was nature itfelf, and the chiaro-fcuro in his works produced a moil 
 charming effect •, but, his tafte of defign was indifferent. However, he is ranked 
 among the number of the bell; Flemifh painters ; and his works are often 
 miftaken for thole of Mieris, and Gerard Douw. A remarkable picture of 
 Slingeland's painting, is a girl who holds a moufe by the tail, and a cat jumping 
 at it, which is exquifitely finifhed, very naturally coloured, and as tranfparent 
 as the beft of Douw, or Mieris. And another mentioned by Houbraken is, 
 the portrait of a Sailor with a woollen cap on his head, which is fo highly and. 
 minutely wrought, that every thread in the weaving is diftinguiffiable. 
 
 J A C Q^U es Vander SLUYS. 
 Painted Converfations. 
 Died 1736, aged 76. 
 
 He was born at Leyden, in 1660, and bred up in the Orphan's hofpital, 
 where his gentle and pleafing demeanour, as alio the appearance of a readv and 
 lively genius, recommended him to the favour of the governors ; who deter- 
 mined to have him inftructed in the art of painting, as he expreffed a particular 
 fondnefs for that profeffion. At firft he was placed under the care of Ary de 
 Voys, and afterwards became the difciple of Peter Van Slingeland. In a fhort 
 time he grew expert in copying the works of his mafter, and made fo happy a 
 progrefs, that he readily cempofed thofe kind of fubjects which pleafed his own 
 fancy, and always adhered to the manner of Slingeland in every thing he 
 painted. 
 
 Hefeemed peculiarly fond of reprefenting the fafhions, modes, and cuftoms 
 of his own time •, and his fubjects were fports, converfations, affemblies, and 
 different kinds of entertainments •, in which he introduced perfons of both fexes, 
 and diffufed a look of joy, chearfulnefs, and gaiety through every countenance. 
 He was very attentive to the neatnefs of his finifhing ; but his defign, as- well as 
 that of his mailer, wanted elegance, though there is always great.harmony in h 
 colouring. 
 
 5 Gasp a. a-. 
 
S M I [ 570 ] S M I 
 
 Caspar S M I T Z S, called Magdalen Smith. 
 Painted Per traits, Female Penitent^ Frnit, and Flowers. 
 * Died 1689. 
 ' h writers mention any circumftanccs, relative to the native 
 , the yc.ir of the birth, or the m after from whom this painter derived his 
 nvkdgc of the art ; but the Englifh writers reprefent him as a Dutch artTft, 
 who went firft to England, and afterwards to Ireland, to follow his profedion. 
 
 1 ?e «\v; a pain er of confide rable eminence, and excelled in miniature portraits, 
 which he painted in oil; and they were very highly efteemed for the refemblance, 
 the expreifion, and alfj for a pleafing tone of colour full of life and nature ; but, 
 his principal delight was to paint Magdalens, which he executed in an admi- 
 rable ftyfe. I lis figures are well drawn, and beautifully coloured ; and the airs 
 or the heads, as wed as the attitudes, have a great deal of grace. He generally 
 gave a folemn and engaging expreifion of grief, to his penitential fubjects •, and 
 rorthe mo ft part introduced a thiftle in the fore-ground, delicately finifhed, by 
 v, Inch his pictures cf that kind are ufually diftinguifhed. It is reported that an 
 Englifh gentlewoman, of an agreeable perfon, who palled for his wife, was his 
 model for all the Magdalens he painted. 
 
 Befide his excellence in portrait and hiftorical figures, lie painted fruit and 
 Bowers in great perfection ; and they were in fuch high elteem, that a picture 
 which confifted only of one bunch of grapes, was fold in this kingdom for forty 
 pounds. lie was induced to vifit Ireland by the perfuafion of a lady of diflinc- 
 tion, who had been his pupil while he refided in London, and was coming to 
 this kingdom •, and on his arrival he found as great an encouragement, as 
 might fatisfy the rnoft fanguine expectation. He had the higheft prices for his 
 works, and as much employment as he could pofTibly execute; yet, notwith- 
 ftanding all his acquifitions, his extravagance kept him always neceffitous, and 
 he died in the city of Dublin, extremely diftreflKl ; although his reputation as 
 an excellent painter, was univerfally eftablilhcd. 
 
 Lodowick SMITS, alias Hartcamp. 
 Painted Hiftcry, and Fruit. 
 Died 1675, aged 4.0. 
 He was born at Dort, in 1635, and was remarkable for a very Angular 
 manner of handling, by breaking and fcumbling his colours ; but, he did it in 
 fuch a manner, as to produce a very good and natural efFecTl ; and his fruit- 
 pieces in particular were fo much coveted, that as foon as they were finifhed, 
 they were bought up. 
 
 . -t, i is paintings foon loft their original beauty, by the colours being 
 too much fcumbled, and unfkilfully mixed, and broken ; which depreciated 
 his works in a fhort time; and when he was reproached with that defect, he 
 only ahfwered humouroufly, diat his pictures lafted much longer, than the money 
 that purchafed them. 
 
 * .According to Graham, iu his Lives of the Painters, Smith died in 1 6S9 ; but according to 
 Venue he died in 1707. 
 
 Peter 
 
c 
 
 KJ 
 
 N A [ 571 ] S N Y 
 
 Peter SNAYERS. 
 
 Painted Hijiory, Portraits, Battles, and Land/cape. 
 Died 1670, aged 77. 
 
 He was born at Antwerp, in 1593, and fuppofed to have been a difciple of 
 Henry Van Balen. He ftudied every branch of his art with lb much ran-, that 
 he diftinguilhed himfelf not only by an excellent manner of painting hiftory, but 
 likewife by painting battles, huntings, landfcapes, and portraits, in all which 
 he was equally eminent. His taite of defign was good ; his animals have 
 confiderable lpirit and life ; his pencil is free, and frequently delicate •, and 
 lometimes his colouring was not unworthy of Rubens. 
 
 The Archduke Albert was ftrongly attached to him, on account of his ex- 
 traordinary merit, and appointed him to be his principal painter, with a large 
 penfion ; which afforded him the means of exerting his genius, and employing 
 his pencil as much to his honour, as his advantage. The churches, and manv 
 of the grand apartments at Bruffels, are ornamented with his paintings ; and 
 what feems an indifputable proof of his poffeffing very eminent talents, is, that 
 his works were commended by the two belt artilts of his time, Rubens and 
 Vandyck. 
 
 John SNELLINCK, 
 
 Painted Hijlory, and Battles. 
 
 Died 1638, aged 94. 
 
 He was born at Mechlin, in 1 544, and is mentioned by Van Mander with 
 great honour, for painting hiftory and battles. His excellence principally con- 
 fided in painting horfes, and giving them graceful and fpirited attitudes and 
 actions, with a firm correct outline in every member. 
 
 The figures in all his compofitions were difpofed in agreeable groups ; he 
 expreffed the hurry and confufion of an engagement with fingular judgement 
 and (kill •, and contrived the darknefs, arifing from the clouds of fmoke, in fo 
 artful a manner, as to relieve and animate his figures. 
 
 The greatelt princes, and the prime nobility, employed him inceffantly ; and 
 he received the highelt honour by the approbation of Vandyck •, who efteemed 
 him one of the belt painters of the Low Countries, and teftified that cfteem, by 
 painting the portrait of Snellinck, which was afterwards placed over the tomb 
 of that artift, in the parifh church of S. James at Antwerp. 
 
 Francis SNYDER S, or Snevers. 
 
 Painted Animals, Fruit, Landfcape, Huntings, and Still Life. 
 
 Died 1657, aged 78. 
 
 He was born in * 1579, at Antwerp, where he became a difciple of Henry 
 
 Van Balen. The firft fubjefts which he painted were fruits of different kinds, 
 
 and itill life •, but afterwards his genius prompted him to paint animals, and in 
 
 that ityle he was accounted fupeiior to the greatelt matters of his time. He 
 
 * The author of the Abrege de !a Vie des Peintres, fixes the birth of Snyders in the year ! 5 87 r 
 c igh( years later than moll other writers ; who agree, that he was torn in 1579, and died in 1657. 
 
 D d d d ftudied 
 
SNY [ 572 ] S O E 
 
 fludied nature accurately, and his imitation of every object, fhewed not only 
 great exactnefs and correction, but an equal degree of judgement in the goodneis 
 of his choice. 
 
 Though he had gained confiderable credit by his performances in his own 
 country, yet, from an eager defire to improve himielf, he travelled to Rome ; 
 and there having an opportunity of obferving the works of Cadiglione, he was 
 Jo captivated with the dyle and manner of that great painter, that he not only 
 endeavoured to imitate, but exerted himfelf, if pofiible, to furpafs him. From 
 that time, his uiual iubjects were huntings, engagements of wild beads, kitchens, 
 Jh ops with fruit and vegetables, dead game, and chaces of the fox and the dag ; 
 in which every object fhewed truth and nature, every animal had an exprefiion 
 fuitable to his fpecies, or fituation •, the landfcape was always defigned in a fine 
 tafte, and the whole compofition was admirable. 
 
 If any of his defigns required figures of a larger fize, they were generally 
 inferted by Rubens, or Jordaens, which dill gave an additional value to his 
 works. And thole excellent artids fo thoroughly underdood the nature of 
 tints, and were to expert in their manner of handling, that every picture, though 
 finiihed by the combined work of two or three different hands, appeared to have 
 been the compofition and execution of only one mader. 
 
 His touch is light, and yet firm •, his ftyle of compofition is rich, and full of 
 variety; his colouring is remarkable for truth, nature, warmth, and force; his 
 animals are defigned in a grand tade, their actions, attitudes, and all their 
 motions having life, fpirit, and exprefiion ; and he was fo exact, that he made 
 even the fkins and hair of his animals appear to be real. 
 
 The Archduke Albert, who was governor of the Netherlands, appointed 
 Snyders to be his principal painter; and the Kingot Spain adorned his palaces, 
 with feveral huntings of the wild boar, and the dag, by that great painter ; as 
 alfo did the Elector Palatine ; and in their fuperb collections, are dill preferved 
 fome of the bed works of that mader. 
 
 Rubens, who well knew how to prize the merit of Snyders, employed him 
 frequently to paint the landfcape in the back-grounds of his pictures ; and 
 although Rubens painted animals and landfcape incomparably well, yet he 
 often intruded Snyders to paint both, as alfo did Jordaens. It is greatly to the 
 honour of three fuch celebrated artids, that they aflbciated together in the 
 flricted friendfhip, mutually affiding each other in a mod amicable manner; 
 and the works of Snyders, Rubens, and Jordaens, where they have been painted 
 in conjunction, are perhaps more eltimable, than if they had been the produc- 
 tion of any one of them. 
 
 Gerard SOEST, or Zoust. 
 
 Painted Portrait. 
 Died 1 68 1, aged 44. 
 He was born in Wedphalia, in 1637, and learned the art of painting in his 
 own country ; but went to England, about the year 1656, and very ibon grew 
 into edeem for portrait painting, as his pictures had force, nature, and warmth 
 of colouring to recommend them ; and although they appear to be highly 
 iiniuVil, yet they fiicw freedom, fpirit, and good txorefilon. 
 
 The 
 
 5 
 
SOL [ 573 ] SOL 
 
 The portraits of his men were indeed often excellent, but in his female forms 
 he wanted grace, and elegance; and was very rarely commendable in his choice. 
 His draperies are frequently of fattin, in the manner of Terburgh, but, as he 
 gradually became more con verfant with the works of Vandyck, while he refided 
 in England, his ideas were more enlarged, and his tafte much more improved. 
 However, he never wanted employment, but always found encouragement equal 
 to his merit. 
 
 Antonio Maria dal SOLE. 
 
 Painted Land/cape. 
 
 Died 1677, aged 80. 
 
 He was born at Bologna, in 1597, and was a difciple of Albano ; but he 
 
 principally applied himfelf to landscape painting, and in that branch rendered 
 
 himfelf defervedly eminent. His fituations were always beautifully chofen, his 
 
 diftances are pleafing, the perfpective receding of his objects, is conducted with 
 
 great fkill and judgement, and his colouring is bold and lively. 
 
 It was remarked of him that he painted, and alio conftantly wrote with his left 
 hand, and had full as much command of it, as others have of their right. 
 
 Giuseppe dal SOLE. 
 
 Painted Hiftory, Land/cape, and Architecture. 
 Died 1 7 19, aged * 65. 
 
 He was born at Bologna, in 1 654, and was the lbn of Antonio Maria dal 
 Sole, who bellowed the utmoft care on his education, in feveral branches of 
 polite literature ; and inftructed him in the firft principles of the art of painting, 
 as he had obferved that his fon would not permit any other ftudies, to interfere 
 with his determined application to defign. 
 
 Antonio foon perceived the proficiency of his fon under his own direction, and 
 therefore refolved to give him the aftiftance of the ableit mafter, and placed him 
 as a difciple with Domenico Maria Canuti, with whom Giufeppe continued his 
 ftudies afllduoufiy. But he was interrupted in his progrefs, by the indilcreet 
 advice of Giufeppe Mazza, his fellow difciple, who induced him to contemn the 
 inftru&ions of Canuti, and to ftudy together after the works of the Caracci ; 
 concluding, that they might more readily attain) to the perfection of their art by 
 that method. 
 
 This project they intended to execute, by reforting to the collection of Count 
 Alexander Fava, to copy the paintings of the Caracci, which were preferved in 
 that nobleman's palace •, and it is probable, that they would have injured their 
 talents, by following the dictates of their unguided fancy, if the Count had not 
 diffuaded them from fo dangerous an experiment, and prevailed on them to 
 become the dilciples of Lorenzo Paffinelli. 
 
 Giufeppe therefore applied himfelf to the directions of that mailer •, and by 
 the precepts he received for the management of his pencil, as alio for the 
 improvement of his judgement and tafte, he gradually role into reputation. He 
 
 » The author of the Mufeum Florentinum affirms, that he died at 73 years of age ; but, as he 
 was confeiTcdly born in 1654, and died in 17 19, he could only be fixty-five at his death. 
 
 D d d d 2 imitated 
 
SOL [ 574 3 S:0 L 
 
 imitated the agreeable ffyte of Paflinelli with fo much fuccefs, in the copies which 
 he made after the works of that great artift, that thofe copies were examined by 
 the moil able judges, with furprize as well as fatisfaction, and they were confi- 
 dtred as proofs of extraordinary abilities. For, it was obferved, that, although 
 the copy was truly exat., yet Giufeppe touched every part with certain peculiar 
 graces, which in an ir.itant diltinguifhed his work, from that of his mafter. 
 
 He proved an excellent painter of hiftory, and not only defigned his figures 
 with lingular correftnefs, but he gave them grace and exprefiion. Landicape 
 alio, and architecture, he painted in a fine tafte, and his portraits were as highly 
 efteemed as any other part of his compofitions •, for, all thole objects which he 
 thought proper to introduce in his pictures, either for ornament, or elegance, 
 were always painted with an exact relemblance of nature. 
 
 Three of the pictures of this mafter were univerfally commended, and parti- 
 cularly admired, for the beauty of the expreffion. One was the death of Priam* 
 killed by Pyrrhus in the Temple of Minerva, in which he alio reprefented the 
 diftrefs of Hecuba •, and that capital painting is now in the pofTeffion of the 
 Marquis Durazza at Genoa. Another, was the ftory of Queen Artemifia, pre- 
 pared to drink the wine in which were mingled the afhes of her hufband ; which 
 picture is now in the collection of the Senator Bovio ; and another admirable, 
 defign was that of Andromache and Eneas. 
 
 For fome time Giufeppe imitated his mafter Paflinelli, though he proved in. 
 feveral refpects his. fuperior-, but afterwards his models were the Caracci's, and 
 Raphael -/from whom he acquired correct nefs of defign and grace. But, in his 
 latter time, towards the decline of life, he feemed to attend more to Guido, and 
 I.udovico Caracci. A picture of Diana and Acteon, by Giufeppe dal Sole-, is at 
 Wilton, in the Pembroke collection. 
 
 Francesco SOLIMENA. 
 
 painted Hiftory, Portrait, Architecture, Landfcape, and Animals. 
 
 Died 1747, aged 90. 
 
 He was born at Nocera de Pagani, a village about eighteen miles diftant from 
 Naples, in 1657, an( ^ was the ion of * Antonio Solimena, a painter of con fider- 
 able rank, by whom he was intended for a learned profeflion ; and' with that 
 view, was early inilructed in philofophy, and mathematicks. But, the prevalent 
 inclination of Francefco to the art of painting, influenced him to devote 
 every leifure hour, and particularly many hours of the night, in defigning •, for 
 which he was often rebuked by his father, who concluded that his ion's appli- 
 cation to painting, would too much interfere with his other ftudies. 
 
 While Antonio was in that difpofition of mind, Cardinal Oriini, who was af- 
 terwards Pope Benedict XIII, happening to pafs through Nocera, vificed An- 
 tonio, who prefented his fon to him ; and the Cardinal condescending to examine 
 Francefco, to try what progrefs he had made in the fciences, expreiied great fa- 
 ijsftftion at the anfwers he received. Antonio therefore immediately laid hold 
 of the opportunity to complain of his fort's misapplication of his time, expecting 
 the Cardinal would concur with him in diiTuading the youth trom his love to 
 
 * The authors of the Abrege dc la Vie des Teintrcs, call the father of Solimena Angelo, initead 
 of Antonk). 
 
SOL [ S7S ] SOL 
 
 painting ; and to convince that eminent perfon of the indifcretion of Francefco,, 
 he fhewed him fome of his performances, which were either copied from others, 
 or of his own compofition. 
 
 However, the event did not anfwer the expectation of Antonio -, for, the 
 Cardinal having obferved a delicate tafte, and a ftrong genius in Francefco, and 
 being furprized to fee fuch productions from one who had never been regularly 
 inftructed, advifed Antonio to indulge his fon in the choice of a profeflion, 
 by which he would probably obtain riches, as well as honour. 
 
 Antonio followed that advice, and began to inftruct his fon with great care ; 
 fo that in a fhort time, Francefco gave evident proofs of extraordinary talents, 
 and defigned after the naked with fingular tafte and correctnefs. Thus prepared, 
 he was fent to Naples, and placed as a difciple with Francefco di Maria, an ex- 
 cellent mafter for defign, who had been bred up in the Roman fchool ; and who 
 taught his pupils to practife according to the beft rules and principles, reftrain^ 
 ing the wildnefs of their imaginations, and directing them to ftudy truth and 
 elegance. 
 
 With that mafter Solimena applied himfelf diligently, defigned in the 
 academy after living models, and copied the works of the moft celebrated artifts ; 
 felecting fuch only as were accounted the beft, and endeavouring to form a 
 ftyle, that might recommend his works to the efteem of the world. 
 
 At firft, he imitated the manner of his father, but he afterwards fixed on 
 Luca Giordano as his model, for the livelinefs of his colouring, and the fpirited 
 action of his figures ; on Lanfranc r for the exactnefs of his outlines, and the ju- 
 dicious placing of his objects ; on Pietro da Cortona, for animated exprefiion, 
 and harmony of colouring •, and on Calabrefe, for the management of the 
 chiaro-fcuro, and the variety of countenances. Nor did he omit the imitation 
 of Carlo Maratti, in the graceful airs of the heads, and the grand and natural caft 
 of the draperies. But, to perfect himfelf ftill more, he added to all the reft the 
 ftudy of nature •, to obferve the various effects of light on different bodies, and 
 the tints diffufed over objects by its reflections and refractions; and by fo judi- 
 cious a method of acquiring knowledge, he rendered himfelf one of the moft ad- 
 mired painters of his time. 
 
 The firft publick work of Solimena, was a grand compofition, reprefenting the 
 Affumption of the Virgin, which was received with amazing applaufe ; and 
 every future work ferved only to increafe his reputation. As he had been always 
 iolicitous to fee Rome, he took an opportunity to gratify himfelf in that point ; 
 and although the fituation of his affairs would not permit him to i.nduio-e himfelf 
 fo far, as to refide in that city for any great length of time, yet he left nothing 
 that was curious of the antient or modern artifts, unobferved. But, his parti- 
 cular attention was employed on the works of Raphael, Domenichino, Guido, 
 Lanfranc, the Caracci, and Carlo Maratti.. 
 
 At his return to Naples, he finifhed an incredible number, of paintinqs, his 
 works were folicited by the King, by the greateft of the nobility of his own coun- 
 try, and by moft of the Princes of Europe ; but his moft conftant employment 
 was for the churches and convents of Italy. The King of Naples honoured him- 
 with his particular efteem ; and that poiterity might knew the friendftiip that 
 fubfifted between them, he defired to have a picture, representing him in familiar 
 fipjtverfation with Sclirr.ena. He hit to him for his own portrait, which was in 
 
 cvex'/i' 
 
SOL [ 576 ] SON 
 
 every refpect admirably executed ; and the portrait of the painter, was as ftriking 
 in the likenefs, as the portrait of the King. 
 
 Towards the latter part of his life, his fight was greatly impaired •, yet that 
 misfortune was not fo much imputed to his advanced years, as to fome defect in 
 the organ itfclf. From that time, his paintings were very inferior to his more 
 early performances ; though even in thofe which are leaft to be commended, 
 fomewhat of the great mafter is always difcernible. 
 
 Solimena pofiefl'ed a moftextenfive genius, he painted in a fmall fize as well 
 as in a large, in frefco and in oil, and excelled equally in hiftory, landfcape, por- 
 traits, animals, perfpective and architecture, fruit and flowers. His figures were 
 elegant, correct, and graceful ; his pencil is loft and ipirited, and his draperies 
 are broad and nobly difpofed. His ikies, his grounds, and his trees, have a pe- 
 culiar and admirable tint •, and in his colouring we fee tendernefs, and force, 
 uncommonly and harmonioufly united. In fhort his tafte was exquifite, his 
 compofition rich, and his imagination lively, fruitful, and elevated ■, and it was 
 obierved of him, that he chofe as often as pofiible to paint after nature, left too 
 fond an attachment to the antique, fhould damp the fire of his fancy and 
 invention. 
 
 The bent of the inclination of Solimena was to form youth •, for which, he 
 deferred to be highly applauded. He pointed out to them, in the moft eafy and 
 familiar manner, every curious-or inftructive obfervation he had made, either in 
 the principles or the practice of his art. He took pains to make the young 
 artifts acquainted with the perfections of the moll celebrated matters ; which 
 knowledge he himfelf had acquired by intenfe ftudy, and judicious reflections ; 
 and he conftantly inculcated the neceffity of feeking out beautiful forms, and 
 the fine proportions of nature, to unite with them the elegance of the antique. 
 
 Joris Van SON, or Van Z O O N, the Old. 
 
 Painted Fruit, and Flowers. 
 He was born at Antwerp, in 1622, but the mafter under whom he ftudied the 
 art of painting, is not aicertained. It is only obferved, that his compofitions 
 have in feveral refpects confiderable merit, that his objects are generally well 
 grouped, and alfo well defigned ; and are painted with a light pencil, and a clear 
 natural tone of colour. 
 
 John Van SON, or Van ZOON, the Young. 
 Painted Fruit, Flowers, and Still Life. 
 Died 1702, aged 41. 
 He was the fon of Joris Van Son, born at Antwerp, in 1661, and was like- 
 wife his difciple. In refpect of his choice of fubjects, as well as in refpect of his 
 handling and colour, he painted exactly in the manner of his father •, although 
 he excelled him in a very high degree, in every part of his profefllon. To the 
 knowledge which he had acquired from his inftructor, he added a continual ftudy 
 after nature ■, he fketched every object, and by a curious and intelligent ob- 
 fervation of what was beautiful in fruits and flowers, he gave his fubjects an un- 
 common appearance of truth, and furnilhcd himfelf with altnoft an endlels 
 
 j arietv. 
 
 As 
 
SON [ 577 ] S O R 
 
 As he had conceived a very high, and a very juft opinion of the tafte, and 
 benevolent principles of the Englifh nation, he determined to fettle himfelf at 
 London ; and on his arrival in that city, he met with fo kind a reception, as even 
 exceeded his molt fanguine expectations ; for, he was immediately employed, 
 and he painted in a large, as well as in a fmall fize. It was his cuftom to fketch 
 out feveral defigns, before he took pains to finifh a fingle picture ; by which 
 means abundance of rough drafts, and the firft markings of his ideas, were found 
 at the death of this mailer, which other artifts endeavoured to finifh, but without 
 fuccefs. 
 
 He Teemed particularly attentive to the finifhing of his works with the utmofl 
 neatnefs ; nor did he neglect any thing that might add to their luftre, or procure 
 to him the approbation of the publick. His fubjects ufually were flowers, 
 fruits, Turky carpets, curtains ornamented with gold or filver, and fuch like; 
 and he difpofed his objects with fo much fkill, that he made each particular in- 
 cident in the composition, contribute to a general harmony. 
 
 His piftures, in large as well as in fmall, (hew judgement and genius; his 
 flowers have great truth, variety, and delicacy; nor could any of his cotemporaries 
 furpafs him, in reprefenting bunches of grapes ; for he finifhed diem with fo great 
 a degree of tranfparence, and truth of colour, that the light feemed to be tranf- 
 mitted through them, fo that even the pulp and the feeds were perceptible. 
 
 The paintings of John Van Son, although they are often confounded with 
 thofe of his father Joris, through a want of fkill and difcernment in fome who 
 account themfelves connoiffeurs, are yet very different both in the ftyle and the 
 compofltion ; and are always inexpreflibly fuperior. 
 
 SOPHONISBA. Vid. Angusciola. 
 
 Hendrick Martensze SORGH, or ZORG. 
 
 Painted HiJio?y, Converfations, Fairs, and Italian Markets. 
 Died 1682, aged 61. 
 
 He was born at Rotterdam, in 1621, and his real name was Henry Martin 
 Rokes ; but his father, Martin Rokes, being mafter of a barge, which carried 
 merchandife between Dort and Rotterdam, was nick-named Zorg, (or the 
 careful) on account of his induftry and diligence ; and that appellation de- 
 fcended to all the family. 
 
 Hendrick was at firft the difciple of David Teniers, and from his penciling 
 and colouring, it is eafy to obferve the fchool from whence he derived his know- 
 ledge of the art ; but, he afterwards fludied under the direction of William Buy- 
 tenweg, who was efleemed an excellent painter of converfations ; his ftyle of % 
 
 compofltion being rather more elevated, than that of Teniers. 
 
 As Sorgh had therefore perfected himfelf under two fuch able artifts, he ob- 
 tained from Teniers a pleasing and delicate manner of colouring, and from the 
 other an agreeable manner of defign ; yet, he frequently varied his ftyle, for.e- 
 times painting in the manner of each of thofe matters, and fometimes he imitated 
 the ftyle of Brouwer ; though in general he imitated Teniers. 
 
 Houbraken mentions an Italian Fair painted by Sorgh, with a multitude of 
 figures, and alio a fifh-market ; in the former is a bafket of ducks and other 
 
 fowls i 
 
SOU [ 578 ] SPA 
 
 fowls ; and in the latter, different kinds of fifh painted after nature, in an exquir 
 iite manner ; and the figures, as well as the back-grounds, are cleanly and lightly 
 handled, fomewhat rdembling the manner of Wycke. 
 
 PlETRO SORRI. 
 
 Painted Hiftory, Land/cape, and Portrait. 
 
 Died 1622, aged 66. 
 
 He was born at Siena, in 1556, and learned the firft principles of the art from 
 Archangelo Salimbeni, a painter of great reputation ; by whofe precepts, he im- 
 proved as much as it was poflible, for the time he continued under that mafter. 
 'But, when he afterwards obferved the great excellence of Pafiignano, and de- 
 cerned in the works of that eminent artift, an exquifite union of nature and art ; 
 he ftudied them incefiantly, and lb intirely devoted himfelf to Pafiignano, that 
 he attended him to Venice. 
 
 In that city he acquired additional improvement, by the opportunity he had, 
 of attending to the grand compofitions of Paolo Veronefe ; and at his return to 
 Florence, he received the higheft marks of approbation and applaufe, for the 
 beauty of his colouring, and the elegance of his tafte in compofition, and 
 defign. 
 
 He excelled in landfcape and portrait, as well as in hiftory ; he had a ready 
 and fine invention ; his pencil was very free and mafterly •, his imitation of 
 nature beautiful and juft •, and his thoughts were grand and elevated. 
 
 Giuseppe Ribera, called SPAGNOLETTO. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1656, aged 67. 
 
 This great painter was born at Xativa, a city about nine or ten leagues from 
 Valentia in Spain, in the year 1589. His parents were but in low circumftances, 
 and unable to give him thofe advantages of education, or inftruction in painting, 
 which his early genius ieemed to demand ; and therefore he quitted his own 
 .country, and travelled when he was very young to Italy, from a defire to purfue 
 his favourite inclination to the art of painting. 
 
 The firft place where he took up his refidence was at Parma, where he found 
 himfelf exceedingly affected by the fight of the works of Correggio, which are 
 the ornaments of that city ; and he ftudied that mafter fo thoroughly, that at laft 
 he qualified himfelf not only to copy him, but alfo to imitate his manner fuccefs- 
 fully : and there is a picture of his hand, in the chapel of S. Maria Biancha at 
 Parma, which (it is faid) hath more of the appearance of the ftyle and pencil of 
 Correggio, than of Spagnoletto. 
 
 When he left Parma, he went to Rome, and there altered his manner intirely, 
 by adopting the ftyle of Caravaggio. Like that mafter, he painted with bold 
 broad lights andfhadows, and gave fo furprizing a degree of force to his pictures, 
 that the works of moft other artifts, when placed near them, appear compara- 
 tively weak and feeble in their effect. However, he was fometimes cenfured, as 
 being rather too black and dry ■, and although, in the tints of his colour, he 
 might be accounted equal to his model Caravaggio, and fuperior to him in cor- 
 5 rectuefs 
 
SPA [ 579 ] SPA 
 
 rectnefs of defign, yet he wanted the fweetnefs, and meliownefs of the pencil of 
 that mailer. 
 
 Having at length eftablifhed his tafte and ftyle, as to colouring and defign, 
 which he retained ever after, he fettled at Naples, where his works were excei- 
 fively admired •, and he was enriched, by his being perpetually employed for the 
 Viceroy, for the King of Spain, and for many of the Potentates of Europe, who 
 were ambitious to pofTefs fome of the performances of Spagnoletto •, but, Spain 
 and Naples are the principal repofitories of his works. He frequently painted 
 hiftorical figures, as well as portraits, at half length, and was exact to an extra- 
 ordinary degree in imitating the life ; he finifhed a great number of eafel pictures, 
 which are difperfed through all Europe, but he rarely worked either for the 
 churches, or convents. 
 
 His natural turn was to defcribe fubjects which excite horror, whether he 
 felected them from facred or profane hiftory •, inch as martyrdoms of faints , 
 the Maying of S. Bartholomew; S. Lawrence on the gridiron •, the murder of 
 the Innocents •, or, the torments of Ixion, and Prometheus ; or, Cato tearing 
 out his own bowels. He was alfo particularly fond of defigning emaciated 
 limbs, and bodies, of old men, fuppofed to be reduced to that condition by mor- 
 tification and abftinence •, fuch as hermits, and S. Jerom •, which fubjects were 
 extremely agreeable to the Spaniards, and Neapolitans, and were admirably 
 executed. 
 
 Sandrart mentions a picture of Ixion on the Wheel, painted by Spagnoletto, 
 which was in the polTefilon of Mr. Uffel at Amfterdam ; in which, pain and 
 ageny were fo powerfully and naturally expreffed, and made fo ftrong an impref- 
 fion on the imagination of the wife of that gentleman, who happened to be 
 with child when ike looked at it, that her child, when it was born, had all the 
 fingers diltorted, exactly as the fingers of Ixion appeared in the picture ; and on 
 that account, the picture, though very capital in every refpect, was fent into 
 Italy. The ltrength of his exprefiion, and the force of his colouring, which 
 gives extraordinary relief to his figures, make his works univerfally efteemed, 
 and they generally produce large prices, as often as they are to bepurchafed. 
 
 In the palace of the Prince della Torre at Naples, there is a noble picture by 
 Spagnoletto. The fubject is S. Peter, and S. Paul, the figures being at half 
 length, fomewhat larger than life. The heads are extremely fine, and touched 
 firmly, with great fpirit ; the hands are well defigned, and the whole is natural, 
 and truly beautiful. Another admirable compofition of this mafter, is pre- 
 served in the Palazzo Corlini at Florence. It reprefents S. Peter taking the 
 piece of money out of the mouth of the fifh to pay the tribute. The colouring 
 is wonderfully ftriking, and full of force ; the heads of the figures are exceed- 
 ingly fine; and it is finifhed in a broad, free, and fpirited manner. 
 
 SPAGNUOLO. Vid. Giuseppe Maria CRESPI. 
 
 N. SPALTHO F. 
 Painted Hiftory, and Animals. 
 The lime and place cf the birth of this mafter, are not mentioned by any 
 writer ; but, the biographers agree, that he was a painter of confiderable. credit •, 
 
 E e e e that 
 
S P I [ 580 ] S P I 
 
 that he had fpent fevera! years in his ftudk's a: Rom?, and travelled on foot 
 three feveral times to that city. 
 
 His moft uiual fubjects are Italian markets, filled with a variety of cattle, 
 and human figures, and alfo Malls and (hops where herbs, roots, and different 
 kinds of vegetables, are expofed to fale ; which objects he copied exactly after 
 nature, and gave them a great deal of roundnefs and relief, with a ftrong cha- 
 racter of truth. 
 
 K. S P I E R I N G S. 
 Painted Landfeapes. 
 
 He was a native of Antwerp, born about the year 16,3, and proved a good 
 painter of lanchcapes, having acquired a great deal of fkili in his profeffion, by 
 travelling through Italy, and France •, and in the latter he had the honour to be 
 employed by Lewis XIV, for whom Ire painted feveral landicapes. His manner 
 of defigning was agreeable; his trees and the forms ot them are well chofen - T 
 his touch is delicate, and his colouring; has the look of nature. His fore- 
 grounds are enriched with a variety of plants which he copied from nature, and 
 his compofitions have a pleafing, and a good effect. 
 
 One of his greateit excellencies, was his ability to imitate the ftyle and touch 
 of other famous painters, and in particular of Salvator Rofa ; and he had the 
 dexterity often to deceive thole who deemed themfelves able connoiifeurs ; 
 feveral ot them having peremptorily pronounced fome ot the performance - 
 of Spierings, to have been the work of Salvator Rofa. 
 
 Albert Van SPIERS. 
 
 Painted Hijhry. 
 
 Died 171S, aged 52. 
 
 He was born at Amfterdam, in 1666, and proved one of the bell difciples in 
 the fchool of William Van Inghen ; under whofe direction he practifed, till he 
 was qualified to appear with credit in his profeffion. Yet, though he might be 
 confidered as an able artift, he determined to vifit Rome, to form himfelf there 
 after the molt perfect and beautiful models. He examined eveiy production of 
 the great matters, that feemed worthy of his attention, but attached himfelf par- 
 ticularly to the works of Raphael, Julio Romano, and Domenichino ; and fuch 
 of their compofitions as he could not copy in colour, for want of time or oppor- 
 tunity, he took care to defign with extraordinary correctnefs. 
 
 By that method of conducting his ftudies, he eftabliihed a good and elegant 
 tafte, and he then vifited Venice to improve his knowledge of colouring ; for 
 m hich purpofe, he chofc the works of Paolo Veronefe for his guide, and attended 
 alfo carefully to the manner of Carlo Loti. In the year 1 697 he returned to his 
 native city, with the character of an accomplilhed painter •, and executed a great 
 number of beautiful cielings ; alfo, feveral very magnificent apartments at Am- 
 fter.: :c entirely adorned by his pencil. But, being influenced by the fo- 
 
 licitation of his friends, and probably urged by the profpect of acquiring repu- 
 tation and riches, he followed his profeffion with too much ardour, and laboured 
 abundantly more than he ought, which impaired his health, and fhortened 
 his days. 
 
 Thofe 
 
S P I [ 581 ] S P I 
 
 Thofe who were mod capable of judging of the merit of this matter, allowed 
 him to have a fruitful imagination ; great correctnefs ; and a conftant attention 
 to nature, which he never neglected in any of his compofnions. He followed 
 the tafte of the Roman fchool, and in refpect of compofition and defign, endea- 
 voured to imitate thofe great men, who had formed themfelves in that celebrated 
 fchool ; but, it was oblerved of him, that he followed them no farther, than 
 where they took nature for their guide. 
 
 John SPILBERG. 
 Painted HiJlory y and Portrait. 
 Died 1691, aged 72. 
 
 He was born at Duffeldorp, in 1619, and at firft was inftructed in the art by 
 his father, who intended to place him under Rubens ; but, that project being 
 difconcerted by the death of Rubens, he became the diiciple of Govaert Flink at 
 Amfterdam, who at that time was in the higheft efteem. 
 
 He continued in the fchool of that arfift for feven years, and afforded fuch 
 proofs of an happy genius, that before he quitted Flink, he diftinguifhed himfclf 
 as an excellent painter of hiftory and portrait. The merit of his performances 
 foon recommended him to the favour of the great, and he was appointed prin- 
 cipal painter to the Count Palatine, at whofe court he painted the portraits of 
 that Prince, and his family, which gained him very great applaufe. He was ho- 
 noured with a medal of gold from the hands of his patron, and received feveral 
 others from different Princes, by whom he was afterwards employed, as marks 
 of their particular efteem. 
 
 The general opinion of the works of this mafter, is, that they are well co- 
 loured, correctly defigned, and finifhed with a bold, free pencil •, and there are 
 at Duffeldorp feveral noble altar-pieces of his hand, which are evidences of the 
 juftnefs of that character. In the caftle of that city, are full to be feen the whole 
 labours of Hercules, with figures as large as life, which is much commended •, 
 and Houbraken alfo mentions, as one of the capital works of Spilberg, an alle- 
 gorical picture reprefenting the alliance between Mufick and Poetry ; in which 
 the female figures have abundance of elegance, and are grouped with judo-e- 
 mcnt. They are as large as life, and the whole is well defigned, and in a 
 good tafte. 
 
 A d r 1 a n a SPILBERG. 
 
 Painted Portrait. 
 She was the daughter of John Spilberg, born at Amfterdam in i 646 ; and die 
 learned the principles of painting from her father. Her greateft merit confifted 
 in painting portraits with crayons, though fhe fometimes painted in oil ; and 
 her works were very much efteemed for the neatnefs and delicacy of the 
 handling, and their lively and natural tint of colour. Her eminent abilities oc- 
 cafioned her being invited to the court cf the Electrefs at Duffeldorp, where fhe 
 received ail poffible marks of approbation, refpect, and honour-, and fhe after- 
 wards became the wife of the celebrated painter Kglon Vander Neer. 
 
 Eeee 2 SPIN EL LO 
 
SPI [ 582 ] S P I 
 
 SPINELLO Aretino. 
 Painted Hiftory, and Portrait. 
 Died 1420, aged 92. 
 
 He was born at Arezzo, in 1328, and from his infancy expreffed a fui prizing 
 inclination to the art of painting -, and even without the affiftance of any di- 
 rector, he gave i'uch proofs of a lively and ftrong genius, that his early perfor- 
 mances were fuperior to thole produced by perfons of a much more advanced 
 age, who practifed under able inftructors. But, as he grew up, he ftudied under 
 Jacopo di Cafentino, and at the age of twenty years, proved far fuperior to 
 his mailer. 
 
 His uncommon abilities procured him abundance of employment at Flo- 
 rence, as well as in his native city, which extended his fame through all Italy ; 
 and he was admired not only for his ready and fertile invention, but alfo for the 
 manner of difpofing his figures, for a certain fimplicity of ftyle, united with 
 elegance ; and for a peculiar neatnefs in his finifning. He had the art of giving 
 a lingular grace to his figures, an air of unaffected modefty ; but to his ma- 
 donna's, he gave an air that was divine, and inexpreffible. 
 
 The compofuions of this matter fhewed genius and judgement, and he was 
 allowed equal to Giotto in defign, but to furpafs him in the force and beauty of 
 his colouring. He gained very great applaufe by the portraits of Innocent IV, 
 and Gregory IX ; and painted with full as much excellence in frefco, as in 
 oil. It was remarked, that in the chapel of S. Maria Maggiore at Florence, he 
 painted in frefco feveral hiftorical incidents relative to the life of the Virgin, 
 and that the whole work was fo perfectly well executed, as to appear as if it 
 had been finifhed in one day, although it had employed him for a number 
 of months. 
 
 He found out an unufual, and happy method of mixing his colours, by which 
 means, many of his works retained their original luftre for an incredible length 
 of time. 
 
 Paris SPINELLO. 
 
 Painted Hi/lcry, and Portrait. 
 Died 1422, aged 56. 
 
 He was the fon of Spinello Aretino, born at Arezzo, in 1366, and learned' 
 the rudiments of the art from his father ; but, as foon as he appeared to have 
 made a competent progrefs, he was placed as a difciple with Lorenzo Ghiberti 
 at Florence. His principal excellence confifted in working in frefco, though he 
 alfo painted in oil and diftemper •, and rendered himfelf truly famous by a mul- 
 titude of compofuions which he executed in the churches, chapels, and con- 
 vents in feveral parts of Italy. 
 
 The colouring of this artift was as exquifite as that of his fitther ; and for it's 
 luftre, and the beautiful polifh which he artfully diffufed over it, was inimitable 
 by any of his cotemporaries. Nor was he lefs admired for the variety and 
 elegance of the attitudes of his figures, than for the force, and fine effect of his 
 paintings. 
 
 He kaned naturally of a folitary and melancholy difpofition, and, to the pre- 
 judice of his health, too indifcreetly indulged' that turn of mind ; fothat having 
 
 5 an 
 
5PR [583] S P R 
 
 an invincible love to his profeffion, an ambition to excel in it, and too fevere an 
 application to the laborious part, he contracted a diftemper which fhortened 
 his life, and he was buried in the fame tomb with his father. 
 
 Bartholomew SPRANGHER. 
 
 Painted Hiftory, and Land/cape. 
 
 Died 1623, aged 77. 
 
 He was born at Antwerp, in 1546, and fucceffively inftrucled by John 
 Madyn, Moftaert, Van Dalen, and a variety of other mafters, in his own country, 
 at Paris, at Milan, and at Parma ; and in the latter city he worked for three 
 years with Bernardo Soiaro, who had been a difciple of the incomparable Cor- 
 reggio. He went afterwards to Rome, and found a protector and patron in the 
 Cardinal Farnefe •, who not only employed him in his palace of Caprarola, but 
 recommended him to the Pope, Pius V, who engaged him in his fervice at the 
 Belvedere. There he fpent * two years and ten months in painting a Laft Judge- 
 ment, on a plate of copper fix feet high, (according to Sandrart) which con- 
 tained five hundred heads ; and was fo highly valued, that after the death of 
 Pius, it was placed over his monument, as a principal ornament. 
 
 From Rome he entered into the fervice of the Emperors Maximilian and Ru- 
 dolphus II, by whom he was exceedingly carefled and honoured-, and in 1588 
 Rudolph enobled him and his defcendants, and in the prefence of the whole 
 court, placed a chain of gold, confuting of three rows, round the neck of the 
 artift, and ordered him to wear it as long as he lived. 
 
 He painted in large, as well as fmall; and at Vienna finifhed feveral grand 
 altar-pieces, with figures nearly as large as life, cnialfo a number of eafel pic- 
 tures for the Imperial palaces. He received but little improvement at Rome, 
 by neglecting to defign after the antiques, by truftingtoo much to his memory, 
 and by the want of fufficient judgement to guide and direct his genius. He 
 had indeed an extraordinary lightnefs of hand, and great fweetnefs of pencil, 
 which always procured him admirers ; but he never could be induced to ftudy 
 after nature, and only worked by the affiftance of imagination. His defigns 
 therefore fhewed nothing of the Roman tafte ; the contours of his figures appear 
 eonftrained and unnatural ; and his outline, inftead of partaking of the Roman 
 fchool, is hard, ftiff, and ungraceful. In moil of his attitudes there is an air of 
 affectation, which muft be difguftful to a judicious eye ; and the extremities of 
 his figures are ufually fo contorted, and extravagant, that he is with great juftice 
 accounted a mannerift. However, he had in other refpects confiderable merit ; 
 his works fhew a free pencil, and abundance of fpirit ; and in thole of his latter 
 time, are to be feen a more natural tone of colour, and fewer extravagancies. 
 As he worked moftly for the Emperors, for Princes, and the prime nobility of 
 Germany, his works are not frequently to be purchafed ; for, his circumftances 
 were fo affluent, that he painted only fo/ thofe who folicited him for his work, 
 and he finifhed all his pictures intirely with his own hand, having never, employed 
 any affiflant. 
 
 * Defcamps fays he finifhed that work in fourteen months, which feems to be amiftake ; for,. 
 Sandrant allures us, that he fpent two years and ten months on that performance. 
 
 F ft A N^ 
 
S Q^U [ 584 ] S T A 
 
 Francesco S QJJ A R C I O N E. 
 
 Painted Hijlcry. 
 Died 1474, aged So. 
 
 ] Ie was born in 1394, and became a painter of eminence, by forming his tafte 
 on the ftudy of the moft beautiful antiques. But, notwithllanding his being 
 perpetually employed, and highly efteemed at Florence, and other cities of Italy -, 
 yet, out of a defire to cultivate the art of painting in the moft effectual manner, 
 he quitted all the advantages of his profeflion, and travelled through Greece, to 
 make defigns after the fineft models in ftatuary, fculpture, or architecture. 
 
 Thofe drawings and defigns he brought back to Italy, and opened a fchool for 
 painting, which immediately rofe into the highcft reputation -, and it was re- 
 marked, that at one time he had an hundred and thirty feven difciples under his 
 direction •, from which circumftance, added to his laborious zeal in promoting 
 the knowledge and love of the art, he was called the Father of the Painters. 
 
 He pofieffed a great number of bas-reliefs, paintings, and defigns, which 
 ferved as inftructors to his difciples •, and he was fo generally refpected, that he 
 was honoured with the vifits of Emperors, Popes, Cardinals, and the nobi- 
 lity of the firft rank. 
 
 Henry ST A BEN. 
 
 Painted Perfpeclive, Hijlcry, and Still Life. 
 Died 165S, aged 80. 
 
 He was born in Flanders, in 1578, where he learned the firft principles of 
 •the art •, but, after he had made a tolerable proficiency in his own country, he 
 travelled to Venice, and placed himfelf as a difciple with Tintoretto ; but the 
 death of that great painter, which happened when Staben was not above fixteen 
 years of age, deprived him of many advantages, which he might have gained 
 under fo famous a mafter. 
 
 He painted in a fmall fize with aftonifhing neatnefs, and in his compofitions 
 fhewed a commendable invention ; and making a proper allowance for his Fle- 
 mifh gufto, his manner of defigning was agreeable, and the difpofition of his 
 figures judicious. 
 
 At Paris there is a picture by this mailer, which is preferved with extraor- 
 dinary care, and is exceedingly admired. The fubjefl is the gallery of a Yir- 
 tucfo ; in which are placed cabinets, and other curious pieces of ornamental 
 furniture. Above thofe, feveral pictures, of different fubjects, are ranged in re- 
 gular order-, and every object is exquifitely finifhed, and placed in fuch exact 
 jxrfpective, that they afford the eye a moft agreeable deception. Every part of 
 thofe fmall pictures, which are fuppofed to be the decorations of that gallery, 
 appear fo diftinct, with tints fo aptly proportioned to their fituations and dlf- 
 tances -, and the whole is executed with fo delicate a touch, and fo much judge- 
 ment, that the performance is accounted truly admirable. 
 
 Pal 
 
 A- 
 
S T A [ 5*5 ] s ?■ A 
 
 Palamedes Palamf.dsz S T A E V A R T S, or Stevers. 
 
 Painted Battles, Fairs, and Encampments. 
 
 Died 1638, aged 31. 
 
 This artift was born at London, in 1607, though he is reckoned among the 
 eminent painters of the city of Delft. His father, who was a Fleming, and 
 eiteemed an excellent workman in agate, jafper, and other precious materials, 
 being invited to England by King James I, refided at London for fome years •, 
 in which time his fon Palamedesz was born, but was carried to Delft while he 
 was yet a child, when his father returned to his native country. 
 
 He did not ftudy the art of painting under any particular matter, but by the 
 force of a ftrong natural genius, and needfully attending to the works of Efaias 
 Vander Velde, he acquired a ftyle of painting, a manner of penciling, and a 
 tone of colour, much refembling his model •, but in the execution, and finiihing 
 of his pictures, he was by good judges accounted far fuperior, and by the bell 
 connoifleurs of his time, his works were held in the greateft efteem. 
 
 He excelled in reprefenting encampments with the fu.tl.ers booths, and alfo in 
 delcribing battles of horfe and foot; the fcenes and fituations which he chofe 
 were agreeably contrived, and he had a very happy manner of expreffing the 
 ardour of thole who were engaged, the exultation of the victors, and the de- 
 jection of the vanquifhed, the daftards, and the dying. Yet his figures were 
 defigned intirely in the Flemifh tafle, and their habits and drefs were taken 
 from thofe of his own time. 
 
 His compofitions are always full of fpirit, and well difpofed •, in every object 
 nature is well imitated, and truly reprefented ; the perlpeitive diftances are 
 juftly obferved, and his figures truly proportioned, according as they are near, or 
 remote. His Ikies are clear ; his pencil is free, yet particularly neat ; and his 
 pictures are diftinguiihed by a remarkable thinnefs, and tranfparence of his co- 
 louring. 
 
 He arrived very early at excellence in his profefiion, and as he was cut off* juffc 
 in the bloom of life, his pictures are few, and exceedingly fcarce •, and on that 
 account, as well as on account of their confefled merit, they are much coveted, 
 and bring large prices. 
 
 Anthony Palamedes STAEVARTS, or Stevers. 
 
 Painted Convcrfaticns, and Portraits. 
 Died 1680, aged j6. 
 He was the elder brother of Palamedefz, born at Delft, in 1 604, and became 
 a painter of fome note ; but he was very far inferior to his brother in every part 
 of painting ; being neither poffefledof lb delicate a pencil, fuch tranfparence of 
 colouring, fuch invention, dilpofition, orexpreflion. He took pains to imitate 
 nature, but without elegance of choice ; and the figures which he introduced 
 were formal copies of what had occurred to his obfervation ; without any thins; 
 graceful in the airs of their heads, or in their attitudes ; and his draperies were 
 only plain, dry reprefentations of the modes of his time. 
 
 Though he frequently painted portraits, yet his general fubjects were conver- 
 
 fations of perfons of both fexes ; as if they were. engaged at cards, or at enter- 
 
 2 tainmeats 
 
S T A [ 586 ] S T A 
 
 tainmcnts of vocal and inftrumental mufick, or at feafts, or dances. Of thofe 
 kinds he painted a prodigious number, which are but in l'mall efteem ; though 
 Ibme of them are much better finifhed than others. But it has been thought, 
 that the reputation of his brother's works, conduced not a little to the recom- 
 mendation of his own •, as they were often bought by injudicious purchafen, for 
 thofc of Palamedefz, which are defervedly valuable. 
 
 Adrian STALBEMT. 
 Painted Landfcape. 
 Died 1660, aged 80. 
 
 He was born at Antwerp, in 1580, and is placed in the firft rank a.nong the 
 Flemifh painters. His ftyle was landfcape with fmall figures, which he executed 
 neatly, with a free and fpirited touch •, in imitation of the Velvet Brueghel, 
 whofe manner he carefully ftudied, and made the works of that delicate matter 
 entirely his model. His fcenes were pleafingly chofen, and frequently folemn ; 
 his figures are properly introduced; and his trees are well formed, with great 
 appearance of nature and truth, except that fometimes they might frem a little 
 too green. 
 
 His reputation was fo effectually eftablifhed at Antwerp, that many of his pic- 
 tures were fcnt to different parts of Europe •, and his merit procured him an in- 
 vitation to the court of Great Britain, where his paintings received the approba- 
 tion of the belt judges of that time ; and even to this day, they are mentioned 
 with honour. 
 
 When he quitted England, he returned to his native city •, where he conti- 
 nued to follow his profeflion in the eightieth year of his age. But, thofe pictures 
 which he painted towards his decline, are not comparable to thofe, which were 
 finifhed in the vigorous time of his life •, though they have (till a fuftkient degree 
 of merit, to maintain the credit of the artift. Among a variety of fubjects, and 
 views after nature, which he painted in England, the view of Greenwich was ac- 
 counted a capital performance, and was exceedingly admired. 
 
 Francis STAMPART. 
 Painted Portrait. 
 Died 1750, aged 75. 
 He was born at Antwerp, in 1675, and it is faid, that he derived his know- 
 ledge of the art of painting from Tyfiens. He was induced to practife portrait 
 painting, by having had fome degree of fuccefs in that branch ; but a much 
 more prevalent inducement, was the profpect of gain. At firlt he made Van- 
 dvck and De Vos his models, but what he afterwards painted, was after nature. 
 
 While he was yet a young man, he was invited to Vienna by the Emperor, 
 who honoured him with the title of his cabinet painter ; and his obtaining an 
 employment of fuch diftinction, at a court where ufually there were many con- 
 liderable artifts, fhould feem a fuftkient proof of his merit. 
 
 He contrived a method of painting, in an eafy and expeditious manner, the 
 portraits of the nobility, v. ho have neither leifure, nor patience to fit to a painte-, 
 for a fufficient length of time. He therefore only marked the features with 
 
 white, 
 
S T A [ 587 ] S T E 
 
 white, black, and red crayons, which was foon executed, and then at his own 
 leifure, worked on the portrait with colour ; and only at the laft finifhing touched 
 up the features after nature. 
 
 Thofe connoifieurs who have feen the works of Stampart, are profufe in his 
 commendation ; and an artift of credit and fkill teftifies, that it was the cuftom 
 of that painter, to lay upon his canvas a quantity of fiefh colour, in proper places, 
 before he ever began to work, which contributed at once to leffen his labour, and 
 to produce a much better effect. 
 
 Gherardo STARNINA. 
 
 Painted Hiftory. 
 Died 1403, aged 49. 
 
 He was born at Florence, in 1354, and was thedifciple of Antonio Venetiano» 
 with whom he ftudied defign and colouring. He was indebted to nature for 
 an excellent genius, and he took pains to cultivate that genius by incefTant 
 application. When he quitted the fchool of Venetiano, the firft works in which 
 he was employed, were fo highly admired for the elegance of his manner, that 
 his reputation was very foon, and very firmly eftabliftied •, and his great abilities 
 being made known to the King of Spain, that monarch invited him to his court, 
 engaged him in feveral grand defigns, and loaded him with prefents ; fo that 
 Stamina, fome years after, returned to his own country enriched and honoured. 
 
 Among a great number of his compofitions which are at Florence, one is 
 particularly mentioned, as an accomplifhed performance. The fubject is, S. 
 Jerom addreffing himfelf to his companions, when he is near dying; and the 
 artift has reprefented fome of them writing down his laft precepts •, fome, at- 
 tentively liftening to his difcourfe •, and fome exprefiing the effect produced in 
 their hearts, by the doctrines he uttered. In that compofition the figures were 
 well defigned, and contrafted ; they had animated looks, and proper attitudes ; 
 and the whole together was efteemed fuperior to any of the works of his 
 predeceffors. 
 
 Jan STEEN. 
 
 Painted Ccnvtrfations, and Droits. 
 
 * Died 1689, aged 53. 
 
 He was born at Leyden, in 1 636, and was fucceflively the difciple of Knuften 
 Erouwer, and Van Goyen ; but he made himfeif i'o acceptable to the latter by 
 his -wit, his droll difpofuion, and above all by the livelinefs of his genius, that 
 Van Goyen thought he difpofed of his daughter prudently when he gave her in 
 marriage to Jan Steen. However, although he had many opportunities of 
 enriching himfelf, by other occupations as well as by his prortffion ; he fre- 
 quently was reduced by an idle, intemperate, and diffipated courfe of life, even 
 to the loweft ebb, and compelled to work for the fubfiftence of himfelf, and his 
 family. 
 
 In the fubjectshe painted, his genius appeared admirable ; and notwithftand- 
 ing all the (kill he had acqu 'ed from Ins different mailers, his genius was his 
 
 * Houbraken fixes his death in 1678. aged 47, eleven years earlier than other writer's. 
 
 Ffff principal 
 
STE [ 588 ] STE 
 
 principal director ; for, he fecmed rather to derive his powers in painting from 
 infpiration, than inftruction. Few painters have animated their figures more 
 than Jan Steen, or equalled him in the ftrength of expreflion. His drawing 
 might fometimes be cenfurable •, but, his defign was generally correct, his 
 figures well difpofed, and his characters ftrongly marked. His touch is light, 
 tafy, and free, and his colouring appears always lively and natural. 
 
 A capital picture of Jan Steen's painting, is a Mountebank attended by a 
 number of fpeetators •, in which the countenances are wonderfully firiking, as 
 being full of humour, and uncommon variety. Houbraken mentions a re- 
 markable pi&ure painted by this mailer, repre fen ting a -wedding. It confided 
 of the old parents, the bride, the bridegroom and a lawyer or notary. Every 
 perfon in the compofition was exceedingly natural, with furprizing expreflion in 
 the old, as well as the young. The notary is defcribed, as If he was thoroughly 
 tngaged in attending to the words which he was to write down ; the bridegroom 
 appears in a violent agitation, as if difiatisfied with the match •, and the bride 
 feems to be in tears •, every character evidencing the ready and humourous 
 invention of the artift. Houbraken alfo mentions another compofition equally 
 excellent, reprefenting the funeral of a Quaker ; in which each face is dittin- 
 o-uifhed by fa ftrong, fo droll, and ib humourous a caft of features, that it excites 
 mirth in every beholder •, and would convince us, that he had nature for the 
 model of every object, the whole feeming fo accurately defigned, and with fuch 
 an air of nature and probability. 
 
 In defigning his figures, he mewed remarkable judgement and fkill ; for, at 
 firft fio-ht one may perceive a proper diftinction of the ranks, and conditions of 
 the perfons introduced in his fubject •, the difference between a gentleman, and a 
 boor •, or of thole in high, or low ftations, by their forms, their attitudes, their 
 air, or expreflion •, fo that in this refpect he appears worthy of being ftudied by 
 other painters. His works did not bear an extraordinary price during his life, 
 as he painted only when he was neceflitous, and fold his pictures to anfwer his 
 immediate demands. But after his death, they rofe amazingly in their value, 
 and are rarely to be purchafed •, few paintings bearing a higher price, as well on 
 account of their excellence, as of their fcarcity. 
 
 Giovanni Battista STEFANESCHI, called 
 
 Ekemita di Monte Senario. 
 
 Painted Hiftory. 
 
 Died 1659, aged 77. 
 
 He was born at Florence, in 1582, and even in his youth gave early tokens 
 
 of a good, and apt genius •, and was afterwards encouraged by his friend Andrea 
 
 Com modi, to apply himfelf to the ftudy of the art of painting. Andrea took 
 
 him under his own care, pointed out to him the belt rules for his improvement, 
 
 and made him fo thoroughly acquainted with the true principles of his art, that 
 
 in a fbort time he rendered himfelf very confiderable, by the correctnefs of his 
 
 defign, and a beautiful lively tone of colouring. He alfo acquired an additional 
 
 degree of knowledge from the inftructions of Ligozzi, and Pietro da Cortona ; 
 
 and became an excellent painter in oil, and in miniature. 
 
 Ferdinarjd 
 
STE [ 589 ] S T E 
 
 Ferdinand II, Duke of Tufcany, held him in great efteem 5 and for that 
 prince he painted feveral hiftorical facred fubjects, in miniature •, four of which 
 were of a larger fize than ufual, and of exquifite beauty ; being painted after 
 four capital originals of Raphael, Correggio, Titian, and Andrea del Sarto. 
 The figures of Stefanefchi were exceedingly graceful, and lovely ; his ftyle was 
 grand ; his touch delicate ; and the chiaro-fcuro was happily and judicioufly 
 managed. 
 
 S T E F A N O, called Florentine 
 
 Painted Hi/lory, Architeclure y and PerfpeRive. 
 Died 1350, aged 49. 
 
 He was born at Florence, in 1301, where he became the difciple of Giotto, 
 and painted principally in frefco. He was accounted fuperior to any artift of 
 his time, except his matter, and allowed to be fomewhat fuperior even to him, 
 in colouring and defign. 
 
 Stefano had a ready and fine invention ; was rich in his compofition ; design- 
 ed his figures with proper and becoming attitudes-, gave to the countenances 
 and heads graceful airs, and good exprefiion ; and made his draperies appear 
 loofe, eafy, and delicate. He was the firft who attempted to mew the naked 
 under the draperies ; and the firft, who reduced the practice of perfpective, to a 
 more regular method, than had been obferved by any of his predeceflbrs. 
 
 He received the greateft imaginable applaufe, for a painting in perfpective, 
 which furprized every beholder •, as the principles of perfpective were, at that 
 time, very little known, or underftood. The fubjeel of the picture was, Chrift 
 delivering a Demoniac from his tormentor. The fcene of the tranfaction, was 
 reprerented as in a magnificent building ; and the grandeur of the edifice •, the 
 elegant form and juft proportion of the columns, and other parts of the archi- 
 tecture ; the perfect deception to the eye ; and the grand effect of the whole ; 
 Ihewed fuch tafte, Ikill, and invention as well as judgement, that it was confidered 
 as an inimitable performance. 
 
 Many of the works of this matter are preferved in Florence, Piftoia, and 
 Perufia, and fome of them ftand in competition with thofe of his mafter Giotto. 
 
 Jacq^ues STELLA, Chevalier. 
 
 Painted Hijlory^ Portrait, Land/cape, and Architecture. 
 * Died 1647, °& e d 51- 
 He was born at Lions, in 1596 ; and his father, being a painter, inftructed 
 him carefully in his art, as loon as he found him capable of learning to draw. 
 Jacques had arrived only at his ninth year, when he had the misfortune to be 
 deprived of his father •, but even at that early age he could defign well, and 
 afforded an expectation of his future merit. 
 
 In his twentieth year he travelled to Italy, with an intention to complete his 
 ftudies at Rome •, but palling through Florence, he was engaged by Cofmo de 
 
 * De Piles and the Chronological Tables agree, that Stella died at the age of ;i, in 1647; but 
 the authors of the Abrege dcla Vie des Peintres, fix his death in 1657, at the age of 61, making a 
 difference of ten years. 
 
 F f f f 2 Medicis 
 
S T E [ 590 ] S T E 
 
 Medicis the Grand Duke, and continued in his fervice for feven years. He 
 then proceeded to Rome, where he ftudied the antiques, the works of Raphael, 
 and the compofitions of other great matters with fuch fuccefs, that he obtained 
 an excellent tafte of defign, and performed feveral works in large, as well as in 
 iinall, which effectually eftablilhed his reputation. 
 
 As he had received repeated invitations to the court of Spain, he determined 
 at lad to vifitthat kingdom •, but travelling through France in his progrels, he 
 could not refift the felicitations of Cardinal Richlieu, who recommended him to 
 the king, and procured him a penfion of a thoufand livres, together with the 
 employment of ftate painter, and an apartment in the Louvre ; and befide all 
 thofe advantages, the order of S. Michael was conferred upon him, as a parti- 
 cular mark of the king's favour. 
 
 This mafter had an extenfive genius; and though hiftory engaged his atten- 
 tion principally, yet he painted all kinds of fubjefls with equal readinels and 
 eafe. His invention is noble, his attitudes u 9re natural, and his outline is 
 correct ; but his exprefiion is not ftriking, ncVare his local colours iufficiently 
 determined ■, his carnations are rather too red, and generally the lame kind of 
 tint predominates through them all, though his pictures, taking the whole 
 together, are very agreeable. The fubjects which he painted beft, are of the 
 paftoral kind ; however he fhewed great excellence in painting boys, peripective, 
 and architecture, yet by the abkft judges he is accounted a mannerift. 
 
 Francis STELLA. 
 
 Painted Hiftory. 
 Died 1 66 1, aged 60. 
 
 He was the brother and difciple of Jacques Stella* born at Lions, in 1601. 
 He travelled with his brother to Italy, lived with him during his refidence at 
 Florence, and afterwards went along with him to Rome •, but as he did not 
 poflefs fuch a genius as Jacques, he never could equal him in any branch of his 
 profeffion. 
 
 Orlandi, in the Abecedario Pittorico, is guilty of a great error, in afcribing 
 to this mafter the character, the age, and the merit of Jacques Stella, referring 
 to De Piles for his authority ; whereas there appears nothing in De Piles any 
 way referable to Francis Stella. 
 
 Henry STENWYCK, or STEENWYCK, the Old. 
 Painted PerfreRive end Archi tenure. 
 Died 1603, aged 53. 
 He was born at Steenwyck, in 1550, and was the difciple of John de Vries, 
 who excelled in painting architecture and perfpective. In imitation of the ftyle 
 of his mafter Stenwyckchoi'e thole kind of fubjects ; but furpalTed him and all 
 his cotemporaries, in the truth, neatnefs, tranfparence, and delicacy of his 
 pictures. His fubjects were the inlides of fuperb churches, and convents, of 
 Gothick architecture, and generally views of them by night, when they were illu- 
 minated by flambeaux, tapers, or a number of candles fixed in magnificent luftres, 
 oc fconces, 
 
 He 
 
S T E [ 591 ] STO 
 
 He vvas a thorough mafter of the true principles of the chiaro-fcuro, and diftri- 
 buted his lights and fhadows with fuch judgement, as to produce the molt 
 aftonifhing effects. The reflexions of his lights are charming, and every column, 
 cornice, or other member of his Gothick architecture, is painted with the utmoft 
 truth, and precifion. His pencil is wonderfully delicate ; his touch light and 
 fharp ; and as he was not expert at defigning figures, thofe that appear in any 
 of his compofkions, were inferted by Brueghel, Van Tulden, and other eminent 
 artifts. 
 
 The genuine pictures of this mafter are extremely fcarce, and are very highly- 
 prized in every part of Europe. 
 
 *Henry STENWYCK, or STEENWYCK, the Young. 
 
 Painted PerfpeSlive, and Portraits. 
 
 He was born about 1589, aruLwas the fon of the famous Henry Stenwyck, by 
 whom he was taught the art of parting •, and by ftudying the works of his father 
 from his infancy, and alio receiving excellent directions from him, he adopted the 
 fame manner and ftyle •, and, by fome very competent judges, was thought to- 
 have often equalled, if not furpaffed his father. 
 
 Vandyck, who admired his works, introduced him to the court of King- 
 Charles I, where he met with Rich a degree of encouragement, as was due to his 
 extraordinary talents, and found employment in England for feveral years. His 
 ufual fubjects were the infides of churches, and grand edifices ; but at laft he 
 quitted the dark manner, which he had originally acquired by imitating the 
 manner of his father. He fometimes painted the back-grounds of Vandyck's 
 portraits, as often as they required ornamental architecture ; and it is the portrait 
 of the younger Stenwyck which was painted by Vandyck, and perpetuated by 
 his hand among the diftinguifhed artifts of his time. 
 
 He died at London ; and his widow, who practifed perfpective painting 
 during the life of her hufband, retired after his death to Amfterdam, where (lie 
 followed that profeffion, and painted in the ftyle of her hufband and his father, 
 with great credit ; and as her works were generally efteemed, fhe was enabled to 
 live in affluence and honour.. 
 
 Nicholas d e Helt STOCCADE. 
 
 Painted Hijlory, and Portrait. 
 He was born at Nimeguen, in 1614, and having the advantage of a near 
 alliance to David Ryccaert the old, who was his father-in-law, he became his 
 difciple, and was inftructed by him with extraordinary care. But, as foon as he 
 imagined himfelf capable of fubfifting by .lis own induftry, and by the know- 
 ledge he had already acquired, he travelled firft to Rome to improve himfelf in 
 defign, and went afterwards to Venice, to ftudy- that excellence of colouricg, 
 for which the artifts of the Venetian fchool are lb particularly eminent. 
 
 * The authors of the Abregede la Vie des Peintres, call the fon of Henry Stenwyck, Nicholas, 
 though Defcamps and mod writers affirm, that the name of the younger Stenwyck, who refiucd in 
 London, and was favoured by Charles I, and Vandyck, was undoubtedly Henry. There was a pain if r 
 at Breda, of the name of Stenwyck, who is by fome called Nicholas, and probably thofe authors 
 have miftaken the one for the other ; but the fubjects painted by the latter, were emblems of mortali- 
 ty and {till life ; whereas Henry Stenwyck painted no fubjefts but of perfpeftive and architecture. 
 
 2. In 
 
S T O [ 592 ] S T R 
 
 InWs return to his own country he vifited France, where his works received 
 .•^reat approbation, and he was appointed painter to the French king. Moft of the 
 paintings of this mafter are preferved in Venice and Rome, as he refided for a 
 Jong time in thofe cities ; and few of them are to be met with in our kingdoms, 
 though they are very much prized. 
 
 The hiftorical pictures which he painted are of a large fize, and his figures are 
 defigned in a good tafte. He had a broad and free manner of penciling, with 
 a remarkable fweetnefs of colour ; and (hewed an ingenious Angularity in expref- 
 Jing the actions and paffions of his hiftorical characters, in a manner very differ- 
 ent from other defigners. For inftance, while in the ftory of Andromeda, many- 
 other painters reprefented her as almoft dying with fear and terror, on her 
 appre heft lion of her danger from the monfter; this artift defcribed herinmodelt 
 confufion, as bluffiing more from the confcioufnefs of her being expofed naked, 
 than terrified at all the horrors with which (he was threatened. That picture, 
 and thofe of Clelia, and Jofeph diftributing rh corn in Egypt, are exceedingly 
 admired, and were highly celebrated by the bed. poets of the Low Countries. 
 
 Abraham STORK. 
 Painted Sea-Pieces, and Sea-ports. 
 Died 1708. 
 
 He was born at Amfterdam, but the mafter from whom he learned the art is 
 not mentioned. He ftudied afliduoufly after nature, and fketched every veflel, 
 and every view, which he intended to introduce in any of his compofitions •, by 
 which means his feas, rocks, havens, and (hips, have a ftrong character of truth 
 to recommend them. 
 
 His ufual fnbjects are, the reprefentation of veffels at fea in calms orftorms, 
 or riding at anchor in havens ; alfo views of fea-ports, with a great variety of 
 boats, barges, and (hips, with a great number of figures occupied in different 
 employments, lading or unlading the veffels. His colouring is pleafing, his touch 
 full of fpirit, and his pencil clean, neat, and delicate. His figures, though fmall, 
 .are defigned with a correct exactnefs ; and his compofitions are generally filled 
 with fuch a number of them, as at once furprizes and entertains the obferver. 
 
 A moft capital picture of this mafter, is the reception of the Duke of Marlbo- 
 rough in the river Amftel ; in which he has reprefented an inconceivable 
 number of veffels, barges, and yachts, fuperbly decorated, and crowded with 
 figures in a variety of habits, adapted to their different dignities, ranks, and 
 conditions. And although the compofition is immenfe, yet it is dilpofed without 
 any confufion, and every part of it is very neatly handled, and delicately finiftied. 
 
 He had a brother who was a landfcape painter, and for the moft part painted 
 views of the Rhine j but he did not arrive at the excellence of Abraham. 
 
 John 
 
STR [ 593 ] STR 
 
 John STRADA, or STRADANUS. 
 
 Painted Hijlory, Animals, Battles, and Chaces. 
 
 * Died 1604, aged 68. 
 
 He was born at Bruges, in 1536, of an illuftrious family, and in that citjr 
 ftudied the firft principles of painting ; but to complete his knowledge he went 
 very young to Italy, and for fome time found employment at Florence in the 
 palace of the duke, and alfo in the palaces of fome of the nobility. From thence 
 he proceeded to Rome, where he exerted his utmoft induftry toftudy the antiques,, 
 the works of Raphael, and Buonaroti, which gave him a much better tafte of 
 compofition and correetnefs, and enabled him to appear as one of the eminent 
 artifts of his time. Before he quitted Rome, he painted in conjunction with 
 two celebrated matters, Daniel da Volterra, and Francefco Salviati, at the 
 Pope's palace of Belvedere, and acquired a great deal of the manner of SalviatL 
 
 Although he was invited to pies, and other cities of Italy, where he finifh- 
 ed a great many confiderable works in frefco and in oil, yet he fixed his refi- 
 dence at Florence ; and in that city are ftill to be feen fome noble performances 
 of Stradanus, which will perpetuate his reputation. In particular, a painting 
 reprefenting the Crucifixion of Chrift between the thieves •, which is a grand 
 and fine competition, confifting of a number of figures of foot foldiers and 
 horfemen, all of them rather larger than life, and around the Crofs are, the 
 Virgin, S. John, and Mary Magdalen. 
 
 Befides the Subjects taken from facred hiftory, which he was frequently en- 
 gaged to undertake, he delighted to paint animals, huntings of the wild boar, 
 and ibmetimes battles ; all which fubjecls he executed in a noble ftyle, with a- 
 ready hand, and firm pencil. But, notwithstanding his long refidence in Italy, 
 and his ardent ftudies after the antiques and famous painters of Rome, he 
 always retained too much of the Flemilh tafte, nor could he ever totally divert 
 himfelf of it. 
 
 Stradanus however had a good tafte of defign,- and an agreeable tone of 
 colouring •, and thofe works of his which are in the palace of Belvedere at 
 Rome, maintain their credit, although they are placed among the paintings of 
 Salviati, and Volterra. 
 
 Jurian Van STREEK. 
 
 Painted Portraits, and Still Life. 
 
 Died 1678, aged 46. 
 
 He was born at Amfterdam, in 1632, and thofe objects of ftill life which- he 
 
 ehofe for his Subjects, were painted by him in a very agreeable manner. He 
 
 carefully ftudied and imitated nature in all his compositions, and he grouped 
 
 his objects with fo much judgement, that they harmonized very pleafingly to- 
 
 * DePikfr, and Refta, fix the birth of Stradanus in 1 527, and his death in i6o.i, aged 77, yet 
 Sandrart, and other writers fix his birth in 1536, and his death in 1604, aged 63.. But the authors 
 of the Abrege dela Vie des Peintres, though they appear to be perfons of tafte and judgement, have 
 unaccountably affirmed that Stradanus was fourfcore and two years old at his death, although they 
 £x his birth in 1536, and his death in 1605, which dates can only allow him to be 69. Vid. 
 Abrege, &c. vol. II. p. 113.. 
 
 2. gether* 
 
STR [ 594 ] ST R 
 
 her, He underftooJ the chiaro-fcuro thoroughly, and by that means gave 
 i pictures great force, relief, and true relernblance of nature, 
 lie fometimes painted portraits, which were well efteemed ; and had a free 
 nr.ni pencil, as alfo grea.t truth in his colouring. 
 
 Henry Van STREEK. 
 
 Painted Hiftory, and Architecture. 
 Died 1 713, aged 54. 
 
 He was the fon of Jurian van Streek, born at Amfterdam in 1659, and at 
 firft was inftiucled by his father, till he was a tolerable proficient j but, after- 
 wards he was placed as a difciple with Emanuel de Wit. 
 
 Under the direction of that mafter he ftudied for feveral years, and afiumed 
 his manner and ftyle of colouring •, yet his inclination led him principally to 
 paint architecture, and he gained confiderable reputation by his performances 
 in that ftyle, which were ulually views of the infides of churches, convents, 
 pahces, town-halls, and other grand buildings, in which his perfpective wai 
 regular, and true, and the imitation very exact. 
 
 N. Vander STRETEN, or STRAETEN. 
 
 Painted Landfcape. 
 
 He was born in Holland, in 1680, and had an extraordinary genius, with a 
 very lively imagination •, by which he made a remarkable progrefs in the art of 
 painting, at an early rime of life. Nature was his principal itudy, and by dili- 
 gent practice he acquired an uncommon freedom of hand ; and at his firft 
 letting out in his profeffion, was qualified to make a confiderable figure, among 
 the beft landfcape painters of his time. 
 
 He (hewed abundance of merit, in his drawings after nature with black and 
 red chalk •, but his inordinate love of afibciating with a Fet of gay diffolute com- 
 panions, deprived him of his fortune and reputation, and deftroyed thofe talents, 
 which if they had been properly cultivated, might have procured him affluence, 
 honour, and efteem. 
 
 He vifited London, as it feemed the moft certain place in Europe for an arrift 
 to meet with encouragement, and he had the goxi fortune to find his work fo 
 much coveted, that he could fcarce execute the quantity that was befpoke ; and 
 his pictures had, at that time, fuch real merit, asjuftified the eager defire of the 
 publick to poffefs fome of his performances. But, the affluence which he for 
 fame time enjoyed, ferved only to give him a flronger appetite to his predomi- 
 nant pkafures •, and wherever he could procure a flatterer to feed his vanity, he 
 wafted his fubftance to entertain him. 
 
 So abandoned a courle of life as he conftantly indulged, impaired his 
 abilities •, and although he fhewed the fame freedom of hand, he had neither 
 the fame judgement, nor the fame force. He painted ten pictures in one day, 
 and each of them full of agreeable variety, with views of mountains, forefts, 
 water-falls, and other pleafing incidents •, and thofe pictures were fixed up in 
 taverns, where he too frequently conlumed his time, and his fortune ; yet even 
 in fuch a place, they excited the curiofity of many connoiiTeuri, who reforted 
 
 thither 
 
STR [ 595 ] S T U 
 
 thither to fee them. However, his early productions are far fuperior to thofe of 
 his latter time, and it is from thofe only that his character, or power as a painter, 
 ought to be eftimated. 
 
 Peter STRUDEL. 
 
 Painted Hiftory. 
 Died 171 7, aged 37. 
 
 He was born in the Tirolefe, in 1680, and went early to Venice, where he 
 had the happinefs of being admitted a difciple of Carlo Loti, by whofe excellent 
 precepts and example, he very foon fhewed himfelf fuperior to thofe who were 
 trained up in the fame fchool ; and as well by his fkill, as by the readinefs of 
 his execution, obtained particular marks of regard. 
 
 By the Emperor Leopold he M^s.invited to Vienna, and employed to adorn the 
 palaces of that Monarch ; where he finiihed feveral very grand compofitions, fo 
 much to the fatisfaction of the Emperor, and his whole court, that as an 
 acknowledgement of his merit, he was honoured with the title of a Baron. 
 Many of the churches and convents of Germany, are adorned by his paintings •, 
 and, when the fhortnefs of his life is confidered, it might appear amazing to 
 think, what a number of large works were finifhed by his hand. 
 
 His compofitions fhewed genius, and good invention •, and alfo an original 
 tafte and fpirit, not indebted to others for any part of his defign. He ftudied 
 nature with accuracy and judgement, and the effect of that ftudy appears in the 
 truth of all his performances. His colouring is ftrong, his defign correct ; and 
 he had a manner in his painting boys, that was peculiarly graceful, exprefling 
 very artfully the plumpnefs and pliancy of the limbs at their age, and always 
 giving them a natural and agreeable colour. 
 
 STUDIO. Vid. Hendrick Van Lint. 
 
 Ernest STUVEN. 
 Painted Fruit, Flowers, and Portraits. 
 Died 1 7 12, aged 55. 
 
 He was born at Hamburgh, in 1 657, and was taught the rudiments of the 
 art by cne Hins, a painter in that city ; but at the age of eighteen he went to 
 Amiterdam, and fpent fome time under the direction of John Voorhout, and 
 William Van Aalft. 
 
 As he had obferved that portrait painting was a moft profitable branch of his 
 profdhon, he applied himfelf to it induftrioufly ; yet was he foon difcouraged, 
 as he perceived his pencil, (as well as his genius,) was better adapted to the 
 painting of fruit and flowers, and therefore he placed himfelf as a difciple with 
 Abraham Mignon. His works foon recommended him to the favour of the 
 publick, and he was confidered as a very excellent painter, in the ftyle of his 
 m after. 
 
 All thofe objects of which his fubject was compofed, he copied after nature, 
 and imitated them with a neat and beautiful exactnefs. He grouped them 
 
 G g g g agreeably, 
 
SUA [ 596 ] SUB 
 
 agreeably, andfinifhcd his pictures with a light touch, giving them fuch a trans- 
 parence, as well as truth, as mufl always render them eftimable, although they 
 are not of the firft rank. 
 
 Lambert SUAVIUS. Vid. Lambert Lombard. 
 
 Peter SUBLEYRAS. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1 749, aged 50. 
 
 He was born at Ufez, a town in Languedoc, not far from Nifmes, in 1699, 
 and was the fon of an indifferent painter, who taught him the firft principles of 
 drawing and defign. But, when he perceived in Peter fuch evident appearances 
 of an happy genius, as entitled him to a much more able inftruclor, he placed 
 him as a difciple with Anthony Rivalz at Touloufe. 
 
 His proficiency under that mafter was confiderable, and it qualified him to 
 appear at Paris with fo great credit, (particularly on account of a defign repre- 
 fenting the Brazen Serpent in the wildernefs, by which he gained the prize at the 
 academy,) that he was lent to Rome by order of the French King, where he fpent 
 above feven years in purluing his ftudies, and perfecting his hand, as well as his 
 tafte of defign. 
 
 At laft he rofe to high reputation, and was employed by the Pope, the cardi- 
 nals, and the principal nobility ; and his work was coveted, not only by the 
 grandees of Italy, but by feveral of the princes of Europe. He painted one 
 grand compofition for the church of S. Peter, which was extremely commended; 
 he finifhed alfo abundance of eafel pictures for pri /ate perfons ; and being full as 
 excellent in portrait painting as in hiftory, he had the honour to paint the portraits 
 of Benedict XIV, and a great number of the cardinals and princes who refided 
 at Rome. 
 
 He was remarkable for the delicacy of his pencil, for the goodnefs of his 
 colouring, and for a judicious manner of diipofinghis iubjecfs •, and he pofTefled 
 fo many amiable qualities, united with a fine underftanding, that he lived uni- 
 verfally efteemed, and died at Rome univerfally regretted. 
 
 Justus SUBTERMANS, or Sutermans. 
 
 Painted Portrait, and Hiftory. 
 
 Died 1 68 1, aged 84. 
 
 He was born at Antwerp, in 1597, and was the difciple of William de Vos, 
 though he alio received inftruction from Francis Pourbus. By praftifing under 
 both ofthofe matters, he formed a ftyle that was accounted elegant, and in his 
 colouring and difpofition, equalled the beft mafters who were his cotemporaries. 
 
 But, having eftablifhed his reputation in his own country, he travelled to 
 improve himlelfin Italy ; he vifited the principal cities, and accurately ftudied 
 every thing, that could any way conduce to the advancement of his tafte, or his 
 knowledge. For many years he was employed by Cofmo II. Duke of Tufcany, 
 by the Emperor Ferdinand II, by Pope Urban VIII, and by moft of the 
 cardinals, princes, and nobility of every city through which he paffed. 
 
 The 
 
SWA [ 597 ] SUE 
 
 The invention of Subtermans was admirable, and he had an elevated manner 
 of thinking and compofing ; his attitudes were juft, and natural •, his draperies 
 broad, and well call ; his colouring, though of a particular kind, was ftrong, 
 lively, and pleafing, mewing a powerful effect from the management of the 
 chiaro-fcuro, and his expreflion is excellent. All which perfections in this 
 great mafter, may be obferved in a celebrated picture of his hand, in the palace 
 at Florence. The fubject of it is, the Homage fvvorn to Ferdinand II, by the 
 Florentine nobility. It is a grand and fine compofition ; the colouring is won- 
 derfully natural and true, having alfo an extraordinary force ; and the figures, 
 which are all portraits, are defigned fo judicioufly, and have their characters fo 
 well marked, that it is eafy to perceive, one of his greateft excellencies confifted 
 in painting portraits. 
 
 Herman SWANEFELD, called the Hermit of Italy. 
 
 Painted Landfcape. 
 Died 1680, aged 60. 
 
 He was born in 1620, and it is generally faid, that he was the difciple of 
 Gerard Douw •, but he went very young to Italy, and his genius prompting him 
 to landfcape painting, he placed himfelf as a difciple with that inimitable artift 
 Claude Lorraine, and foon proved himfelf worthy of fo diftinguifhed a mafter. 
 He ftudied nature inceffanfly; and very frequently, along with Claude, obferved 
 the tingings of the morning light on the furfaces of different objects, on the 
 mountains, rocks, trees, fkies and waters ; and the various effects of light at 
 noon, and evening; by which he was enabled to give his own works fo much 
 beautiful truth and nature, as will for ever render them extremely eftimable. 
 
 It afforded him particular delight, to frequent the elegant remains of anti- 
 quity about Rome, to obferve, and to defign after the fined ruins •, and in that 
 entertainment he fpent all his leifure hours. From which ftudious and retired 
 manner of life, he was called the Hermit, and although he was by birth a 
 Fleming, he was diftinguifhed by the name of the Hermit of Italy. 
 
 Flis pictures have a iweetnefs and tendernefs like Claude, but they want his 
 warmth, and are not foftriking in their effect -, yet with refpect to his fio-ures 
 and animals, they are far fuperior to thofe of his mafter, in the defign as well 
 as the outline. The forms, and the touchings of his trees, are evidentTproofs of 
 the delicacy of his ideas, and of his pencil ; and as the paintings of Swanefeld 
 approach neareft to the ftyle and manner of Claude, they have always been pro- 
 portionally prized •, and, contrary to what has happened to fome of the oreateft 
 artifts that ever painted, his pictures were fo eagerly coveted, that even in the 
 life time of Swanefeld, they were fold at exceffive high prices. 
 
 Eustachius LE SUEUR. 
 
 Painted Hifiory. 
 
 Died 1655, aged 38. 
 
 He was born at Paris, in 161 7, was the difciple of Simon Vouet, and became 
 
 one of the moft eminent artifts of the French fchool, his reputation having rofe 
 
 to fo high a degree, that he was called the French Raphael. He ftudied thofe 
 
 G ggg 2 antiques 
 
S Y D [ 598 ] S Y D 
 
 antiques, to which he had accefs in his own country, with all poflible afliduity; and 
 feemed to be always ambitious of imitating the fublime ftyle of Raphael, as 
 well as other diftinguifhed mafters of the Roman fchool •, but aiming to be 
 delicate, his proportions are fometimes too flender, and his figures frequently 
 appear to have too great a length. 
 
 The invention of Le Sueur was eafy and fertile •, his compofitions grand and 
 judicious ; his draperies fhew fimplicity and grandeur united, in conformity to 
 the tafte of Raphael •, and in the manner of his folds he endeavoured to obferve 
 the order of the antique. Yet perhaps his too clofe attention to the antique,, 
 contributed in a great meafure to that hardnefs and drynefs, which are obferv- 
 able in fome parts of his works. He never quite diverted himfelf of the manner 
 of colouring, which he had acquired under Vouet, and knew but little of the 
 chiaro-fcuro, or of thofe colours which arc called local. 
 
 Le Sueur had undoubtedly very extraordinary merit, but that merit is blended 
 with °reat imperfections -, fo that in fome parts of every picture he painted, he 
 appears unequal to himfelf. His tafte of defign, and the airs of his heads are 
 juftly to be admired •, but his naked figures areufually faulty, in the difpofition, 
 as well as the action of the mufcles. The diftributioncf his lights and fhadows 
 is not judicious ; his colouring is bold, but not free •, and there feems to be too 
 much ftrength in proportion to the defign. Yet, his attitudes are always noble, 
 fimple, and natural •, his expreffion is great, and well adapted to his fubject, and 
 he was ingenious in the choice of his objects. Upon the whole, he had an un- 
 common mixture of the elegancies and defects of painting ; he excelled in the 
 fup;rior and moft difficult parts of his profeffion, and erred in thofe which are 
 lead important. 
 
 The principal work of this mafter is the life of S. Bruno, in twenty two 
 pictures, preferved in the cloifter of the Chartreux at Paris ; it employed him 
 tor three years, and by that performance, pofterity will be enabled to judge of 
 his eminent abilities. 
 
 D a n 1 e l S Y D E R, called Cavalie're D a n i e l l o. 
 Painted Hijlory, and Portrait. 
 Died 1J21, aged 74. 
 
 lie was born at Vienna in Auftria, in 1647, and there received his education 
 in philofophv, and polite literature •, but he went young to Venice, and ftudied 
 the art of painting under Carlo Lo:i. After a clofe application for fome years 
 he imitated the manner of that artift with fo great accuracy, that many of his 
 pictures have been taken for thofe of his mafter •, and even in Italy, where two 
 or three pictures of the fame fubject are feen, it is a difputable point at this day, 
 which were painted by Syder, and which byLoti. 
 
 When he had continued a fulficient length of time at Venice to perfect his 
 knowledge of the art of colouring, he removed to Rome, to obtain a more 
 improved tafte of drawing and defign, as the Roman fchool excelled in thofe 
 
 anches •, and preferably to all others in that city, he placed himfelf under the 
 direction of Carlo Maratti, who was at that time the moft celebrated mafter in 
 Italy. Every advantage he could hope for, he obtained from the precepts of 
 that great man •, who not only freely communicated whatever obfervjtions might 
 
 be 
 
TAF [ 599 ] T A F 
 
 be profitable to him in his profeffion, but alfo recommended him to the favour 
 of the Duke of Savoy. That prince having received him with Angular refpecf , 
 engaged him in his fervice ; and was fo exceedingly pleafed with his perfor- 
 mances, that he fhewed him many publick marks of his regard, and conferred 
 on him the honour of knighthood. 
 
 Two capital compofitions of this matter are at Rome, one in the Chiefa Nuova, 
 and the other in the church of S. Filippo Neri •, the fubjects of which pictures 
 are, the Gathering of the Manna in the defart, and a Laft Supper. In both, 
 the difpofition is good, the drawing and delign fo correct, and the expreflion of 
 the paffions fo excellent, that thofe two compofitions are deemed fuflicient to 
 eternize his reputation. 
 
 One incident relative to this mafter may not be unworthy of the reader's notice^ 
 as it ferves to fhew how highly he was favoured by his patron the Duke of 
 Savoy. To unbend his mind from the fatigue of compofing hiftorical fubjects, 
 he fometimes painted portraits ; and when the Duke fat down to be painted, 
 Syder appeared in fome confufion, having miflaid his maulftick •, but, the 
 Duke offered him his walking cane, which was very richly fet with diamonds, 
 and chearfuily afked him whether that would anfwer his purpofe. The painter 
 made ufe of it while the Duke fat, and prefented it to him as foon as he arofe ; 
 but the courtiers, having previoufly received their directions, prevented him 
 from returning it, and told Syder, that the Duke never relumed a gift, which he 
 had voluntarily beftowed. 
 
 T. 
 
 Andrea TAFFL 
 
 Painted Hifiory in Mofaick. 
 
 Died 1294, aged 8 1. 
 
 He was born at Florence, in 12 13, and was the firft who introduced among 
 his countrymen, the true knowledge of the art of painting in Moiaic, as 
 Cimabue had before revived the art of painting in frefco, and diftemper, in that 
 city. Andrea having heard of fome very famous Greek artifts, who painted 
 Mofaick in the church of S. Mark at Venice, went thither, and cultivated an 
 intimate friendfhip with a principal perfon among them, called Apollonius $ and 
 finally prevailed on him by folicitations, by prefents, and by large promifes of 
 advantage, to accompany him to Florence, to teach him tiie beit manner < i 
 working in Mofaick, and alfo the method of compounding the moil durable 
 kind of cement. 
 
 On their arrival at Florence, they aflbciated together, and executed feveral 
 works, which in that age were wonderfully admired. But, the performance 
 which fecured the fame of Andrea, was a Dead Chrift, which he finished with 
 his own hand, in a chapel at Florence ; and it ceil ni.n abundance of care and 
 labour, as the defign was feven cubits long. 
 
 2 Undoubtedly 
 
TAR [ 600 ] T A V 
 
 Undoubtedly Andrea was very far excelled by Giotto, and many other fub- 
 fequent artifts, yet be had the honour, of being the firft who inftrudted his 
 countrymen in the art of Mofaick, and pointed out to them that road to excel- 
 lence, which they afterwards very happily purfued. 
 
 Emilio TARUFFI. 
 Painted Landfcape, and Hijlory. 
 Died 1 694, aged 62. 
 1 Ie was born at Bologna, in 1632, and was a difciple of Albano, with whom 
 he ftudied for fome years ; and then appeared in his profefiion, with all thole 
 advantages that might be expected, from an artift directed by lb eminent a 
 m after. 
 
 The tafte of Taruffi in landfcape was beautiful, and he had a moft agreeable 
 choice in his fcenes and fituations ; his figures are elegant, and placed with 
 judgement •, and as well in hiftorical compolitions as in his landfcapes, he had a 
 lively and pleafing manner of painting, and defigning. There is a fine picture 
 by Taruffi, in the noble collection of the earl of Pembroke at Wilton, reprefent- 
 ing Cupid forcing away his bow, from another boy who had feized it. 
 
 Agostino TASSI. 
 Painted Landfcapes, Views of the Sea, and Architecture. 
 
 He was born at Bologna, about 1580, where he learned the rudiments of the 
 art ; but he completed his ftudies at Rome, having there been the difciple of 
 Paul Bril. He imitated in his landfcapes the ftyle, and manner of colouring, 
 which fo defervedly had rendered his mafter famous ■■, and was much ad- 
 mired for the freedom of his pencil -, for a remarkable fpirit in his touch either 
 in the leafing of his trees, or in the plants with which the fore-ground of his 
 pictures was ufually decorated ; and alio for the goodnefs of his colouring. Nor 
 was he lefs eminent as a painter of architecture and perfpective, to which branches 
 he particularly applied himfelf, as he found conftant employment for his pencil 
 in that ftyle. 
 
 For a long time he was engaged at Genoa, along with Ventura Salimbeni ; 
 and thofe works which they jointly performed, contributed equally to the honour 
 and applaule of both. Very few of the paintings of this mafter are to be feen 
 in rhefe kingdoms, but whenever they are to be pure haled, they afford confider- 
 able prices. 
 
 L A z A R TAVARONE. 
 Painted Hijlory, and Portrait. 
 Died 1 63 1, aged 75. 
 He was born at Genoa, in 1556, and was a difciple of Luca Cangiagio or 
 Cambiafi, a mafter of extraordinary diftinction. 
 
 When his proficiency under that able artift, fufficiently qualified him to appear 
 
 with credit in his profefiion, Luca was invited by Philip II, King of Spain, to 
 
 paint feveral grand deligns at the Elcurial ; and he took Tavarone along with 
 
 2 him, 
 
T E M [ 601 ] TEN 
 
 iim, to afiift him in that undertaking. But, after the death of Cangiagio, Ta- 
 varone was retained in the fervice of that Monarch for nine years ; not only to 
 finifh what had been left imperfeft by his mafter, but alfo to paint a great many 
 compofitions of his own, which he executed' to the intire Satisfaction of the 
 king, and his whole court. 
 
 He likewife painted portraits, when he returned from Spain to his own country,, 
 and acquired by his works a great fortune, and a much greater reputation. 
 
 Peter TEMPEST A. Vid. Peter Molvn. 
 
 Anthony TEMPEST A. 
 
 Painted Landfcapes y Animals, and Battles. 
 Died 1630, aged 75. 
 He was born at Florence, in 1555, and was a difciple of John Strada or 
 Stradanus •, but he proved in many refpects far fuperior to his mafter, particularly 
 in the fertility of his invention, and alio in the abundance and variety of his 
 figures. The fubjects which he moft delighted to paint, were animals of various 
 kinds ; huntings of the flag and wild boar, and battles ; and thofe Subjects he 
 exprefled with much livelinefs and nature, though he feemed to neglect the 
 delicacy of colouring. He invented his fubjects with eafe •, he had a ready 
 execution, and his touch was free and firm ; but his chiefeft excellence confifted 
 in battles, and horfes, which he defigned with a peculiar fpint. 
 
 David TENDERS, the Old. 
 
 Painted Ccnverfations. 
 Died 1649, a £ e d 67- 
 
 He was born at Antwerp, in 1 582, and had the good fortune to be a difciple 
 of Rubens, who highly efteemed him for his promifing genius ; and with great 
 fatisfaclion examined and commended his defigr.s. From the fchooi of that 
 celebrated painter, Teniers went to finifh his ftudies at Rome ; and having 
 attached himfelf to Adam Ellheimer, he continued with him for fix years -, and 
 between the ftyles of his two mafters, who were incomparable artiits in their 
 different manners, he formed a peculiar ftyle which was agreeable and veiy 
 natural •, and he appeared to be the inventor of that manner of painting, which 
 his fon afterwards fo happily cultivated, and brought to its utmoft perfection. 
 
 His pictures were ufually fmall, and his fubjects were the (hops or elabora- 
 tories of chymifh, converfations, rural feftivities and exerciies, temptations of 
 S. Anthony, or Fairs, with a number of figures •, which he executed with fo 
 neat a pencil, and with fo much nature and truth, that his pictures procured 
 him great honour ; as well as continual employment; and every lover of. the 
 art feemed eagerly defirous to pofTels fome of his works. 
 
 However, although his colouring, his touch, his defign, and his pleafing 
 diftribution of the lights and Shadows in his pictures, very deferv-edly received 
 univerfal applaufe ; yet whoever will critically examine the paintings of the old 
 and young Teniers, may oblerve a touch more free and delicate, a finer choice 
 of actions and attitudes, and a much greater transparence in the works 01 th< 
 fon, than in thofe of the father. 
 
 Davis 
 
TEN [ 602 ] TEN 
 
 David TENIERS, the Young. 
 
 Painted Land/capes, Conversations^ Still Life, and Portraits. 
 * Died 1694, aged 84. 
 He was born at Antwerp, in 16 10, and was principally instructed by his 
 father, whofe tafte of defign he always followed; but he was afterwards the 
 difciple of Adrian Brouwer, and had alio the advantage of receiving great im- 
 provement (particularly in reipect of colouring) from the precepts and direction 
 of Rubens. 
 
 For fome time after he commenced painter, his merit was fo little regarded, that 
 he was often under a neceffity of going in peribn to BrufTels, to dilpofe of his 
 own pictures, as well as thole that were painted by his diSciples •, and was as 
 often mortified to find the paintings of Tilburg, Artois, Van Heil, and others, 
 preferred to his own, although they were in every reSpect far inferior. But, the 
 Archduke L.eopold as foon as he had Seen fome of his performances, immediately 
 distinguished him in an honourable manner ; placed him in Such a light as made 
 all his merit conlpicuous ; and laid the foundation of his future fortune. He 
 •appointed him one of the gentlemen of his bed chamber, pretented him with a 
 chain of gold, to which the portrait of the Archduke was affixed, and gave him 
 the direction of his gallery of paintings ; which Teniers afterwards copied, and 
 publifhed thofe prints of them in a folio volume, that are well known by all the 
 lovers of the art of painting. 
 
 The works of this extraordinary genius, being difperfed through moft of the 
 European courts, and fome of them having been transmitted to the King of 
 Spain, he expreffed uncommon pleafure in beholding them ; invited the aitift 
 into his fervice ; employed him for feveral years ; and ordered a gallery to be 
 built, as a particular repofitory for the paintings of Teniers. Nor had this 
 fgaftef fewer marks of honour, and particular elleem, from Don John of 
 AuStria, and Chriflina Queen of Sweden •, the former having afibciated with 
 him in the moft familiar friendship -, and the latter, (befides a liberal payment 
 for his works,) having made him many valuable prefents, and among others a 
 chain of gold, with her own bufto imprelfed on a medal. 
 
 He Studied nature in every Shape, with a moft curious and critical observa- 
 tion •, and as he generally compofed his Subjects from perSons in low Stations, he 
 accuftomed himlelf to frequent their meetings at Sports, feafts, and paftimes ; 
 and by that means had an opportunity of remarking the Simplicity of their 
 manners, and the various actions, attitudes, characters, and paSfions, of every 
 age and Sex. From Such observations he had nature always preSent to his 
 imagination, in whatever Subjects he compoSed •, and was enabled to give his 
 figures Such truth, and Such expreSfion, as mull for ever allure his works of the 
 approbation of the belt judges. And it cannot but Seem Surprizing, that Sub- 
 jects which appear to be So low, and barren, could furnifh fuch a wonderful 
 variety from the hand of one mailer. 
 
 Teniers had a ready and lively invention, and was full as ready to execute, as 
 to invent ; he made nature his model perpetually, and imitated it with aStoniShing 
 
 • Defcamps fixes the death of Teniers, in 1690, at the age of So, contrary to other authentick 
 w/itefs, who fix his death in 1694., at the age of 84. 
 
 exactnefs 
 
TEN [ 603 ] T E R 
 
 exaftnefs and truth. His pencil is free, and delicate ■, the touching of his trees 
 is light, and firm ; his Ikies are admirable j and although not very much varied, 
 ere clear, and brilliant. And as to the expreffion of his figures, whether they 
 are mirthful, or grave, in anger, or good humour, nothing can be more ftrongly 
 marked, more ftriking, or more natural. His pictures are generally clear in all 
 their parts,' with a beautiful tranfparence •, and it is obferved of him by feveral 
 writers, that he poffeffed the art of relieving his lights, by other lights, without 
 employing deep fhadows, and yet produced the intended effect in a very fur- 
 prizing manner. That method of practice, it is thought, was derived from an 
 obfervation communicated to him by Rubens ■, which was, that ftrong oppofi- 
 tions were not always neceffary to produce a fine effect in a picture ; and that 
 obfervation Rubens knew infallibly to be juft, from his ffcudying the colouring 
 and tints of Titian, with accuracy and judgement. 
 
 Teniers was remarkable alfo for another extraordinary excellence ; the power 
 of imitating the works of the greatefl painters, that Italy, or any other country 
 produced. The power of his pencil was incredible •, he knew how to adapt it 
 to a variety of eminent artifts, whole touch and colouring were exceedingly 
 different ; and yet could give his imitations of thofe mafters fo ftrong a character 
 -of originality, as to leave it doubtful, whether they were not really painted by 
 the very artifts, of whofe manner of thinking, compofing, and penciling, they 
 were only an imitation, or (what the Italians call) Paftici. 
 
 His principal fubjects are landfcapes with fmall figures, corps de garde, 
 merry-makings, kermeffes, fairs, mooting at bins, playing at bowls, and the 
 diverfions, fports, or occupations of villagers ; but, any of thofe fubjecls which 
 he painted in a fmall fize, are by many degrees preferable to thofe of larger 
 dimenfions. Some connoiffeurs have objected to the compofitions of Teniers, 
 that his figures are too fhort and clumfy, and that there appears too much of a 
 iamenefs in their countenances and habits ; but, it ought to be confidered, that 
 as he defigned every object after nature, and formed his ideas from that nature 
 with which he was moft converfant, he may indeed be thought not to have given 
 an elegance to his forms, equal to the Italian ideas of elegance ; but, of fuch 
 elegance as appeared in his models, there is fufficient to demonstrate the good- 
 nels of his choice, and the moft exact precifion in every character, and every 
 expreffion. And the incredible prices which are at this day given for the 
 paintings of this mafter, in every part of Europe, are an inconteitable evidence 
 of the universal efteem, and admiration of his works. 
 
 Many pictures of this great mafter, are accounted principal ornaments of the 
 richeft cabinets of Italy, England, France, Germany, and Ireland, too numerous 
 to be particularly recited ; but Defcamps mentions an altar-piece in the church of 
 Meerbeck, a village near Mechlin, painted by this artift, of which the fubject 
 is the Temptation of S. Anthony ; and what ieems very remarkable is, that the 
 figures are as large as life, and it is thus infcribed, David 'Teniers junior fecit 
 1666. 
 
 TERBRUGGEN. Vid, V e ji b r u g & e n. 
 
 Hhhh Gerard 
 
T E R [ 604 ] T E R 
 
 Gerard TERBURGH, Chevalier. 
 Painted Converfations, and Portraits, 
 Died 1 68 1, * aged 735 
 
 He was bom at Zwol near Overyffel, in. 1 60S,, and learned the art of painting 
 from his father, who had fpent fome years at Rome. Some authors imagine 
 that ha -perfected himfclf under another mafter at Haerlem, before he commen- 
 ced artift ;■ but, however that may be, he made a confiderable figure in the Low 
 Countries, and was accounted a very good painter before he fet out. on his 
 travels. 
 
 He vifited Italy, Germany, England, and France, and wherever he followed 
 his profeffion, received all poffible encouragement and approbation. At length, 
 by the influence of Count Pigoranda, the Spaniih ambaflador at the treaty of 
 Munfter, he was induced tovifit Spain,, and had the happinefs of being favoured 
 by the king, and the grandees of his court. His works afforded fo great fatis- 
 fa'ction to the Spanifh monarch, that he conferred on him the honour of knight- 
 hood, and prefented him. with a chain and medal of gold. 
 
 But, although he had vifited the principal cities of Italy, and had fufficient 
 opportunities of obferving the fined productions of antient and modern artifts ; 
 vet, from his works it appears, that the curiofities of that country mult have 
 made very little impreflion on him, as he never improved his tafte of defign by 
 any thing he had obferved, nor alteied his manner of compofition. 
 
 The fubjefts which Terburgh generally painted, were converfations, repre- 
 fenting either peribns engaged at different games, performers on mufical inftru- 
 ments, or humourous,.droll, adventures and incidents •, all of them copied. from 
 nature, though it muftbe allowed, that in his compofitions nature often appears 
 too fervilely copied, and without that defired embelliihment, which is the refult 
 of elegance of choice. He finifhed his pictures highly, with a light and agreeable 
 touch; his colouring is lively and tranfparent ; and he fhews a pleafing and 
 ikilful management of the chiaro-fcuro •, but, he wanted a better tafte of defign. 
 
 He was remarkable for introducing white fatin, in the drefs of fome figure, in 
 every one of his compofitions •, for, he painted that kind of filk perfectly well", 
 and always took care to difpofe it in fuch places, as caufed it to receive the prin- 
 cipal light ; nor did he ever paint a picture without a fatin drapery. But he was 
 neither lb delicate, nor fo judicious as Mieris, or Gerard Douw, or his difciple 
 Netfcher •, his pencil being more heavy, and his figures more grofs. His greateft 
 excellence confided in portrait, and in that ftyle his colouring was true nature, 
 the refemblance ftriking, and the character well marked. 
 
 The moft capital performance of Terburgh, is the reprefentation of the 
 Plenipotentiaries afiembled at the congrefs of Munfter ; in which he has 
 painted from the life, the portraits of all the ambaffadors, and noble perfons, 
 which were prefent at the figning of that treaty. 
 
 * The authors of the Abrege dela Vie des Pennies fay, that Terburgh died in 1681 at the age 
 of 63. and yet fix his birth iii 1O08, which in 1681 makes him 73. Yid. vol. II. p. 66. 
 
 TERENZIO. Vid. Urbino. 
 
 AUG'J 0- 
 
T E R [ 605 ] T E R 
 
 Augustin TERWESTEN. 
 
 Painted Hijlory. 
 
 Died 171 1, aged 62. 
 
 He was born at the Hague, in 1649, and having from his youth had a 
 fondnefs for the art, he made it hisconftant amufement to draw after prints and 
 cafts, and in fome years acquired fufficient (kill to model in wax, and carve on 
 different metals. But finding himfelf unfatisfied with that knowledge which he 
 had already obtained, he determined to make painting his profeffion, and for 
 that purpofe, although he was near twenty years of age, he placed himielf as a 
 difciple with Wieling, who was a painter in great reputation ; and continued 
 with him for two years, till that mafter went into the fervice of the Elector of 
 Brandenburg. Then, for two years more he practifed in the lchool of William 
 Dodoens, where he improved himfelf in penciling and colouring ■, and after- 
 wards travelled to Italy, to eftablifh himielf in a more correct tafte of defign, 
 than he found it poffible to acquire in his own country. 
 
 At Rome he exerted himfelf to defign after the fineft antiques, and alfo to 
 ftudy and copy the belt works of Raphael ; but at Venice, he devoted his whole 
 attention to the colouring of Titian, and Tintoretto ; and by a clofe applica- 
 tion, during fix years which he fpent in Italy, he obtained fuch improvement, as 
 procured him honour and employment, on his return to his own country. 
 Among other accomplifhments, Terweften had gained an uncommon freedom of 
 hand, and readinefs of pencil, which enabled him to finilh feveral grand compo- 
 fitions, in falons and magnificent apartments, in a fhort fpace of time ; and by 
 thole works, he eftablifhed his reputation effectually through the Low 
 Countries. 
 
 The fubjefts which this mafter painted, were ufually taken from Ovid ; but he 
 likewife compofed many from facred hiftory, as well as from prorane writers. He 
 had a good genius, a lively and prompt invention, and a rapid execution ; his co- 
 louring is natural, his draperies are well caft, his defign is correct, and he is 
 ranked among the principal painters of his time. 
 
 A convincing proof of Terweften's expeditious manner of painting, is af- 
 forded us by Houbraken, from his own knowledge. He tells us, that having 
 paid a vifit to Terweften, while he was painting the hall of burgomafter 
 Slingeland at Dort, with fabulous hiftories from Ovid, and having furveyed the 
 work of the whole apartment, he obferved the outline of a defign fketched only 
 with a crayon on the chimney-piece. He then preffingly invited the artift to 
 lufpend his work for a while, and walk abroad with him ; but Terweften laid, 
 he had fomewhat that would engage him for two hours, and if his friend would 
 call on him at that time, he would chearfully attend him. Houbraken did not 
 fail to return precifely at the time appointed, and then faw with aftonifhment, 
 that in fo fhort a fpace of time as two hours, the chimney-piece was entirely 
 nnifhed, although it con filled of three or four figures. 
 
 He was the principal reviver of the academy at the Hague, which had been 
 much declined ; and by his abilities, it was reftored to its former luftre. At laft 
 he was invited to the court of Brandenburgh, where he was employed to adorn 
 the grand apartments of Orangeburgh •, for which he net only received the 
 commendations of the Elector, and the nobility of his court, but alio the appro- 
 bation of .the beft judges of the art. 
 
 Hhhh 2 At 
 
TER [ 606 ] T E R 
 
 At Berlin he introduced an academy for painting, like that at Paris, of which 
 he was appointed director ; and in that city he continued the remainder of his 
 life, reipecled by his Prince, and efteemed by the nobility. 
 
 Elias TERWESTEN. 
 
 Painted Fruity and Flowers, 
 
 Died 1724, aged 73. 
 
 He was born at the Hague, in 1651, the brother and difciple of Auguftin. 
 
 He became very eminent for painting flowers, animals, and fruit, and his works 
 
 were in great elleem ; but, notwithstanding the fuccefs he experienced in his own 
 
 country, he was defirous to improve himfelf Still more by examining the works 
 
 of the beft artifts of Italy, and therefore travelled to Rome where he fettled 
 
 entirely. 
 
 The Elector of Brandenburgh, confiding in the judgement and Skill of this 
 mailer, appointed him to procure the fineSt cafts from the antique ftatues, for 
 the ornament and ufe of the academy at Berlin •, and he alfo purchafed for that 
 Prince, the valuable curiofities collected by Bellori, which were fo carefully 
 packed up, that they arrived at Berlin without the fmalleft damage. 
 
 Matthew TERWESTEN. 
 Painted Hiftory. 
 Died 1735, aged 65. 
 
 He was born at the Hague, in 1670, being the youngeft brother of Augui- 
 tin ; who with great Satisfaction obierved the early appearances of genius 1 a 
 Matthew, and instructed him carefully in the rudiments of the art. But, after- 
 wards he was fucceiiively the diiciple of William Dodoens, and Daniel Mytens, 
 under whom he made fuch a progrefs, that he distinguished himfelf by feveral 
 good compositions, and finifhed lome noble cielings, which were begun by his 
 brother Auguftin, but had been left imperfect at his going to the court 
 of Berlin. 
 
 As Auguftin had rendered himfelf eminent by having Studied in Italy, 
 Matthew purfued the fame track, and vifited Venice and Rome ; in the former 
 city to obtain a true knowledge of the art of colouring; and in the latter, an 
 elegant tatte of defign ; and in both refpects he proved extremely fuccefsful. 
 So'that, on his arrival in Holland, after perfecting his itudies, he Sound imme- 
 diate employment, and his compositions were approved of by the ableft judges 
 and connoifleurs. 
 
 The greatest part of his performances ; are cielings, and the decoration of 
 grand apartments witlv historical Subjects ; though he frequently painted altar- 
 pieces for many of the churches, and particularly one Sbr the church of the Jan- 
 Scnifts at the Hague, representing the Transfiguration, which is highly com- 
 mended. 
 
 His paintings are allowed to have evident appearances of genius, judgement, 
 and good invention; of remarkable freedom in the execution ; of bting exceed- 
 ingly well coloured ; and correctly defigned. . 
 
 P 1 e t r 
 
T E S [ 607 ] T H I 
 
 Pietro TESTA. 
 
 Painted Hiftory. 
 Died 1650, aged 39. 
 
 He was born at Lucca, in 161 1, where, it is thought, he was inftructed in the- 
 firft principles of painting ; but being impatient to fee Rome, he went thither in 
 the habit of a pilgrim, and for fome time ftudied in the fchool of Dome- 
 nichino. 
 
 He was indefatigable in defigning the antique ftatues, the baffo-relievo's, and 
 magnificent ruins about Rome ; as alfo in attending to the works of the moll 
 celebrated painters ; and gave himfelf up fo entirely to thofe ftudies, that he fuf- 
 fered extreme poverty, being deftitute of all affiftance, except what he could pro- 
 cure for his (ketches and defigns. Sandrart found him in a wretched condi- 
 tion, among the ruins, and compaffionating his diftrefs, conducted him to his 
 own houie, where he cloathed and entertained him •, and not only procured him 
 employment in the gallery of Prince Juiliniani, but took pains to recommend 
 him to others. 
 
 However, although he had fpent fo much time in defigning the antique ftatues, 
 as enabled him to draw any of them even by his memory ; though he had all 
 the afiiftances, which might have been derived from a thorough intimacy with 
 the moft admirable productions of human fkill, and ingenuity ; and although 
 he alio {hewed an unexampled application ; yet, he feems not, at any time, to 
 have produced many things worthy of commendation ; his colouring being very 
 bad, his pencil extremely hard, his genius licentious, and his figures too fre- 
 quently extravagant in their proportions. 
 
 This artift loft his life, by endeavouring to recover his hat, which by a fudden 
 guft of wind was blown into the Tyber, while he fat on the bank defigning. 
 
 John Philip Van THIELEN. 
 
 Painted Flowers. 
 Died 1667, aged 49. 
 
 He was born at Mechlin, in 1618, of a noble family, and was Lord of Cou- 
 wenbergh •, vet, although he was carefully educated, and inftructed in every 
 branch of polite literature, his predominant love to painting prevailed fo far, 
 that he placed himfelf as a difciple with Daniel Segers, 
 
 Under fo able a director, he foon gave evident proofs of genius, and tafte, as 
 well as of patient application to his ftudies •, and imitated the ftyle and manner 
 of his matter with the greateft fuccefs. He compofed his l'ubjects ufually in the 
 tafte of Segers, in garlands of. flowers around fome hiftorical defign, or in fef- 
 toons that encircled vales enriched with bas relief. He copied every object after 
 nature, felected them when they appeared in their fulleft bloom, and grouped 
 them with elegance. Nor can any circurriftan.ee contribute more effectually to the. 
 honour of Van Thielen, than to fay, that his works ftood in competition with 
 thofe of his mafter. His pictures are well compofed, and very highly finifhed, 
 with a light touch, a near pencil, and full as much tranfparence as thofe of 
 Segers; but they were not touched with a fpirit equal to what is cbfervable in 
 the works of that excellent artift, nor are they difpofed with quite fo nv 
 
 arc and elegance. 
 
 . 
 
THI [ 608 ] T H O 
 
 He was much employed by the King of Spain, and mod of his fined pel 
 formanc.es are in the collection of that Monarch. But, there are two capital pic- 
 tures of his at Mechlin, which reprcfent garlands of flowers, with a number of 
 different infects artfully diftributed among the leaves, which are exquifitely fi- 
 nished; the figure of S. Bernard being painted in the centre of the one, and in 
 the other, S. Agatha. Weyerman alfo mentions one with great commenda- 
 tion, which is alio a garland of flowers ; in which is inferted a nymph fleeping, 
 and a iatyr watching to furprize her, the figures being painted by Poelembur". 
 
 It ought to be obferved that this matter rarely inscribed the name of Van 
 Thielen on any of his pictures, but generally marked them with J. or P. Cou- 
 wenbergh, the title of his feigniory. 
 
 Maria Theresa Van THIELEN. 
 Painted Flowers, and Portraits. 
 
 She was the daughter of John Van Thielen, born at Mechlin, in 1640, and 
 inftructed in the art of painting by her father. She painted portraits as excel- 
 lently as fhe did flowers, and for neatnefs of pencil, tender and delicate colouring, 
 and great tranlparence, fhe was not inferior to the bed: of hercotemporaries. 
 
 De Bie obferves that her pictures were worth their weight in gold. 
 
 Anna Maria Van THIELEN. 
 Painted Portraits, and Flowers. 
 She was the fecond daughter of John Van Thielen, born in 1641, and proved 
 as eminent in the fubjects fhe chofe to paint as either her father, or filter. Each 
 of thofe female artifls, feemed to emulate eacli other, in endeavouring to acquire 
 reputation, and honour. Each of them had abundance of merit, and their tafte 
 of defign, colouring, and handling, were perfectly fimilar. 
 
 Francisca Catherina Van THIELEN. 
 Painted Flowers, and Portraits. 
 
 She was a third daughter of John, born in 1645, and, as well as her filters, 
 learned the art of painting from her father. Nor was fhe an ; way imerior to 
 her lifters, either in the delicacy of her pencil, or the lbftnels oi her colouring. 
 
 Jacques Ernest THOMAS, called THOMAS 
 
 of L A N D A W. 
 
 Painted Land/capes. 
 
 Died 1 653, aged 65. 
 
 He was born at Hagelftein, in 1.588, and learned the principles of defign at 
 
 Eandaw ; and when he was only feventeen years of age d:1ingui(hed himfelf fo 
 
 highly, as to obtain the character of a good paint.-r. But, he quitted his own 
 
 country to vifit Italy, and fjxnt fifteen years at Rome, Naples, and Genoa. 
 
 At Rome he affociated with Elfheimer, Laftman, and Pinas, and in their com- 
 pany ftudied nature in the environs of that city •, o'oferving accurately the dif- 
 ferent tinges ef light on all objects, at the different hours of the day, from fun- 
 
 rifing 
 
 5 
 
T H O [ 609 ] T H O 
 
 rifing to fun-fer. He alfo ftudied the manner of the matters who were moft emi- 
 nent ; but particularly devoted himfelf to the ftyle of Elfheimer, to whom he was 
 moft clofely attached in friendfhip, and difinterefted affection. 
 
 He therefore made that celebrated painter his model, and acquired a neat, de- 
 licate, and beautiful manner of touching his trees, Ikies, and figures, which pro- 
 cured him univerlal admiration. He had a wonderful power of imitating the 
 ftyle and touch of Elfheimer, having fo thoroughly ftudied him, that many of 
 thofe copies which he painted after the works of that mafter, as well as many of 
 his own compofitions, have been accounted the work of Elfheimer himfelf. 
 
 It is probable, that he would never have quitted Rome, had it not been on ac- 
 count of the death of his friend Elfheimer ; for, as he both admired and loved 
 him, Rome feemed to have loft in that one artift, not only its greateft ornament, 
 but alfo loft (in refpect to himfelf what he felt moft fenlibly) all that had ren- 
 dered even Rome fo defirable. He therefore, in the fullnefs of grief, quitted 
 that city, returned to his own country, and died in the fervice of the Emperor at: 
 Landaw. 
 
 Sir James THORNHILL 
 
 Painted Hiftory, ArchiteSiure, and Portrait. 
 
 Died 1732, aged 56. 
 
 This mafter was born in Dorfetfhire, in 1676, but was conftrained to feek.out 
 fome profeffion, by the diftrefies of his father,.who had been under aneceffity of 
 felling his paternal eftate. His inclination directed him to the art of painting, 
 and on his arrival at London he applied to his uncle, the famous Doctor Syden- 
 ham, who enabled him to proceed in the ftudy of the art, under the direction of 
 a painter who was not very eminent. However, the genius of Thornhill made 
 ample amends for the infuffkiency of his inftructor, and by an happy applica- 
 tion of his talents he made fo great a progrefs, that he gradually role to the 
 higheft reputation. 
 
 His genius was well adapted to hiftorical and allegorical compofitions; he 
 poiTelTed a fertile and fine invention -, and he fketched his thoughts with great 
 eafe, freedom, and fpirit. He excelled alio equally hvportrait, peripective, and' 
 architecture ; fhewed an excellent tafte of defign, and had a free and firm pencil. 
 Had he been fo fortunate as to have ftudied at Rome and Venice, to acquire greater 
 correctnefs at the one, and a more exact knowledge of the perfection of colouring 
 at the other, no artift among the moderns might perhaps have been his fuperior. 
 Neverthelefs, he was fo eminent in many parts of his profeffion, that he muft for 
 ever be ranked among the belt painters of his time •, and his performances in 
 the dome of S. Paul's church at London, in the hofpital at Greenwich, and at 
 Hampton-Court, are fuch publick proofs of his merit, as will convey his name 
 to pofterity with great honour. 
 
 This painter lived in general efteem ; he enriched himfelf by the excellence 
 of his works -, was appointed ftate-painter to Queen Anne, from whom he re- 
 ceived the honour of Knighthood •, had the lingular fatisfaction to re-purchafe the 
 family eftate •, and was fo much diftinguiihed, as to be elected one of the Mem- 
 bers of Parliament. 
 
 Ales.. 
 
T I A [ 610 ] T I D 
 
 Alessandro TIARINI. 
 Painted Hiftcry, and Portrait. 
 * Died 1668, aged 91. 
 
 Me was born at Bologna, in 1577, and was at firft the difciple of Profpero 
 Fontana •, but, after the death of that matter, he finifhed his ftudies in the fchool 
 of Pafiignano, who conceived a very high opinion of the abilities of his fcholar; 
 and there are feveral paintings of Tiarini in Florence, Pifa, and Bologna, in 
 which Pafiignano afiifted his difciple. 
 
 Ferdinand Duke of Mantua took him into his favour, and employed him for 
 feveral years •, he fat to him for his portrait, and appointed him to paint all the 
 Princes of his family •, and thofe pictures gained him fuch general applaufe, 
 that all the nobility of Mantua were folicitous to be tranfmitted to pofterity by 
 his pencil. 
 
 Tiarini had a ftrong, beautiful ftyle of colouring, and defigned his fubjects in 
 a good tafte •, his exprefiion was ufuallyjuft, and natural ; and he often gave to 
 the heads of his figures an air of dignity, and fometimes a graceful turn. But 
 this character of his works agrees only with thofe which he compofed and 
 executed in his prime, and to his middle age •, for, in his declining years, his co- 
 louring and penciling were not comparable with his former productions, as the 
 colour was very weak, and his touch ftiff and unfteady. 
 
 In the church of S. Salvatore at Bologna, there is a Nativity painted in his 
 beft ftyle, and time, which is a fine compofition, with figures larger than life ; 
 the defign is grand, and the colouring excellent ; and in the church of S. Agnes 
 in the fame city, are to be feen the Marriage of S. Catherine, and the Annuncia- 
 tion, which are admirably defigned, and the characters are marked with great 
 judgement, and good exprefiion. 
 
 T I B A L D I. Vid. Pellegrino. 
 
 Philip TIDEMAN. 
 Painted Hijlory, and Jtllegory. 
 Died 1705, aged 48. 
 He was born at Hamburgh, in 1657, and received his earlieft inftruction 
 from Nicholas Raes, with whom he continued for eight years, snd fhewecl him- 
 felf a good proficient. But, in order to improve his knowledge and tafte, he 
 went to Amfterdam, to make proper obfervations on the moft capital works of 
 the great mafters, preferved in that city. 
 
 At that time Lairefiewas in high eiteem, which induced him to place himfelf 
 under the direction of that mafter, for fome time; and as Lairefie obferved his 
 difciple to be poffeffed of good talents, he grew extremely fond of him, gave 
 
 * The French authors of the Abrege de la Vie desPeintres, vol. 1, page237, a(Tert that Tiarini 
 was born in 15 17, and died in 1-668, being then 91 years of age. But, thofe ingenious wiircrs 
 ought to have obferved, that fuppofing thofe dates to be true, as they are fet down, he mull have 
 died at the age of 1 cj , and not at 9 1 . Wherca? other writers agree to the dates mentioned above ; 
 and I am induced to impute the miilake, rather to the inaccuracy of that author from whom they 
 abridged the life of Tiarini, or to the incorrectnefs of a printer, than to any original error of the 
 authors of the Abrege. 
 
 him 
 
TIL [ 6n ] TIM 
 
 bim the belt precepts for his improvement, and employed him to afiift him in fe- 
 veral grand works, in which he was engaged ; and in thofe works, Tideman gave 
 fuch manifeft proofs of his abilities, that from thence forward he had fufficient 
 bufineis, independent of LairefTe, which eftablifhed his reputation. 
 
 The manner in which he compofed fubjects of fabulous hiitory, and allegory, 
 was allowed to have ftrong appearances of a lively fancy, a good genius, and a 
 ready invention ; and in that refpecl:, his defigns were propofed to fubfequent 
 artilts as models. One of the capital compofitions of this mafter, is the repre- 
 fentation of Venus complaining to Jupiter of Juno's perpetual perforation of 
 iEneas •, and another is, Juno applying to Eolus to deftroy the fleet of the Tro- 
 jans. He left abundance of fketches and defigns, which are at once an evidence 
 of his induftry, and of the fertility of his invention. 
 
 Egidius (orGiLLEs) Van TILBORGH, or TILBURG. 
 
 Painted Converfations, and Markets. 
 
 He was born at Bruflels, in 1625, and imitated the manner of Brouwer, and 
 Teniers. His fubjects are of the low kind, fuch as the afiemblies of boors an 
 markets, fairs, or readings, corps de garde, and taverns, as alio conversations. 
 In his colouring he approached near to the manner and tints of Brouwer ; but in 
 his pencil, and in his touch, he was neither fo fpirited, nor fo delicate. One of his 
 chief excellencies, confifted in the variety obiervable in his compofitions, as it 
 afforded a proof of the fruitfulnefs of his imagination-, and his defign and co- 
 louring were very commendable. 
 
 He had a competent knowledge of the chiaro-fcuro, by which he gave a great 
 deal of roundnefs and relief to his objefts ; though in ibme of his pictures, he 
 might be accounted rather a little too dark ; but that imperfection is not per- 
 ceivable in all his paintings, feveral of them being really excellent. 
 
 TIMOTEO da Urbino. 
 
 Painted Hiftcry, Portrait, and Land/cape. 
 Died 1524, aged s A- 
 He was born at Urbino, in 1470 ; and in the early part of his youth ftuJled 
 defign, to qualify himfelf for the occupatian of a goklfmith, for which he was at 
 firft intended. With that view he went to Bologna, to his elder brother, who was 
 eminent for that kind of work ; but the inclination of Timoteo, foon directed 
 bim to prefer the knowledge of painting, to all other arts ; and he applied him- 
 felf with inexprefiible diligence, and laborious pleafure, to delign and copy the 
 fineft works of the great rnafters, which were to be feen at Bologna. He entered 
 into converfations on the fubjecl of painting, with the befc artifts of that city •, 
 and gradually made fuch a progrefs, as excited their admiration of his talents, 
 as well as their furprize at his rapid proficiency. For, without having any par- 
 ticular director, he acquired an excellent tafte of cempofuion, great correctriefs 
 cf outline, and a fweet manner of colouring, much refembling that of Raphael ■, 
 although at that time, he had not fcen any of the productions of that inimi- 
 table mailer. 
 
 When he had performed feveral works at Bologna, which procured him ge • 
 •neral applaufe, he returned to Urbino, where he proceeded in his profeflion with 
 
 I i i i equal 
 
TIN [ 612 ] TIN 
 
 equal fuccefs •, till the fame of his paintings, which was fpread through all Italy, 
 induced Raphael importunately to invite him to Rome to be his affiftant; and 
 on his arrival he met with fo generous a reception, as was at once worthy of the 
 benevolent fpirit of Raphael, and the extraordinary merit of Timoteo. 
 
 Having thus an opportunity of obferving the tafte, the ft) le, the colcnrirg, 
 txpreflion, and execution of the greareft painter that had appeared finoe 1 :ie e- 
 vival of the art, he foon improved to fuch a degree, as to cftablifh his reputation 
 on a moft folid foundation ■, and while he advanced his fame, pi oportionably in- 
 creafed his fortune. 
 
 He painted fome grand defigns in conjunction with Raphael ; and he alfo 
 finifhed many of his own compoiitiom entirely with his own hand, at SL-na, 
 Forli, and in his native city Urbino. His manner of defigning was bold, b ; his 
 colouring was fweet and lovely ; and his pictures were neatly and delic.tely 
 finifhed. From the time of his going to Rome, his tafte became more elegant ; 
 and as long as he lived, his principal attention was, to endeavour at the imitatioa 
 of Raphael. 
 
 An Holy Family, which is faid to be painted by Timoteo, is in the Pembroke 
 collection at Wilton. 
 
 Tiberio TINELLI, Cavaliere. 
 
 Painted Iliftory, and Portrait. 
 
 Died 1638, aged 52. 
 
 He was born at Venice, in 1586, and was .the difciple of Giovanni Conta- 
 rini, a celebrated painter of portraits ; but, when he gained a fufficient degree of 
 knowledge to commence artift, he ftudied the ftyle and manner of BafTan ; 
 whole pictures he not only copied, but at lair imitated with fuch exactnefs of co- 
 louring, and fimilarity of tafte and ideas, that many of his own original compo- 
 fitions have beenefteemed the real work of GiacomoBaffan. 
 
 He proved himfelf extremely well qualified for hiftorical defigns, by feveral 
 fubjects painted by him in that ftyle j and in particular by a picture of the Salu- 
 tation ; by another of the Laft Supper -, and by a reprefentation of Paradife, in 
 which he introduced a multitude of figures. But, finding lefs time to be requi- 
 fite for painting portraits, and obferving alfo that the mind fuffered lefs fatigue 
 from that employment, than when it was engaged in defign and invention, he 
 followed it entirely, and (Sandrart fays) he brought it to confummate per- 
 fection. 
 
 His manner was different from all the portrait painters of his time-, for, he 
 reprefented the perfons under hiftorical characters, deduced from authentick or 
 fabulous hiftory, and always expreffed the true refemblance of his models. For 
 inftance ; the portrait of David Spinelli he reprefented in the character of Marc 
 Antony, and his wife in that of Cleopatra preparing to drink the diffolved pearl ; 
 and beautiful young females he described in the forms of Aurora, Hebe, or 
 other poetical deities and nymphs, which rendered his portraits abundantly more 
 eftimable. On the fight of fome of Tinelli's pictures, Lewis XIII. expreffed 
 fo much fatisfaction, that he honoured him with the order of S. Michael. 
 
 He lived highly refpected and beloved at Florence, and might have ended his 
 
 life with happinefs to himfelf, and pleafure to his friends ; but, by fome do- 
 
 2 meftick 
 
TIN [ 613 ] TIN 
 
 meftick misfortunes his mind was fo difturbed, that he fell into an unaccount- 
 able dejection of fpirits, and in one of his diftracted moments, he opened one of 
 his veins, and expired. 
 
 Giacomo TINTORETTO, or Robust 1. 
 
 Painted Hiftory, Portrait, and ArchiteRure. 
 Died 1594, aged 82. 
 
 The paternal name of this celebrated painter was Robufti, but he was dif- 
 tinguifhed by the appellation of Tintoretto, on account of his being the fon of a 
 dyer. He was born at Venice, in 1 5 1 2, and became the difciple of Titian, who 
 is laid to have been fo apprehenfive of being excelled by his pupil, that he dif- 
 mifTed him from his fchool. But, Tintoretto was at that time fumciently quali- 
 fied to purfue his ftudies, without any director j and therefore applied himfelf to 
 ftudy defign after the works of Buonaroti, and alio to acquire elegance of tafte, 
 by a more intimate knowledge of the antique. 
 
 While he continued with Titian, he made the mod accurate obfervations on 
 the colouring of that great genius, till he difcovered the true principles, by which 
 his mailer had arrived at fuch a degree of excellence •, and in his beft works one 
 may readily difcern, a manner that ftrongly refembles the colouring of Titian, 
 and a flyle of defign fimilar to that of Buonaroti. 
 
 Tintoretto was, perhaps, the molt expeditious painter that ever appeared ; 
 and although the rapidity of his execution was fometimes attended with incor- 
 rectnefs, yet are there many inftances, of his having at once (hewn great readi- 
 nefs of execution, and great excellence. A memorable proof of his abilities, 
 may be feen in the fchool of the Confraternity of S. Roch at Venice. The mem- 
 bers of that lbciety having delired Paolo Veronefe, Tintoretto, Salviati, and 
 Zucchero, to make defigns for a picture of the Crucifixion, in order to have 
 that defign executed which appeared to have the greateft merit ; Tintoretto :i- 
 nifhed his picture, and had it fixed in the appointed place, before any of the 
 other artifts had completed their (ketches. From which tranlkction he was 
 called, II Furiofo Tintoretto, the Impetuous Tintoretto. 
 
 Sandrart fays, that he frequently painted his pictures without any preparatory 
 outline, as if he only fported with his pencil •, lb that he feems to have executed 
 his ideas almoft as quick as he conceived them. In fhort, he worked fo fall, and 
 adapted his work fo proportionably to the price lie was to receive, that very few 
 of the other painters could get employment •, for, as he was capable of excel- 
 lence, his reputation induced peribns of all ranks, to be defirous of poffeffing 
 ibmeof his performances. 
 
 He furpafled all the artifts of the Venetian fchool, in the quicknefs of his ge- 
 nius, and the fertility of his invention. His knowledge of the beil principles of 
 his art was very extenfive ; but, he had too much fire to be at all times dii- 
 creetly directed by that knowledge. He omitted no labpur, no ftudy, no appli- 
 cation, that could in any degree conduce to his improvement in his profeiiion, 
 and by his general conduct appeared, rather to be ambitious of acquiring gloiy, 
 than riches. Yet he often injured his fame, by proportioning his work to the 
 poornefs of the payment he expected •, and by not fufficiently confidering, that 
 many of his flight and ill executed pictures would fubfilt, to the difcredit of the 
 
 I i i i 2 artift, 
 
TIN [ 614 ] TIN 
 
 artift, when the caufe of his putting fuch indifferent paintings out of his hand*, 
 might either be forgotten, or unknown. From that etiftom practifed by Tinto- 
 retto, the remark of Annibal Caracci is juftified, that Tintoretto in fome of his 
 works appears equal to Titian, and in others, inferior to himfelf. 
 
 His manner of painting is bold, with ftrong lights, oppofed by deep fhadows ; 
 hi", pencil is wonderfully firm and free •, his diipofition is good, his execution 
 eafy, and his touch lively, and full of fpirit. His local colours are true, ind 
 well underftood, and the carnations of his beft pictures approach near to ih t of 
 Tivian. De Piles efteems his colouring to be more true, and more fenguine, 
 than that of Paolo Veronefe •, and Frcfnoy, who was an incomparable judge, ac- 
 counts his colouring admirable. 
 
 The Doge and Senate of Venice, preferring Tintoretto both to Titian an il- 
 viati, appointed him to paint, in one of the grand apartments, the repreferitiition 
 of that memorable victory, gained by the Venetians over the Turks, in 1571 ; 
 and although the defign was large, and a multitude of figures were introduced 
 in that compofition ; yet the whole was completely finifhed in one year. But 
 although, in feveral refpeifts, he might not be efteemed inferior to Titian, or 
 Veronefe; yet, he certainly wanted that dignity of character obfervable in the 
 works of the former, and the grace, as well as the richnefs of compofition, which 
 dili inguifh the works of the latter. He had great variety in his attitudes, and 
 fome of them are excellent ; yet often the attitudes are contrafted to excels, 
 though thofe of his women are generally graceful, and the heads defigned in a 
 fine tafte. 
 
 Aloarotti, a late writer, obferves that this mafter is no way inferior to any of 
 the Venetian artifts, in thofe pictures which he painted, with an intention to dif- 
 play his talents •, and this (fays that author) he has particularly fhewn in his 
 Martyrdom, or Miracolo del Servo, which is now preferved in the fchool of 
 S. Mark at Venice. In that picture there is defign, colouring, compofition, life, 
 expreffion, and the effects of light and ftiadow, all carried to the higheft pitch 
 of perfection. Scarce had that painting made its appearance in public, when all 
 perfons feerned to fall in love with it •, and Aretine himfelf, though fo cordial a 
 friend to Titian, wrote to Tintoretto, that this piece had extorted the applaufe of 
 all thofe who faw it. The fcene (fays he) appears rather true, than feigned ; and 
 happy would you be, if inftead of being lb expeditious, you could prevail oa 
 yourfelf to be a little more patient. A fine fketch of this famous picture, re- 
 puted to be the original fketch, brought into Ireland, with many capital paint- 
 ings of the Italian mafters, by the old Duke of Ormond, and purchafed at the 
 attainted Duke's fale at a high price, is now in the pofiefilon of the author of 
 this book. 
 
 Molt of the grand performances of Tintoretto, are in the palaces, churches, 
 and convents at Venice •, and in many of them the fire of his genius, the excelr 
 lence of his invention, compofition, colouring, and handling, are inconteftably 
 evident ; and at the Efcurial in Spain are two admirable pictures painted on 
 canvas, with figures as large as the life, which are fufficient to immortalize the 
 artift. The fubject of one is, our Saviour wafhing the feet of the Apoftles ; and 
 the fubject of the other is, Queen Either fainting in the pretence of Ahafuerus. 
 Several of his works are preferved in the collections of the Englifh nobility and 
 gentry, and fome are in the Royal collections of the Kings of England and 
 
 France. 
 
 Mar 1- 
 
TIN [ G'5 ] TIT 
 
 Marietta TINTORETTO. 
 
 Painted Portrait. 
 Died 1590, aged 30, 
 
 She was the daughter of Giacomo, born at Venice, in 1 560, and was inftructec? 
 in the art of painting by her father. She fhewed an early genius to mufick, as 
 well as to painting, and performed remarkably well on feveral inftruments ; but 
 her predominant inclination to that art in which her father was lb eminent, de- 
 termined her to quit all other ftudies, and apply herfelf entirely to it. 
 
 By the direction of Giacomo, (he ftudied the principles of defign, compofi- 
 tion, and colouring; and drew after the antiques and the fined models, till (he 
 had obtained a good tafte, and great readineis of hand. But, although (he was 
 well qualified to make a confiderable appearance in the hiftorical ftyle, (he de- 
 voted her talents wholly to portrait painting. At laft, (he became excellent in 
 that way ; for, her father, who was accounted very little inferior to Titian, if nor. 
 his equal in portrait, took; pains to communicate to her his bed precepts, in order 
 to dire<fl her judgement and (kill, in that branch of the art, till (lie gained an 
 eafy elegance in her manner of deiign, and an admirable tint of colour. Her 
 pencil was free, her touch light and full of fpirit, and (he received deferved ap- 
 plaufe, not only for the beauty of her work, but likewife for the exaclnefs of re- 
 lemblancevifible in all the portraits (he painted. 
 
 Mod of the nobility at Venice fat to her, and (he was folicited by the Em- 
 peror Maximilian, by Philip II, King of Spain, and by the Arch-Duke Ferdi- 
 nand, to vifit their courts -, though, the tender affection of her father, who could 
 not be happy if (lie was abfent from him, prevented her from accepting thofe 
 offers, which were fo highly to her honour, and might have been attended with, 
 great advantage to her fortune. 
 
 CD D 
 
 Domenico TINTORETTO. 
 
 Painted Portrait. 
 Died 1637, aged 75. 
 He was the fon and difciple of Giacomo, born at Venice, in 1.562, but he was 
 very far inferior to his father in his invention, and in his ftyle of compoiing hif- 
 torical fubje&s ; yet he diftinguifhed himfelf greatly as a painter of portraits,, 
 and finifhed a number of pictures, for the Princes, and perfons of molt eminence 
 in Venice, Fcrrara, Verona, and Brefcia. 
 
 Santi di TITL Vid. Sinn. 
 
 Tiberio TITL 
 
 Painted Portrait. 
 Died 1627, aged 54. 
 He was born at Florence, in 1573, the fon of Santi dl Titi, and alio His dii 
 ciple ; but the branch of his profeffion which he principally cultivated, was 
 portrait painting, and in that ftyle he was accounted to excel. 
 
 Yet, although his talent lay folely in that particular part of his art, being fo- 
 licited to finifh a picture of the Laft Supper, which his father had begun, but 
 
 left 
 
TIT [ 616 ] TOO 
 
 left imperfect, he undertook it ; and imitated the manner, the touch, and the 
 tone of colouring of his father, with fuch exactness, that it gained him uni- 
 verfal applaufe. 
 
 The' Prince de Medicis employed him continually, and allowed him an ho- 
 nourable penfion ; but, in the midir. of the happinefs he enjoyed from his fitua- 
 tion, and the favour of the publick, he was lb violently affected by the unex- 
 pected death of his brother Orazio, who had an extraordinary genius, who was 
 not long returned from his ftudies at Rome, and who for lbme time had been 
 his afllftant, that grief fhortened his days, by bringing upon him a pleuritick 
 fever, of which he died, univerlally lamented. 
 
 T I T I A N O. Vid. Vescelli. 
 
 Girolamo di TITIAN O. 
 
 Painted Hiftory, and Portrait. 
 
 He was a very eminent difciple of Titian, in whofe fchool he continued fo r 
 feveral years, and by his works proved that he had thoroughly imbibed the tafte 
 of that celebrated mafter. 
 
 He copied and imitated the works of Titian with fo great accuracy, that the 
 paintings of the one, were frequently taken for the paintings of the other ; and 
 yet, what was very fingular, his poverty was as remarkable as his reputation 
 was great. 
 
 La TOMBE. 
 Painted Portraits, and Converfations. 
 Died i6j6, aged 60. 
 This artift was born at Amfterdam, in 1616, but went to Rome when he was 
 very young, and ftudied there for a great many years. 
 
 It was his conftant rule to obferve nature •, and to defign after thofe elegant 
 remains of antiquity, which are in the villas about Rome, as well as in the city. 
 His ufual fubjedts were converfations, and aflemblies of both fexes, habited in 
 the mode of the country, and frequently he painted portraits ; but in all his de- 
 signs, he was fond of introducing caves, grottos, ruins, or antique fepulchres, 
 wherever his fubject would admit of them •, and he rendered his fituations agree- 
 able, by the beauty of his diftances, as alio by a multitude of fmall figures, which 
 were touched with abundance of fpirit. 
 
 Jacqjjes TOORNVLIET, or Torenfliet. 
 Painted Portraits, and Converfations. 
 Died 1 7 19, aged 78. 
 He was born at Leyden, in 1641, and in that city advanced fo far in the 
 knowledge and practice of the art of painting, as to be enabled to paint por- 
 traits, and to gain credit by thofe which he finilhed. But, in his twenty-ninth 
 year he travelled to Rome, along with Nicholas Rofendaal, and fludied the 
 works of Raphael, Paolo Veronele, and Tintoretto, with fuch fuccels, that his 
 reputation was well cftablilhed through that city •, and from thence he went to 
 
 ltudy 
 
TOR [ 6r 7 ] TOR 
 
 ftudy the art of colouring at Venice, where he continued for three years. His 
 merit, and the politenefsof his addrefs, procured him the favour of thofe of the 
 firft rank, and afforded him free accefs to the palaces and collections of the 
 nobility. 
 
 He defigned his fubjects with eafe and freedom ; and his compofition mani- 
 fefted the tafte of the Italian fcluol. He generally painted portraits in the 
 manner of conventions, and the diltinguifhing marks of this mailer's paintings 
 are, the judicious difpofnion of the figures, the correctnefs of his defign, and the 
 agreeable ftyleof his colouring, But, notwithstanding the improvement of his 
 tafte by his refidence at Rome, and that he fhewed himfelf much fuperior, as 
 Well in correclnefs as colouring, to what he had been before he ftudied in Italy j 
 yet it was obferved, that after his return to Holland, his pictures did notpropor- 
 tionably increafe in their price. It was thought, that by his endeavouring too 
 earneftly to imitate the great matters of Italy, though his defign might be more 
 correct, it had the appearance of being more fervile, and lefs original ; and per- 
 haps, by his not having gone fufficiently early abroad, he might have contracted 
 fuch habits, as he was never able entirely to make off. 
 
 Flamminio TORRE. 
 Painted Hiftory. 
 Died 1 66 1, aged 40. 
 He was born at Bologna, in 1621, and learned the firft rudiments of the arc 
 fromCavedone •, but he accomplilhed himfelf in the fchool of Guido. 
 
 His colouring was bold, but mellow ; the management of his tints fhewed 
 great judgement, and he had a light, clean manner of penciling. His molt re- 
 markable excellence however coniifted in his copying the works of the greateft 
 painters, which he fo exquifitely performed, that he made it almoft an impoffibi- 
 lity to diftinguifh his paintings from the originals. 
 
 John TORRE NTIUS. 
 
 Painted Still Life., and obfcene SubjeSs. 
 Died 1 640, aged 5 1 . 
 
 Ke was born at Haerlem, in 1589, and in that city was lb well inurucT:ed:» 
 that without quitting his own country, he became an admirable painrer. 
 
 At his firft letting out in the profeffion, the fubjects he generally painted were 
 objects of ftill life •, tables furnilhed with a variety of books, fome of them open, 
 and others clofed ; or with vafes filled with flowers •, or tables covered with car- 
 pets, on which were placed ftandifhes, pens, hour-glafTes, and fuch like •, fome 
 of which Sandrart fays hefaw, that v/ere exceedingly high finilhed, with all pof- 
 fible fimilitude to nature ; and on account of their Angular merit, were valued 
 at a very large price. Sometimes he painted converfations ; which were ex- 
 tremely admired for their lovely tone of colouring, and alio for being charm- 
 ingly penciled, and executed with great truth and force. 
 
 While he continued to paint on fuch iubjedts as thofe, he lived in affluence, 
 furrounded with friends of the firft rank, and in general efteem. But, unhappily, 
 be grew moft diffolute and abandoned in his morals,, and equally lb in his ftyle of 
 
 defign, 
 
TOR [ 618 ] T R E 
 
 deflgnj his imagination became infected by his debaucheries, and he proftituted 
 the molt delicate pencil, and the Iweeteft colouring, to the word, and moil de- 
 praved purpofes. From that time his favourite, and cuftomary fubjedts, were 
 naked figures, which he reprefented in fuch attitudes as were always offen five to 
 modefty, and too often moll infamoufly obfcene. His friends exerted all the 
 power of argument, to reclaim him from his lollies and indecencies ; but, their 
 expoitulations proved ineffectual. At laft, by inftituting a private conventicle, 
 as a meeting place for a fociety of Adamites, he rendered himlelf obnoxious to 
 the maoiftracy, who brought him to his trial ; and produced feveral of his pic- 
 tures, as well as fatisfactory evidence of his prefiding in that infamous affembly. 
 As he peremptorily denied himlelf to be either the painter of thole pictures, or 
 the patron and contriver of that deteftable afTembly, although the proofs of both 
 appeared incontestable, he was condemned to the torture ; his lewd paintings 
 were Dublickly burned by the executioner, (at leaft as many of them as could be 
 difcovered) and he was fentenced to imprilbnment in the houfe of correction for 
 twenty years. 
 
 He* fupported the torture with incredible obftinacy •, and after fome time of 
 confinement, was relealed at the requeft. of the Engliih Ambaflador, and went to 
 London, where he refided for a few years. But, that worthy nation, who deteft 
 profligacy of manners, as much as they regard merit, difcountenanced him as he 
 deferved •, and he retired to Amlterdam, where he fpent the remainder of his 
 life in obicurity and contempt. 
 
 Sandrart, and after him Weyermans, affirm that he died under the torture •, 
 but Houbraken, who had carefully read the authentick account of him at Haerr 
 lem, written by Schrevelius, (which is the belt narrative of the tranfadtions rela- 
 tive to Torrentius) ought certainly to be molt relied on, and the above account 
 is extracted from that writer. 
 
 Pierre-Charles TREMOLLIERE. 
 
 Painted Hijiory. 
 Died 1739, aged i&. 
 
 He was born at Cholet in Poictou, in 1703, and was the difciple of John- 
 Baptift Vanloo the Elder ; under whom he itudied, till he had gained feveral 
 prizes in the academy, and then he was fent to the French academy at Rome, 
 where he refided for fome years, and qualified himlelf to return to his native 
 country with great credit. 
 
 By the French writers he is accounted a very eminent artift ; they atteft that he 
 had an elevated genius, a grand and elegant ltyle of compofition, and a correct 
 manner of defigning •, that the difpofition of his figures was highly commend- 
 able, that he uiually gave them an agreeable and graceful turn, but that his co- 
 louring was weak. 
 
 He painted feveral grand altar-pieces at Lions, and other cities of France ; and 
 the year before his death was employed to paint defigns for tapeftry, by order of 
 the French King •, but he died in the prime of life, and in the heighth of his re- 
 putation, when he had fketched only one fubject, the defcription of the golden 
 age, and even that he left unfinilhcd. 
 
 Fran- 
 
TRE [ 619 ] T R E 
 
 Francesco TREVISANI, Cavalier*. 
 
 Painted Hiftoty, Portraits, Land/cape, and Architecture. 
 Died 1746, aged 90. 
 
 This admired painter was born at Triefte, in 1656, and received his firft in~ 
 ftruction from his father Antonio Trevifani, an architect of fome diftinclion. 
 Afterwards he was taught the principles of defign and colouring, by a Flemifh 
 artift, whofe name is not mentioned; but he is reprefented as an artift in great 
 efteem, for the excellence of his colouring in pictures of a fmall fize, of which 
 the fubjects were fpeclres, incantations, or enchantments. However, although 
 Trevifani did not admire the uncommon ideas of that mailer, yet he was fo far. 
 benefited as to learn his art of colouring ; and a defign which he finifhed in the 
 tafte and ftyle of his inftructor, was accounted a furprizing effort of genius, as 
 Trevifani was at that time not above ten years of age. 
 
 Such an exertion of his talents, caufed his friends to place him as a difciple 
 with Antonio Zanchi, who was then much noticed, for a new and unufual ftyle 
 of painting, peculiar to himfelf, whimfical, fantaftical, and fingular ; and yer, 
 even to that ftyle Trevifani foon adapted himfelf, and not only coloured, but com- 
 pofed feveral defigns exaclly in the manner of Zanchi. However, after he had 
 fomewhat more of practice and experience, his ideas were too elevated to be 
 confined to ftich a taite of defign •, and therefore, he applied himfelf to ftudy 
 after the beft rnafters of the Venetian fchool ; and by fo difcreet a conduct, laid 
 the foundation of that exquifite tafte, which recommended him to the admira- 
 tion of all Italy, and afterwards to the efteem of all Europe. 
 
 As Trevifani was in every refpect very accomplifhed, a Venetian lady of a 
 noble family fell in love with him, and confented to marry him; but, as that 
 traniaction might involve the lovers in fome dangers, and difficulties, if it fhould 
 Suddenly be difcovered, they thought it prudent to retire to Rome with the ut- 
 moft fecrecy, to avoid the refentment and perfecution of the lady's relations. 
 Fortunately, on his arrival at Rome, he found a patron and protector in Cardinal 
 Chigi, who employed him in feveral confiderable works, and afforded him an op- 
 portunity to advance his reputation by difplaying his talents, till his real merit 
 procured him not only admirers, but valuable friends. 
 
 The Duke of Modena, who refided at Rome as Ambaffador from the King of 
 Spain, having purchafedfome of the paintings of Trevifani, engaged him to copy 
 feveral capital pictures of Correggio, and Paolo Vercnefe, which proved a very 
 fortunate incident to that artift. Becaufe, he could not have wiihed for a more 
 happy opportunity to improve his own tafte and ftyle, as well as his manner of 
 colouring, than by obferving the grace, the fweetnefs of the tints, and the in- 
 comparable touch of Correggio, and alfo the grandeur, elegance, and richnefs of 
 Veronefe ; and he finifhed thofe copies in fo admirable a manner, that he gained 
 incredible applaufe by his performance. It procured him the honour of knight- 
 hood, and fpread his reputation fo univerfally, that his works were folicited by 
 the firft Princes of Europe, and by all the lovers of the polite arts, being pur- 
 chafed alfo at extraordinary prices. After the death of Chigi, Cardinal Otto- 
 buoni became his patron, and employed him to adorn his gallery ; in which- he 
 painted a celebrated picture, rep:efenting the Murder of the Innocent?. 
 
 & k k k He 
 
TRE [620] TRO 
 
 He received commiffions from all the European courts, which compelled him 
 to work almoft without intermilfion •, nor did any perfon of confequence pafs 
 through Rome, without endeavouring to procure ibmewhat of his hand, either 
 of portrait, hiftory, architecture, landfcape, animals, or flowers, all which fubjects 
 he painted with equal readinefs, and excellence. When he chofe to unbend his 
 mind, from the fatigue of his profcflion, he aflbciated with a few ingenious 
 friends •, and had a fmall elegant theatre erected in his own houfe, where comedies 
 were performed. His la'.t work, which was left unfinifhed, was intended to be 
 fent to Naples, and the fubject of it was S. Michael -, but a fudden defluxion 
 on his throat carried him off", and he was interred with all the funeral ceremo- 
 nies and honours, uibally (hewn to the principal nobility of Rome. 
 
 This mafter had great freedom of hand, a genius full of elevation, and a noble- 
 and grand ftyleof compofition •, his figures were generally correct and graceful •, 
 they were coloured with tints uncommonly clear, bright, and beautiful ; and 
 what is very Angular in reference to the pencil of Trevifani, is, that notwith- 
 Handing his having died when he was ninety years old, yet he preferved the 
 fame delicacy of colouring to the laft period of his life, nor was the elegance of 
 his defign perceptibly impaired by his years. 
 
 Girolamo da T R E V I S I, or TREVIGL 
 Painted Hiftory., and Portrait. 
 Died 1544, aged 36. 
 
 He was born at Trevifi, in 1508, and in fome parts of the art of painting 
 was accounted to have abundance of merir. His manner of defigning was not 
 indeed in the grand tafte and ftyle •, but his colouring was exceedingly agreeable, 
 and he always endeavoured to imitate the manner of Raphael. 
 
 After fome years fpent in different parts of Italy, he gained the reputation of 
 being an excellent painter, and particularly by the works which he performed 
 in a chapel belonging to the church of S. Petronius ■, and then he was induced 
 to vilit England, where he was prefented to King Henry VIII. That monarch 
 readily took him into his fervice, and allowed him (according to Vafari,) a 
 penfion of four hundred c -owns a year, employing him not only as a painter, 
 but as an engineer and architect. He received extraordinary encouragement in 
 England, and painted many pictures for the king, as alfo for the nobility about 
 the court, which enabled him to live in affluence, and his merit procured him 
 cfleem. 
 
 As he was Angularly well (killed in every part of architecture, civil and mili- 
 tary, he was appointed by the king principal engineer at the fiege of Boulogne. 
 But, that employment proved fatal to him •, for he was unfortunately killed by a 
 cannon fhot, while he was with the utmoff activity giving his directions. 
 
 Cornelius TROOST. 
 
 Painted Hiftory, Converfaticns, and Portraits. 
 
 Died 1750, aged 53. 
 
 He was born at Amfterdam, in 1 697, and was the difciple of Arnold Boonen •, 
 
 but he perfected himfeff in the knowledge of his art, by an attentive ftudy after 
 
 nature. He fometimes painted hiltorical fubjects, and fcenes taken from the 
 
 comedies 
 
 
RRO [ 621 ] T R O 
 
 comedies of his time; and likewife painted converfations in a very agreeable 
 ftyle, as well as portraits in which he chiefly excelled. 
 
 He was engaged to paint the portraits of the directors of the college of 
 phyficians at Amfterdam, as large as life, and at full length, in one piece ; 
 which picture effectually eftablifhed his reputation, and afforded him the oppor- 
 tunity of painting moft of the considerable perlbns of his time. The mod 
 capital performance of this mafter, is the picture in the Surgeons-hall at Am- 
 fterdam, reprefenting the principal peribns of that profeflion fitting at a table, 
 on which is placed a Subject prepared for diffection ; and the profeffbr appears 
 as if explaining the parts, previous to the operation. The figures, which are all 
 portraits, are well defigned, and have a good relievo ; the habits are fuitable tu 
 the mode, and the whole has a great deal of harmony. He was alto much 
 applauded for the portrait of the famous phyfician Boerhaave, which is placed 
 in the anatomical hall. 
 
 His converfations were, in fome refpects, commendable ; but he was cenfured, 
 for not being more Strictly modeft in his Subjects, and for indulging too great 
 an indelicacy, and licentioufnefs, in his compositions. 
 
 Francis de TROY. 
 
 Painted Hiflory, and Portrait. 
 
 Died 1730, aged 85. 
 
 He was born at Touloufe, in 1645, the fon and difciple of Nicholas de Troy ; 
 but at the age of Seventeen he became the difciple of Nicholas Loir at Paris 
 under whom he was much improved. When he commenced artift, he begun 
 with hiftorical lubjects, which gained him credit •, but his genius more ftrongly 
 inclined him to portraits, than to any other branch of his art ; and in that ftyle 
 he received great afliftance, from the instructions of Claude le-Fevre. 
 
 In fome time he was admitted as a profeffbr in the academy ■, and having at 
 his introduction prefented, according to cuftom, an hiftorical picture representing 
 Mercury and Argus, it was received with fuch publick approbation, that he was 
 immediately engaged to paint a number of facred as well as profane lubjects, 
 and in particular, one noble competition in the church of S. Genevive. Healfo 
 finifhed a picture for the Duke of Maine, deSigned in a very elegant ftyle, which 
 confided of above fifty figures as large as life. It was well compofed,and finely 
 coloured, and represented the Splendid reception given by Dido to iEneas, 
 when that hero recounts the Series of hisdiftreffes and misfortunes. 
 
 By the order of Lewis XIV, he went to the court of Munich, to paint the 
 portrait of Anna Maria Chriftina, who was to be married to the Dauphin ; and 
 .at his return to Paris, he received the higheft encomiums for the beautiful 
 colouring, and exquifite finishing of that portrait; and particularly for pre- 
 serving the remarkable vivacity of that princefs, by a lovely and graceful 
 expreSfion. 
 
 The Florentine and the French writers concurrently atteft, that the colouring 
 of de Troy is natural, and very pleafing ; that his pencil is delicate ; his 
 figures round, and well relieved ; and that by a peculiar happinefs of touch, he 
 gave fwectneSs and harmony to the whole. 
 
 The portrait of this mafter is honoured with a place in the Florentine gallery 
 ofartifts. 
 
 Kkkk 2 John- 
 
TRO [622] TRO 
 
 John-Francis de TROY, Chevalier. 
 
 Painted Portrait, and Hijlory. 
 
 Died iJS 2 -> a Z £ d 76' 
 
 He was born at Paris, in 1676, and was inftructed in defign and colouring by 
 his father Francis de Troy, under whofe direction he acquired a free and expe- 
 ditious manner of painting •, but, when he had made a confiderable progreis in 
 his art, he travelled to Italy to finifh his ftudies ; and having vifited Piia and 
 Rome, and obferved every thing worthy of his attention in thofe cities, he 
 returned to Paris, being then reputed an excellent artift. 
 
 On the firft publick exhibition of his works, they were generally admired, and 
 the bell judges of the art commended the taile, the colouring, the invention, 
 the neatnefs of his finifhing, and the happy union of fimplicity and grandeur, 
 which appeared in his compofitions. His uncommon merit procured him 
 the particular efteem of Lewis XIV, who honoured him with the order of S. 
 Michael, and afterwards appointed him director of the academy at Rome •, which 
 ftation he filled with dignity, being as exemplary in his condud: in private life, 
 as he was to the artifts, in his profeffion. 
 
 This mafter had a fine and fruitful invention, and an extraordinary readinefs 
 in his manner of handling ; his touch was free and firm •, his colouring ex- 
 tremely pleafing •, and in all his defigns he fhewed a natural and juft expreflion, 
 as well of the motions of the limbs, as of the paffions of the mind. 
 
 The portrait of this mafter, painted by himfelf, is placed among the celebrated 
 painters in the gallery at Florence. 
 
 Rom bout Van TROYEN.' 
 Painted Hijlory, and Landfcapes, with Caves. 
 Died 1650. 
 
 This mafter, who (according to the Flemilh writers) had never feen* Rome, 
 uiually painted caves, grottoes, and the veftiges of antient edifices, which are to 
 be feen in the environs of Rome, and other parts of Italy ; of which, it is fup- 
 pofed, he took the ideas, from fketches made by other artifts ; and he always 
 introduced ibme hiftoricr.l lubject, taken from the facred, or poetical hiftory. 
 
 In his fmall pictures, he had great neatnefs in his touch, firmnels in his pencil, 
 and tranfparence in Ins colouring, and fome of them have the appearance of 
 great merit •, but he was not correct in his figures, nor were all his fmall works 
 of equal eftimation, fome being far inferior to others. 
 
 His colouring is, in general, not very pleafing, having painted many of his 
 pictures with too predominant a yellow ; and in others his browns create obfeu- 
 rity •, yet fometimes his execution is remarkably good, and his perfpective 
 agreeable. In his large pictures his touch, his defign, his colouring, and his 
 drawing are ail very indifferent, and his fmalleft are perpetually his beft per-, 
 formances. 
 
 » The publiflier of the Chronological Tables, fays, that Van Troyen ftudied in Italy. 
 
 T H X 0- 
 
TUL [ 623 ] T U R 
 
 Theodore Van T U L D E N, or Thulden. 
 
 Painted Hiftory y Converfation?> and Fairs. 
 
 Died 16 j 6, aged 6g. 
 
 He was born at Bois-le-duc, in 1607, and was the difciple of Rubens. He 
 diftinguifhed himfelf fo highly, while he ftudied under the direction of that 
 great man, that he was confidered as one of the bed of that fchool ; and his 
 matter, who foon difcerned his talents, employed him as one of his affiftants in 
 thofe grand defigns, which he finifhed in the Luxembourg gallery. 
 
 At firft, he was fond of painting lively and chearful fubjects, fitch as fairs, 
 kermefies, conventions, and the diversions of peafants, in the manner of 
 Teniers ; but, his greateft excellence appeared in his compofitions of hiftorical 
 fubjects. Thofe are intirely in the ftyle of his mafter Rubens, and are extremely 
 fimilar, as well in refpedt to the ideas, as the colouring •, nor are they much 
 inferior to him. But, what feemed very fingular in this painter was, his abilitv 
 to paint in fmall, as well as in large ; his genius being happily adapted to both j 
 in the former, he was ingenious ; and in the latter, elevated and grand. He 
 had a thorough knowledge of the chiaro-fcuro, and by that means he gave force 
 to his figures, and life to his colour •, but in refpeft of his drawing, he is 
 efteemed to be rather lefs correct than his matter, the imperfections of an 
 inftruftor being very apt to infect a difciple. However, he was lb ready at 
 defigning final! figures, that he frequently was e .-ployed to infert them in the 
 works of Stenwyck, Neefs, and other mailers of diftinction. 
 
 Francesco TURBID O, or Torbido, called I l Moro. 
 
 Painted Hijtory, and Pcrti-ait. 
 Suppofed to have died in 1 5 S 1 , aged S 1 . 
 He was born at Verona, in * 1500, and at firlt was a difciple of Giorgione j. 
 but, afterwards ftudied under Liberale Veronefe, and was accounted an admi- 
 rable painter of hiftory and portrait, equal in both relpects to any artift of his 
 time. 
 
 In his colouring he imitated Giorgione, and his works were applauded for 
 the fweetneis, union, and harmony of his tints ; but as to tafie of compofitipn 
 and defign, he always retained the manner of his mafter Liberale, who loved 
 him as if he had been his own fon. Vafari obferves, that although Torbido was 
 
 * The different accounts of feveral authors relative to the birth and death of Francefco To;bido,- 
 appear to be very confufed, and not eafily reconciled. They agree in general that he «;:sSi 
 when he died, but fome affirm that his death was in 1521, and the Chronological Tables fix his 
 birth in 1430, and his death in 1521, which makes him 91 when he died. 
 
 Vafari who feems to be mod worthy of credit, as being the writer neareit to his time, though he 
 does not mention the precife year of the birth of Torbido, nor the year of his death, (as that artift 
 was probably alive when Vafari wrote,) yet mentions certain circumftances, which may cireift us 
 to the truth. That author fays, Liberale died in 1536, and bequeathed his houf-, ftc. to Francefco 
 Torbido his beloved difciple, who was at that time a young man. Now, as that evpreffion can 
 fcarce be ju!lif.;d, if we fuppofe Francefco to have been above 36 years of age at that time, it may 
 feem probable, ihat he was born in 1500, and to have died in 1581, aged 81, which alfo appears 
 to be three years after the death of Vafari. For, as to the dates of the other authors, they m 
 be evidently falfe ; becaufe he outlived Liberale by many years ; and as that mailer died in K\6, 
 Francefco being appointed his heir, could not pombly have died in 1521, fifteen years before 
 Liberale ; and for the fame reafon, he could not have died in 1 5 2 1 , at the age of 91 , . according to 
 the Chronological Tables. 
 
 5 but. 
 
T Y S [ 624- ] T Y S 
 
 but a young man at the death of his matter •, yet by his amiable qualities, and by 
 his peribnal merit, as well as by the beauty and fpirit of his works, he fo won the 
 efteem and affection of Liberale, that he was appointed heir to that painter-, and 
 by that acquiiition of fortune, was enabled to follow his profeffion with greater 
 eafe and fatisfaction. 
 
 He painted a great number of pictures in frefco, and in oil, at Verona, Friuli, 
 and Venice •, and in the chapel of Santa Maria in Organo at the latter city, he 
 painted a Transfiguration, which was eftecmed a capital performance. His 
 portraits were exceffively curious •, beautifully, and naturally coloured •, finifhed 
 with remarkable care and neatnefs ; and had all the look of real life, with a 
 furprizing refemblance of his models. 
 
 Alessandro TURCHI. Vid. Alexander Veronese. 
 
 Peter TYSSENS. 
 
 Painted Hiftory, and Portrait. 
 
 Died i6gi, aged 67. 
 
 He was born at Antwerp, about the year 1625, and was one of thofe diftin- 
 «Tuilbed artifts, whofe works were efteemed to be not much inferior to Rubens. 
 
 At his firft letting out in his profeffion, he applied himielf to the painting of 
 portraits, merely from a view of immediate advantage, and neglected hiftory ; 
 but having received fome fevere mortification in regard to his works in that 
 ftyle, he determined to relinquish it, and refume the more mafterly ftyle of 
 hiftory, in which he had all the fuccefs he could defire. 
 
 His manner of defigning was grand ; his compofuions are full of fpirit ; his 
 colouring is ftrong; and he uiually enriched his back-grounds with architec- 
 ture. His reputation was very greatly advanced, by an altar-piece which he 
 painted for the church of S. James at Antwerp ; the fubject of it was the 
 AtTumption of the Virgin, and the colouring and compofition of it gained him 
 the approbation of the publick, and the efteem of the beft judges. 
 
 N. TYSSENS. 
 Painted Still Life, Floivers, and Birds. 
 
 He was born at Antwerp, in 1 660, and fuppofed to be the fon of Peter 
 Tyfiins. He learned the art of painting in Flanders, but lived at Rome for a 
 Jono- time, where he was conftantly employed by a picture merchant ; and he 
 alio fpent fome years at Naples and Venice. However, his pictures did not 
 pleafe in general, as being dull, and unenlivened ; and were only purchaied by- 
 other artifts, who valued them for being true imitations of nature, and for the 
 goodnefs of the colouring. 
 
 This mafter rarely painted any other fubjects, but thofe of the military kind, 
 fuch as armour, helmets, fwords, guns, drums, fabres, and all forts of trophies, 
 which he compofed, and grouped, with a great deal of ingenuity. When he 
 returned from Italy to his own country, he found no greater demand for his works 
 at home, than abroad -, which induced him to vifit Duffeidorp, as the Elector 
 
 Palatine 
 
V A D [ 625 ] V A I 
 
 Palatine was a remarkable encourager of all artifts. As that prince was then 
 anxious, to have the beft collection of paintings in Europe, he employed Tyfiens 
 as his agent, to purchafe for him every curious picture through the Low 
 Countries, that could be procured at any price ; and that artift executed his 
 commiffion with honour to himfelf, and to the utmoft fatisfaction of his em- 
 ployer. 
 
 As he found no confiderable demand for his ufual fubjecls, he changed his 
 flyle, and painted flowers, but not with any great degree of credit ; he there- 
 fore at laft painted birds, and proved very fuccefsful ; ibme of his compofitions 
 in that way, having been accounted worthy of being compared with the works 
 of Boel, or Hondekoeter. 
 
 V. 
 
 Louis de V ADDER. 
 
 Painted Land/cape. 
 
 He was born at Bruflels, about the year 1560, and became an excellent 
 painter of landlcape. He underftood the principles of perfpective thoroughly, 
 and difpofed his grounds, trees, views, and figures in fo true a manner, propor- 
 tioning every object to its diftance, that his pictures have always a fine effeft. 
 
 It was hiscuftom to ftudy nature with a very uncommon degree of exaftnefs ; 
 ar?j frequently he was abroad in the fields at the rifing of the fun, to obferve the. 
 gradual diffulion of light upon every object, even to the moll remote diltance ; 
 and alio the manner of the difperfion of the morning mifts and vapours, by 
 degrees unfolding the difiant mountains and hills, and rendering them more 
 perceptible •, and the knowledge which he derived from fuch a method of 
 ftudy, is evidently leen in all his landlcapes. 
 
 The pictures or Vadder, though not defigned with all the elegance of the 
 Italian artifts, have neverthelefs abundance of truth and nature; and he had the 
 art of blending, through many of his fkies, the refemblance of thofe floating 
 vapours, which gradually form themfelves into clouds. His diftances are gene- 
 rally blue and clear •, his trees are defigned in a good tafte, touched in a free 
 and mafterly manner, with a great deal of fpirit •, and the reflexions of thofe 
 trees in the water, (which he always paints very tranfparent,) are clear, true, and 
 fo natural, as to afford pleafure to the moft judicious beholder. 
 
 V A G A. Vid. F 1 e r 1 n 0. 
 
 Wallerant VAILLANT. 
 Painted Portrait. 
 Died 1677, aged 54. • 
 
 He was born at Lille, in 1623, but quitted his native city, and went to 
 Antwerp, to learn the art of painting ; where he placed himfelf as a difciple 
 5 w.kh. 
 
V A I [ 626 ] V A L 
 
 with Erafrnus Quellinus. The love of his profession engrafted his whole mind, 
 and to the inftruftions of his mafter, he added a diligent Itudy after nature ; by 
 which means he became a good defigner, and a considerable artift. 
 
 He found his genius to be bed adapted to portrait painting, and therefore 
 applied himfelf particularly to that branch, in which he Succeeded to his wifh. 
 And as very Splendid preparations were making at Frankfort, for the corona- 
 tion of the Emperor Leopold, he went, by the advice of his friends, to that city, 
 where he had the honour of painting the portrait of his Imperial Majetly •, and 
 he cave the figure fuch an air of dignity, with fo Striking a refemblance, that it 
 procured him abundance of employment, among the princes and ambafTadors, 
 who were refident thereat that time. He afterwards fpent four years at the court 
 of France, to which he was recommended by the Marefchal Grammont •, and 
 painted the portraits of the Queen Mother, and the Duke of Orleans, with ex- 
 traordinary approbation. 
 
 With an equal degree of merit, he painted in oil and with crayons •, but as his 
 •younger brother painted only in the latter, he relinquished it entirely, to avoid 
 all manner of competition with his brother. 
 
 Bernard VAILLANT. 
 Painted Portraits in Crayon. 
 
 He was the brother of Wallerant, born at Ryfiel in 1625, and was alfo his 
 difciple, travelling along with him wherever he went, At firft he practifed in 
 oil, but he afterwards negledted it, and painted only in crayon, in which manner 
 of painting he acquired considerable reputation. 
 
 It was allowed by the beffc judges, that his attitudes were eafy •, that his 
 manner of handling was excellent ; and that the likenefs was remarkably ftriking. 
 He fpent the greateft part of his life at Rotterdam, in general efteem, and con- 
 ftant employment. 
 
 VALENTINE de Colombien, called VALENTINO. 
 Painted Hifiory, Soldiers at play, and Taverns. 
 Died 1632, aged 32. 
 He was born at the village of Colomiers, in the country of Brie Champag- 
 noife, in the year 1 600, and for fome time was a difciple of Vouct •, but he 
 foon quitted that mafter, and travelled to Italy, to obtain a better tafte of defign 
 and colouring, than he could pofllbly acquire under the guidance of Vouet. 
 He ftudied the works of the great artifts at Rome, but preferred the ftyle of 
 Caravacgio to all others •, and as he obferved, that the Strong maSTes of light and 
 lhadow of that mafter, produced a bold erTedt, and great relief -, he fixed on him 
 tor his model, and ever ai'ter endeavoured to imitate his manner. 
 
 His ufual Subjects are of the famecaft, as thole ofCaravaggio, and Manfredi, 
 Soldiers playing with cards or dice, taverns, or concerts of mufick -, and he 
 rarely painted historical Subjects ; yet Sometimes he compofed them for churches, 
 and the palaces of the nobility. One devotional fubjeft in particular, he painted 
 for S. Peter's at Rome, by order of his patron Cardinal Barberini, nephew to 
 Urban VIII, representing the Martyrdom of S. Martinian. That performance 
 
 procured 
 
V A L [ 627 ] V A L 
 
 procured him extraordinary honour, as it was executed with a great degree of 
 force, and with more elegance, than is ufually obferved in his compofitions. 
 
 He made nature his principal ftudy, and difpofed his figures with confiderable 
 judgement -, his pencil is firm, and his colouring has remarkable force •, nor is 
 it loaded with fuch extreme blacknefs in the fhadows, as we fee (and cannot 
 but difapprove,) in many of the paintings of Caravaggio. But, as to the 
 elegance of his figures, the grace, or the grandeur of his defign, he cannot be 
 commended, nor was he very correct. His peculiar attention feemed to be 
 exerted, to add force to his colouring, fo as to produce a ftriking effect •, and the 
 readinefs of his hand, frequently caufed him to overlook many incorrections, in 
 his drawing as well as in his defign. 
 
 Several of the works of this mafter, are in the royal collection at Paris ; 
 among which are mentioned, Judith with the head of Holophernes, the Judge- 
 ment of Solomon, Sufanna and the Elders, two mufical afiemblies, and one, of 
 foldiers playing at cards. 
 
 VALKENBURGH. 
 
 Painted Italian Fairs., and Bead Game. 
 Died 1623, aged 68. 
 
 He is fuppofed to have been born at Nuremburgh, about the year 1555, and 
 having learned the principles of his art in his own country, he went to Venice, 
 and placed himfelf under the care of the moft eminent painter in that city. He 
 ftudied the works of Titian, Tintoretto, and P. Veronefe ; and from exact 
 obfervations which he made, of the merits of thofe admirable mailers, he formed 
 a ftyle of his own, that was agreeable and elegant. 
 
 Fairs, markets, feftival fports, and dead game were his general fubjects •, and 
 likewife, views of cities and buildings, which he copied from nature. Thofe he 
 executed with a light clean pencil, a delicate touch, and a tone of colouring that 
 appeared lively and natural. For the moft part, he defigned a great number of 
 figures, in all his compofitions that required them ; and his figures were 
 generally very correct, and full of expreffion, though he could not entirely 
 diveft himfelf of the German tafte, which appeared in the air and drefs of many 
 of his figures. When he returned to Germany, his paintings were highly 
 admired ; and even in his life-time afforded a very large price. 
 
 Dirk, or Theodore VALKENBURGH. 
 
 Painted Portraits, and Game of feveral kinds. 
 
 Died 1 72 1, aged 46. 
 
 He was born at Amfterdam, in 1675, and even in his earlieft youth, fliewed 
 flrong tokens of a good genius to painting. At firlt he was placed as a difciple 
 with Kuilenburg •, but, he foon difcovered the inability of that mafter, to afford 
 him the improvement he defired. He therefore fucceffively ftudied with Mufcher 
 and Weeninx,with whom he continued for a few years ; till by the inltructions 
 of Weeninx in particular, and the affiftance he received from ftudying after 
 nature, he found himfelf qualified to commence painter, 
 
 L 1 1 1 His 
 
VAN [ 628 ] VAN 
 
 His fubjefts were portraits, and game of all ibrts, in which he had extraordi- 
 nary i'uccefs ; though he feemed ambitious to defign fubjc&s of a more elevated 
 ftyle, and for that purpofe determined to vifit Rome. But, in his intended route 
 to Italy, happening to travel through Vienna, the Prince of Lichtenllein, who 
 faw and admired his performances, made him the molt honourable propoials, to 
 detain him at the Imperial court. There lie found lb much encouragement and 
 relpect, and likewise acquired fo large a fortune, that his reiulution to ftudy at 
 Rome was totally laid afide, and then he only became anxious to revifit Ins 
 native country. 
 
 Loaded with riches and honours, he returned to Amfterdam, and was enir 
 ployed by King William III. to adorn his palace at Loo. Yet, in the midftof 
 his iuccefs, his life was rendered fo unhappy by domeftick dilquiets, that in 
 fearch of tranquility he fled to Surinam in the Weft Indies, and continued there 
 foe two years •, but as the climate difagreed with his conftitution, he returned to 
 Holland, in a very bad ftate of health, and much enfeebled in his limbs. As 
 foon as his infirmity permitted he refumed his pencil-, but his performances did 
 not appear in any degree equal, to whit lie had produced in the former part of 
 his life, either in relpeft to the colouring, deiign, or execution. So that his 
 latter paintings are not to be compared with thole of his early time. 
 
 The bed works of this mafterare defervedly in very high efteem ; and after 
 his death, two of 'his pictures were fold at Amfterdam for a thoufand florins, 
 although the fubjetts were only dead game j and the value of his pictures is ftiU 
 increafing, . whenever they are to be purchaled in Holland. 
 
 V A N B A L E N. Vid. Balex. 
 
 V A N D 1 E S T. Vid. Diest. 
 
 Sir Anthony VANDYCK. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1 64 1 , aged 4 2 . 
 
 This incomparable painter was born at Antwerp, in 1599, and was at firit 
 inftructed by Henry Van Balen, but afterwards became the difciple of Rubens ; 
 and diftinguifhed himlelf fo highly in the fchool of that great artift, that he con- 
 ferred honour on his inftructor, and was accounted, in fome refpects, to approach 
 very near him. 
 
 By the advice of Rubens, he. went in his twentieth year to Italy, in order to 
 complete his ftudies, and perfect himfeff in his profeflion ; and after a fhort 
 continuance at Rome, vifited Venice •, where he conceived that exquifite notion 
 of colouring, which hath fecured to him the admiration of the whole world. He 
 obferved minutely every tint, and every delicacy in the works of Titian, Veronefe, 
 and the celebrated matters of the Venetian fchool, with judgement and a nice 
 penetration •, and by the ftrength of his genius difcovered the true principle*, 
 which guided thofe illuftrious artiftsto fo high a degree of excellence •, by which 
 means he acquired fuch an exquifite pencil, as might almoft place him in com- 
 petition even with Correggio. 
 
 Having fufficiently difpjayed his eminent talents at Venice, Rome, Genoa, 
 and his native city, till his reputation fpread itlelf through all parts of Europe -, 
 
 he 
 
VAN [ 629 ] VAN 
 
 he was invited to London by King Charles I. who received him into his fervice, 
 with an appointment of a confiderable penfion •, and not only prefented him 
 with a chain of gold, and his own portrait richly adorned with diamonds, but 
 alfo conferred on him the order of knighthood, in 1632. His amiable dilpofi- 
 tion, and perfonal accompliihments, united with his extraordinary merit in his 
 profefllon, gained him the affection of the king ; procured him the refpect, 
 efteem, and admiration of the nobility and every lover of the art ; and by his 
 perpetual employment, he was enabled to live in the utmoft fplendor and 
 opulence. 
 
 He excelled in hiftory and portrait, but his greatefl power appeared in the 
 latter ; and no painter better underftood the principles or practice of the chiaro- 
 fcuro, than Vandyck. His choice of nature, when he painted portraits, was 
 always that which was mod agreeable ; he gave an inexpreffible grace to his 
 heads •, he (hewed abundant variety in the airs, and in fome of them the 
 character was even fublime •, and as to his expreflion, it was inimitable, the 
 very foul of the perfon reprefented being vifible in the portrait. The extremities . 
 of his figures are true, graceful, and exact ; and the hands in particular are 
 defigned in the greatefl perfection, beautiful in their form, and delicately exact 
 in their proportions. His draperies, which were taken from the mode of the 
 times, are caft in a grand ftyle, broad, and fimple in the folds, eafy and natural 
 in the difpofition, and his colouring is lovely. 
 
 Infeveral parts of painting, Vandyck has ever been acknowledged to furpafs 
 his matter •, his touch is more delicate, his ideas more graceful, and his expreffion 
 more true. It is indeed generally alledged, that he had lefs invention, and lefs 
 fire than Rubens ; yet if it is confidered that he devoted himfelf fo entirely to 
 portrait painting, as to allow himfelf lefs opportunity to improve his tafte for 
 liiftorical compofitions ; it cannot feem furprizing, that Rubens, who made 
 hiftory his principal and perpetual object, fhould in that refpect claim a 
 fuperiority. However, it appears no way improbable, that if Vandyck had 
 been as inceffantly employed in hiftory, as he was in portrait, his ideas might 
 have been more enlivened, his genius rendered more extenfive, and his invention 
 more animated •, fo as to have equalled his mafter in defign, as he furpaffed 
 him in the delicacy and fweetnefs of his tints. And if Rubens deferves to be 
 preferred to Vandyck in hiftory •, yet, the latter, in many of the portraits of his 
 earlier time, is allowed equal even to Titian, and fuperior to all others, who 
 have appeared fince the revival of the art of painting. 
 
 During the firft fix or feven years, after his arrival in London, his perfor- 
 mances are accounted moft excellent, and moft eftimable ; but, fome of his 
 latter works are painted in fuch a manner, as fhews the uncommon rapidity of 
 his pencil, though they are touched with wonderful fpirit ; and others of them 
 are comparatively weak, and partake too much of the lead colour, though his 
 penciling is always mafterly, always inimitable. 
 
 The moft capital of the works of Vandyck are in England. At Blenheim, 
 the portrait of King Charles I. in armour on a dun horfe. At Houghton, a 
 whole length in armour. At Hampton Court, the king in armour on a white 
 horfe, his equerry holding his helmet. At Kenfington, George Villiers fecond 
 Duke of Buckingham, and Lord Francis his brother. And at Wilton, the 
 
 L 1 1 1 2 Pembroke 
 
VAN [ 630 ] VAN 
 
 Pembroke family a moft capital performance ; alfo at the Marquis of Rocking- 
 ham's, the celebrated picture of the Lord Strafford and his fecretary. In the 
 collection of the Duke of Orleans, there is a moft admirable picture by Vandyck ; 
 it is a whole length of Mary de Medicis, which is finifhed as highly as the 
 power of his art could reach •, it fhews at once the ftrength of Rubens, and 
 almoft the colouring of Titian ; the manner of it is in the higheft degree noble, 
 and yet it appears equally eafy and natural ; and many of the portraits of the 
 nobility of England, which were painted by Vandyck, are not in any refpect 
 iniVrior to that celebrated portrait of Mary de Medicis. 
 
 Philip VANDYCK. 
 
 Painted Hijlory, Portraits, and Conversations. 
 Died 1752, aged 72. 
 
 He was born at Amfterdam, in 1680, and was the difciple of Arnold Boonen> 
 with whom in a few years he made a commendable progrefs •, but, as he was 
 defirous to obtain all poflible improvement under that mafter, he determined to 
 continue under his direction, till his reputation was well eftablifhed •, nor did he 
 quit his mafter Boonen, before his works were in great requeft, and very readily 
 purchafed. 
 
 As Amfterdam feemed fufflciently ftocked with painters, he fettled for fome 
 time at Middleburgh, and afterwards at the Hague ; and in both was employed 
 by the principal perfons for their portraits, which he painted in a fmall, as well 
 as a large fize, with an equal degree of merit. Many of them he painted in 
 the manner of Mieris, and Gerard Douw •, and although he was indefatigable 
 at his work, he found it fcarce poflible to anfwer the demands of thole who 
 were folicitous to procure them. 
 
 In Holland, Flanders, and Germany, he was confidered not only as an artift 
 of the firit rank, but as one of the moft judicious connoifleurs •, and on that 
 account was employed by Prince William of Hefle Caflel, who patronized him, 
 . and by feveral others of princely fortunes, to purchale collections of paintings 
 for their cabinets ; which commiffions he always executed to the Angular fatis- 
 faction of his employers, and to his own honour. 
 
 The number of portraits, converfations, and hiftorical fubjects which he 
 finifhed is almoft incredible ; but, two of his performances are particularly 
 mentioned, with great commendation. One is, a picture containing the portraits 
 of the Prince of Orange, his mother, and fifter in one piece ; the other is a 
 cieling which he painted for Mr. Schuylenburgh, reprefenting the ftory of 
 Iphigenia, in which lubject he introduced the portraits of the whole family of 
 his employer. 
 
 His portraits, efpecially thofe in his fmall fize, have a ftrong refemblance ; 
 and fuch truth, as evidently fhews that he faithfully copied nature. All his 
 fubiedts arc well compofed, neatly penciled, and highly finifhed, with an agree- 
 able tone of colour •, and although his pictures cannot be defervedly ranked 
 with thofe of Douw, Netfchcr, or Mieris, yet they have abundance of merit, 
 and are admitted to a place in the moft felect collections. 
 
 VANGOYEN. Vid. Goyen. 
 VANDER DOES. Vid. Does. 
 
 VAN- 
 
VAN [ 631 ] VAN 
 
 VANDERHELST. Vid.HEtsr. 
 
 VAN HUYSUM. Vid. Huvsum. 
 VANDER KABLE. Vid. K a b l e, or Ca b e l. 
 VAN L A E R. Vid. Bamboccio. 
 VAN EYCL Vid. Eyck. 
 
 Jacques VAN LOO. 
 Painted Hijlory, and Portrait. 
 
 He was the fon of John Vanloo, a painter of fome diftinftion, by whom he 
 was inftructed in the art of painting, and became an excellent mafter. He 
 followed his profefiion at Amllerdam, and in the chief cities of Holland, and 
 Flanders, with great credit and fuccefs •, and particularly excelled in defigning 
 naked figures, which he drew correctly, and finifhed with a neat pencil, and 
 agreeable colouring. 
 
 Houbraken mentions a fine picture of this mafler's compofition which repre- 
 fented Diana in the Bath, and the difcovery of Califto •, and another alio of a 
 woman playing on the Lute, which in the ftyle and handling, might be taken 
 for the painting of Jan Lys. Both of thofe pictures were marked as being, 
 painted in the fame year 1657. 
 
 John Baptist VANLOO. 
 
 Painted Portrait, and Hijiory- 
 Died 1745, aged 61. 
 
 He was the fon of Lewis, and grandfon of Jacques Vanloo, two eminent artiffs 
 and was born at Aix in 1684. His father perceiving very promifing appear- 
 ances of an apt genius in his fon, from his earlieft years, cultivated his talents 
 with all poffible diligence and care. He taught him the beft principles of his 
 art; communicated to him every ufeful and inftructive obfervation ; and caufed 
 him to copy the beft compofitions of the greateft matters ; till by the ftudious 
 application of a few years, he appeared in the world with very great advantap-e. 
 
 At firft he fettled at Toulon, but when that fortrefs was befieged in i707,°he 
 fled to Aix, where he painted a great number of hiftorical pictures fo/ 'the 
 churches, convents, and hotels of the nobility, as well as portraits ; and after a 
 continuance of five years in that city, entered into the fervice of the Prince of 
 Carignan, who enabled him to complete his ftudies at Rome. 
 
 Vanloo made a proper ufe of fo happy an opportunity ; and on his arrival at 
 Rome, devoted his whole time and attention to eftablifh his tafte of defign, and 
 perfect his hand. He ftudied the antiques, he copied the moft famous^ point- 
 ings, and appropriated not only the intire days to his improvement, but the 
 evenings alio were fpent in drawing, and defigning ; and that he might not 
 omit any thing conducive to his advantage, he placed himfelf as a difciple with 
 Benedetto Luti, who was at that time in high efteem. In a fhort time he fo 
 effectually eftabliihed his credit, that he found fuffkient employment while he 
 refided at Rome ; by which he added continually to his reputation, and when 
 he quitted that city was honourably employed by the Duke of Savoy, though he 
 ftill attached himlelf to his patron the Prince of Carignan. 
 
 F'j.r 
 
VAN [ 6-2 ] VAN" 
 
 For forne years he refidcd at the French court, and by his performances 
 gained universal efteem, and a large fortune •, till by the advice of his friends 
 he was prevailed-on to vifit London, being recommended to Sir Robert Wal- 
 pole. By that minifter he was made known to the Prince and Princefs of 
 Wales, who honoured him' fo far, as to fit to him for their portraits •, and 
 afterwards he painted feveral of the royal family, and fo great a number of the 
 nobility and gentry, that he fcarce had any difengaged hours, for the ftrfl four 
 years of his refidence in London. At length, finding his health much impaired 
 he returned to Aix, in 1742, where in a few months he was able to refume his 
 pencil •, and with undiminifhed merit followed his profefiion, till near the time 
 of his death, which happened three years after in 1745. 
 
 Vanloo had an uncommon quicknefs of invention, he defigned with all ima- 
 ginable facility, and was fo remarkable for the readinefs of his execution, that 
 in one day he' compleatly finifhed three portraits, in a good ftyle, and a free 
 manner. He had an excellent tone of colouring, with a light and fpirited touch ; 
 and gave his carnations afreftmefs and warmth, not very far inferior to the tints 
 of Rubens. 
 
 Carlo VANLOO, Chevalier. 
 
 Painted Hiftory. 
 
 Died 1765, aged 60. 
 
 He was born at Nice in Provence, in 1 705, the fon of Lewis Vanloo, and 
 brother to John-Baptift Vanloo, by whom he was inftrufted in the firft principles 
 of painting •, but afterwards he was placed as a difciple with Eenedctto Luti, 
 who took pleafure in cultivating thole extraordinary talents, which he difcerned 
 in his pupil •, and the precepts of Luti, aided by the inftruftions of John- 
 Baptift his brother, laid the foundation of that excellence at which Carlo after- 
 wards arrived. 
 
 As foon as he had confirmed his hand in drawing, and gained a good degree 
 of knowledge in regard to colouring, he quitted the fchool of Luti, and accom- 
 panied his brother to France ; where he afiifted him in repairing the gallery at 
 Fontainbleau, originally painted by Primaticcio, and th«n returned to Rome to 
 purfue his ftudies. The love of his profefTion, and his commendable ambition 
 to become eminent in it, engaged his whole attention •, and therefore he applied 
 himfelf inceflantly to defign after the antiques, to copy the molt capital paint- 
 ings of Raphael, Domenichino, Guido, the Caracci, and Carlo Maratti, and his 
 afliduity was rewarded with all the fuccefs he could defire •, for, his reputation 
 at Rome increafed with every new performance, and the Pope conferred on him 
 the order of knighthood. 
 
 It is remarked by the writer of the life of this painter, that he often varied his 
 ftyle of painting, and finifhed fome of his pictures with a bold, free pencil, and 
 others with foftnefs and delicacy •, in fome imitating the touch and colouring of 
 Guido, and in others, the manner of other great mafters j fo that one would be 
 induced to believe, that he faw nature only with the eyes of thofe illuftrious 
 mafters who were his models. 
 
 The imagination of Carlo was lively, and very fertile ; he invented with eafe, 
 and compofed his fubje&s with elegaice of tafte, and fingular judgement ; nor 
 
 was 
 
VAN [ &33 ] VAN 
 
 was ha, like many artifts, To fond of his own productions as to overlook their 
 imperfections ; for with an accurate, impartial and fevcre eye he examined every 
 work he compofed, and altered, whatfoever his judgement difapproved, with 
 full as much readinefs as he compofed. And of this he gave an evident proof, 
 in a picture of the Graces chained by Love, which he totally altered, even after 
 it had been publickly exhibited at the Louvre, in 1763. 
 
 His colouring is exceedingly natural, and his power in penciling enabled him 
 to produce apleaflng effect, as well when his touch is ftrong and'vigourous, as 
 when it was tender and delicate. His eminent talents procured him the honour 
 of being appointed principal painter to the King of France ; at which court he 
 was held in thehighefl efteem. But, wherever he refided, , he was admired and 
 careffed ■, nor was he in his life more generally applauded fonhis merit, than>he 
 was univerfally regretted at his death. 
 
 Charles VANMANDER. 
 
 Painted Hijiory, and Land/cape. 
 
 Died 1606, aged 58. 
 
 He was born at Meulebeke, a fmall diftance from Courtray, in 1 548, and was 
 fuccefiively the difciple of Lucas de Heere at Ghent, and Peter Vlerick at 
 Gourtray ; but his principal knowledge in the art of painting, was acquired at 
 Rome, where he ftudied for three years. 
 
 His greateft pleafure confifted in defigning after the antiques, and the curious 
 remains of Roman magnificence ; the temples, baths, ruinous theatres, 
 iepulchral monuments and their decorations, and in ftiort, every elegant and 
 noble object that invited his attention. He alio ftudied .after nature in the 
 environs of Rome, fketching every fcene that pleafed his imagination, or could 
 afford him materials for future compositions in the landfcape ftyle ; and having 
 pracfifed to paint with equal freedom in frefco and in oil, he executed feveral 
 hiftorical works as well as landfcapes, for the cardinals and nobility of Rome, 
 with extraordinary approbation. 
 
 At his return to his own country, he was received with unufual refpect, and 
 foon after painted the repreientation of the Terreffrial Paradife, which procured 
 him great honour ; as the figures of Adam and Eve were finely defigned, and 
 well coloured ; and the landfcape and animals, were executed with an equal 
 degree of merit. He painted likewife a picture of the Deluge, which was highly- 
 applauded for the compofition and expreflion, as itdefcribed all the paiTions of 
 grief, fear, terror, horror, and delpair, with a fenfible and affecting variety. In 
 o-eneral he was efteemed a good painter of landfcape, the choice in Ids trees was 
 iudicious, his figures were well defigned, his colouring was agreeable, and his 
 compofition full of ipirit •, though in the advanced part of his life, he. appeared 
 to haveibmewhatof the manneriil. 
 
 Van Mander had many accomplifhments, and diftinguifhed hlmfelf not only 
 as a painter, but as a writer. He compoled tragedies and comedies, which 
 were acted with applaufe •, and what is very uncommon, he painted alio the 
 decorations of the theatre. At Piaerlem he introduced an academy, to diffufe 
 among his countrymen a tafte for the Italian mailers •, and the world is indebted 
 eminently to Van Majider for fearching out, and tranfroitting to pofterity, the 
 
 characters. 
 
VAN [ 634. ] VAN 
 
 characters and merits of fo many memorable artifts, as are comprized in his 
 Jives of the painters. 
 
 Jacques VANOOST the Old. Vid. Oost, 
 
 OOST the Young. Vid. Oost. 
 
 Adam VAN OORT. Vid. Oort. 
 VAN OPSTAL. Vid. Opstal. 
 VAN ORLAY. Vid. O r l a y. 
 
 Paul Van VANSOMEREN, or VANSOMER. 
 
 Painted Portrait. 
 Died 1 62 1, aged 45. 
 
 He was born at Antwerp, in 1576, and excelled in painting portraits, having 
 been perfected in that branch by Bernard Vanfomeren his elder brother, who 
 had fpent feveral years in Italy, and was accounted extremely eminent for 
 painting converfations, and portraits. For fome years he followed his profef- 
 fion with great fuccefs at Amfterdam •, but afterwards went to England, where 
 he found encouragement equal t.) his merit, as his portraits were defervedly ad- 
 mired, for elegance and eafe in the attitudes, and alfo for a remarkable refemb- 
 lance. 
 
 At S. James's there is a half length of the Earl of Pembroke, at that time 
 Lord Chamberlain, which is admirably executed •, the figure being finely re- 
 lieved by a fkilful management of the chiaro-fcuro. There is alio a whole 
 length of the firft Earl of Devonshire at Chatiworth, reputedly by this matter, 
 which is accounted not inferior to Vandyck ; and feveral others are to be feen, 
 at Hampton Court, and in the collections of the Englifh nobility and gentry. 
 
 JorisVANSON the Old. Vid. S o n. 
 V A N S O N the Young. Vid. Son. 
 
 Adrian VANDERBURGH. 
 
 Painted Portraits, ana Converfations. 
 Died 1733, aged 40. 
 
 He was born at Dort, in 1693, and was a difciple of Arnold Houbraken. 
 He painted portraits, and converfations ; in the former he proved very fuccefs- 
 ful, by not only giving a ftrong likenefs, but by his improving nature to fuch a 
 decree, as to make his pictures agreeably refemble their models ; and in the 
 latter, he painted in the ftyle of Mieris, and Mctzu. 
 
 His manner was very pleafing ; for, the colouring of his portraits appeared 
 natural, and true ; nor were any of the tints broken, or tortured. His touch 
 had the appearance of eafe and freedom ; and yet, while his pictures feem to 
 have been expeditioufiy finifhed, and with a kind of negligence, they were 
 accurately, and neatly performed. His talents were confefiedly good, but he 
 impaired them by indulging too great a fondnefs for diflblute company, extra- 
 vagance, and excefs -, neglecting his family, his difciples, and his reputation ; 
 2 till 
 
VAN [ 635 ] VAN 
 
 till by his intemperance he fhortened his days, and left but few of his paintings 
 to perpetuate his memory. 
 
 Two of this matter's compofitions are mentioned by a Dutch writer •, one is 
 the reprefentation of a Fifhmonger's fhop, in which a man appears toying with 
 a young woman •, the other, is a woman overcome with liquor, which is exceed- 
 ingly well finifhed, but rather too indelicate. Thofe pictures are at prefent in 
 the poffeffion of Mr. Bifchop at Rotterdam. 
 
 VANDERMEERE. Vid. Meere, 
 VANDERMEULEN. Vid. Meulen, 
 VANDERNEER. Vid. Neer. 
 
 Adrian VANDERVELDE. 
 
 Painted Land/capes, Animals, and Hiftory. 
 Died 1672, aged 33. 
 He was born at Amfterdam, in 1639, and from his infancy fhewed a ftrong 
 genius to painting, which induced his father to place him as a difciple with 
 John Wynants, with whom he continued for feveral years ; and was fo careiully 
 inftructed by that matter, that before he quitted Wynants, he perfectly under- 
 stood the beft, and fineft principles of the art. It was his conftant cuftom to 
 •ftudy every object after nature ; the fcenes and fituations of his landfcapes, the 
 trees, clouds, and every fpecies of animals were curioufly obferved by him, 
 and fketched in the fields to which he every day reforted ; nor did he difcontinue 
 that practice as long as he lived. 
 
 As he had applied himfelf in a particular manner to the defigning of figures, 
 he not only had the advantage of embellifhing his own landfcapes, but alio the 
 landfcapes of many other artifts, whole works were in the higheft eftimation. 
 He inferted the figures in the landfcapes of Ruyfdael, Hobbima, Moucheron, 
 Vander Heyden, and even in the pictures of his mafter Wynants •, who, till he 
 experienced the ability of his difciple, had generally engaged Wouwermans for 
 that purpofe, but afterwards entrufted that part to Adrian. 
 
 In the choice of his fubjects, and the agreeablenefs of his fcenes, as well as in 
 the excellence of his colouring, he fcarce had a fuperior •, and as nature was 
 always his model, his compofitions are remarkable for their truth. His touch 
 is free, and fteady •, his trees are natural and well formed, and the leafing fharply 
 and accurately marked. His fkies have a peculiar brilliancy •, and as he was 
 exactly watchful to obferve the effects of light on every particular object, he 
 has moft happily expreiTed its effects, through the branches of his trees, on the 
 furface of his waters, on his cattle, and in fhort on every part of his fcenery. 
 
 But, although the general fubjects of Adrian were landfcapes, with llieep, 
 goats, horfes, or horned cattle ; yet, he was notlefs expert at compofing fubjects 
 of hiftory, nor were his works in that ftyle, in any degree lefs eftimable. In 
 the Romifh church at Amfterdam, there is an excellent picture painted by 
 Adrian Vandervelde, reprefenting the Defcentfrom the Cro is, with figures half 
 as large as life •, which is greatly admired •, and he alfo painted feveral other 
 hiftorical pictures, taken from the fufterings of Cbrift, with equal fuccefs and 
 reputation. 
 
 M m m m Through 
 
VAN [ 636 ] VAN 
 
 Through all the paintings of this mailer there appears a tendernefs and 
 uncommon warmth ; his figures are well defigned, and his cattle remarkably 
 correct, with abundance of lite and ipirit in their actions, and attitudes. And 
 when we confider how highly his own pictures are finifhed, and alio how many 
 figures he inferted for others, it will be evident, that he mult have been inde- 
 fatigable in his labours, as well as exceedingly expeditious in his manner of 
 working, fince lie died when he was only thirty-three years of age. 
 
 Few of his works are now to be met with, as he did not live long enough to 
 leave any confiderable number, and thoil* that are to be purchaled, are extremely 
 dear ; as they are particularly coveted through the Low Countries, where he is 
 accounted one of their molt eminent painters. 
 
 E s a 1 a s VANDERVELDE. 
 Painted Batiks, and Land/cape. 
 
 He was born about 1590, and efteemed a very excellent painter of fuch kind 
 of iubjeets as fuited his genius, and thole were principally battles, fkirmilh.es,. 
 robberies, plundering of villages, or the marchings of foldiers, in a lmallfizej 
 which he defigned with a great deal of fpirit, and finifhed them with a light free 
 pencil and a good tone of colouring, if it was not fometimes a little too green. 
 
 His expertnefs in fmall figures, procured him employment almoft perpetually 
 from other artifts, who were felicitous to have their landlcapes or perfpective 
 views adorned by his pencil ; and it was remarked of this painter, that he ulually 
 dreft his figures in the Spanifh mode. During his life, his works were highly 
 efteemed, and brought great prices ■, but, at this time they feem to be considerably 
 funk in their value. 
 
 William VANDERVELDE, called the Old. 
 
 Painted Sex-pieces, and Sea-fights. 
 Died 1693, aged 83. 
 
 He was born at Leyden, in 1 6 1 o, and in his youth was bred up to a feafaring 
 occupation •, but, afterwards he applied himfelf to the art of painting, and 
 diftinguifhed himfelf eminently as a painter offhips and fea-pieces. As he had 
 been early acquainted with marine affairs, and for a long time converfant with 
 marine objects, he became a moft correct and admirable defigner, and made an 
 incredible number of drawings on paper, heightened with Indian ink, which he 
 fketched after nature, with as much elegance as exa<ftnefs. He gave an eafy, 
 natural pofition to the fails of his vefiels, and likewife to the rigging ; his 
 proportions of every part were beautifully true, and he finifhed his pictures with 
 the utmoft neatnefs. 
 
 As the Englifh were remarkable, for conftructing their vefiels in a much more 
 graceful form than any other European power, and were equally remarkable 
 for their generous encouragement of artifts, Vandervelde determined to fettle 
 himfelf and his family in London ; and on his arrival his expectations were not 
 difappointcd. For, foon after, he had the honour of being taken into the 
 fervice of King Charles II. with an appointment of a confiderable falary, and 
 was continued in the fame fituation under his fucceffor James II. 
 
 2 This 
 
VAN [ 637 ] VAN 
 
 This mafter feems to have been, even to a degree of enthufiafm, fond of his 
 art ; for, in order juftly to obferve the movements, and various pofitions of 
 fhips engaging in a ica-fight, that he might defign them from nature, and unite 
 truth with grandeur and elegance in his compofitions ; he did not hefitate to 
 attend thofe engagements in a fmall light veffel, and fail as near to his enemies 
 as his friends, attentive only to his drawing, and without the lead apparent 
 anxiety, for the danger to which he was every moment expofed. Of that 
 bold and dauntlefs difpofition, he gave two very convincing proofs before his 
 arrival in England •, the one, was in that fevere battle between the Duke of 
 York, and Admiral Opdam, in which the Dutch admiral and five hundred men 
 were blown up •, the other, was in that memorable engagement, which continued 
 three days between Admiral Monck, and Admiral De Ruyter. During the 
 continuance of thofe different engagements, Vandervelde plied between the 
 fleets, fo as to reprefent minutely every movement of the fhips, and the molt 
 material circumftances of the action, with incredible exa<5tnefs and truth. 
 
 It isobferved, that in the latter part of his life, he commonly painted in black 
 and white, on a ground fo prepared on canvas, as to make it have the appearance 
 of paper. 
 
 William VANDERVELDE, called the Young. 
 
 Painted Sea-pieces, Storms, Calms, and Sea-figkts. 
 
 Died 1 707, aged 74. 
 
 He was born at Amfterdam, in 1633, the fon of William Vandervelde, by 
 whom he was carefully inftrucfed in the art ; but afterwards he was placed under 
 the direction of Simon de Vlieger, a very excellent painter of fhips, fea-fhores, 
 and fea-ports, who however was far furpafied by his difciple. 
 
 As foon as young Vandervelde found himfelf fufficiently prepared, to appear 
 with advantage in his profeffion, he went to vifit his father in London •, and 
 fome of his paintings being exhibited at the Englifh court, were beheld with fuch. 
 applaufe and admiration, that he was immediately employed by the king, and 
 alfo by the principal nobility. His fubjefts were the fame as thofe of his father, 
 and he obferved the fame method of fketching every object after nature ; but his 
 pictures were defigned and finifhed in fo exquifite a manner, that they are, not 
 only fuperior to the works of his father, but to all other artifts in that ftyle ; no 
 age fince the revival of the art, having produced his equal. 
 
 The paintings of this mafter have in every refpect fuch a degree of perfection, 
 as is not to bedifcerned in the productions of any other artift. And whether we 
 confider the beauty of his defign ; the correclnefs of his drawing -, the graceful 
 forms and pofitions of his veffels ; the elegance of his difpofition ; the lightnefs 
 of his clouds ; the clearnefs and variety of his ferene fkies, as well as the 
 gloomy horror of thofe that are ftormy •, the livelinefs and tranfparence of his 
 colouring •, the look of genuine nature that appears in agitated, and (till waters ; 
 and the lovely gradation of his diftances, as well as their perfpedtive truth * we 
 know not which principally to admire ; they are all executed with equal nature, 
 judgement, and genius •, they all are worthy of our higheft commendation, they 
 are truly inimitable. 
 
 M m m m 2 Houbraken 
 
VAN [ 638 ] VAN 
 
 Houbraken and other writers obferve, that the pictures of the young Vander- 
 velde are fo efteemed in England, that thofe which were fcattered through the 
 Low Countries were eagerly fought after, and purchafed at vaft prices •, fothat 
 in Holland, they rarely have the pleafure of feeing any of them. Undoubtedly, 
 the molt capital of his works are in England in the royal collections, and in the 
 cabinets of the nobility and gentry of that kingdom ; and fome few are alfo in 
 Ireland. Among the number, one fine picture of a Calm, is in the pofTeffion of 
 Thomas Cobbe Efq-, and another, of a large fize, reprefenting a fhip of war, 
 grappled by a fire-fhip, and fet on fire by the explofion, is in the pofTeffion of 
 the Lord Vifcount Kingfland. 
 
 Adrian VANDERVENNE. 
 
 Painted Drolls, Beggars, and Figures dancing. 
 
 He was born at Delft, in 1589, and was fucceffively the difciple of Simon de 
 Valck, and Jerom Van Dieft of Leyden, who followed the profeffion of painting 
 in that city with great credit ; and under the direction of the latter he continued 
 for feveral years, till he was qualified to commence artift. 
 
 His fubjects are generally of the loweft kind, copied from nature, without 
 choice, or variation, either as to the drefs, features, or forms of his figures ; and 
 his fubjects are as generally difagreeable. His pictures fhew freedom of hand, 
 and a maflerly pencil, but his ideas are grofs, and his colouring is unpleafant, by 
 the tints of yellow and brown being too predominant. His chief merit was i'een 
 in thofe com pofitions, which he painted only in black and white •, and as he had 
 a light, fpirited touch, his expreffion is well adapted to his characters. He 
 appears fond of defcribing mirthful fcenes of dancing, drinking, or fporting ; 
 and, it cannot but be allowed, that notwithftanding the ungraceful forms of his 
 figures, fome of his pictures have a lively and pleafant effect. 
 
 The King of Denmark, and the Prince of Orange, held the works of this 
 mafter in great efteem ; and for the latter, he painted feveral hunting-pieces, 
 which are ftill in the collections of the defcendants of that prince. 
 
 Adrian VANDERWERF. Vid. Werf. 
 
 Roger VANDERWEYDE. Vid. Wetdl 
 
 Francesco VANNI, Cavaliere, called VANNIUS of Siena. 
 
 Painted Hiftcry. 
 Died * 1 6 1 o, aged 47. 
 He was born at Siena, in 1563, the fon of a painter who was in no great 
 reputation, and received his earlieft inftruction in the fchool of Archangelo 
 Salimbeni ; but when he was twelve years old, he travelled to Bologna, and 
 there ftudied for two years under the direction of Pafierotti. Yet finding in 
 himfelf an impatient defire to fee the celebrated antiques, and the works of 
 
 • According to Baglione, whofe authority feems to deferve the preference, Vanni was born in 
 1563, and died in 1010, aged 47. But De Piles fixes the death of Vanni in 1615, aged 47; the 
 Chronologic.il Tables affcrt that he was born in 1568, and died in 1615, aged 47 ; and the 
 authors oi the Abrege de la Vie des Peintres fay, he died in 1609, aged 46. 
 
 2 Raphael, 
 
VAN [639] VAN 
 
 Raphael, he went to Rome, and placed himfelf with Giovanni da Vecchia. By 
 the precepts of that mafter, his proficiency was extraordinary ; fo that his per- 
 formances not only extorted applaufefrom the ableft judges, but alfo excited the 
 jealoufy and envy of Giofeppino, who was inftructed in the fame lchool. 
 
 Having therefore taken every prudent method to eftablilh his tafte, and alfo 
 to perfect his hand, he returned to his native city •, where he fludioufly contem- 
 plated the paintings of Baroccio, and fo highly admired them, that he preferred 
 the ftyle and manner of that mafter to all others. He made him conftantfy his 
 model i imitated him in the graceful turn of his figures, as well as in the delicacy 
 of his pencil with all imaginable fuccefs •, and was generally efteemed to be no 
 way inferior to him. However, Vanni in his travelling through Lombardy, 
 added to his tafte confiderably, by ftudying the compofitions of Correggio, and 
 was univerfally allowed to be one of the beft painters of his time. 
 
 His peculiar turn of mind made him fond of defigning religious Subjects ; and 
 for that reafon, he was principally engaged in grand works, for the churches and 
 convents at Siena, and at Rome. To the latter of thole cities he was invited by 
 Pope Clement VIII, and by order of that Pontiff, he painted in the church of 
 S. Peter, an incomparable defign, reprefenting Simcn the Sorcerer reproached 
 by S. Peter ; for which performance he received the honour of Knighthood. 
 
 This mafter had an excellent genius ; his invention was fruitful and ready ; 
 his ftyle of composition truly fine •, and his defign correct. His manner of co- 
 louring was bold, lively, and beautiful; his penciling tender and delicate; and 
 the airs of his heads were remarkably graceful. The moft capital works of Vanni 
 are at Siena, Rome, Piia, and Piftoia; among which are mentioned, a Cruci- 
 fixion, a Flight into Egypt, the Wifemen offering to Chrift, and the Marriage 
 of S. Catherine, all of them efteemed admirable. 
 
 Ottavio VANNI. 
 Painted Hiftory. 
 Died 1643, aged 60. 
 
 He was born at Florence, in 1583, and at fir-ft was the difciple of one Me- 
 catti, a painter of very mean abilities, with whom he continued for four years,- 
 with little advantage ; but having travelled to Rome, he became the difciple of 
 Aftafio Fontebuoni, and befide the i.nftruction which he received from that 
 mafter, he took pains to ftudy the defigns of Raphael, Buonaroti, and other emi- 
 nent artifts ; by which he acquired a considerable degree of tafte and know- 
 ledge. However, notwithftanding his former improvement, as foon as he re- 
 turned to Florence, he entered himfelf in the fchool of Paflignano, and lived with 
 him for many years ; not only being employed in painting his own original de- 
 figns, but alfo painting in conjunction with that mafter. 
 
 Ottavio had great application, but not equal judgement ; and frequently aim- 
 ing at too great a degree of delicacy, and likewife at too nice and exact an expref- 
 fion, he touched his pictures too often over, and gave them an unpleafing hard- 
 nefs and heavinefs. 
 
 VANUCCHI. Vid. Sartc, 
 
 Lucas 
 
VAN [ 640 ] VAN 
 
 Lucas VANUDEN. 
 Painted Land/capes. 
 Died 1660, aged 65. 
 
 He was born at Antwerp, in 1595, and learned the art of painting from his 
 father •, but he derived his chief excellence from a diligent oblervation of nature. 
 Livery hour that was not employed at his eaiel, was fpent abroad in the field?, 
 •where he noticed, with curious exactnefs, the variety of appearances perpetually 
 occurring, from the dawn to the evening, over the face of nature. He watched 
 the different effects of light on different objects, nor fuffered any incident that 
 might heighten his ideas, to efcape his oblervation •, not even thofe inftantaneous 
 beauties, perceptible in the forms and colours of vapours and clouds, which are 
 loft almoft in the moment they are beheld with admiration. Thofe he fketched 
 on the fpot, and had luch a genius, as enabled him to apply his oblervations hap- 
 pily in his works ; but, he was frequently fo intent on his ftudies, that he fcarce 
 allowed hirnfelf time to work for his maintenance. 
 
 He had a tender, fofr, delicate manner of painting in fmall, and had furficient 
 power of his pencil, to adapt his touch to thole of his largeft fize •, though it is 
 allowed, that the exquifite pencil of Vanuden is principally feen in his fmalleft 
 performances. His trees are fo happily managed, as to appear almoft in mo- 
 tion ; his ikies are clear, and beautifully adapted to his fcenes ; and by his dif- 
 tances, he fhewed an immenfe extent of country, as often as his defign would 
 admit of it. His compofition is always pleafing-, his moft minute figures are 
 correctly defigned ; and his tints are the colouring of nature. 
 
 He is considered as one of the moft delicate painters of landfcape that ap- 
 peared in the Low Countries ; and it is the higheft commendation that can pol- 
 fibly be given him, to fay, that Rubens not only approved, but admired his ftyle 
 of painting, and often employed him to paint the back-grounds of his pictures ; 
 which Vanuden adapted with fo much judgement, that the whole feemed to be 
 only the work of one mafter. 
 
 In the chapels belonging to the cathedral church at Ghent, there are feveral 
 noble paintings of this mafter, which are efteemed his moft capital landfcapes ; 
 and in the poileflion of a private perfon in that city, there is an excellent picture, 
 in which the figures are inferted by David Teniers. 
 
 He had a brother, 
 
 Jacques VANUDEN, 
 
 who was his difciple, and painted entirely in his manner ; but he was very far 
 inferior to Lucas, though fome of the paintings of Jacques, are often parted on 
 the unfkilful, for the genuine works of his brother. 
 
 Louis de VARGAS. 
 Painted Hijlory, and Pa-trait. 
 Died 1590, aged 6 2. 
 He was aSpanifii painter, born at Seville, in 1528, who being endowed with 
 a very happy genius, and being alfo ambitious to obtain all polfible improve- 
 ment 
 
V A R [ 641 ] V A R 
 
 merit in the art of painting, travelled to Italy, and fpent feven years at Rome, 
 particularly ftudying the works of Pierino del Vaga. When he imagined him- 
 felf fufficiently qualified to commence artift, having by great application ac- 
 quired fomewhat of the elegance of tafte and compofuion of the Italian matters,. 
 he returned to his own country, and began to follow his profeffion at Seville. 
 But, it foon appeared, that he had not imbibed the true tafte of the grand ftyle, 
 nor was he thoroughly fkilled in the belt principles of the art-, for, his paintings- 
 could not Hand in competition with thofe of fome other artifts, who were at that 
 time refident at Seville. 
 
 It mull undoubtedly have been an inexprefllble mortification to Vargas, to- 
 find himfelf publickly accounted inferior to thofe whom he expected to furpafs; 
 but, he made a prudent ufe of that difcouragement, and returned again to Italy, 
 where he fpent feven years more, with intenle application ; more accurately 
 examining the peculiar excellencies of his models, and endeavouring to imitate 
 them with greater exactnefs. At length, he was amply rewarded for his induf- 
 try, by fuch an improvement in his tafte, compofuion, and freedom of hand, as 
 rendered him equal to- the belt of his own time, and fuperior to moft of his co- 
 temporaries. 
 
 He painted with equal fuccefs in frefco and in oil, and at his return to Spain 
 was immediately employed, and, preferably to all others, engaged in feverat 
 grar.d works for the cathedral, the archiepiieopal palace, and the convents •, and 
 he had the good fortune to eftablifh his reputation by two capital compofitions, 
 one of which reprefented Chrift bearing theCrofs, and the other Adam and Eve ; 
 but the latter is accounted his mafter-piece, and very juftly merited the ap- 
 plaufe it received. 
 
 He alfo painted a great number of portraits, though he did not appear fo ex - 
 cellent in that ftyle, as in hiitorical fubjects. Neverthelefs he is highly cele- 
 brated for the portrait of Donna Juana Cortez, Duchefs of Alcala, which was 
 efteemed not much inferior to the pencil of Raphael. In the collection of the 
 Duke of Orleans, is to be feen one picture by this mafter •, the f object: is S. John 
 in a fitting poiture, with a crofs in his hand, dreffed in the garment of camel's 
 hair, and the figure is larger than life. 
 
 Dario V A R O T A R I, called Paduanino. 
 
 Painted Hijlcty. 
 Died 1596, aged 57. 
 
 He was born at Verona, in 1539, ana was tne difciple of Paolo Veronde, 
 He painted in the manner of the Venetian fchool, with extraordinary fuccefs, 
 and was allowed to have a lively and elevated genius-, of which he afforded 
 ■many incontestable proofs, in thofe noble defigns which he executed in his native 
 city, and in feveral churches and convents in Italy. 
 
 He was as much diftinguiihed for his piety, as for his fingular merit in paint- 
 ing ; and for both he v/as univerfally efteemed. 
 
 Ales- 
 
V A R [ 642 ] V A S 
 
 Alessandro VAROTARI, called Paduanino. 
 
 Painted Hijlcry. 
 Died 1650, aged 60. 
 
 He was born at Verona, in 1590, the fon of Dario Varotari. The firft rudi- 
 ments of the art were explained to him by his father •, but he completed his 
 ftudies under another mafter, being fo unhappy as to be deprived of his inltructor 
 while he was very young. He imitated the ftyle of Veronefe, as his father had 
 done before ; but His colouring was not comparable with that of Dario, though 
 feveral of his pictures are to be feen in the churches, and choiceft collections 
 of Italy. 
 
 In the church of S. Maria Maggiore at Venice, is an excellent picture of this 
 mailer's hand ; it reprefents fome legendary miracle of the Virgin, and is well 
 compofed ; the figures are well grouped, and it is ingenioufly defigned, though 
 incorrect. The heads are in a fine talte, the tone of colour is in general very 
 agreeable, and the broad mafles of light and fhadow have a noble effect. And 
 in the Pembroke collection at Wilton, is a picture painted by Aleflandro Varo- 
 tari, of which the fubject is, Herodias dancing before Herod. 
 
 Giorgio VASARI. 
 
 Painted Hijlory, and Portrait, 
 
 Died 1578, aged 64. 
 
 He was born at Arezzo, in the territory of Tufcany, in 15 14, and received 
 his earlieft inftruction from a painter on glai's, called William of Marfeilles •, but 
 by Cardinal Paflerini he was afterwards taken to Florence, where he defigned 
 after the works of Mich. Ang. Buonaroti, Andrea del Sarto, and other great 
 matters, for three years. 
 
 Some time after, Cardinal Hippolito de Medici brought him to Rome, and 
 as the mind of Val'ari was filled with an extreme fondnefs for the nobler arts, he 
 dedicated his whole thoughts to the advancement of his knowledge •, he ftudied 
 every thing worthy of his admiration, either in the antiques, or the moderns, in 
 fculpture, painting, or architecture. It happened to prov? of lingular benefit to 
 Vafari, that Francifco Salviati accompanied him to Rome, in the train of the 
 Cardinal his patron •, for, thofe artifts afiociated together in all their ftudies, and 
 when they fpent whole days in defigning after Raphael, Buonaroti, and Baltha- 
 far of Siena, they out of a cordial love to the art, devoted their evenings to copy 
 each other's defigns, and endeavoured by every method to promote their mutual 
 improvement. 
 
 By fuch a courfe of induftry and attention, Vafari qualified himfelf for thofe 
 various undertakings, in which he was afterwards engaged ; and which he al- 
 ways executed with" honour to himfelf, and to the fatisfaction of his employers. 
 In defign and invention, he fhewed himfelf to be a man of learning and genius ; 
 but, by neglecting to make himfelf properly acquainted with the true principles 
 of colouring, his works were never in any high degree of reputation. He is 
 belt known as the writer of the lives of the painters, from Cimabue to his own 
 time, for which work the whole polite world is molt deiervedly indebted 
 
 to him. 
 
 He 
 
V A S [ 643 ] V A S 
 
 He executed a great number of his compofitions in frefco and in oil, for the 
 churches, convents, and alfo for the Duke's palace at Florence, moll of them 
 being of a large fize, and for the churches at Rome, Bologna, Pifa, Venice, and 
 Naples •, of which the figures were from fix to eight cubits high. The works 
 of Vafari are particularly recited and defcribed by Sandrart. 
 
 Antonio Maria VASSALLO. 
 
 Painted Hiftory, Portraits, and. Animals. 
 
 He was born at Genoa, and placed as a difciple with Vincenzio Malo ; by 
 •whofe excellent precepts he acquired a good manner of defign, and a charming 
 tone of colouring. He was an univerfal painter, and equally fuccefsful in every 
 branch of his art -, in hiftory, portrait, landfcape, animals, birds, fruit, and 
 flowers ; ail which fubjects he reprefented with extraordinary fweetnefs, in his 
 colour and handling, and with abundance of truth. 
 
 His pictures were in fuch efteem, that he was employed without intermiffion 
 by foreigners, as well as his own countrymen ; but, by too clofe an applica- 
 tion to his profefllon, and being alfo of a melancholy turn of mind, he died in the 
 bloom of life, exceedingly lamented. 
 
 Antonio VASSILACCHI, called Aliens e. 
 
 Painted Hiftory. 
 Died 1629, aged 73. 
 
 He was born in the "Venetian territory, in 1556, and was the difciple of Paolo 
 Veronefe. As he had the double advantage of a very good genius, and an ad- 
 mirable inftructor, his progrefs was remarkable •, and in a few years he acquired 
 asextenfive a knowledge of the art, as he could poffibly derive from his matter, 
 and imitated the ftyle of Veronefe with general applaufe. However, having 
 afterwards fome juft caufe for refentment againft Paolo, he quitted his manner 
 entirely, and aflumed that of Tintoretto in its ftead. 
 
 -Philip II, King of Spain, and Sigifmond, King of Poland, folicited him ear- 
 neftly to enter into their fervice ; but, he declined the honours and emoluments 
 propofed to him by thofe monarchs, and continued at Venice •, where the Doge, 
 and the principal nobility, refpeeted and employed him as long as he lived. 
 
 The general character given to this artift, is, that he had a wonderful readi- 
 nels in defigning, that his colouring is excellent, and that he was remarkable for 
 the freedom and fpirit of his pencil. In the Sala dello Scrotinio at Venice, 
 t>.ere is a capital painting of Vaffilacchi ; the fubject of it is, the Taking of 
 Tyre, and it has a noble effect, being finely coloured, and very judicioufly dif- 
 poled. Alfo in the church of S. John the Evangelift in the fame city, is pre- 
 served a picture of S. James, which is admirably defigned and executed •, ap- 
 proaching very near to the works of Paolo Veronefe, in the air, and turn of die 
 figures, as well as in the colouring. 
 
 Nnnn Paolo 
 
U C C [ 644 ] U D I 
 
 Paolo UCCELLO, or Mazzochi. 
 
 Painted Birds, Animals, Landfcafe, Perfpeclive, and Portrait. 
 Died 1432, aged 83. 
 
 He was born at Florence, in 1349, and was the difciple of Antonio Venetiano. 
 Though he painted a variety of iubjecls, yet he fhewed a peculiar delight in 
 painting birds, and for that reafon introduced them whenever it was pomble, in 
 all his compofuions •, from which circumftance he was called Paolo * Uccello, 
 and by that appellation is generally known. 
 
 He (tudied perlpeclive with infinite labour, till he found out a method of re- 
 ducing it to practice ; and for that purpofe fpent a great deal of time, in making 
 himlelf thoroughly acquainted with the Elements of Euclid, in which he was 
 afiilled by Giovanni Manetti, an eminent mathematician. He is mentioned as 
 one of the hi it. of the old artifts, who painted perfpective. 
 
 As his principal power confided in defigning every fpecies of animals, he al- 
 ways fixed on fuch fubjedts as might afford him an opportunity to introduce the 
 greater! number, and the greatelt variety. Such as the Creation; the family of 
 Noah entering the Ark, or quitting it ; and the general Deluge •, and thofe 
 iubjecls he deiigned with much truth and expreflion, fo as to render his works 
 very eftimable in that early age of painting. 
 
 He alio defcribed frequently the battles of fierce and venomous animals-, 
 fuch as the engagements of lyons with ferpents ; in which fubjecls he exprciTed 
 the vehement rage and fury of thofe creatures, with abundance of nature and 
 fpirit ; and in the landicape part he uiually reprefented peafants, or ifiep- 
 herdefles, watching their cattle -, and, with the appearance of fright or terror, 
 beholding, or flying from the engagement. 
 
 He painted in diltemper and freico, but confumed fo much of his time in the 
 ftudy of perfpective, that the profits of his works could fcarce preferve him from 
 poverty. Yet, he juftly may be allowed to have had confiderable merit, if we 
 CohGder, that the art of painting was but in its infancy, at the time in which he 
 flou rimed. 
 
 Giovanni da UDINO. 
 
 Painted Hijlcry, Birds, Animals, and Grotefques. 
 Died 1564., aged 70. 
 The real name of this painter, who. was born at Udino, in 1494, was Gio- 
 vanni Nanni •, but he was called Giovanni da Udino, from the place of his nati- 
 vity. His father, who was much devoted to hunting, having obferved that his fon, 
 who at leifure hours accompanied him, took a delight in drawing the pictures of 
 thofe animals, which hepurfued in thechace, concluded, that his genius inclined 
 him to painting-, and therefore he took him to Venice, and placed him in the 
 fchool of Giorgione, to learn defign and colouring. But Giovanni, infpired . 
 with the accounts of the wonderful peribrmances of Raphael, and Michael An- 
 gelo Buonaroti, procured letters or" recommendation from Domenico Grimani, 
 a. friend of hisfadicr, to Bahhafar Caftiglioni, Secretary to the Duke of Mantua, 
 
 * Uccello fignifies a Bir.d. 
 
 who 
 
U D I [ 645 ] U D I 
 
 ■who introduced him to Raphael, and he was admitted as a difciple of that illuf- 
 trious artift. 
 
 Under fo great a mafter, he learned the true principles of the art •, though 
 having been originally inftructed by Giorgione, he was enabled more readily to 
 obtain the approbation of Raphael •, and in a fhort time (hewed himfelf uncom- 
 monly excellent in defign and colouring. He imitated, with gracefulnefs and 
 eafe, thole objects with which his fancy was moft delighted, fuch as animals of 
 all kinds, birds, quadrupeds, and filhes, vales, mufical inftruments, landfcapes, 
 and buildings ; and painted each of them with the utmofl precilion, truth, and 
 delicacy. 
 
 By many proofs of fuperior talents, he recommended himfelf fo effectually to 
 Raphael, that he appointed him to paint the organ, and mufical inftruments in 
 the celebrated picture of S. Cecilia. Thofe parts Giovanni executed to the ex- 
 treme fatisfaction of his mafter •, and particularly, as he with great (kill adapted 
 his pencil fo happily, to the other parts which were painted by Raphael, that the 
 whole leemed to be only the work of one hand. 
 
 About that time, the ruins of the palace of Titus were cleared away, leveral 
 curious and almoft ineftimable antique ftatues were refcued from the rub'bifh, and 
 many of the antient grotefque paintings, as well as ornaments in ftucco, were 
 brought to light, which appeared with altoniftiing frelhnefs and beauty. Thofe 
 not only excited the admiration of Giovanni, but engrofled his whole attention 
 for a confiderable time. The ftyle and tafte of the paintings he knew how to 
 imitate •, but, the compofition of the ftucco was not to be found out, except with 
 great labour and judgement. He therefore applied himfelf induftrioufly to that 
 difcovery, and after a variety of experiments, on different kinds of materials, 
 found that the true antique Roman ftucco, was a preparation of the whiteft 
 marble reduced to a fine powder, fifted carefully, and mixed with a proper 
 quantity of the whiteft lime ; which in every refpect anfwered all the purpofes 
 of the antient ftucco, being as durable, as bright, and as beautiful, and ,n all 
 probability exactly the fame. 
 
 Raphael being at laft fully convinced, that his difciple had difcovered and re- 
 ftored the art of compounding ftucco, which had been loft for many hundred 
 years, employed him in one of the galleries of the Pope's palace ; where he 
 finifhed the moft beautiful ornaments in ftucco, and enriched the work with o-ro- 
 tefque paintings, in the manner of the antiques. The beft judges at Rome were 
 aftcnifhed at the perfection of his works, which were universally allowed to fur- 
 pafs the performances of the antients, in the beauty of defign, in elegance of tafte, 
 in variety of invention, and in the agreeable wildnefs of imagination ; and to be 
 preferable to any of thofe decorations, or paintings, which were at that time dif- 
 covered, either at the Coloffeum, the baths of Diocletian, or any other places in 
 Rome. For, in ail his grotefque defigns, the ornaments were fuited, with pecu- 
 liar judgement, to the animals represented ; where he introduced birds, which 
 he painted in an exquifite manner, the ornaments were fruits of every kind, dif- 
 poled with inexpreflible grace -, and in all his other decorations, he was not only 
 attentive to beauty, but to elegant propriety. But, although he feemed fuperior 
 to all his cotemporaries, in defigning birds, fruits, flowers, and alio all forts of 
 marine and terreftrial animals-, yet, in hiftorical compofitions, he was not equal 
 to any of the difciples of Raphael. 
 
 N n n n 2 One 
 
U L F [ 646 ] U L F 
 
 One very famous work he uniflied for Pope Clement VII, in conjunction with 
 Pierino del Vaga, in the Vatican, which is fufficient to convince pofterity, that he 
 pofTelTed mod extenfive powers in his profefiion. The work reprefents the Seven 
 Planets -, the figures d^Bgned by Pierino, but all the ornaments of the compart- 
 ments in lhicco, all the decoratio is, the fymbols of thole fabulous deities, the 
 bafib-relievo's, and the grotelque paintings, are executed by Giovanni, and are 
 admirably performed. 
 
 His numerous works at Florence, for the Medicean family ; at Rome, for the 
 Pope, under the direction of Raphael ; and in feveral parts of Italy, as well as at 
 Udino, raifed his reputation to the higheft pitch •, but on the death of his be- 
 loved mafter, and of the Pope his patron, he retired to his native city, determined 
 to lay afide his pencil for ever. Yet, afterwards going on a pilgrimage to Rome, 
 on account of the Jubilee, though obfeured in the habit of a poor pilgrim, he 
 was known by Val'ari, and with the utmolt difficulty prevailed on to work for 
 the new Pope Pius IV. 
 
 Pie died at Rome, where for fo many years he had been the object of general 
 admiration ; and in concurrence with his latell requeft was buried in the Ro- 
 tonda, near his mafter Raphael ; and having been infeparable in their lives, they 
 were at their deaths as clofely as poflible united. 
 
 Jakob Vander ULFT. 
 Painted Italian Sea- Ports, Markets, and Perfpeffive Views. 
 
 He was born at Gorcum, about the year 1627 ; but the mafter by whom he 
 was inftructed is not mentioned. He painted excellently on glafs, as well as in 
 oil •, and although he certainly never had been in Italy, yet by his fubjects one 
 would imagine he had fpent a great part of his life at Rome ; for, he moft fre- 
 quently painted views of Rome and other cities of Italy, markets, proceffions, 
 and fea-ports, which he reprefented with great appearance of truth, and nature. 
 
 The defigns of other mafters were his only models ; he made fketches from 
 them of the nobleft remains of antiquity, the columns, arches, trophies, and ele- 
 gant buildings, with which objects he enriched his own defigns ■, and it is a 
 matter of doubt, whether he could have reprefented them better, if he had de- 
 fined them after nature on the fpot. He underftood the principles of perfpec- 
 tive thoroughly, and by that means gave to his own compofuions an appearance 
 of grandeur and truth. However, it cannot but be allowed, that whenever he 
 had not the kalian defigners for his guides, the Flemifh tafte prevailed in his pic- 
 tures, as may be evident from obferving his views of the cities in his own coun- 
 trv, and his view of London-bridge. And, although they are as well painted, 
 arid with as good figures, vellels, and boats, as are to be feen in any of his other 
 works ; yet have they nothing equal to the elegance or grandeur of thofe views 
 of the fea-ports of Italy, which he had (ketched from the defigns of other artifts, 
 v.hofe ideas were more elevated. 
 
 As the knowledge of Vander Ulft in architecture and perfpeclive, was very 
 confiderable, it enabled him to cmbeilifh fuch fcenes as were naturally unplea- 
 fant and cold, with additional incidents that rendered them agreeable. He was 
 remarkable for introducing a great number of figures in all his pictures, which 
 he dilpofed judiciouQy, deiigned well, and dreficd them according to the modes 
 and cu.ioms ot different nations. 
 
 In 
 
URB [ 647 ] U T R 
 
 In the Town-hall at Amfterdam, there is a picture of this mailer's painting, 
 in which he has reprefented a vaft crowd of people in feveral groupes ; which 
 fingle performance is fufficient to do honour to his memory. He alio painted a 
 very exact view of London-bridge, with the adjacent buildings ; the river being 
 crowded with boats, and thoie filled with figures. The whole was well coloured,; 
 and neatly finifhed, with great tranfparence, and very exact perfpective. 
 
 Timoteo da URBINO. Vid. Timoteo. 
 
 Terenzio da URBINO. 
 
 Painted Hijicry. 
 Died 1620. 
 
 This artift was a correct defigner, and a good painter, but he is not fo memo- 
 rable for any particular works of his own invention, and compofition, as for a 
 fingular dexterity and art, which he pradtifed for many years with the greateil 
 juccefs. That art confided in his making pictures, which he himfelf had 
 painted, appear to be very antient originals, of fome of the raoft celebrated 
 mailers of Italy ; by which he frequently deceived even good judges. 
 
 He ufed to procure a very old panel of oak, and having painted on it a fubject 
 fuitable to his purpofe, which he ulually copied from others, accurately imitating 
 the touch and the colouring of his model ; he diffufed a look of fuch antiquity 
 over the whole, by fmoke, varnifh, and fome unknown artificial management, 
 that he impofed on moft of the connoifleurs of his time. But, that deception 
 of others, ended in his own undoing ; for, having impofed upon his patron and 
 beft friend, Cardinal Montalto, by inch a contrivance, and fold to him a fpurious 
 picture at an immenfe price, the fraud happened accidentally to be detected, and 
 he was deiervedly covered with difgrace ; being alio for ever deprived of the 
 protection and favour of his benefactor, and rendered an object of univerla! 
 contempt. 
 
 Adrian Van UTRECHT. 
 
 Painted Birds, Fruit, Flowers, and Dead Game. 
 
 Died 1 65 1, aged 52. 
 
 He was bo:n at Antwerp, in 1599, an ^ learned the art of painting in that city. 
 
 For fome time he painted peacocks, and other fowl, only for his amufement ; 
 
 but as foon as they were feen, they were fo exceedingly admired, that he was 
 
 encouraged and folicited to purfue that kind of painting as his profeffion. 
 
 His general fubjects were fruit, birds, flowers, dead game, and objects of frill 
 life, in which he always imitated and copied nature •, and he was not only correct in 
 his drawing, but his colouring (hewed all the truth, frefhnefs, and force cf nature 
 itfelf. Next toSnyders, he waselleemed to be the beft painter in that flyle, in 
 the Low Countries ; and although he was extremely induftrious, yet he found it 
 impofiible to finifli one half of the pictures, which were earneitiy requefted 
 of him. 
 
 This matter had a moft delicate and tender manner of penciling •, and gave an 
 unufual tranfparence to his colours. The King of Spain, who employed him 
 for a confiderable time, engrofled the greateil part of the works of Adrian, which 
 
 hath 
 4 
 
V E C [ 648 ] V E C 
 
 hath occafioned their prefent fcarcity, few of them being now offered to fale ; 
 and when they are to be fold, they produce very large prices. Sometimes, in- 
 deed, he painted his favourite objects, in the compofitions of other mafters ; and 
 thofe pictures in which Van Utrecht had inferted any thing, were always ac- 
 counted abundantly more eftimable. 
 
 PlETRO DA VECCHIA. 
 
 Painted Hijlory. 
 Died 1678, aged 73. 
 
 He was born at Vicenza, in 1605, and was the difciple of Alefiandro Varo- 
 tari ; but he quitted the manner of that mafter, and adhered to the ftyle of 
 Giorgione, which he preferred to all others. The figures in his compoiitions 
 are of a large fize, and he always painted with a ftrong body of colour •, fo that 
 his carnations have a remarkable force, and by his (kill in the chiaro-fcuro, every 
 figure, and every limb, apparently projects fronii the canvas. 
 
 No artift could pofiibly imitate the work of another with more precifion, than 
 he did the paintings of Giorgione. The fame idea?, the lame ftyle of invention 
 and compolition, the fame ftrength of colour and manner of penciling, are ob- 
 fervable in both. So nicely and exactly fimilar to the pictures of Giorgione, 
 are thofe of Vecchia, that even the moft expert conr.oifil-urs have been fre- 
 quently puzzled, to determine between the performances of thofe mafters ; par- 
 ticularly, as the pencil of Vecchia gave fuch a look of originality to his imita- 
 tions, that nothing like a copy appears in any part of them. 
 
 Sandrarr, who was a great painter, and a good judge, freely confeffts, that 
 v hen the Count Palatine of the Rhiw, Charles Guftavus, fnewed him the pic- 
 ture of a foldier, boldly painted, and finely relieved, and afked him by what 
 mafter it might have been painted ; Sandrart, having furveyed it with all pof- 
 lible attention, and examined it critically, was jult going to pronounce his 
 opinion that it was the work of Giorgione, when he took notice of the canvas ap- 
 pearing more new, than it could have done if the picture had really been painted 
 by that mafter ; and had juft time enough to refcue himfelf from giving a wrong 
 judgement of the author. 
 
 The genius of this painter was, however, fomewhat bold •, and in the drape- 
 ries of his figures he was apt too much to indulge his own fancy. 1 le was fond 
 of inventing drefles, which had a mixture of the antient and modern ; and fre- 
 quently the draperies were of filk, fattin, and the richeft materials. At Venice, 
 where he fpent the greateft part of his life, the Doge and Senate employed him 
 to paint in oil, thofe hiftorical defigns which were worked in Mofaick, in the 
 church of S. Mark •, and in that church, are to be (een two very capital paint- 
 ings of Vecchia ; the or.e is a Crucifixion, and the other Chrift driving the 
 Money-Changers out of the Temple ; both of them highly admired, and ac- 
 counted very excellent performances. 
 
 TlTIANO 
 
V E C [ 649 ] V E C 
 
 Titiano VECELLI, Cavaliere, called TITIAN. 
 
 Painted Hi/lory, Portrait, and Land/cape. 
 
 Died 1576, aged 96. 
 
 This illuftrious painter was born at the caftle of Cador in Friuli, a province 
 fubject to the Venetians, in * 1480 •, (according to Vafari and Sandrart) but at 
 ten years of age he was conducted to Venice, and left under the care of an 
 uncle, who was a perfon of fome diftinction in that city. That guardian foon 
 obferved the predominant inclination of his nephew to painting, and therefore 
 placed him as a difciple. with Giovanni Bellino, who at that time was in the 
 higheft efteem. 
 
 By the instructions of that mailer, and the ftrength of his own genius, the 
 proficiency of Titian was amazing ; and as he continued in that fchool for fome 
 years,- he imitated the ftyle and manner of his matter fo exactly, that his pro- 
 ductions feemed aftonifhing to all who beheld them. But, as Bellino had never 
 ftudied the antique, and painted in a dry, ft iff, and laboured ftyle, Titian un- 
 avoidably adopted it-, though even in that ftyle he diftinguifhed him felf ex- 
 tremely, in feveral portraits, landfcapes, and hiftorical defigns. However, he 
 made nature his principal ftudy, and imitated it faithfully and happily, not only 
 in the tints of his carnations, when he painted figures, but even in the local co- 
 lours of every inanimate object, whicli he introduced in his compofitions ; and 
 as he fpent near ten years in that ftudy, he by that means was enabled to give an 
 uncommon character of truth to whatever he painted. 
 
 But, as foon as Titian had leen the works of Giorgione, whofe manner ap- 
 peared to him abundantly more elegant, and lefs conftrained than that of Bel- 
 lino ; he determined to quit the ftyle to which he had fo long been accuftomed, 
 and to purfue the other that recommended itfelf to him, by having more force, . 
 more relief, more nature, and more truth. Some authors affirm, that he placed 
 himfelf as a difciple with Giorgione •, yet, others only fay, that he cultivated an 
 intimacy with him •, but it is undoubtedly certain, that he ftudied with that great 
 mafler ; that he learned his method of blending and uniting the colours ; and ■ 
 practifed his manner fo effectually, that feveral of the paintings of Titian were 
 taken for the performances of Giorgione; and then his fuccefs infpired that artift 
 with an invincible jealoufy to Titian, which broke off" their connexion for 
 ever aft; r. 
 
 The reputation of Titian rofe continually; every new work contributed 
 to extend his fame through all Europe-, and he was confidered as the 
 principal ornament of the age in which he flourished. And yet, Sandrart 
 obferves, that amidft all his applaufe, and conftant employment at Venice, 
 his income and fortune were inconfidcrabie ; and he was more remarkable 
 for the extenfivenefs of his talents, than for the affluence of his circumftances. 
 But, when his merit was made known to the Emperor Charles V, that Monarch 
 knew how to let a juft value on his fuperior abilities ; he enriched him by 
 repeated bounties, allowed him a conliderable penfion, conferred on him 
 
 * n e 
 
 De Piles, the Chronological Tables, and the ambers of the Abrege c'.e la Vie des Peintres, fix 
 the birth of Titian in 1477, and make him 95 at liis death : but, as Giorgione was confeii'c-uiy 
 older than Titisn, and was born in 1470, 1 have preferred the joint authorities of Vafari and 
 Sandrart, who affirm that Tiii-an was born in 14S0. 
 
 4 tHs 
 
V E C C A55> V E C 
 
 die honour of Knighthood, and what was flill more, honoured him with his 
 friend/hip. He painted die portrait of that benefactor, fevcral times, and it is 
 recorded by Sandrart, that one day, while the Emperor was fitting for his picture, 
 a pencil happening to drop from the painter, he itooped, took it up, and re- 
 turned it; obligingly anfwering to the modeii apology of the artift, (who 
 blufhed at the condefcenfion of fo great a Monarch) chat the merit of a Titian 
 was worthy of the attendance of an Emperor. 
 
 By the Cardinal Farnefe he was invited to Rome, where he painted an admir- 
 able portrait of the Pope, at full length •, as alio many hiflorical fubjects, taken 
 from facred and fabulous hiftory, and a great number of portraits ; every Prince, 
 and pcrfon of rank, exerting themfelves ambitioufly to procure fome of 
 his works. 
 
 While lie was engaged at the Pope's palace of Belvidere, -Michael Angelo 
 Buonaroti and Vafari went to vifit him-, and on feeing a picture of Dan?e which 
 Titian hadjuft finilbed, Buonaroti having given the molt deferved commenda- 
 tion to the real perfections of that picture, lamented that the Venetian artiits at- 
 tended fo little to defigning •, for, if Titian had ftudied the antique, as accu- 
 rately as he before had ftudied nature, he muft have been abfolutely inimitable; 
 becaufe, the perfection of colouring would have been rendered ftill more lovely, 
 by being united with perfection of defign. 
 
 The excellence of Titian was not fo remarkably apparent, in the hiftorical 
 compofitions which he painted, as in his portraits and landfcapes, which leem to 
 be fuperior to all competition ; and even to this day, many of them preferve 
 their original beauty, bring as much the admiration of the prefent age, as they 
 have defervedly been of the ages part. 
 
 It is obferved of Titian by moft writers, that in the different periods of his 
 life he had four different manners; one, rclembling his firft inftructor Bellino, 
 which v.:s fomewhat ftiff". Another, in imitation of Giorgione, more bold, and 
 fid! of force. Mis third manner was the refult of experience, knowledge, and 
 i : : me it, b dutifully natural, and rinillicd with exquifue care, which manner 
 liafly his own; and in thole pictures which he p.unted between the 
 years of approaching old age, and his death, maybe noticed his fourth manner. 
 1 lis portraits were very differently iiniihed in his early, and in his latter time, ac- 
 cording to the tcftimony of Sandrarr. At firft he laboured his pictures highly, 
 and gave them apolifncd beauty and luftre, fo as to produce their effect; full as 
 v. < 11 when they were examined clolely, as when viewed at a di fiance ; but after- 
 wards, he fo managed his penciling, that their greateft force and beauty appeared 
 at a more remote view, and they pleafcd lefs when they were beheld more nearly. 
 So that many of thofe artifts who ftudied to imitate him, being mifled by ap- 
 pearances which they did not fufficiently confider, have imagined that Titian 
 executed his work with readinefs and a malterly rapidity; and concluded that 
 they fhould imitate his manner molt effectually, by a freedom of hand, and a 
 bold pencil. Whereas in reality, Titian took abundance of pains to work up his 
 pictures to fo high a degree of perfection ; and the freedom that > in the 
 
 handling, was entirely effected, by a fkilful combination of labour, and 
 judgement, 
 
 Ic cannot be truly affirmed, that Titian equalled' the great matters of the 
 Roman fchool in deiign ; but, he always took care to difpofe his figures in fuch 
 
 atti- 
 
V E C [ 651 ] V E C 
 
 attitudes, as (hewed the moft beautiful parts of the body. His tafte in defigning 
 men, was not generally fo correct or elegant, as it appeared in his boys, and 
 female figures - y but his colouring had all the look of real flelh, his figures 
 breathe. He was not fo bold as Giorgione, but in tendernefs and delicacy he 
 proved himfelf much fuperior to him, and all other artifts. The exprefiion of 
 the paffions was not his excellence, though even in that refpeft, many of his 
 figures merited the jufteft commendation ; but he always gave his figures an air 
 of eafe and dignity. His landfcapes are univerfally allowed to be unequalled, 
 whether we confider the forms of his trees, the grand ideas of nature which ap- 
 pear in his fcenery, or his diftances which agreeably delude and delight the eye 
 of every obferver •, and they are executed with a light, tender, and mellow 
 pencil. He learned from nature the harmony of colours, and his tints feem 
 aftonifhing, not only for their force, but their fweetnefs ; and in that refpect, his 
 colouring is accounted the ftandard of excellence to all profeffors of the art. 
 
 De Piles remarks, that as the colouring of draperies affords a painter an op- 
 portunity of fhewing all his fkill in the chiaro-fcuro, Titian made ufe of that 
 artifice in moft of his pictures •, becaufe he was at liberty to give his draperies 
 what colour he thought moft proper, either for making his ground, for lpread- 
 ing light, or for characterizing objects by comparifon. It was the cuftom of this 
 great mafter frequently to repeat the fame fubject, fometimes by his own pencil, 
 and often by the hands of his difciples, who carefully copied them-, yet, he al- 
 ways re-touched them, adding only a back-ground, or fome trifling alteration ; 
 by which management they had the look of originals, and in all probability were 
 very little, or perhaps in no degree, inferior. 
 
 It would prove almoft an endlcfs talk to enumerate the variety of works, exe- 
 cuted by this illuftrious artift, at Rome, Venice, Bologna, and Florence, as well 
 as thofe which are to be feen in other cities of Italy, in England, Spain, Germany, 
 and France ; but there are two, which are mentioned as being exceedingly ca- 
 pital. One is, a Laft Supper, preferved in the Refectory at the Efcurial in 
 Spain, which is inimitably fine ; the other is at Milan, reprefenting Chrift 
 crowned with Thorns. The principal figure in the latter, has an attitude full 
 of grace and dignity more than mortal, and the countenance fhews a benevolence 
 and humility, combined with dignity and pain, which no pencil but that of 
 Titian could fo feelingly have defcribed. It is admirably coloured, and ten- 
 derly and delicately penciled ; the heads are wonderfully beautiful, the compo- 
 fition excellent, and the whole has a charming effect by the chiaro-fcuro. 
 
 Francesco VECELLI. 
 
 Painted Hi/lory, and Portrait. 
 He was born at Friuli, in 1483, the younger brother of the celebrated 
 Titian, by whom he was inftructed in the art of painting -, but, before he com- 
 menced artift, though extremely well qualified to appear with reputation in the 
 profefllon, he engaged in a military life, in which he continued till peace was re- 
 ftored in Italy. He then went to his brother Titian to Venice, and refumed the 
 pencil ; and being employed to paint ftveral altar-pieces for churches, and a 
 few portraits for his friends, he proved himfelf worthy of being the difciple, as 
 well as the brother of Titian. 
 
 O o Such 
 
V E C [ 652 ] V E L 
 
 Such promising talents, ferved to fow the feeds of jealonfy in the bread of his 
 brother, while they promoted his own reputation ; and Titian dreading a power- 
 ful rival and competitor in Francefco, contrived artfully, to turn his thoughts 
 from painting in the ftyle which he himfelf purfued •, and pcrfuaded him to 
 employ himfelf in adorning the infides of rich cabinets, with fmall hiftorical 
 fubjects, and pieces of architecture, for which, at that time, there was a great 
 demand. 
 
 Some of thofe cabinets have reached our time, and being mifcalled the work 
 of the famous Titian, they have been edimated at an incredible price, and often 
 fold for a large fum ; though the paintings are certainly only by Francefco 
 Vecelli, who, in every refpect, was remarkably inferior to his brother. 
 
 Horatio VECELLI. 
 
 Painted Portrait, and Hijiory. 
 Died 1579. 
 
 He was the fon and difciple of Titian, born at Venice, and painted fome, 
 portraits which might ftand in competition with thofe of his father's hand. He 
 likewife painted hiftory in concurrence with Paolo Veronefc, and Tintoretto, in 
 the palace of the Doge at Venice ; particularly the reprefentation of a battle, 
 which for fome time was afcribed to Titian. 
 
 He travelled with his father to Rome and Germany, and was much edeemcd 
 for his extraordinary merit; but after the death of Titian, finding himfelf in 
 very ample circumdances, he devoted more of his hours to pleafure > than to 
 painting ; and although he outlived his father but a few years, yet fome time 
 before his death, which happened in the vigour of his years, he had confumed 
 the greatell part of that wealth, which had been honourably acquired by his 
 father, in the ridiculous purfuit of the philofopher's done. 
 
 Don Diego V E L A S QJU EZ, d e S i l v a. 
 
 Painted Portrait, Hiftory, Conventions, and Landfeapes. 
 
 Died 1660, aged 66. 
 
 He was born at Seville, in 1594, and at fifft was indructed by Francifco 
 1 Ierrera, called the old ; but afterwards became the difciple of Francifco Pacheco, 
 an artid of considerable didinction in that city. As Velafquez had received a 
 polite education, in mod branches of literature, before he applied himfelf to 
 painting, and as he alio pofilfed a very happy genius, his progrefs in the fchool 
 of Pacheco was remarkable, and he foon gave manifed proofs of his abilities. 
 lie ftudied diligently after nature, and painted birds, beads, filhes, and land- 
 fcapes, as they occurred, and defigned them with fuch truth and exactneis, that 
 his performances rofeintb ^ighedeem. 
 
 His med favourite fubjeifts at fird, were of the low kind, fuch as taverns, 
 kitchens, converfations, and perfons feading •, and thofe he executed with a bold 
 pencil, and uncommon tints of colour, in a dyle peculiar to himfelf; having 
 always nature for his director. But Pacheco having procured fome pictures of 
 the Italian mafters, the fight of them infpired Velafquez with nobler ideas, and 
 being particularly charmed with the colouring of Caravaggio, he made him his 
 model, and his fu :cds in that dyle anlwercd his mod fanguine expectations. 
 
 5 Having 
 
 
V E L [ 653 ] V E N 
 
 Having fpent five years under Pacheco, and finding himfelf fufficiently 
 qualified to let out as an artift, he went to Madrid; where he received great 
 encouragement, and had an opportunity of improving himielf ftill more by 
 viewing the paintings in the Efcurial, and in the palaces of the nobility. At 
 length he had the good fortune to procure the patronage of the Duke D'Olivarez, 
 favourite of Philip IV, and the portrait which he painted of that grandee being 
 fhewn at court, was fo generally applauded, that it obtained him the royal 
 favour, and he was appointed principal painter to the King of Spain ; with 
 an honourable penfion, and an apartment in the palace. 
 
 While he was in that ftation, Rubens arrived in Spain ; and having vifited 
 Velafquez, and confidered his works, he conceived a moft friendly affection for 
 him on account of his talents •, and knowing that it would be of infinite advan- 
 tage to that artift, to have a more extenfive acquaintance with the Roman and 
 Venetian tafte of defign and colouring, he recommended it to him tofpend ibme 
 time in Italy. Velafquez, convinced of the fincerity and probity of Rubens, as 
 well as of his judgement, followed his advice, and travelled to Venice and 
 Rome ; at the former he copied the works of Titian, Tintoretto, and P. 
 Veronefe ; and at the latter ftudied the antiques, the works of Raphael, 
 Buonaroti, and the Caracci's ■, by which means he acquired fuch an improvement 
 of tafte, correftnefs, compofition, and colouring, as placed him at the head of 
 his profeflion. 
 
 At his return to Spain, he was received with every mark of efteem by the 
 king, and applaufe by the publick ; and having finilhed a noble defign of the 
 Crucifixion, for the convent of S. Placidia, the whole court had an inconteftable 
 evidence of his merit, and the improvement he had obtained, by ftudying the 
 fineft productions of art and genius in Italy. 
 
 As Philip IV. had determined to procure the beft collection pofiible of antique 
 ftatues, and the works of the greateft mafters of Italy, he commifiioned Velaf- 
 quez to choofe and purchafe the moft curious •, and alio, to copy fuch celebrated 
 paintings as he found unpurchafeable. During that progrefs, he painted the 
 portrait of Innocent X. and moft of the cardinals and princes at Rome; and was 
 treated with the utmoft diftincf ion and honour, as long as he continued in that 
 city. He had the happinefs to enrich his own country, with many admirable 
 curiofities of antient and modern artifts ; and adorned it alfo with a number of 
 his own works in portrait and hiftory. The compoutions of Velafquez were 
 remarkable for ftrong exprefiion, for a freedom of pencil, for a fpirited touch, 
 and fuch a tone of colour as almoft equals nature itfelf. The moft capital per- 
 formance of this eminent mafter, is the hiftorical reprefentation of the expullion 
 of the Moors by Philip III. which is in the grand Salon at Madrid. 
 
 VENETIANO. Vid. Sebastian delPiombo. 
 
 Antonio VENETIANO. 
 
 Painted Hiftory, and Portrait. 
 
 Died 1384, aged 74. 
 
 He was born at Venice, in 13 10, and was a difciple of Agnolo Gaddi ; but 
 furpaifed him in many refpects, being accounted one of the beft painters of his 
 
 O o o o 2 time. 
 
V E N [ 654 ] V E N 
 
 time. At Florence and Piia he performed feveral works which were univerfally 
 admired, as he likewife did in his native city, and other parts of Italy •, and 
 rendered himfelf efteemed not only for his fingular merit in his profefllon, but 
 on accouj.t of his other accomplishments. 
 
 He was correct in his defign, and had a lively imagination •, the attitudes of 
 his figures were natural, and becoming ; the airs of his heads were graceful and 
 full of variety •, and his expreffion was well adapted to the characters and actions 
 of his figures. The molt celebrated painting of this mafter is at Flore:, 
 reprefenting the miracle of the loaves and fifhes ■, in which he has given a divine 
 expreffion to the air, countenance and attitude of our Saviour, and a look that 
 amiably fhews the compaffion he felt for the multitude around him. 
 
 Domenico V E N E T I A N O. 
 
 Painted Hijlery. 
 
 Died 14.76, aged 56. 
 
 He was born at Venice, in 1420, and was the difciple of Antonello d* 
 
 Mefiina-, from whom he learned the art of painting in oil, at that time knowrt 
 
 in Italy only by Antonello, as the fecret had been communicated to him alone, 
 
 by John Van Eyck the original difcoverer. 
 
 He painted feveral pictures at Loretto, and Florence, that were exceedingly 
 admired ; but at the latter city he connected himfelf unhappily with Andrea del 
 Caftagno, who invidioufly and treacheroufly murdered him, while he was feren- 
 ad:ng~his miftrefs, and accompanying the lute with his voice. That deteftablc 
 action was committed by Andrea, partly that he might preferve the fecret of 
 painting in oil from any other artifts •, but as much out of envy, on obferving 
 the works of Domenico, abundantly more commended than his own. 
 
 Octavius, orOTHo V E N I U S, or Van Veen, 
 Painted Hiflory, and Portrait, 
 Died 1634, aged 78. 
 
 He was born at Leyden, in 1556, and his parents, who were perfons of 
 diftinction, had him carefully educated in every branch of polite literature ; but 
 he was initrncted in defign by Ifaac Nicholas, and in painting by John Van 
 "VVinghen. Being compelled to leave his own country on account of the 
 troubles, and retire to Liege to purfue his ftudies, he gained the efteemof 
 Cardinal Groofbeck by his perianal merit •, and that prelate obferving the ap- 
 pearance of excellent talents in Otho, particularly in regard to painting, encou- 
 raged him to perfect his ftudies at Rome ; and in fo earneft a manner recom- 
 mended him to feveral of his friends, that the Cardinal Maduccio entertained 
 him in his palace. 
 
 On his arrival at Rome, he placed himfelf as a difciple widi Frederigo 
 Zucchero, a mafter of very great eminence ; and under his guidance, not only 
 practifed in private, but applied himfelf to defign after the antiques, and to copy 
 the molt admired paintings of the belt artifts. Having thus employed {even 
 years in conftant attention to his improvement, he acquired a delicate manner of 
 penciling, an agreeable ftyle of colouring, and fuch a knowledge of the chiaro- 
 
 2 fcuro, 
 
V E N [655] V E N 
 
 fcuro, as diftinguifhed him above all the painters of his time. For, by the 
 folidity of his judgement, he penetrated into the true principles of that refined 
 part of his art ; he reduced thofe principles to practice ; and was the firft who 
 explained to the Flemifh artifts the doctrine of lights and fliadows, which his 
 difciple Rubens afterwards fo thoroughly comprehended, and carried to fo great 
 a degree of perfection. 
 
 He was extremely carefled by the Emperor, the Duke of Bavaria, the 
 Elector of Cologne, and the Prince of Parma, governour of the Netherlands; 
 and having painted a portrait of the latter, it procured him the honour of being 
 employed in the fervice of that Prince, and eftabliihed his reputation through 
 the Low Countries. 
 
 Venius had a lively and fertile invention ; his drawing was generally correct, 
 and particularly fhewn in the extremities of his figures. The airs of his heads 
 were not without grace ; his draperies had an eafy flow, and they were fo well 
 caft as to give a certain dignity to his figures. The principal works of this 
 mafter, are to be feen in the churches of Flanders. In the cathedral at Antwerp,, 
 is preserved a Laft Supper, efteemed an excellent performance ; in the parifli 
 church of S. Andrew is an altar-piece, reprefenting the Martyrdom of that 
 Apoftle ; and in the refectory of the Abbey of S. Vinox, is a picture of Mary 
 Magdalen, anointing the feet of our Saviour. 
 
 He had a daughter, named 
 
 Gertrude VENIUS, or Van Veen. 
 
 Who was born at Bruflels, and painted portraits and hiftory, in the ftyle and 
 manner of her father, with very great fuccefs ; her colouring being clear and- 
 lively, and her touch delicate. 
 
 Marcello VENUSTI, called Mantuano. 
 
 Painted Hiftory. 
 Died 15J6, aged 61. 
 
 He was born at Mantua, in 1 5 1 5, and proved an honour to the fchool of 
 Pierino delVaga, to whom he was a difciple. His merit was fo extraordinary, 
 that he affifted his mafter in many of his mod grand compofitions, at Rome and 
 Florence •, and his own works were exceedingly efteemed by Michael Angelo 
 Buonaroti. The Cardinal Farnefe employed him to copy the celebrated pifture 
 of the Laft Judgement, allowed to be the nobleft production of Buonaroti's 
 genius ; and that copy was greatly commended, even by the painter of the 
 original. 
 
 Few of the churches or chapels at Rome were without fome of the paintings 
 of Venufti, either in frefco or in oil ; for, he was exceedingly admired for the 
 elegant tafte of his defign, for the grandeur of his compofitions, for the beauty 
 of his colouring, and the neatnefs of his finilhing. 
 
 IIenrv 
 
V E R [ 656 ] V E R 
 
 Henry VERBRUGGEN, or Terbruggen. 
 
 Painted Hijiory. 
 * Died 1640, aged 52. 
 
 He wasbornatOveryfiel, in 1588, and placed as a difciple under Abraham 
 Bloemart •, but, being defirous to improve himfelf, by ftudying the works of 
 thole who 'were c.onfeffedly moll eminent in his profefiion, he travelled through 
 iieveral parts of Italy, and refided for ten years at Rome. His fludies in that 
 city were attended withfuccefs, and he painted many altar-pieces for the churches 
 and convents, which are evident proofs of the noble tafle in which he compofed 
 his fubjects, and the freedom and firmnefsof his execution. 
 
 In the principal church at Naples, there is a large altar-piece, much admired 
 for the goodnel's of the defign, and alio for the colouring ; and contrary to the 
 rule of the Flemifh mailers, he did not put his name on that picture, concluding 
 that his flyle and pencil were at that time fo generally known, that his name was 
 unnecetfaiy. There is alfo at Middleburgh an extraordinary fine picture by this 
 mafter, reprefenting an entertainment at dinner, with figures as large as life ■, 
 which being fhewn to Rubens, that.great man, to the honour of Verbruggen, 
 commended his works, above all thofe which he had feen in his progrefs through 
 the Low Countries. 
 
 Gaspard Peter VERBRUGGEN. 
 
 Painted Flowers. 
 Died 1720, aged 52. 
 
 He was born at Antwerp, in 1668, and under the direction of Peter Verbrug- 
 gen, became a confiderable artift. He fettled at the Hague, where his reputa- 
 tion procured him a favourable reception -, and afibciated in that city with 
 Matthew Terweften, a painter of hiftory, whofe works were in great efteem. 
 Terweften painted the figures in feveral grand compofitions, and Verbruggen 
 painted the flowers, and other decorations. 
 
 This painter had an unufual readinels of hand, and an expeditious manner of 
 working, which contributed to enrich him •, but, when he returned to Antwerp, 
 he devoted moft of his time to company and amufements, and painted mollly at 
 ni^ht. By that means his latter pictures have not the real merit of his earlier 
 works, having nothing to recommend them but the freedom of penciling, and a 
 tone of colour that had more of brilliancy, than of truth and nature. 
 
 In his ityle he refembled Baptift Monnoyer, more than Van Huyfum. His 
 manner of painting flowers in cielings and falons, was truly grand •, his 
 colouring and grouping of the objects fhewed extraordinary art and judgement •, 
 and his touch was eafy, free, and well adapted to that kind of painting, as it 
 fhewed a lightnefs of hand, without labour. 
 
 Giovanni Mario VERDIZZOTTO. 
 
 Painted Land/cape. 
 Died 1600, aged 75. 
 He was born at Venice, in 1525, and was the difciple of Titian ; who observ- 
 ing the genius and capacity of his pupil to be capable of any improvement, and 
 
 • Sandratt and other writers agree that Verbruggen died in 1640, aged 52 ; and yet Dcfcamps 
 fays he died in 1629, aged near 42, which feems to be a miitake. 
 
 alfo 
 
V E R 667 ] V E R 
 
 alfo difcerning the amiable qualities of his mind, acquired by an excellent edu- 
 cation •, loved him and treated him as if he had been his own ion. He explained 
 to him every principle of the art, that might conduce to his advantage; and took 
 all poffible pains to render him eminent in his profeffion. Nor was Titian difap- 
 pointed in his expectations •, for, Verdizzotto fhewed him every mark of refpect 
 and affection, as if he had been really his parent ; and acted as his fecretary, when- 
 ever he had occafion to correfpond with Princes, or perfons of high nobility. 
 
 His favourite fubjects were landfcapes, which he defigned and painted in an 
 admirable ftyle, very much in the manner of his mafter. His pictures were 
 ufually of a fmall fize, but they were excellently coloured, and enriched with 
 figures that were delicately penciled. 
 
 Simon VERELST. 
 
 Tainted Fruit, Flowers, and Portrait. 
 Died 1 7 10, aged 46. 
 
 He was born at Antwerp, in 1664, and ftudied after nature all thofe fubjects 
 which he chofe to paint, till he became very eminent, as well for the elegance of 
 the objects which he felected,. as for his exquifite manner of finifhing them. 
 
 He had already acquired confiderable reputation in his own country, when the 
 profpect of advancing his fortune, induced him to vifit England -, and his fuccefs 
 was almofl incredible. His works very ibon came into vogue, they were exceed- 
 ingly admired, and fold for greater prices, than had ever been given in London, 
 for any compofitions in that ityle of fruit and flowers. He had abundant vanity, 
 and he found that vanity abundantly gratified, not only by the eiteem in which 
 his paintings were held, but by the compliments of poets, particularly by thofe 
 lines which were written by Prior. 
 
 It is faid, that the Duke of Buckingham, propofed to him a fcheme for adding 
 to his reputation and fortune, by painting portraits •, though the advice was given 
 by the Duke, more out of an inclination to mortify Verelft, than to afford him 
 any new incentive to his pride, as he concluded, that the vanity of the painter, 
 would influence him to undertake that branch of hrs profeilion, which was 
 fuperior to his ikill. The Duke fat to him to try the experiment, and Verelft 
 took pains to embellifh the portrait with fruit and flowers ; but, as foon as it 
 was exhibited, though it appeared to be highly laboured, the whole compofition 
 was very juftly ridiculed. And yet, that manner of Verelft, which was at firft 
 fo defervedly decried, became in a fhort tine fo fafhionable, as even to leflen 
 the number of the employers of Kneller, and he was paid for one half length, 
 above an hundred pounds fterling. 
 
 As to his flower and fruit fubjects, he handled them in a charming manner ; 
 and gave them force and relief by a judicious management of the chiaro-fcuro. 
 He painted his objects with great truth and refemblance of nature, and his 
 colouring was rrefh j but as to his portraits, they were not much to his honour •, 
 though he finifhed them as highly as he did his flowers, which he always took 
 care to introduce in every portrait. 
 
 Her. 
 
VER [ 658 ] V E R 
 
 Herman, or Harman VARELST. 
 Painted Hiftory, Fruit, and Flowers. 
 Died 1700. 
 I Ic was the elder brother of Simon Verelft, and the fubje&s he chofe were 
 painted in an agreeable manner and well coloured. He ftudied for fome years 
 at Rome, and refided at the Emperor's court at Vienna till it was befieged by 
 the Turks in 1683; and being on that occafion under a necefTity of leaving 
 that country, he went to fettle in England, where he fpent the remainder of his 
 lire. 
 
 Cornelius VERELST. 
 Painted Fruit, and Flowers. 
 Born in 1667. 
 It is generally thought that he was a brother to Simon, and it is moil probable 
 that he was his diiciple, as he painted the fame fubjects, and his colouring and 
 handling were very fimilar. The fuccefs of his brother in England, was un- 
 doubtedly his inducement to fettle in London, where he found great encourage- 
 ment ; but as the general tafte for fuch fubjects as he painted, has for fome 
 years fubfided, his pictures at this day are held in no great efteem, and produce 
 but low prices at publick fales. 
 
 M A D A M OI S E L L E VERELST. 
 
 Painted Hiftory, and Portraits. 
 Bern in 1680. 
 
 This paintrefs was niece to Simon Verelft, and was taught the art of 
 painting by her father •, but, afterwards lived entirely with her uncle, who 
 gave her the beft inftruclions in his power for her improvement. She had 
 an excellent education, was a fine performer on feveral inftruments of mufick, 
 and fpoke and wrote the German, Italian, and Latin, the Englilh and French 
 languages, with fluency, and elegance. 
 
 She painted portraits and hiftory with genius and fpirit, and was admired for 
 the delicacy of her touch, and the neat manner of her finiftiing. Her portraits 
 generally were of a fmall fize •, and fbe was accounted, to defign her figures 
 with more correctnefs, than any female artift of her time. She gave her portraits 
 a fine expreffion, not only in refpect of the features, but alio of the mind of 
 her models, and thofe who pofiels her works hold them in the higheft efteem. 
 
 Adrian VERDOEL. 
 
 Painted Hiftory. 
 Died 1684, aged 64. 
 This artift was born at a village on the Meufe, about the year 1620, and 
 became the difciple of Rembrant ; in whole fchool he made a confiderable figure, 
 and let out in his profeflion with a great deal of credit. 
 
 He always endeavoured to imitate the ftyle and tafte of his mafter, and aimed 
 at fomewhat grand in his compofuions of hiftorical fubjefts ; but, his works 
 
 fufficiently 
 
V E R [ 659 ] V E R 
 
 fufficiendy fhew, that he wanted an elevation of thought, adequate to the 
 defigns he undertook to execute. He was accounted rather fuperior to his 
 mafter in invention, and in fome refpects to be a better defigner •, yet we was far 
 inferior to him in his colouring and handling. Befides, his figures are often 
 incorrect, his manner of painting is generally too black, there is fcarce any, even 
 the fmalleft appearance of grace or elegance in his figures, and his expreffion 
 is very moderate. However, fome of his pictures have a competent fhare of 
 merit in the difpofition, in the freedom and ipirit of his pencil, and in the tranf- 
 parence of his colours. 
 
 For fome years he painted with good fuccefs ; but in his advanced ao-e he 
 quitted the pencil entirely, and became a dealer in pictures. At this day his 
 pictures are not in much efteem. 
 
 .... VERENDAEL. 
 
 Painted Fruit, and Flowers. 
 
 He was born at Antwerp, in 1 6$g, and in that city learned the art of paintin°- ; 
 but the mafter by whom he was inftructed, is not afcertained. He employed his 
 talents in painting fruit and flowers, which he ftudied after nature ; and exerted 
 himielf alio in obferving the works of thofe mafters, who were molt eminent in 
 that ftyle •, by which means his reputation was very foon fpread through the 
 Netherlands, and from thence through moft parts of Europe •, as he fhewed 
 both genius and judgement in his compofitions, and executed every fubject in 
 a mafterly and delicate manner. 
 
 Sometimes he introduced objects which he had imitated from Mignon, but 
 ufually fuch only as he copied from nature ; yet wherever he collected his fub- 
 jects, they were delicately chofen, reprefented with exact truth and nature, and 
 exquifitely finifhed. By a noted Dutch * writer he was cenfured, as beino- 
 tedious and Angular ; but the Angularity of which Verendael was accufed, arofe 
 from his having his whole thought and attention totally occupied by the love of 
 his profeffion ; and if he feemed tedious in finifhing his works, it was no more 
 than wh at feemed ablblutely requifite to give them that luftre and neatnefs for 
 which they were remarkable. 
 
 While he was alive, his pictures were extremely coveted, and carried abroad 
 to moft parts of Europe ; and to this day they maintain their character and 
 efteem. He was fo curious, and fo apprehenfive of his paintings beino injured 
 by duft, or other accidents, that whenever he had finifhed a flower, he guarded 
 it carefully, by a cover of paper. Next to Mignon, and Van Huyfum, his merit 
 renders him moft worthy of commendation •, nor in the neatnefs and delicacy of 
 his pictures, is hefurpaffed by any of the Flemifh mafters. 
 
 Tobias VERHAECHT. 
 
 Painted Land/cape, and Architecture. 
 
 Died 1 63 1, aged 6§. 
 
 He was born at Antwerp, in 1566, and diftinguifhed himfelf as an excellent 
 
 painter of landfcape ; in which though the ftyle, the tafte of defign, and the 
 
 * U'eyermans. 
 
 P P p p diftribution 
 
VER [ 660 ] V E R 
 
 cGftribution of the parts were very peculiar, yet were they exceedingly natural. 
 and pleaGng, as well as elegant, infomuch, that even Rubens, who was amoft 
 admirable painter of landscape, ufed often to fay, that Verhaecht was his firft 
 and bed inftructor in that branch of his art. 
 
 His fites were generally well choien,. his fcenes agreeable, and by a fkilful 
 method of managing the aerial perspective, he opened a large extent of country, 
 deluding the eye to a very remote diftance, by interfperled hills,, rocks, moun- 
 tains, and well broken grounds. The forms of his trees were looie and natural ; 
 the ruins and pieces of architecture which he always introduced, were in an 
 elegant tafte, and a general harmony appeared through the whole'compofition. 
 
 The Grand Duke of Tufcany careffed him extremely, and for that prince he 
 painted feveral noble landfcapes. At Rome alio he was much admired, and 
 particularly on account of one picture reprefenting the tower of Babel, which 
 was an immenfe compofition. 
 
 Francis Peter VERHEYDEN. 
 Tainted. Fcicl, and Huntings of Wild BeaJIs. 
 Died 1 71 1, aged 54. 
 
 1 [e was born at the Hague, in 1657, and was originally bred a ftatuary, im 
 which profeflion he proved a good artift, and was one of thofe who were em- 
 ployed to model the figures, and ornaments of the triumphal arch erected in 
 1601 at the Hague, for the publick entry of King William III. Bur, by afib- 
 i ■ling with fome painters, who were employed along with him at the king's 
 palace at Breda, and obierving their manner of working, he made fome attempts 
 to imitate them, and did it fo fuccefsfully, as- to occafion the furprize of all who 
 faw his firft productions ; and foon after, he entirely laid afide the profefTion of 
 a ftatuary, and devoted himfelf wholly to painting. 
 
 His friends, who dilapproved of his conduct, endeavoured to diffuade him, 
 by reprefenting how indifcreet it muft appear, for an artiit who was eminent in 
 one profeflion, to exchange it at the age of forty for another, in which he could 
 only be a beginner •, but their opinions had no influence on him, to alter his 
 refolutions. He began with copying animals of different kinds, after Snyders, 
 and very foon found himfelf capable of defigningfubjects in the fame ftyle, fuch 
 as huntings of the wild boar, flag, and other animals, in which he introduced a 
 multitude of dogs in bold and natural actions, full of peculiar fpirit and fire. 
 He likewife painted fowl in the manner of Hondekoeter, and touched the 
 plumage with a lightnefs and tendernefs, almoft equal to the mailer who was his 
 model. 
 
 He had a good manner of colouring, and a great command of his pencil ; 
 and marked even the hairs of his animals with truth, and a ftrong refemblance 
 of nature. His works in general had much harmony, and looked more like the 
 performances of an experienced artift, than the efforts of one who had been fo 
 ihort a time a practitioner ; and it was imagined, that he would have excelled 
 moft of the painters in that ftyle, if from his youth he had made the art of 
 painting his foie profeflion. 
 
 5 P E X E H 
 
V E R [ 661 ] V E R 
 
 Peter Cornelius VERHOEK, or VERHUICK. 
 Painted Land/capes, Animals, and Battles. 
 
 He was born at Bodegrave, * in 1642, and became the diiciple of Abraham 
 Hondius, whofe manner he imitated while he continued in the Low Countries ; 
 and defigned animals with a great deal of" fpirit and good action ; but when he 
 travelled to Rome, he was fo affected by the light of Bourgognone's works, that 
 he ftudied them induflrioufly and incefTantly. 
 
 By a careful obiervation of the excellencies of that mailer, lie acquired the 
 fkill to paint battles in his ftyle, with a lively tint of colour, and a competent 
 degree of force •, and executed them in a large, and i'mall fize, with fuch 
 publick approbation, that he found conftant employment at Rome, Naples, and 
 other cities of Italy through which he journied. His landscapes were painted in 
 a very pleafing ftyle, and ornamented with fmall figures in the tafte of Callot, 
 which were corre&ly defigned, and touched with fpirit. 
 
 Gysbert VERHOEK. 
 Painted Land/capes, Battles, and Encampments. 
 Died 1690, aged 46. 
 He was the brother and diiciple of Peter Verhoek, born at Bodegrave, in 
 1644; but as foon as he was well eftablifhed in the rudiments of the art, he 
 placed himfelf" as a difciple with Adam Pynaker, and copied fome of the works of 
 his mafter with fucceis. However, as he had formed his t3fte by the paintings 
 of his brother, he endeavoured, like him, to imitate the manner of Bourgognone-, 
 and his ufiaal fubjects were battles, encampments, or fkirmiilies. 
 
 He was remarkably ftudious to improve himfelf, and took uncommon pains 
 to fketch the different motions, actions, and attitudes of men and horfes ; that 
 he might have them ready, whenever he had occafion to introduce them in his 
 compofitions •, and of thole kind of fketches he left an incredible number, 
 which were well defigned, and marked with a great deal of freedom. 
 
 Jan VERKOLIE. 
 Painted Hijlory, Portraits, and Converfations. 
 Died 1693, aged 43. 
 He was born at Amfterdam, in 1650, and having fpent fome part of his 
 youth in drawing, and ftudying perfpeclive, he chofe to imitate the ftyle of 
 Gerrit Peters van Zyl, (generally called Gerrard) and arrived at fuch a degree 
 of expertnefs, as to make his works fcarcely diftinguifhable from thole of that 
 mafter. He was afterwards, for a ftiort time, the difciple of Jan Lievens, and 
 profited confiderably under his direction ; but, when he had continued about 
 fix months in that fchool, he perceived that he had gained as much knowledge, 
 as he could poflibly obtain from his inftruftor, and therefore fet up as a profef- 
 j'ed painter. 
 
 Lievens, while Verkolie was his pupil, obferving how ftrong a refemblance 
 there was, between his handling and colouring, and that of Gerrard, employed 
 
 * Accorcfjng to Houbraken, Verhoek was bom in 164S. 
 
 P p p p 2 him 
 
V E R [ 662 ] V E R 
 
 him to finifh Several pictures, which the latter had left imperfect •, and even the 
 moft fagacious connoifieurs, could not remark any perceptible difference, 
 between thofe matters. 
 
 Verkolie for the moft part painted portraits, and in an excellent manner; but 
 he alio painted hiftorical Subjects and conversations. His colouring was good, 
 and his defign in many refpects correct, with a tender and neat manner of 
 penciling ; but he cannot be jultly commended for grace or elegance. 
 
 Nicholas VERKOLIE. 
 Painted Portrait, and Hiftory. 
 Died 1746, aged 73. 
 
 He was born at Delft, in 1673, and was at firft instructed by his father Jan 
 Verkolie, who died when Nicholas was only twenty years of age •, yet, even then 
 he was far advanced in the knowledge of his art, and took pains to repair the 
 lofs of lb able an instructor, by a more diligent application to his ftudies. At 
 firft he painted portraits with reafonable fuccefs ; but, afterwards he applied 
 himfelf entirely to painting hiftory, and by his tafte of defign and composition, 
 gave Singular Satisfaction to thofe who were good judges of merit, and cltabliShed 
 his reputation. 
 
 Beiide the merit of Verkolie in his oil paintings, he had a very peculiar ex- 
 cellence in drawing and defigning with Indian-ink ; and he finished thofe 
 drawings with fuch accurate neatneSs, that they are Sold at a very High rate, and 
 are exceedingly rare. In all his Subjects, whether of Hi Story or portrait, he 
 ■was very correct in his defign ; his colouring is good, and in his eafel pictures 
 it appears beautifully melting. His touch, though delicate, is firm •, and his 
 night pieces, which have a furprizing effect, are very much coveted, being 
 efteemed wordiy of a place in the belt collections. 
 
 John Cornelius VERMEYEN, or Mayo, 
 
 Painted Hijtory, and Portrait. 
 
 Died 1559, aged 59. 
 
 He was born at the village of Beverwyck, in 1500, and became principal 
 painter to the Emperor Charles V, who honoured him with many marks of 
 particular efteem. He attended that monarch at all his battles and Sieges, and 
 defigned on the Spot, views of all the fortified places, which were attacked by 
 the Emperor ; as alio the different encampments of his army, and every memo- 
 rable action of the whole war, by fea as well as by land •, tipecially the moft 
 material incidents of the fiege of Tunis. From thofe defigns of Vermeyen, the 
 tapeltries were made which adorn the * Eicurial, and which will be an indifpu- 
 table proof of the genius, the talents, and the lively imagination of the defigner. 
 
 He was remarkable for having a beard of fuch an enormous length, that when 
 he Stood upright he could tread on it; from whieu circumstance he was known 
 through all Germany, by the name of Johannes Barbatus. 
 
 * According to De Files, thofe maoisificent tapedries were executed frr Philip II. who left them 
 in ' ivhece they ftill remain; but other writers affirm, that they were made for the 
 
 I :uriaJ. 
 
 Andrea 
 
V E R [ 66 3 J V E R 
 
 Andrea VEROCCHIO. 
 Painted Hijlory. 
 Died 1 48 8, aged 56* 
 
 He was born at Florence, in 1452, and wasatfirft a fculptor, ofconfiderable 
 eminence, having executed a great number of curious works in gold and other 
 metals, as well as in marble •, but, being eager to add to his reputation, he 
 applied himfelf induftrioufly to the itudy and practice of the art of paintin°\ 
 He proved himfelf very excellent m defign, by feveral admirable compofitions 
 which he (ketched, with an intention of finiftiing them in colour ; though for 
 fome unknown caufe he never completed them. One of thofe defio-ns was a 
 battle, in which the figures were naked ; and in others he reprefented female 
 figures, elegantly formed, with an air of peculiar grace in the heads and the 
 difpofition of the hair, which Lionardo da Vinci always took pleafure to imitate. 
 
 Yet, although Verocchio gained great credit by his manner of defigning, his 
 colouring was indifferent, and unpleaflng, and his pencil dry and hard. And 
 of that defect in his pictures he happened to be effectually convinced, by a 
 performance of one of his own pupils. For, being afiiited by his difciple 
 Lionardo da Vinci, in an altar-piece reprdenting S. John baptizing Chrift, Lio- 
 nardo defigned and coloured an Angel, in one part of the picture, fo exceedingly 
 fine, and fo far fuperior to his matter, that it made the reft of the picture look 
 contemptible. The fight of it ftrongly affected Verocchio, and lie was fo 
 thoroughly mortified, to fee himfelf far iurpafled by fo young an artift, that it 
 made him determine to lay afide the pencil for ever. 
 
 He had, however, the honour of being the mafter of Pietro Perugino, and 
 Lionardo da Vinci ; and was the firft who invented and pradiled the method. 
 of taking off the features of any face, in a mould of plaiiter. 
 
 Paolo VERONESE. Vid. Cagliari. 
 
 Alexander VERONESE, called Turchi, 
 and II Orbetto. 
 
 Painted Hificry. 
 Died 1 6 jo, aged 70. 
 
 He was born at Verona, in 1600, and placed as a difciple with Felice Riccio ; 
 though he afterwards did not adopt theftyle of that mafter, but formed his idea? 
 of the beauty of cojouring, from the manner of Correggio ; and his ideas of 
 elegance and grace from the tafte of Guido. 
 
 He ftudied at Rome after the fineft of the antient and modern productions, 
 and accuftomed himfelf alfo to draw after nature ; by which means he acquired 
 the habit of defigning with cafe and freedom, and alio with tolerable correctnefs 
 of outline. It was generally laid, that the colouring of the Venetian fchool, and 
 the Roman gufto of defign, were combined in this artift. His wife and his 
 daughter were his models for the figures in his compofitions ;.for, without 
 particularly attending to nature, he never attempted to defign any member of 
 the human body.. 
 
 The invention and imagination of this mafter were fo readv, that it was 
 cuitcmary with him to proceed directly in his painting, without having pre? 
 
 2_ pja : 
 
VER [ 664 ] V E R 
 
 pared any previous (ketch •, he difpofed his figures with propriety, and grouped 
 them in luch a manner, as to make them fet off" each other, and contribute to 
 the good effect of the whole. Yet, although his colouring had great force, and 
 his pictures were carefully finifhed, one could often wifh, that he had been more 
 nice in the choice of his attitudes and draperies, as well as a little more accurate 
 in his compofitions. He painted many delicate eafel pictures, mod of which are 
 preferved at Rome, where he fpent the greateit part of his life •, but his grand 
 compofitions are in the churches and convents at Venice, and Verona, as well as 
 at Rome. 
 
 In the church of S. Maria in Organis at Verona, is a very admired picture 
 by this mafter, of which the fubject is S. Anthony, and S. Francis, with a glory 
 and Angels above ; it is well finiihed, and the glory is (weedy coloured. And 
 in the church della Mifericordia in the fame city, is an altar-piece reprefenting 
 rhe Deicent from the Crofs, which is an admirable performance, and finifhed 
 with abundance of care. The penciling is extremely foft, and the colouring 
 beautiful •, being much in the tafle of the Caracci's fchool. The figures of the 
 Virgin, and Nicodemus are exceedingly fine, and the expreffion of the Virgin's 
 afflictive forrow, is truly affecting ; but the draperies, and the linen, are not 
 equal in merit to the other parts of the picture. 
 
 Antonio VERRIO. 
 
 Painted Hiftory. 
 Died 1 joy, aged 73. 
 
 He was born at Naples, in 1634, and having learned the art of painting in 
 his own country, heat firft fettled in France, and was there employed to paint 
 the high altar in the church of the Carmelites at Tholoufe •, but, bein°- invited 
 by King Charles II, to enter into his fervice, he went to England, and by the 
 royal command was engaged at Windfor; where he painted moft of the 
 cielings, the chapel, and one fide of S. George's hall. 
 
 * In one of his compofitions he introduced the portrait of Anthony Earl of 
 Shafteibury, in the character of faction, and from a private pique to Mrs. 
 Marriot the houfe-keeper, he borrowed her face for one of the furies. His 
 invention was but indifferent, though he had a free and ready pencil, adapted 
 to the particular kind of works which he undertook, and understood ; but, he 
 wanted elegance. And as to the propriety of his tafte, it may be eafily efti- 
 mated, if it be only obferved, that he introduced himfelf and Sir Godfrey 
 Kneller, in long periwigs, as f] rtators of Chrift healing the difeafed. 
 
 That performance, which is accounted his beft, is the altar-piece in the chapej 
 at Chati worth, reprefenting the incredulity of S. Thomas. 
 
 Henry VERSCHURING. 
 
 Painted Battles, Landfeapes, and Huntings. 
 Died 1690, aged 63. 
 He was -born at Gorcum, in 1627, and at firft was the difciple of Dirk 
 Goverts ; but afterwards became the difciple of the celebrated John Both, under 
 xv hole direction he practifed for fix years. 
 
 ' Viil. Anecdotes, of painting. 
 
 When 
 
V E R [ 665 ] V E R 
 
 When he had, under that matter, gained fuch a degree of knowledge, as 
 might enable him to purfue his fuidies with advantage, he travelled to Rome, 
 and attended regularly at the academy, to defign after the naked ; he fhudied 
 after the antiques, after the paintings alio of thofe artifts who were the orna- 
 ments of the Roman fchool, and defigned the ruins and veftiges of fuperb 
 architecture, which were not only in, and near Rome, but through every part 
 of Italy which he vifited •, and with great propriety introduced fuch pieces of 
 Roman architecture, into moll of his compofitions. His landfcapes were copied 
 from nature, juft as the beautiful fituations and fcenes occurred to him in his 
 travels, and generally they fnew a judicious and agreeable choice. 
 
 The peculiar talent of Verfchuring was for painting battles, and lkirmifhes of 
 horiemen •, and to enable him to reprefent them with exactnefs and truth, he 
 was exceedingly curious in obferving the actions, movements, and attitudes of 
 horfes, and the engagements, retreats, and encampments of armies, and even 
 made a campaign in 1672, to defign his fubj efts on the fpot. His genius was 
 fruitful and happy •, there appears a great deal of fire in his ideas ; and as he 
 always ftudied after nature, he had nothing of the mannerifc. His fcenery is 
 beautiful, his figures are correctly defigned, and are touched with fpirit. He 
 finilhed his pictures with extraordinary neatnefs of pencil, and. they are remark- 
 ably traniparent. 
 
 One of his moft capital performances (according to Houbraken) is at Dort ; 
 it reprefents the plundering of a country, and particularly of a caftle. There is 
 a view of the fea-ftiore, to which a large herd of cattle are driven as a prey ; the 
 owner of the caftle appears bound with cords, and his wife is on her knees, as 
 if {implicating her enemies to accept of a ranfom for herfelf and her hufband. 
 This picture is exquifitely finilhed, with a great number of figures well defio-ned, 
 correctly drawn, and with good expreffion. 
 
 He was unfortunately drowned, by a fudden fquall of wind, which overfet the 
 vetted in which he failed, a few leagues from Dort. 
 
 William V E R S C H U R I N G. 
 
 Painted Conversations, and Portraits. 
 
 He was the fon of Henry Verfchuring, born at Dort in 1 657, and learned the 
 principles of defign from his fadier ; yet, he afterwards ftudied for fome time 
 under Jan Verkolie. 
 
 The iubjects which he feemed to be moft fond of, were converfations, though, 
 he fometimes painted portraits; and by the works which he has left, it appears, 
 highly probable, that if he had continued to pradife his art, with the fame afil- 
 duity that he exerted at the beginning of his ftudies> he would have arrived at a. 
 high degree of eminence ; but, he gradually difcontinued painting, being enlaced i 
 in. other lucrative employments. 
 
 Daniel VERTANGEN. 
 Painted Land/cafes, and Nymphs. 
 Born about 1599. 
 Very few particulars relative to the life of this artift, have been recited by any of 
 the writers on this fubject, although his merit is fo univerfally known and' 
 allowed. 
 
 He 
 
V E R [ 666 ] VIA 
 
 He was born at the Hague, and proved one of the mod eminent difciples in 
 the fchool of Poelemburg. He imitated that matter, not only in his handling, 
 and tone of colour, but in his tafte and ftyle of compofition ; fo that the 
 defcription of the manner of Poelemburg, would be almolt an exact and true 
 defcription of the manner of Vertangen. 
 
 His fubjects were fimilar to thofe of his mafter, landfcapes with nymphs 
 bathing, caves, and bacchanals, which he finifhed with great delicacy, and 
 neatneis of pencil ; but they are in general far inferior to the paintings of 
 Poelemburg, and if compared with the genuine works of that mafter, they cannot 
 fupport a competition. However, the beft defcription of the ftyle of Vertan- 
 gen, as well as the beft teftimony of his real merit, is, to fay that very many of 
 his paintings have been afcribed to his mafter Poelemburg. 
 
 Ary Hubertz VERVEER. 
 
 Painted Hi/lory, and Portrait. 
 
 He was born at Dort, in 1 646, and by many of his own countrymen was much 
 efteemed for hiftorical compofitions, which he ufually furniftied with naked 
 figures. 
 
 He was a good defigner, but he painted in a rough manner, fo as to make 
 it neceffary to view his pictures at a diftance. The greateft objection to his 
 pictures was, that he coloured the flefh of his figures of too fawny a complexion ; 
 and that the bluifh tint which is always perceptible in fine carnations, was not 
 ie-. n in any part of the naked, which he painted; but he feemed to be fully 
 fatisfied, if his pictures had a ftrong and bold effect. 
 
 It was remarked of him, that although he defigned, and painted feveral 
 fubjects, yet, he rarely found fufficient reiblution, or application, to finifti any 
 of them as he ought. 
 
 Francis VERWILT. 
 
 Painted Land/cape. 
 
 He was born at Rotterdam, about 1598, and at firft was inftructed inlandfcape 
 painting by an artift of no great reputation ; but he afterwards became the 
 difciple of Poelemburg. 
 
 His landfcapes were painted in an agreeable manner, generally clear, and 
 adorned with pieces of architecture, and ruins, which were defigned in a good 
 tafte. He conftantly endeavoured to imitate his mafter Poelemburg, and in 
 his figures he very much refembled him ; but there is a very apparent difference 
 in the ftyle of his landfcapes. 
 
 Giovanni V I A N I. 
 
 Painted Hiftory. 
 
 Died 1700, aged 63. 
 
 He was born at Bologna, in 1637, and was the difciple of Flamminio Torre. 
 
 He formed his tafte of defign and compofition, from the works of the moft 
 
 famous mafters of the Lombard fchool, the Caracci, and Guido ; and his own 
 
 performances were admired for the airs of the heads, which were defigned much 
 
 in 
 
VIA [ 667 ] V I N 
 
 in the tafte of Guido, for a tint of colouring that was exceedingly pleafing, and 
 for correctnefs in his outlines. 
 
 In the church at Bologna called I Servi, there is a picture by this artift 
 which reprefents a Saint carried up to heaven by angels ; and it is extremely 
 beautiful, as well in refpect of the defign, as of the fine effect of the whole. 
 
 Domenico Maria VIANI. 
 Painted Hijiory. 
 Died 1 7 1 6, aged 46. 
 
 He was the fon and difciple of Giovanni Viani, born at Bologna, in 1670. 
 From the precepts of his father he learned defign, but perfected himfelfinthe 
 knowledge of colouring, by his ftudies at Venice. 
 
 The manner of Domenico was bold, his colouring agreeable, and he fhewed 
 correctnefs and elegance in the contours of his figures. The grandeur of his 
 tafte may be feen, in that celebrated picture which he painted at Imola, com- 
 pofed in honour of fome particular Saints, who were fuppofed to have driven 
 away the peftilence from that city ; in which noble defign fifty figures arc 
 reprefented, as large as life, extremely correct and pleafingly coloured. Though, 
 in general, his colouring is inferior to that of Giovanni •, having rather too 
 much of one tint of colour, predominating through the whole. Alio, in a 
 chapel belonging to the church I Servi in Bologna, there is a grand altar-piece 
 painted by Domenico Viani. The fubject is a legendary Story, of the mira- 
 culous healing of a fore leg of fome Pilgrim, by Chrift ; it is in many of its 
 parts very beautiful, it is finely painted in a broad free manner, with a bold 
 pencil, and well defigned, though too much of one colour. 
 
 VINCENTINO. ViJ. Vincentio d i San G e m 1 n 1 a n ©; 
 
 LlONARDO DA VINCI. 
 
 Painted Hijiory, and Portrait. 
 Died 1520, aged 75. 
 
 This mafter was defcended from a noble family, and born at the caftle of 
 Vinci near Florence, in 1445, and from his infancy had an education fuitable 
 to his birth ■, being carefully inftructed in the fciences, and every branch of 
 polite literature. And having (hewn a peculiar fondnefs for defigning, he was 
 placed as a difciple with Andrea Verocchio, at that period of time, when Pietro 
 Perugino ftudiedin the fchool of that mafter. 
 
 From the excellence of his genius, his proficiency was fo rapid, that he fur- 
 paffed his inftructor in an eminent degree ; and being appointed by Verocchio 
 to paint the Angel, who was to be reprefented as bearing the garment of Chrift 
 when he was baptized by S. John ; the defign and the colouring of the difciple, 
 {y far difcountenanced the work of the mafter, andfo much artonifhed Verocchio, 
 that it provoked him to quit the profefiion entirely. 
 
 No artift before his time ever had fuch comprehenfive talents, fuch profound 
 (kill, or fo difcerning a judgement, to explore the depths of every art, or fcience, 
 to which he applied, as Lionardo -, and the virtues of his mind were only 
 
 Q^q q q equalled 
 
V I N [ 668 ] V I N 
 
 equalled by the powers of his underftanding. He ftudied nature with a curions 
 and critical obfervation •, and it might have been wifhed, that he had fought even 
 more than he did, to improve, correct, and refine nature, by a greater attention 
 to the antique •, yet, in all other refpects, his thoughts were perpetually em- 
 ployed in fearching out every principle, every circumitance that could enable 
 him to arrive at excellence, and he had the happinefs to be at laft fuccefsful. 
 
 He was peculiarly attentive, to mark the paffions of the human minddiftinctly; 
 being convinced, that a juft expreffion, is not only the moft difficult part of the 
 painter's province, but alio that part, which will always afford to the judicious 
 and the learned, the moft fenfible fat is faction. To ftrengthen his ideas in that 
 point, he fketched every countenance that appeared to have any Angularity, 
 and attended the proceffions of criminals carried to execution ; that he might 
 imprefs on his memory, the variety of paffions which he noticed among the 
 crowd, every individual being perhaps differently affected ; and to trace 
 through the vifage of the fufferers thofe ftrong emotions of mind, which became 
 vilible in every feature, from the near approach of a fudden and violent death. 
 
 In the year * 1494 he went to Milan, where he was moft affectionately 
 received by the Duke Ludovico Sforza, on account of his many accomplifhments 
 in mufick, poetry, and architecture, as well as for his fuperior merit in his 
 profeffion •, and the fondnefs which that prince afterwards expreffed for Lionardo 
 increafed to a height that feemed fcarcely credible. By order of the Duke, he 
 painted a Nativity for an altar-piece, which was prefented to the Emperor ; 
 and he likewife painted that incomparable picture of the Laft Supper in the 
 church of the Dominicans at Milan, which will, to the end of time, difplay the 
 elevated genius of its author. 
 
 As that compofition is a mafter-piece of Da Vinci, it ought not to be paffed 
 over without a particular obfervation on its allowed merit ; and the reader will 
 probably be more inftructed and entertained, by reciting to him the opinion of 
 Rubens on that fubject, than by any remarks of others who muft be confeffedly 
 his inferiors. 
 
 In a Latin manufcript, part of which has been tranflated by De Piles, Rubens 
 obferves, " that nothing efcaped Lionardo, that related to the expreffion of his 
 " fubject ; and by the warmth of his imagination, as well as by the folidity of 
 " hisjudgemenr, he railed divine things by human, and underftood how to 
 " give men thofe different degrees, that elevate them to the character of heroes. 
 
 " The beftof the examples that Lionardo has left us, is the Laft Supper, in 
 " which he has reprefented the Apoftles in places fuitable to them, but our 
 " Saviour is in the midft of all, in the moft honourable, having no figure near 
 " enough to prefs, or incommode him. His attitude is grave, his arms are in a 
 " loofe, free pofture, tofhcw the greater grandeur •, while the Apoftles appear 
 " in agitation, by their vehement defire to know which of them lhould betray 
 " their mafter-, in which agitation, however, not any meannefs, or indecent 
 " action can be obferved. In fhort, by his profound fpeculations, he arrived to 
 " inch a degree of perfection, that it feems impofTibleto fpeak as highly of him, 
 " as he deferves, and much more impoffible to imitate him." 
 
 * Ynfjri fays, it was in the year 1494 Lionardo went to Milan ; hut by fome unaccountable 
 mi.lake in San uot by an incorrednefs of the publilher of his works) it is faid, in pa^e 1 j; 
 
 of his Acidemia PicYbfurrf, thatLionaxdowc.it to Milan in 1434, which happens to be eleven 
 years before that .utiil was born. 
 
 This 
 
V I N [ 669 ] V I N 
 
 * This picture was left unfinished for fome time, in refpect to the head of 
 Chrift, and to the face of Judas ; the former was left imperfect, as the painter 
 could not exprefs that fublime idea which he had conceived in his mind, of the 
 redeemer of the world in a human form ; and he delayed the latter, as he wanted 
 to combine in the features of one face, avarice, ingratitude, malice, treachery, 
 and every malign difpofition of the human heart. The firft he never attempted 
 to finifli -, but he amply anfwered his purpofe in the head of Judas, byoivino- 
 the intended figure a ftriking likenefs of the prior of the Dominican convent. 
 
 He was remarkably flow in finifhing his pictures, but whenever he did finifh 
 them, they were exquifite. He fpent four years on one portrait, which was of 
 MonaLifa, the wife of Francelco di Giocondo ; in which it is altonifhing to 
 obferve, how clofely he has imitated nature. The eyes have all the luftre of life, 
 the hairs of the eyebrows and lids feem real, and even the pores of the {kin are 
 perceptible. 
 
 In his compofition, he was careful to avoid incumbering it with a multitude 
 of figures, and therefore never admitted a greater number into his defio-n, than 
 what were abfolutely neceffary to illuftrate his Subject, and he had fuffiaent 
 judgement and power of execution, to give every figure its proper character. 
 Yet although he had fo accomplished a genius in every reSpect, to a very un- 
 common degree, he had alfo as uncommon a modeft diffidence of his own 
 abilities ; and left feveral of his pictures imperfect, only becaufe he apprehend- 
 ed, that his execution could not fufficiently correfpond with tliofe ideas of 
 excellence, of which he had a diftinct conception in his mind. 
 
 He pofTefled a very enlarged genius, a lively imagination, a beautiful inven- 
 tion, and a folid judgement. His defign was extremely correct, his difpofition 
 judicious, and his expreffion natural. But as to his colouring, it is not ao-reeable 
 as the violet tint predominates to an extreme degree. However, it may not be 
 improbable, that when his colours were at firft laid on, they might have had a. 
 very different appearance; nay, from the indisputable judgement afcribed to 
 Lionardo, it feems more than probable, that as he made nature his conftant ftudy, 
 his original colouring had all the look of nature, and life. And perhaps the 
 variety of varnifhes, which we are told he ufed, to add luftre to his colours •, or 
 his wanting a Sufficient experience in the quality of oils, and their proper 
 mixture to render his colours durable, may have by length of time occafioned 
 that unpleafing tint, which is noticed in all the paintings of that great man. 
 
 When he went in the train of Giuliano da Medici to Rome, and was employed 
 by Pope Leo X, his refidence in that city was made fo difagreeable, by the 
 morofe temper of Michael Angelo Buonaroti, that he retired to France, where 
 he foon after ended his days, having had the honour to expire in the arms of the 
 king 
 
 o 
 
 * Mr. Cochin, a late traveller, and Ingenious writer, defcribing the pifture of the I.aft Supper, 
 which he few at Milan in 175 — , atter giving a particular defcuption of the beauty of the defign, 
 the line airs of the heads, the noble cart of the draperies, and that in general it was extremely in 
 thetafte of Raphael ; concludes, with obferving a very lingular impropriety in it, which is, that 
 jjie hand of i> John has fix fingers, \ id. Voyage D'ltalia, torn. i. p. 4.2. 
 
 Q^q q q 2 D a v 1 9 
 
V I N [ 670 ] V I N 
 
 David VINCKENBOOMS, called VINFOBOON. 
 
 Painted Landfcape. 
 
 He was born at Mechlin, in 1578, and inftructed in defign by his father 
 Philip Vinckenbooms, who painted only in diftemper ; and while Philip lived, 
 his ion David practifed the lame kind of painting with fuccefs •, though he 
 afterwards carefully ftudied the art of painting in oil, and all his fubfequent 
 works were painted in that way. 
 
 The general ftyle of this matter, was landfcapes in a fmall fize, which he 
 ufually crowded with figures, cattle, carriages, houfes and trees ; and he Jhewed 
 a good tafte of defign in his figures. His fubjects were fometimes taken from 
 facred hiftory, and fometimes converfations, rural feafts, weddings, fairs, or 
 feftivals, which for the moft part he copied after nature ; and in feveral of thofe 
 compofitions of mirthful fubjefts, there appeared humour and ftrong expreffion, 
 but without the fmalleft traces of elegance, or grace. 
 
 The peculiar genius and tafte of Vinkenbooms, may be judged of by that 
 picture of his painting at Amfterdam, reprefenting Chrift carrying his Crofs ; 
 and by another at Frankfort, of which the fubject is Blind Bartimeus reftored to- 
 his fight by our Saviour -, and as engravings after thofe paintings, as alfo after 
 feveral of his landfcapes, have been publiihed by Nicholas de Bruyn, they cannot 
 but be known to all the lovers of the art. His landfcapes, in refpect to the 
 touch, and the colouring, have confiderable merit ; but the judicious eye will, 
 in all his compofitions, obferve fomewhat ftiffand hard, that greatly diminifhes 
 their value. In many of his pictures Rothenamer inferted the figures ; and 
 yet thofe figures which he Jiimfelf defigned, are executed with fpirit, and very 
 correctly drawn. 
 
 Vincent Vander V I N N E.. 
 Painted Hijlory, Portrait, Converfations, and Landfcapes. 
 Died 1702, aged 73. 
 
 He was born at Haerlem, in 1629, and placed as a difciple with Francis 
 Hals ; by whole inftru&ion he became very expert in imitating the touch and 
 colouring of his matter ; and by a proper application of his talents, might have 
 rendered himielf an artift of eminence. 
 
 He painted almoft all kinds of fubjetts, with equal readinefs and eafe, as well 
 in a large fize as in a fmall ; but, he was particularly fuccefsful in portraits, as 
 he had derived from Hals, the art of giving them an agreeable likenefs, and 
 character, and he touched them with a free fpirited pencil, and bold handling 
 For, Hals laid it down as a maxim to his pupils, to practife at firft with boldnefs 
 and freedom ; alledging, that neatnefs and high finittiing would afterwards be 
 eafily acquired. 
 
 Vander Vinne proved to be lefs attentive to his fame, than to his fortune ; and 
 depreciated his talents fo far, that he undertook every kind of fubject that was 
 belpoke, from which an immediate profit was to arife. He had a lively imagina- 
 tion, and a very fertile invention, which evidently appears in thofe emblematical 
 pictures which he compofed in the manner of Goltzius and others ; and as he 
 had always made nature his particular ftudy, he was remarkable for imitating it 
 with exactnefs and truth. 
 
 L A W- 
 
V I N £ 671 ] V I O 
 
 Lawrence Vander VINNE. 
 Fainted Flowers. 
 Died 1724, aged 66. 
 
 He was the fon of Vincent vander Vinne, born at Haerlem, in 1658, and after 
 the example of his father, who was his only inftruftor, he painted a variety of 
 fubjedts, but chiefly flower-pieces. Thofe flowers which he ufually painted, 
 were of thofe kinds moft admired by florifls ; and he worked as neatly in water 
 colours, as in oil. 
 
 A friend of his, who was extremely curious, having procured a number of 
 uncommon exoticks from the Eaft and Weft Indies, employed him to paint 
 them after nature ; and he executed that work with great approbation. How- 
 ever, it muft be allowed that he was in all refpe&s very far inferior to his- 
 father. 
 
 Giovanni Battista V I O L A f 
 Painted Hiftory, and Land/cape. 
 Died 1622, aged 50. 
 
 He was born at Bologna, in 1572, and was the difciple of Annibal Carracci, 
 with whom he ftudied for feveral years ; and when he quitted that fchool, was 
 accounted an extraordinary good painter. His reputation was well eftablilhed 
 at Rome, and Florence, as well as in his native city •, but his works are rarely 
 to be met with in thefe kingdoms. Frefnoy, who undoubtedly was an able 
 judge of the merit of a painter, allows the works of Viola to be wonderfully 
 fine, and well coloured. He painted a grand landfcape for the Cardinal Mont- 
 alto, in conjunction with Paul Bril, whofe manner as well as that of Brueghel 
 he ftudied to imitate. He alfo executed feveral noble compofitions in the ViUai 
 Aldobrandina, which rendered him defervedly famous through all Italy. 
 
 Giovanni della VITE. Vid. Jan Miel. 
 
 Ottavio VIVIAN I, called Codazzc, 
 Painted PerfpeEIive, ArchiteRure, and Ruins. 
 Died 1674., aged 7 5. 
 He was born at Brefcia, in 1599, and was the difciple of Tomafo Sandrino, 
 an eminent painter of perfpeclive in that city •, but afterwards he ftudied under 
 Agoftino Taffi, who had been the difciple of Paul Bril, and was excellent in 
 painting architecture. 
 
 By praftifing under fuch excellent inftruftors, he became a moft admirable 
 painter in their ftyle, and furpafled them both, considerably. His fubjectswere 
 the ruins of magnificent edifices, porticoes, convents, &c. which for the truth 
 of peripecYive, for delicate handling, and for fine keeping, are fuperior to moft 
 of thofe who have diftinguifhed themlelves in that ftyle ; and his are fo univer- 
 fally admired, that they are affiduoufly fought for through every part of Europe., 
 and purchafed at very large prices. 
 
 Nothing can be more exa&ly true than the perfpeftive paintings of Viviani, 
 nothing more elegant and grand in the difpofhion, nor more beautiful than his 
 
 choice 
 
V I N [ 672 ] V L E 
 
 choice of objects. His figures are generally placed with peculiar judgement, 
 and as fkilfully proportioned to their fituation, fo as by their comparative height 
 to make the magnificence of his buildings more fr.rik.ing even at the firft view •, 
 and by his thorough knowledge of the principles or the chiaro fcuro, as alio by 
 an excellent ftyle of colouring, he gave to every column, and elevation, the look 
 of real nature ; and every ornament and member of his architecture, fills the 
 eye and the imagination with uncommon fatisfaction. 
 
 Joseph VIVIEN. 
 
 Painted Portraits, in Oil, and Crayon. 
 Died 1735, aged 78. 
 
 He was born at Lions in France, in 1657, and was the dilciple of Charles le 
 Brun, with whom he was lb indefatigable in his ftudy and practice, that during 
 his continuance in the fchool of le Brun, he gained confidcrable credit by fome 
 performances which he painted in oil. 
 
 The firft finifhed work which contributed to raife the reputation of Vivien, 
 was a family picture twelve feet long, and ten in height-, but another painting 
 in crayon, which had all the force, beauty, and harmony of oil painting, ren- 
 dered him Hill more the object of admiration. When he obferved that his 
 pictures began to be publickly approved, he undertook to paint portraits in the 
 hiftorical ftyle, adorned with agreeable vifta's, or embellifhed with fabulous, or 
 allegorical figures •, fome of which were afterwards engraved. 
 
 From France he vifited BrufTels, and the court of Bavaria ; and at the latter, 
 painted the portrait of the Elector with crayons in an exquifite manner, which 
 afforded that prince fo much fatisfaction, that to preferve it from duft, or damp 
 air, he had it covered with a chryftal forty-eight inches high, which was the 
 dimenfions of the painting ; and not only appointed him ftate painter, but 
 honoured him alio with feveral very valuable prefents. And to fhew how hi^h 
 an opinion he had conceived of the merit of Vivien, he fent the portrait of that 
 artift toCofmoIII. Duke of Tufcany, which was placed in the Florentine gallery 
 of artifts. 
 
 No painter in crayon, could have more beauty in his tints than Vivien, nor 
 more grace or elegance in the airs of his heads, and in his attitudes. He gave 
 extraordinary foftnefs, relief, and plumpnefs to his carnations, and for that 
 reafon, he was called by fome of his own countrymen, the French Vandyck ; 
 his crayon paintings being allowed to have fuch a degree of force, as few of the 
 painters in oil have furpafTed. 
 
 Peter VLERICK. 
 
 Painted Iliftory. 
 Died 1 58 1, aged 42. 
 
 He was born at Courtray, in 1539, an( ^ ac ^ r ^ was >nft"icled by William 
 Snellart, an artift who painted in diftemper, with whom he continued for a 
 long time •, but afterwards he improved himlelf in correctnefs of defign, and in 
 a better ftyle of painting, under Charles D'Ypres j and if that mailer had not 
 been of an odd and difagreeable temper, he probably would have made a much 
 
 great, s 
 4 
 
V L I [ 673 ] V O E 
 
 greater progrefs under him. But he was conftrained to quit him, and beincr in 
 very narrow circumftances, was forced to feek his fortune out of his own 
 country. After he had contended with many difficulties, he arrived at Venice, 
 where he had the good fortune to obtain the friendfhip of Tintoretto, and by 
 ftudying the works of that excellent painter, and obferving his inftructions, he 
 acquired a good ftyle of colouring as well as of competition. 
 
 To perfect himfelf ftill farther, he travelled to Rome, not permitting any- 
 thing that was curious in that city, to efcape his obfervation. He defio-ned 
 after the antiques, and fketched the beautiful views on the banks of the Tiber, 
 with great fpirit and freedom of hand; and in the fame manner defigned the 
 profpeds about Naples and Puteoli. During his refidence at Rome, he finiihed 
 feveral hiftorical pictures in oil, as well as in diftemper, which gained him 
 confiderable reputation-; and on his return to his own country, his compofitions 
 procured him the approbation of all the artifts of his time. The fubjects of 
 ibme of thofe compofitions, were, Judith with the head of Holophernes ; the 
 Brazen Serpent ; the Four Evangelifts ; and a Crucifixion. In all his perfor- 
 mances the manner of Tintoretto was obfervable ; for, he retained that manner 
 to the laft. 
 
 He was well fkilled in perfpedive and architecture ■, he dilpofed his fio-ures 
 with propriety, and judgement; and had a very agreeable ftyle of colouring 
 It was remarked, that in his picture of the Crucifixion, he reprefented the 
 pofition of Chrift on the Crofs contrary to the general practice of all other 
 painters, and defcribed him as hanging only by the hands as they were nailed, 
 without any other fupport.. 
 
 Hendrick Van VLIET. 
 
 Painted Perfpeflive Views, and Portraits. 
 He was born at Delft, in 1608, and learned the principles of painting from his 
 uncle, William van Vliet, who was accounted a very good painter •, but to eftabr 
 lifh himfelf in the beft ftyle of portrait painting, he placed himfelf as a difciple 
 with Mirevelt. However, although he fhewed great merit in portrait, yet was 
 he moft fuccefsfi.il in painting perspective views of the infides of churches, which, 
 were ufually reprefented by candlelight; and he filled thofe pictures with 
 excellent figures of a fmall lize, always contriving to difpofe his lights in fuch a 
 manner, as to produce a very pleafing effect. 
 
 Charles Bosschart VOET. 
 Painted Birds, Flowers, and Infecls. 
 Died 1745, aged 75. 
 He was born at Zwolle in 1670, and inftrueted by his brother, who was 
 Burgomafter of that city ; and who, being an excellent painter of plants and 
 flowers, gave his pupil a delicate tafte for defigning the fame fubjects. He alio 
 pracYifed under another flower painter for ibme time, but his matter being ap- 
 prehenfive of being furpaffed by Voet, feemed rather to conceal the fecrets of 
 the art of colouring from him, than to acquaint him with the true principles of 
 it. For that realon Voet quitted him, and applied himfelf with the greater 
 induftry to ftudy accurately after nature. 
 
VOL [ 674 ] VOL 
 
 His proficiency foon discovered the goodnefs of his genius ; and when he was 
 only nineteen years of age, his merit recommended him to the Duke of Portland, 
 the favourite of King William III. who took him in his train to London, fettled 
 on him a confiderable annuity, and bought all his works, as foon as they were 
 finifhed. 
 
 As he painted his fubjscts entirely after nature, he had thofe objects which he 
 painted, always ready for his ufe in his own garden •, and he took care to iupply 
 that fpot of ground with the molt beautiful kinds of plants and flowers -, fome of 
 them being curious exoticks, and others, natives of his own climate. His 
 colouring was extremely natural, his pencil delicate, and fome of his birds have 
 been efteemed fcarcely inferior to thofe of Hondekoeter. 
 
 John VOLLEVENS. 
 
 Painted Portrait. 
 Died 1728, aged 79. 
 
 He was born at Gertruydenberg, in 1649, and according to fome writers, was 
 at firft thedifciple of Netfcher, and afterwards of Nicholas Maas, and John de 
 Baan ■, but his greateft improvement is afcribed to his ftudies under the 
 direction of the latter, to whom he became almoft equal, before he left the 
 fchool of that mafter. 
 
 The Prince of Courland proved to be his firft patron, and out of a particular 
 refpect to his merit, procured him the advantage of painting the portraits of all 
 the officers of his own regiment •, and the Prince of Nafiau was painted by him 
 at full length, as large as life, which effectually eftablifhed his reputation. 
 
 The colouring of Vollevens was natural, and fhewed a remarkable freihnefs ; 
 an eafe, and elegance of tafte appeared in his figures, which he always difpofed 
 very judicioufly, and produced a ftriking refemblance of the perfons who fat to 
 him •, and the harmony obfervable in all his performances, is a fufrkient proof, 
 that he had profitably ftudied the great mafters. 
 
 Daniel da VOLTERRA, or Ricciarelli. 
 
 Painted Hijlory. 
 Died 1566, aged 57. 
 
 He was born at Volterra, in 1509 ; his family name was Ricciarelli, but the 
 appellation of Volterra, was given him from the place of his nativity, according 
 to acuftom which at that time generally prevailed through Europe. 
 
 In his youth, he learned the principles of painting from Giovanni Antonio 
 Vercelli, called Sodoma ; but he improved himfelf abundantly more, by the in- 
 ftructions of Balthafar Peruzziof Siena ; and yet even under both thofe mafters 
 he made no confiderable progrefe, Becaufe, though he ftudied with great 
 diligence, and was impelled by a defire to fucceed in his proKlTion, yet at that 
 t ne of life his genius appeared rather heavy, and his <. 1 was flow. His 
 
 firft works therefore, in his own countrv, lhcwed much more of the ititTnefs of 
 labour, than of any thing grand in the delign, or noble in the taite ■, and very 
 little cither of grace in his ideas, or of elegance in the invention j directly con- 
 
 4 
 
 
VOL [ 675 ] VOL 
 
 trary to thofe great matters, who feemed to be born painters, and whofe early 
 productions afforded promifing expectations of their future perfections. 
 
 However, what he wanted in quicknefs of parts, was compeniated by his dili- 
 gence, patience, and indefatigable induftry ; and as he found neither antique 
 figures, nor any fine paintings in his native city, which could infpire him with 
 more elevated ideas, and prove incentives to him to afpire after a nobler 
 manner of defigning, he determined to vifit Rome ; as the only place that could 
 furnifh him with proper models for his improvement, and alfo with fufficient 
 encouragement, whenever he was qualified to deferve it. 
 
 As an introductory performance ; to afford a fpecimen of his abilities, he 
 painted a picture in oil, reprefenting the fcourging of Chrift, with a number of 
 figures in the compofition ; and thofe figures he defigned after living models, 
 the faces being alfo portraits. That pidture was finifhed with abundance of 
 care, and with the utmoft exertion of his fkill -, and when it was accomplifhed, 
 he prefented it to Cardinal Trivulzi, who received it with great fatisfaction, 
 became his patron, and what was ftill more, conceived a particular friendfhip 
 for him, and by his intereft and recommendation, Volterra had foon after fuffi- 
 cient employment. As foon as he arrived at Rome, he no longer adhered to the 
 manner of his firft matters, but ftudied and adopted the ftyle of Michael An- 
 gelo Buonaroti •, and was not only much improved by the works of that famous 
 artift, but was promoted by his folicitation. 
 
 For fome time he worked as an affociate with Pierino del Vaga, in the chapel 
 belonging to Agnolo de Maffimi at Rome ; and after the death of Vaga, he 
 fucceeded him by the appointment of Pope Paul III. in his penfion and em- 
 ployment. But, the work which immortalized the fame of Volterra, was the 
 Hiftory of S. Helena finding the true crofs, painted in a chapel belonging to the 
 church of Trinita del Monte, on which he fpentfeven years •, and the celebrated 
 picture accounted one of the beft in Europe, is among the number of the com- 
 pofitions painted in that chapel. It reprefents Chrift taken down from tha 
 Crofs by Jofeph, Nicodemus, and other difciples-, the Virgin in a fwoon, flip- 
 ported by Mary Magdalen, and the other Mary. It is an admirable performance, 
 difpofedwith great fkill and judgement, having a great deal of grace, with good 
 exprefiion •, and according to the opinion of Nicolo Pouffin, the Transfiguration, 
 by Raphael •, the Communion of S. Jerom, by Domenichino •, and the Defcent 
 from the Crofs, by Volterra, are the three moil capital pictures in the world. 
 
 The principal works of this mafter are at Rome ; but when he revifited his 
 native city, he painted as a memorial of himfelf, the hiftory of the Murder of 
 the Innocents, with figures of a fmall fize, which was placed in the church of 
 S. Peter at Volterra, and efteemed a mafter-piece of art. Not long after, 
 Pope Paul IV. having, through an excefs of zeal, determined to deface the 
 celebrated Laft Judgement of Buonaroti, on account of the nudities-, was with 
 great difficulty prevailed on to alter his refolution, by the importunity of the 
 Cardinals, who probably were better judges of the merit of that grand com- 
 pofition than himfelf. Volterra was therefore appointed to clothe the exception- 
 able figures, with light and proper draperies, fuitable to the attitudes •, and he 
 executed that work extremely to his own honour, although it deprived the 
 original of many of its real beauties. 
 
 He painted ieveral grand compofitions for the Cardinal Farnefe, and alfo at 
 the Pope's palace of Belvidere ; but Julius III. who fucceeded Po ul, 
 
 R r r r ring 
 
V O O [ 676 ] V o s 
 
 h.ivin» diverted Volterra of his penfion and employment, he quitted painting 
 entirely, and ever after applied himfelf to ftatuary. 
 
 VOLTERRANO. Vid. Baldassare Franceschini. 
 
 John VOORHOUT. 
 Painted Hiftory, and Converfations. 
 
 He was born at Amfterdam, in 1647, and at firft was the difciple of Conftan- 
 tine Voorhout of Gouda, a good painter of converfations, with whom he con- 
 tinued for fix years ; and afterwards he placed himfelf as a difciple with John 
 van Noort, a painter of portraits and hiftory, at Amfterdam, and fpent five 
 years in completing his ftudies under that matter. 
 
 When he begun to pra&ife independent on his inftru&ors, he was very in- 
 duftrious to improve himfelf by ftudying after nature, and made fo great a pro- 
 ficiency, that in a few years his works role into much efteem. By the troubles 
 in the Low Countries he was compelled to retire, and he fettled at Hambourg, 
 where he might have made a large fortune, as his paintings were exceedingly 
 coveted; if the folicitations of his friends had not prevailed on him, contrary 
 to his own inclination, to return to his own country. However, as foon as he 
 arrived at Amfterdam, he found every encouragement he could wilh, as well in 
 regard to the high prices paid for his pictures, as to the prodigious demand 
 there was for them ; and as the freedom of his hand was remarkable, he painted 
 hich a number as muft have diminifhed their price, if his pictures had not per- 
 petually allured purchafers by their intrinfick merit. 
 
 But, although the works of this mafter were much admired, yet, as to himfelf, 
 there appeared fomewhat lb referved in his manner of addrefs, or rather fo dif- 
 agreeable, that he did not meet with that countenance, and favour, from thofe 
 of rank and fortune, to which he was juftly entitled by his eminence in his pro- 
 ieffion. 
 
 One of his moft capital paintings, is the reprefentation of the Death of Sopho- 
 
 nifba •, which is well defigned, and the expreffion is ftrong. It is obferved, in 
 
 reference to the ftyle of Voorhout, that die hiftorical fubjecls which he cliofe to 
 
 ■ paint, were of the noble and elevated kind ; and fuch as were fufficient to . 
 
 employ all the powers of genius, to reprefent them with dignity and proprietv. 
 
 Martin de V0 5. 
 
 Painted Hiftory, Landfcape, and Portrait. 
 Died 1604, aged 84. 
 He was born at Antwerp, in * 1520, and had the happinefs of being at firfL 
 carefully inftructed by his father, Peter de Vos, a very able artift ; but, after- 
 wards he was the difciple of Francis Floris, with whom lie gained great know- 
 ledge of defign and colouring. 
 
 • In the Chronological Tables the birth of de Vos is fixed in the year 1531, by which account 
 lOuld have been but 75 when he died, as all autbentick wiiters affirm that he died in 1604 ; 
 
 but according to thofe tables he died in 1630, which makes him 99 at his death, though by the 
 I accounts he was only 84 ; and the authors of the Abrege de la Vie des Pcintres fix the birth 
 
 1 f i!e Vo?, full :is improperly, in 1534, which makes him only 70 when he died, in the year 1604, 
 84 yems eld at his death. 
 
 When 
 
V O S [ 677 ] V o s 
 
 When he quitted the fchool of Floris, he travelled to Rome, where he con- 
 tinued for feveral years, improving himfelf by ftudying after the beft models j 
 but, being captivated with the lovely colouring of the Venetian fchool, he went 
 to Venice, and attached himfelf particularly to Tintoretto, who foon found him 
 worthy of his efteem, and employed him to paint the landfcapes in his pictures. 
 He alio explained to him thole principles, and rules, by which he had formed 
 his own tafte •, and generoufly difclofed to him every fecret relative to colouring 
 which he had either derived from his matter Titian, or had been the refult of his 
 own fkill and experience. 
 
 Under the direction of fo able an inftructor, de Vos became an excellent 
 mailer, his reputation fpread through all Italy, and he was not only employed 
 for hiftorical compofitions, but he painted many portraits for the illuftrious 
 family of the Medici •, and when he returned to Antwerp, he finifhed feveral 
 grand altar-pieces, which were beheld with general approbation. 
 
 De Vos had a very fruitful invention, and compofed his fubjects with great 
 readinefs ; his manner refembled that of Tintoretto, but his compofition had 
 lefs fire, and lefs variety in the contours of his figures. His defign was correct, 
 and his large works had a confiderable degree of elevation. His colouring 
 approached near to Tintoretto, and his pencil was free ; but his draperies 
 appear too much broken in the folds, and although in many r^fpects he had 
 great merit, yet he feems to want grace and expreffion. 
 
 Simon de VOS. 
 
 Painted Hiftory, Portraits, and Huntings. 
 
 He was born at Antwerp in 1603, but the mafter by whom he was inftructed 
 is not mentioned. He occupied himfelf continually, in ftudying every thino- 
 that might promote his knowledge in his profefiion ; and was one of thofe 
 mafte/s, who took pains to make the deepeft refearches, into the true principles 
 of the art. 
 
 He painted hiftory equally well in large, and in fmall fizes ; his pencil is 
 free ; his touch light and firm ; his colouring in general lively and agreeable, 
 producing a good effect. His figures were well defigned, although fometimes 
 a little too much conftrained in the attitudes ; and he often wanted elegance 
 and dignity in his ideas, as well as grace in the airs of his figures. But hefhewed 
 extraordinary force, and nature, in his pictures of the chace •, and one of his 
 compofitions in that ftyle, is in the cabinet of the Elector Palatine. Houbraken 
 obferves, that Simon de Vos was alive in the year 1662. 
 
 Paul de VOS. 
 Painted Huntings, and Battles. 
 Pie was born at Hulft in Flanders, and having obtained a competent degree 
 of fkill in his own country, he travelled through feveral parts of Italy and Spain, 
 and every where met with refpect, on account of his merit as well in defigning, 
 as colouring. His ftyle of painting was battles, and huntings of the wild boar, 
 and other game ; and as he always painted after nature, his animals of every 
 kind were correctly drawn, and their actions and attitudes had abundance of 
 fpirit, and fine expreffion. 
 
 R r r r 2 As 
 
V O S [ 678 ] V o s 
 
 As he ufually painted in a large fize, his pictures were moftly the ornaments 
 of magnificent halls, in the palaces of the Great ; and at prefent very few of 
 them are to be met with, as the Emperor, the King of Spain, and the Duke of 
 Arfchot, purchafed the greateft part of his works at very high prices. 
 
 John VOSTERMAN. 
 
 Painted Land/capes. 
 
 Died 1693, aged 50. 
 
 He was born at Bommel, in 1643, and learned the rudiments of the art from 
 his father, who was a portrait painter •, but he obtained that excellence to which 
 he afterwards arrived, from Herman Sachtleven, with whom he ftudied as a 
 difciple. Nor hail he been very long in the fchoolof that eminent artift, before 
 he equalled his inftructor -, and as he advanced in practice, he proved himfelf 
 fuperior, not only to Sachtleven, but to all his cotemporaries. 
 
 Though the merit of Vofterman was confefledly very great, yet, unhappily 
 for himfelf, his vanity was ftill greater •, and inftead of purfuing his profeffion, 
 by which he might have lived in honour and affluence, he confumed his time 
 and his fortune,"by afiuming the appearance of a perlbn of rank 5 being attend- 
 ed, while he vended in France, by a great number of domefticks in rich liveries, 
 frequenting the houfes and aflemblies of the Great, and fquandering his patrimony 
 in many oftentatious follies. 
 
 Reduced at lad by lb indifcreet a courfe of life, he turned his attention to 
 England ■, fame having defervedly celebrated the natives of that kingdom, for 
 being, beyond all other nations, generous and liberal to diftinguifhed merit, in 
 any art or fcience. He undertook the voyage, and his reception anfwered his 
 warmed expectations ; for he was foon made known to King Charles II. and 
 employed by many of the principal nobility. That beautiful view of Windibr, 
 which is ftill preferved in the royal collection, is the moft remarkable picture of 
 his painting during his refidence in England. The king and the whole court 
 were charmed with it, and the price expected by Vofterman for it, was two 
 hundred pounds. However, it is affirmed that he received but a fmall part of 
 that fum •, and as he could not be influenced, to difcontinue his cxpenfive 
 manner of living, what he earned was infufficient to anfwer his demands, and he 
 was thrown into priibn. Yet the king's neglect of Vofterman, happened to be 
 compenfated by the benevolent zeal of the Englilh artifts, who dilcharged his 
 debts, and reftored him to his liberty. 
 
 He furpafied, by many degrees, all the landfcape painters of his time, in 
 neatnefs of touch and delicacy of finifhing. His tafte was Flemifh, but he 
 worked up his pictures in an exquifite manner, and enriched them with fmall 
 figures, which had wonderful truth and exactnels. His fcenes are always well 
 chofen, and generally are views of the Rhine, defigned with all poffible accuracy. 
 In his views he conftantly reprefents a large extent of country, diverfified with 
 hills, lawns, groves, and lovely windings of the river •, and artfully comprized 
 the moftextenfive fcenes, in a fmall compafs. His tone of colouring is extremely 
 pleafing, and like nature ; his touch is tender, yet full of fpirit ; and the boats 
 and vtii'els which appear on the river, are not only drawn correctly, but they are 
 fo placed and proportioned, as to delude the eye agreeably, by their perfpective 
 
 truth. 
 
 2 That 
 
V O U [ 679 ] V o u 
 
 That the works of Vofterman are at prefentin the higheft efteem is fufRcientJy 
 evident, from their being bought up by the beft judges of painting, almoft at 
 any price. He accompanied Sir William Soames, the Englilh. ambaffador, 
 when he was fent by James II. to the Ottoman court ; intending, as he travelled 
 in the train of the ambafiador, to fketch the mod beautiful profpects in that 
 part of the world •, but as Sir William died in the voyage, the noble fcheme of 
 Vofterman, and the curiofity as well as the entertainment of the publick, were 
 by that accident unluckily difappointed.- 
 
 Simon VOUET. 
 
 Painted Hijtory, and Portrait, 
 Died 1 641, aged $g. 
 
 He was born at Paris, in 1 582, and inftrucled in the principles of painting by 
 his father Laurence Vouet, byprofeffion a painter, but one of very moderate 
 abilities ; yet Simon, by having a good natural genius, and having alio oppor- 
 tunities of feeing many capital paintings of the beft mafters, among the collec- 
 tions at Paris, obtained a confiderable degree of improvement. 
 
 While he was but a youth, he was made known to Cardinal Barberini, who 
 was Nuncio at Paris ; he had the good fortune to be patronized by him •, and 
 when that Cardinal was exalted to the Papacy, Vouet flattered himielf with an. 
 expectation, of deriving great advantages from his favour and protection-, and 
 on that account went directly to Rome. The pope and his nephews carefled 
 Vouet exceedingly, they enabled him to purfue his ftudies with ardour and. 
 fatisfaction, and conferred on him many marks of real efteem. Thus fituated, 
 he ftudied induftrioufly after nature, and endeavoured to imitate it with fidelity. 
 He painted many portraits, and hiftorical compofitions, during his refidence at 
 Rome for fourteen years ; and if we may rely on the teftimony of Sandrart, no 
 French painter before Vouet, made fo fuccefsful a progrefs, or fo refpectable a. 
 figure at Rome. 
 
 At firft he fixed on Caravaggio, and Valentino, as his models ; but he after- 
 wards quitted their manner and ftyle, for another which he formed, that was 
 peculiar to himfelf, and which he found to be more expeditious, though it had 
 muchlefs force than the firft. He had a ready invention, and having ftudied 
 nature, and alfo pradtifed in the academy, he was generally correct- in his 
 drawing. His pencil was light and lively, and his attitudes had fomewhat very 
 pleafing, and fometimes they had a degree of elegance •, but his colouring was 
 bad, having abundantly too much of the white, or (as the painters term it,) the 
 mealy •, and his figures Ihew no expreffion of the paflions of the foul. He 
 feemed to content himielf, with giving a certain air to his heads, which he fre- 
 quently painted in profile, and a turn which he intended for grace, though it 
 had little or no meaning •, fo that he became a manneriil in all his compofitions, 
 particularly in regard to the hands, the fingers, and the heads of his figures. 
 
 The tafte which Vouet introduced into France, by his ftyle of painting, 
 although unnatural, is ftill followed by the artiits of that country ; and it is 
 much doubted whether they will ever be able to diveft themielves of it. He 
 was accuftomed to employ his difciples, (of which he had a great number,) to 
 paint hisdefigns, which he afterwards lepquehed ; and that practice, though it 
 
 lacreafed , 
 
V O Y [ 680 ] V R I 
 
 incrcafed the number of his works, diminifhed their value. But, thofe pictures 
 which were entirely of his own hand, have a different degree of merit, and are 
 proportionably more efteemed. 
 
 He had no genius for grand compofitions, nor had he any great knowledge 
 of perfpeftive ; and as to the union of colours, or the true principles of light 
 and Ihadow, his works evidently mew that he was not fufliciently mafter of thole 
 points. 
 
 A R Y DE VOYS. 
 
 Painted Hiftory, and Portrait. 
 He was born at Leyden, in 1641, and at firft was the difciple of Nicholas 
 Knupfer, a good painter at Utrecht ; but he ftudied afterwards in the ichoolof 
 Abraham Yanden Tempel. Yet although each of thofe mafters had a confide- 
 rable fhare of merit, he afiumed a manner of his own, different from both, 
 which was very much commended and approved. 
 
 He was naturally ftudious, and applied himfelf with uncommon diligence to 
 his profeflion, till he was diverted from it for three whole years, by marrying a 
 wife that was very rich ; and being by that means enabled to indulge himfelf in 
 a life of idlenefs, extravagance, and difilpation. But, when he relumed his 
 pencil ; after fo long an intermifiion there was not the leaft perceptible altera- 
 tion to his difadvantage, either in his handling or colouring. 
 
 In painting naked figures he particularly excelled, and enlivened his land- 
 fcapes with fuch figures •, choofing generally fome fubjefr. from fabulous hiftory. 
 He alio painted fubjetts felefted from the Greek and Roman hiftorians, with 
 c-reat fuccefs ; his figures being well defigned and correctly drawn. The 
 pictures of de Voys were fold at a large price, and yet there was fuch a demand 
 for them, that his hand could not pofiiblyfnrnifh the publick, with a fufficient 
 number ; for they were admired by the ableft judges of painting, as being well 
 defigned, well coloured, and ingenioufiy compofed. He was naturally of an 
 indolent temper, and it is much lamented, that by fuch a turn of mind, few of 
 his works are now to be procured. Sometimes he imitated the manner of Poe- 
 lemburg, fometimes that of Brouwer, and frequently he painted in the ftyle of 
 Teniers. 
 
 The hiftory of Dido and Eneas hunting, when they are overtaken by the 
 ftorm, is commended for being an excellent performance, both in refpecl: of the 
 defign and the colouring, as alfo a picture of S. Cecilia performing on a mufical 
 inftrument •, and Houbraken mentions his having feen a picture of a foldier, 
 painted by de Voys in a fmall fize, which for its merit in the handling, colour- 
 ing and defign, was worthy of being placed among the beft works of the Flemifh 
 
 '5' 
 
 mafters. 
 
 V R A N X. Vid. Sebastian Franks. 
 
 John Fredeman de VRIES, 
 Painted Perfpctltie. 
 This mafter was born at Leeuwaerden in Frifeland in 1527, and for five 
 years was the difeiple of Renier Gueritfen at Amsterdam; but afterwards he 
 
 4 ftudied 
 
V R I [ 681 ] V R O 
 
 ftudied under another mafler, with whom he practifed perfpective, and architec- 
 ture. Having at length commenced artift, he proceeded to Antwerp, and in 
 concurrence with other artifts painted the triumphal arches erected in that city, 
 for the entry of the Emperor Charles V. From thence he travelled to Mechlin, 
 where he finiihed feveral fine pictures in perfpective ; and likewife corrected 
 and improved fome paintings in that ftyle, which had been begun by Cornelius 
 de Vianen, but were heavy and cold in the colouring. And the fkill which Dc- 
 Vries manifefted on that occafion, gained him very great applaufe. 
 
 A very memorable painting by this mafter, was for Gilles Hofman at Ant- 
 werp. He reprefented on a wall fronting the entrance, a villa through which: 
 appeared an elegant garden, laid out in noble parterres. That performance 
 was fo amazingly like nature, and the perfpective fo exactly true, that by many- 
 it was taken for a real view ; and the deception was fo ftrong, that it impofed 
 even on the Prince of Orange, who could fcarce be perfuaded, that it was not 
 really what it appeared, till he was convinced by the neareft approach to it. 
 
 In that ftyle of painting de Vries was excellent ; his lights and fhadows were 
 judicioufly conducted, and every object which he introduced, in the perfpective 
 views of the infides of rooms, halls, or galleries, was reprefented with all the 
 truth of nature, and finely coloured, with remarkable tranfparence. His works 
 are difperfed through Germany, and the Low Countries, and feveral are to be 
 feen in thefe kingdoms ; they preferve the fame eftimation in which they were 
 originally held, and bring confiderable prices in all parts of Europe, where they 
 are to be purchafed. What frequently adds a much higher value to fome of the 
 pictures of de Vries, is,, that other very celebrated matters painted the figures in 
 his compofitions, which are always well adapted to the perfpective fcenes defigned 
 by De Vries. However, it mult be owned that the ftyle of his architecture is 
 quite German, heavy, and without elegance ; being oftener an imitation of that 
 nature with which he was converfant, than the refult of his own invention, or 
 imagination. 
 
 One of the bed pictures of de Vries, (in this kingdom) reprefenting the infide 
 of a room, with figures delicately painted, defcribing the Salutation of the . 
 Virgin, is in the poffefiion of Doctor Robinibn. 
 
 Henry Cornelius VROOM, 
 
 Painted Sea-ports, Calms, Storms, and Sea-fghts. 
 
 He was born at Haerlem, in 1566, the fon of a ftatuary, who died when 
 Cornelius was very young •, and his mother having afterwards married Cornelius 
 Henrickfen a painter, he learned the art of painting under his direction •, till at 
 laft finding himfelf too harfhly treated by his ftepfather, he quitted Haerlem,., 
 and went to Rotterdam to obtain more fkill in his profeffion. 
 
 Either from a difpofition naturally reftlefs, or perhaps from a defire to improve 
 himfelf, he went to Spain, where he fpent fome time with a Flemifh painter of 
 no great note, who refided at Seville; and afterwards he travelled to Rome. 
 There he had the good fortune to be taken into the fervice of Cardinal de 
 Medici, and for two years worked in his palace ; having, in that time, finifhed 
 feveral large'compofkions. But, by his eftablifhment in the Cardinal's familj , 
 he had frequent opportunities of converting with Paul Bril, and received fignaL' 
 
 age 
 
WAA [682] WAA 
 
 advantage from his intercourfe with that eminent artift. From Rome he vifited 
 Venice, Milan, Genoa, and other cities of Italy, and returned to Haerlem, where 
 he very induftrioufly followed his profeffion •, but intending to difpofe of fome 
 of his works in Spain, he was fhipwrecked in the voyage, and by a fuccefsful 
 endeavour to reprefent the ftorm in which he fuffered, the picture of it fold 
 for fo unexpected a price, that he no longer hefitated to make thofe kind of 
 fubje&s his intire ftudy, and employment. 
 
 This matter was fixed on to draw the defigns of the engagement between the 
 Englifh, and the Spanifli Armada, in 1588 ; and he executed that fubjeft in ten 
 pictures, intended as patterns for tapeftries, each piece containing the descrip- 
 tion of the particular incidents of each day. Thofe defigns were at that time 
 much commended ; though it muft be allowed that he difpofed his veflels 
 injudicioufly in moft of his compofitions. For, his velfels are defigned without 
 grace, or elegance, as to their forms •, and by his wanting a competent know- 
 ledge of perfpective, he placed the horizontal line fo high, that it deftroyed the 
 diftance which he wifhed to exprefs ; becaufe the more any horizontal line is 
 deprefied, the more remote all objects muft necefiarily appear. His works are 
 now in no great efteem. 
 
 w. 
 
 Lucas de WAAL, or Wael. 
 
 Painted Land/capes, and Battles. 
 
 Died i6y6, aged 85. 
 
 He was born at Antwerp, in 1591, and ftudiedthe art of painting under his 
 father, John de Waal, who was an artift of considerable note ■, but he after- 
 wards became the difciple of John Brueghel, whofe manner he followed with 
 great fuccefs, and his pictures contained a greater variety than thofe of his 
 mafter. He fpent feveral years in Italy, and particularly at Genoa, with his 
 brother Cornelius de Waal, where he finifhed many noble defigns in frefco as 
 well as in oil. He painted battles in an excellent ftyle, and defigned his figures 
 with fpirit and good exprefiion. But, his particular merit was fhewn in his 
 landfcapes, in which he introduced great variety of fteep precipices, craggy rocks, 
 water-falls, torrents, and other pidlurefque incidents, much in the manner of 
 Brueghel, each object being very happily imitated, and extremely natural. 
 
 Cornelius de WAAL, or Wael. 
 
 Painted Battles, and Land/capes. 
 
 Died 1662, aged 68. 
 
 He was the fon of John, and brother to Lucas de Waal •, born at Antwerp, 
 
 in 1594, and learned the art of painting from his father. His landfcapes were 
 
 highly efteemed, for the choice of his fituations, for thejudgement he mewed in 
 
 conducting 
 
W A L [ 683 ] WAS 
 
 conducting his diftances, and for excellent keeping. But, the fubjects in which 
 he appeared moft eminent were battles and lea-fights, in which the joy and exul- 
 tation of the victors, and the dejection and terror of the vanquished, were 
 ftrongly exprefled. He filled his defigns with an abundance of figures, which 
 be grouped, anddifpofed with great (kill. His invention was lively and fruitful -, 
 his pencil free, and very mafterly ; and an agreeable manner of colouring re- 
 commended his pictures to the beft judges of his time. Though it mult be 
 confefTed, that his tafte is entirely Flemifh, in the airs and forms of his figures, 
 in their habits, their characters, and countenances ; and alio, in his cattle. 
 
 However, from an eager defire to improve himielf, he travelled to Italy-, and 
 in fome of the principal cities, was employed by perfons of the firft rank, and 
 by his paintings acquired honour, and riches. The Duke D'Arfchot appointed 
 him his principal painter, and for Philip III. King of Spain, he finiihed leveral 
 grand compofitions of battles, extremely to the fatisfaction of that monarch, 
 and his whole court. 
 
 Houbraken mentions with great approbation, one picture of de Waal, which- 
 he faw at Amfterdam. The fubject of it is, the {forming of a fortification ■, 
 with a vaft number of figures well defigned, and with good expreffion. He 
 takes particular notice of a commanding officer in the front, mounted on a 
 dappled grey horfe, and efpecially notices a figure in black armour at fome 
 diftance, riding among a throng of foot foldiers which he feems encouraging to 
 rulh on to the attack, and the whole had a good effect. According to Hou- 
 braken's defcription, that very picture hath lince his time been imported into 
 this kingdom, and is at prefent in the pofieffion of Doctor Robinlbn. 
 
 Robert WALKER. 
 
 Painted Portrait. 
 Died 1658. 
 
 He was an Englifh artift, who improved himielf by fludying the works of 
 Vandyck, and during the usurpation, was much efteemed by the republican 
 party, and painted the portraits of Oliver, and all the principal officers of his 
 army. The moft memorable circumftance in the life of this mafter, is, that one 
 of his portraits of the Protector, was accidentally fold for five hundred pounds, 
 to the Duke of Tufcany's refident in London •, but, whether he paid that 
 immenfe price, out of compliment to the pride and power of Oliver, or to the 
 merit of the performance, may eafily be conjectured, when it is confidered that 
 the tranfaction happened, while the power of the ufurper fubfifted. 
 
 He painted the portraits of Lambert and Cromwell in one picture, which 
 was in the pofieffion of the Earl of Bradford •, and the portrait of hmifelf, painted 
 by his own hand, is laid to be placed in the founder's gallery, near the publick 
 library at Oxford. 
 
 John Abel WASSENBERG. 
 Painted HiJIcry, and Portrait. 
 Died 1750, aged 61. 
 He was born at Groeningen, in 1689, and having fpent fome time in defigning, 
 he was placed as a dilciple with John van Dieren. But, his principal know- 
 
 S f f f ledge 
 
WAS [ 684 ] WAS 
 
 ledge in the art of painting, was derived from the precepts of Vander Werf, 
 who taught him the bed manner of penciling and colouring •, and by a clofe 
 application to his profeffion, he foon qualified himfelf to appear with great 
 lit in the world. 
 
 Having completed his ftudies at Rotterdam, he returned to his native city, 
 and was employed in feveral confiderable works, in the falons, and grand ap- 
 partments or the nobility •, for which he compofed hiftorical deligns, and 
 interfperfed them with portraits painted in a good ftyle, well coloured, and with 
 a ftrong likenefs. Thofe works procured him great approbation, and recom- 
 mended him to the notice of the Prince of Orange, who employed him to paint 
 the portraits of himfelf, and his Princefs, as alfo the chief ladies of his court. 
 
 But befide the compofitions which he finifhed in a large fize, he alfo painted 
 eafel pictures, which he worked up with exquifue neatnefs. And it feemed 
 fomewhat extraordinary, that an artift who was fo generally accuftomed to large 
 works, whofe effect, on the eye muft be at a diftance from the painting ; could 
 adapt his touch, his tints, and his handling, to fuch fmall works, as required the 
 neareft view to obferve their beauties, and yet in each ftyle to fhew himfelf 
 equally a m after. 
 
 Among feveral of his fmall fized pictures, a nativity is particularly mentioned, 
 which in every reipe<5t is charmingly executed. 
 
 Anna WASSER. 
 Painted Portraits in Miniature, and Pajloral Subjects. 
 Died 1713, aged 7,4,. 
 She was born at Zurich in Switzerland, in 1679, being the daughter of 
 Rudolph Waller, a perfon of confiderable note, in his own country. She had the 
 advantage of receiving very early a polite education •, and as fhe fhewed a 
 lively genius, particularly in defigning, fhe was placed under the direction of 
 Jofeph Warner at Berne. At firft he made her ftudy after good models, and 
 copy the beft paintings he could procure, that he might form a true judgement 
 of her talents •, but after he had inftructed her for fome time, having feen a 
 ecr Qie had finifhed of a Flora, after a picture cf his own painting, it 
 
 ted him to fee fuch correctnefs and colouring, in fo young an artift, as 
 fhe then was oniy thirrcen years of age. 
 
 She painted at firft in oil, with very promifing appearances of fuccefs, but 
 :ds Die applied her: ly to miniature, nr which indeed nature 
 
 to have iurnifhed her with peculiar talents. Her work in that ft 
 1 procured her the favour of moft of the princes of Germany, and 
 .• oi Holland ; and the Duke of "Wirtemberg in particular, fent the 
 .' and his filler in large, to be copied in miniature by her 
 : • in which performance fhe fucceeded fo happily, that her replication was 
 trough all Germany. 
 :he influenc. . fhe was pfei i to devote moft 
 
 time to portr.i.: p i nting, as thole kind of pictures produced a much 
 . and a more im : profit to his family ; yet her favourite fubjects 
 
 .if the paftoral kind, in which fhe difj icy other tafte, 
 
 in i '. and compoiition ; in the elegance of her manner of defigning ; 
 
 and 
 
WAT [685] WAT 
 
 and in giving fo much harmony to the whole, as never failed to afford pleafure 
 to the mod judicious beholders. But, in all her fubjects, Ihe difcovered a fine 
 genius, an exceeding good tafte, and agreeable colouring. 
 
 Anthony WATERLOO. 
 
 Painted Land/cape. 
 
 Houbraken and Weyermans, the principal Dutch authors who write any thing 
 relative to Waterloo, make no mention of the place or time of this arrift's na- 
 tivity, nor of the mailer by whom he was inftructed in the art of painting ; but 
 they take notice, that by lb me it is faid he was born at Amfterdam ; and as po- 
 fitively affirmed by others, that he was born at Utrecht, near which city, and in 
 it, he fpent the greateft part of his life. However, his flyle fufficiently dil- 
 tinguifhes him from any of his cotemporaries, and his merit entitles him to a 
 place among the bell painters of the Low Countries. 
 
 His fcenes are agreeable reprefentations of fimple nature, though he wanted 
 Ikill to alTift or improve it •, he imitated jufrly what he law, but wanted elegance 
 in his choice of objects, as well as in the choice of his fituations •,' yet truth and 
 nature are viable in all his performances. There is generally a great degree of 
 clearnefs in his fkies, and very good keeping in refpect to his diftances ; he 
 fhews an extraordinary variety in the verdure of the trees, and grounds, which 
 compofe his fubjecls ; and he adapted them, very judiciouQy, to the different 
 hours of the day, as alio to the different feafons of the year. The trunks of his 
 trees are particularly laboured, and the reflections of objects in the water, are 
 wonderfully tranfparent. 
 
 Several of the landfcapes of Waterloo have no figures, becaufe he was con- 
 fcious of his want of ability to execute them in luch a manner, as to add any 
 degree of honour to the reft of the work ■, and therefore he procured Weeninx 
 to infert the figures, and cattle, in many of his landfcapes, which at prefent 
 adds confiderably to their value. In his own time his pictures were eagerly 
 purchafed, and at large prices, nor are they even at this day, held in lets eftima- 
 tion •, but his paintings are now very rarely to be purchafed, though he has left 
 abundance of excellent drawings, and etched a great number of his defigns, 
 which have a great deal of fpirit, and are true nature. 
 
 Anthony WATTEAU. 
 
 Painted Conversations ■> Landfcapes, and Encampments of Armies. 
 
 Died 1 72 1, aged 37. 
 
 He was born at Valenciennes, in 1684, and received fome inftruclions from 
 an indifferent painter, who refided in that town. But Watteau, who neither 
 wanted genius, nor application, loon obtained fufficient Ikill to perceive the in- 
 capacity of his inftruclor, and therefore quitted him, and placed himfelf with an- 
 other, whofe principal employment was defigning theatrical decorations •, and 
 for a fhort time, he affifted that' mailer in the ornaments of the Opera-houfe at 
 Paris. But, being afterwards left dellitute and unknown in that great city, he 
 laboured under fuch difficulties, that to procure an immediate maintenance, he 
 
 S f f f 2 was 
 
WAT [ 686 ] WAT 
 
 was compelled to work for the fhops, and with all his induftry, could fcarcely 
 get even a poor fubfiftence. 
 
 While he was in that wretched fituation, he accidentally became intimate 
 with Claude Gillot, who was in good efteem for his defigns in the grotefque 
 ftyle, though in other relpedts he was accounted but an indifferent painter, and 
 very incorrect. Gillot conceived fuch a friendship for Watteau, that he freely 
 communicated to him all the obfervations he had made in the art, and every 
 precept by which he formed his own tafte, and in fhort inftrudted him to the 
 utmoit of his ability ; fo that Watteau loon equalled his matter, in invention, 
 and readinefs of execution, till at lail he exceedingly furpaffed him. For, as 
 he in a fnort time after had accefs to the Luxemburgh gallery, by being em- 
 ployed under Audran, he was ftrongly affedted with viewing the works of Ru- 
 bens 5 he ftudied them with attentive plealurc •, he acquired new ideas of light 
 and fliadow, and of the true beauty of colouring, to which before that time he 
 had been totally a ftranger. Immediately he quitted his former tafte of defign 
 derived from Gillot, and affumed another in its Head peculiar to himfelf, that 
 was more elegant, and more correct. 
 
 From tharperiod the reputation of Watteau increafed daily ; though, as his 
 manner of thinking, compoling, and colouring, was quite new, his performances 
 were neither fo much admired, or coveted, while he lived, as they have been 
 fmce his death •, and they feem to be ftill increafing in their value. He hoped 
 to have added to his fortune and credit, by vifiting London ■, but the bad ftate 
 of his health, during his continuance in that city, which was but for one year - f 
 the novelty of his ftyle, which at firft feemed rather to furprize agreeably, than 
 immediately to excite either admiration, or applaufe ; and perhaps his not being 
 fufficiently known to thofe who were the beft judges of the art ; thole feveral 
 circumftances might have contributed to his not having experienced in Eng- 
 land fuch an encouragement as was proportioned to his merit. 
 
 He accultomed himfelf to copy the works of the beft artifts, and made the 
 colouring of Rubens and Vandyck always his models. He was indefatigable in 
 defigning, never permitting his pencil to be unemployed ; as may readily be 
 conjectured, from the great quantity of works which he fketched and finiihed. 
 His fubjedts are generally comic converfations, the marchings, baitings, or en- 
 campments of armies, landlcapes, and grotelques, all which he finiflied with a 
 free, flowing pencil, a pieafing tone of colour, a neat and fpirited touch, and 
 they are a!fo correctlv defigned. The figures which he introduces in his com- 
 positions, in whatever character he defigns them, have a peculiar grace in the airs 
 heads, and fomewhat becoming in their attitudes -, their actions are eafy 
 and natural, and they are always agreeably and (kilfully difpofed. The colour- 
 ing of his landlcapes is lively, his trees arc touched with a lingular freedom, and 
 the whole together has a chamimg effect. 
 
 Al..' he compositions of Watteau cannot be juffly confidered as of the 
 
 fir ft rank, yet they have their particular merit-, and in their way, have a degree 
 i ;•" t i which no lubl'equent artift has yet equalled, and they leem v 
 
 vance daily in the efteem of the publick. 
 
 A n s z L M E 
 
WEE [ 687 ] WEE 
 
 Anselme WEELING. 
 
 Painted Portraits, Conversations, and Hijlory. 
 
 Died 1J49, aged 74. 
 
 He was born at Bois-le-duc, in 1675, and learned the art of painting from 
 one Delang, a portrait painter of very low rank, to whom in a fhort time he fhew- 
 ed himfelf iuperior ; for, it may be often obferved, that many excellent painters 
 have been dilciples to very indifferent mafters, and have owedtheirfutureeminence 
 to the powers of their own genius, and their afTiduity in ftudying after nature. 
 
 Weeling foon quitted Delang, not without feeling a confcious pride, on ob- 
 fervirrgthefuperiority he had gained over his inftructor-, but, going to Middle- 
 burgh, and feeing fome fine original paintings of different mafters, which were 
 there in thepoffeffion of a picture merchant, he was mortified to find himfelf fo 
 inferior in every refpect, to what might be expected from a good artift; it almoft 
 reduced hinrto a defpair of ever fucceeding in his profeiTion, and made him re- 
 folve to fix his refidence in the Eaft- Indies. However, the merchant encouraged 
 him, and recalled him from his defpondency, by offering him the opportunity 
 of ftudying after the beft paintings in his collection •, and he kept him in his 
 houie for two years, copying the works of thofe great men, who were the beft 
 models for the improvement of his tafte, his colouring, or his handling. 
 
 From that time he became uncommonly induftnous, and at laft compofed 
 and finifhed feveral pictures, in the ftyle of Vanderwerf, and Schalcken, which 
 were very highly commended, and immediately bought up at large prices. It 
 was then in his power to have eftablifhed his fortune, and his reputation ; but, 
 by fome unaccountable infatuation, he grew diffolute, and loft not only the 
 efteemcf the publick, but forfeited alfo the favour of his beft friends. His 
 manner of life proved to have a great influence on all his latter productions, 
 for, they are by no means equal to thofe of his early time •, and by a neglect of 
 his practice, and adilregard to his moral character, he was reduced to the utrnoft 
 wretcheclneis and want, before he died. 
 
 His tafte of defign and colouring was very good, and his knowledge of the 
 chiaro-fcurp •' r ery extenfive ; for which reafon, many of his fubjects.reprcfent 
 figures by candle-light. His firft and beft works, after his ftudies at Middle- 
 burgh, arc as much commended and coveted, as his latter works are difliked 
 and contemned. 
 
 John- Baptist W EE-NI N X, called the Old. 
 Painted Landfcapes, Pa-traits, Aniiza/s, and Flowers. 
 Died 1 660, aged 39. 
 He was born at Amfterdam, in 162!, and placed as a difciple with Abraham 
 I •■; o( r.arr, who was excellently qualified to give him -every necef&ry inliruction ; 
 and his pupil received proportionable improvement. Weenirtx laboured incef- 
 fantly, and lhewed a cartful attention to the precepts of his mafter ; but he daily 
 increafed his knowledge, by ftudying nature, and deiigning every object that ap- 
 peared worthy of being inferted in his future compofnions. Particularly, he 
 was fond of making Iketches after elegant buildings that were entire, or of 
 
 caftlts 
 
W E E [ 698 ] WEE 
 
 caftles that were ruinous and decayed, as alio fliips and animals of all kinds; by 
 which method of practice he rendered hhnfelf an univerfal painter. 
 
 After he left the fchool of Bloemart, he fpent fome time with Nicholas Moo- 
 jart, and adopted his manner fo effectually, that it was fcarce poffible to dif- 
 tinguiPn the work of the one, from the work of the other. He alio fpent four 
 years at Rome, where he was patronized by Cardinal Pamphilio, whowifhed to 
 .in him in that city, and engaged him in the fervice of the Pope-, but the 
 importunity of his wife, and the joint felicitation of all his friends, induced him to 
 return to his native country. 
 
 He excelled equally in hiftory, portrait, animals, fea-ports, and landfcapes ; 
 and every fubjedt he painted was agreeably executed, with an excellent tone of 
 colour ; but his porcraits, in particular, had force, frefhnefs, and great refem- 
 blance. His pictures of the larger fize, are in general accounted better than 
 thofe in afmall ; for, he found it difficult to adapt his pencil to fuch different 
 proportions, with fuch neat exact nefs as could be wifhed. And. yet there are 
 fome fmall pictures of his hand, which appear as delicately finifhed as fome of 
 Gerard Douw, or Mieris ; though, on a judicious infpection, they are found lefs 
 fpirited, and lefsexquifite, than the works of either of thofe mailers, and the 
 figures want correctnefs and elegance. 
 
 He painted with a furprizing and almoft incredible expedition, having very 
 often not only (ketched, but finifhed, a picture five or fix feet high, in the com- 
 pafs of one day •, and particularly he finifhed one, reprefenting a bull baited by 
 dogs, painted after nature, in that fpace of time. It is alio afferted,- that in one 
 hammer's day, he begun and entirely finifhed three portraits on canvas, of a 
 three quarter fize, and the heads were full as large as life. 
 
 Houbraken mentions a very capital picture of this mafter, of which the fub- 
 ject was, the Prodigal Son, which he defcribes as being excellent in the inven- 
 tion and compofition, and touched with a mellow and a charming pencil. 
 
 John WEENINX, called the Young. 
 
 Painted Landfcapes, Animals, Huntings, and Dead Foivl. 
 
 Died 1 719, aged -]$. 
 
 1 Ie was the fon and difciple of John Baptift Weeninx, born at Amflerdam, in 
 1644-, but, although his father exerted all his induftry to improve him in every 
 branch of his profcifion, yet the mod efiential part of his fkill was derived from 
 his inceftant fludy of nature. Pie painted as great a variety of fubjects as his 
 father, and with great fuccefs. The pictures or his firft time can fcarce be 
 diftinguifhed from thofe of John Baptift Weeninx ; nor is it poffible to find fo 
 ftrong a refemblance in the works of any two painters, as to their manner, or 
 merit. The younger Weeninx, however, avoided what was moft exceptionable 
 in the works of his father ; which was a predominant grey or brown colour, ob- 
 fervable in the paintings of that mafter. He alio had a furprizing power of his 
 pencil, and finifhed with an equal degree of excellence, what he painted in a 
 large and a fmall fize. 
 
 The Elector John William, Count Palatine of the Rhine, invited Weeninx to 
 his court ; he allowed him a coniiderable penfion ; and employed him to adorn 
 the galleries at Benfberg, which he accomplifhed with very great applaufe ; hav- 
 
 o 
 
 5 
 
 3 ing 
 
WEH [ 689 ] W E R 
 
 ;ng in one gallery reprefented the hunting of the flag, and in the other, thechace 
 of the wild boar. The figures, landscapes, and animals, were all executed by 
 his own pencil, and equally well finilhed. 
 
 Although the old Weeninx was juftly very much efteemed, yet was he far 
 furpaffed by his lbn •, whole ufual fubjects were, animals of every kind, land- 
 fcapes, and flowers, and thofe he painted exactly after nature. His colouring 
 was true ■, he had the fkill to vary his touch according to every different fub- 
 ject, without adhering to the ftyle of any particular mafter, either in his pencil, 
 or his colour ; and his figures had as much merit in their defign and difpofition, 
 as any other part of his works. 
 
 One of the pictures of the younger Weeninx was fold for three hundred 
 florins, though the fubject was only a pheafant and other game, 
 
 Adrian Vander WERF, Chevalicre, 
 
 Painted Hiftory, Portraits, and Conventions. 
 
 Died 1727, aged 68. 
 
 He was born near Rotterdam, in 1659, anc ^ received his firft inftruction from 
 Pkolet, a portrait painter ; but he was afterwards the difciple of Eglon Van- 
 derneer, with whom he continued for four years, and made ib happy a progrefs, 
 that before he quitted that mafter, he copied a picture of Mieris's painting fo 
 exceedingly exact, that it afforded as much furprize as pleafure, to all judges 
 who examined the neatnefs of the penciling, and the truth of the imitation. 
 
 He took pains to improve himfelf, by defigning after the heft plailler figures 
 he could procure, which were cafts from the antique ; and acquired a much 
 better tafte of the delicate turn of the limbs, and of the naked in general, than 
 he had hitherto poflefled ; ib that he was introduced into the world at a very early 
 time of life, with all poffible advantages. Before he was engaged in the iervice 
 of the Elector Palatine, he employed himfelf in painting portraits, in the manner, 
 and alfo in the fize of thofe of Netfcher ; but he was loon difgufted with that 
 kind of painting, and applied himfelf entirely to paint hillorical fubjects in a 
 fmall fize. The Elector having accidentally fen fome of his performances in 
 that ftyle, conceived fuch a friendfhip for the artift, and fuch a fondnefs for his 
 paintings, that he engrafted the greateft part of his works, and thofe that were 
 the moft capital. 
 
 That Prince fhewed Vander Werf every mark of real efteem, and alfo of libe- 
 rality and beneficence. He conferred on him the order of knighthood, ennobled 
 his defendants, honoured him with a prefent of a chain of gold and a medal, 
 presented him with his portrait fet with diamonds of great value, and allowed 
 him a noble penfion, befides paying him generoufly for his work. And being 
 complimented with a picture of Diana and Califta, by the wife of Vander Werf, 
 he gave Vander Werf,- in return, fix thoufand florins, and to his wife a magni- 
 ficent toilette of filver. 
 
 The genius of this mafter, peculiarly directed him to the painting of hiftory 
 .m fmall, which he finifhed in a moft exquifite manner. His pencil is tender and 
 j'v.jer, his defign correct, and the roundnefs and relief of his figures appear truly 
 admirable ; but his carnation; are not lively, they have fomewhatof a yellowifii 
 tint ; and though, in the polifti of his finifhing, he had no fupenor, yet in moft 
 
 of 
 
W E R [ 690 ] W E R 
 
 of His works his colouring is cold, and hath more of the appearance of ivory, 
 than of animated flelTi. He fpent a great deal of time on his pictures, to give 
 them the utmo't tranfparence •, but, by that intenfe labour, the fpirit of his 
 v rks fcemed to be con fide rably diminifhed. The pictures of this eminent 
 mailer's hand, are ftill purchafed at very high prices, and are rarely to be met 
 with ; but, at this day, his paintings do not excite fo great a- degree of admira- 
 tion, asthey feern to have done in the life-time of their author, though they are 
 very highly prized. 
 
 Peter V a n d e r W ERF. 
 
 Painted Portraits, Convfrfations, and Hijlory. 
 
 Died 17 1 8, aged 53. 
 
 Pie was born near Rotterdam, in 1665, and was the difciple of his brother 
 Adrian Vander Wcrf. At firfl he copied the works of his brother, with the 
 fame tone of colour, and the fame delicate manner of finifhing •, but afterwards 
 he painted from his own defigns, and thole were generally re-touched by Adrian, 
 which entitles them to much greater efteem, than any other of his performances 
 which were entirely of his own hand. 
 
 He painted portraits and converfations extremely well •, and without allowing 
 him to be any way en an equality with his brother, yet he may be confidered as 
 a very able artift •, and a fmall picture of his painting was, in the year 1 7 1 3, fold 
 at Rotterdam for five hundred and fifty guilders. That picture reprefented 
 three girls playing with flowers ; and a copy after a painting of his brother 
 Adrian, which reprefented an Holy Family, was in the year 1731 fold for 
 eight hundred guilders. 
 
 Joseph WERNER. 
 
 Painted Hijlory, and Portrait, in Oil, and Miniature, and Frefco. 
 Died 1 7 10, aged 73. 
 
 He was born at Berne in Switzerland, in 1637, and inftructed in the principles 
 of painting, particularly in defign, by his father, who was an artift of good 
 efieem ; but, he afterwards was placed as a difciple with Mathieu Merian, at 
 Frankfort. Under that matter he dilcovered fo apt a genius, and made fo quick 
 a progrefs, that Merian, defirous to have the talents of his pupil properly culti- 
 vated, advifed him to perfect himfelf in Italy, and procured for him a friend, 
 with whom he travelled to Rome without any expence. There Werner applied 
 himfelf induitrioufly to his itudies, and not only examined every object: by which 
 he could be improved, but took pains to copy and defign the belt productions 
 of antient and modern art ; and by that means acquired fuch a readinefs of hand, 
 as enabled him to make an incredible number of (ketches, and valuable 
 defigns. 
 
 He painted as well in frefco, as in oil •, but having a predominant inclination 
 to miniature, he indulged it, and ever after devoted his pencil entirely to that 
 kind of painting-, in which (according to the teftimony of Sandrart) he arrived 
 at great excellence •, and Sandrart, who had feen his works, was an indilputable 
 judge of their merit. 
 
 He 
 
W E Y [ 691 ] W E Y 
 
 He painted hiftorical fubjedts in miniature, with remarkable neatnefs and 
 elegance ; they were correctly defigned, and well coloured i his diftances re- 
 ceded happily ; his figures were finely proportioned, and had good exprefiion ; 
 ■and the whole had a great deal of harmony. But his chief pleafure confifted in 
 painting portraits, which he finifhed in an exquifite manner, and gave his pic- 
 tures a moft exact refemblance of his models. 
 
 For fome years he was employed at the court of France, where his per- 
 formances procured him honour ; and he afterwards painted the portrait of the 
 Arch-Duchefs at Infpruck, for which he was liberally recompenfed, and received 
 the diftinction of a chain of gold, and a medal. But, notwithftanding the 
 happy fituation of his affairs, while he lived at Auxbourg, where he was incef- 
 iantly engaged by the princes, and prime nobility of Germany •, yet, he was 
 anxious to revifit his native city, though, on his arrival there, he found him- 
 felf much difappointed in his expectations, and on that account he foon after 
 accepted of the employment of Director of the Royal academy of painting at 
 Berlin, to which he was appointed by a patent from Frederick III, King of 
 •Pruflia, with a falary of fourteen hundred rixdollars a year. 
 
 Roger Vander W E Y D E, called Roger of Bruges, 
 
 Painted Hi/lory, and Portrait. 
 
 He was born at Bruges, about the year * 14 15, and was the difciple of John 
 Van Eyck, the difcoverer of the art of painting in oil ; but that mafter con- 
 cealed the fecret of the difcovery from his difciple, till within a ftiort time of his 
 death, and then fully acquainted him with every particular. From that period 
 Roger began to make himfelf known, by many grand compofitions in a large 
 fize, his figures being very well defigned -, and he is confidered as one of the firft. 
 of the Flemifh artifts, who improved the national tafte, and diverted it of the 
 Gothick, in fome fmall degree •, for, he fhewed confiderable grace in the airs of 
 his heads, and was correct in his defign. He was very attentive to the expref- 
 fion of his figures, and in that refpect was generally true. Several princes, and 
 many of the moft eminent perfons of his time, had their portraits painted by 
 him, and he obtained both fame and fortune, by the variety of works in which 
 he was employed. 
 
 He made himfelf very memorable, by fome paintings which are in the Town- 
 Hall at Bruges, and which have been exceedingly commended. The fubject of 
 one, is the exemplary juftice of Trajan, executed on one of his foldiers, on the 
 complaint of a mother, whofe fon had been murdered by him. The fubject of 
 
 * Mr. Defcamps is guilty of an extraordinary overfight, in regard to Roger Vander Weyde, 
 which, in (o judicious a writer as Defcamps, feems unaccountable; for, in page 7 of his firft vo- 
 lume, he defcribes Roger of Bruges, as a painter who was correct in his manner of defigning, and 
 who gave a competent degree of grace to his figures ; without mentioning the year of his death. 
 And yet, in page 3^ of the fame volume, he defcribes Vander Weyde in a more particular manner, 
 as if he was a different mafter ; fixes his death in 1529, which would make him 1 14 years of age 
 at his death, fuppofing him to have been born (as moft authors tellify) in 1415 ; and he alfo enu- 
 merates feveral of his principal performances. From whence it appears, that Mr. Defcamps con- 
 cluded Roger of Bruges, and Vander Weyde, to be different perfons 
 
 But it is an indifputable fa£t, that they were only different names for one, and the fame perfon ; 
 that antient mafter being diftinguilhed by the appellation of Roger of Bruges, on account of the 
 city in which he followed his profeffion, as it was alfo the place of his nativity ; and his real name 
 ■was Roger Vander Weyde. 
 
 T t t t the 
 
WIG [ 692 ] WIG 
 
 the other, is Archambrant, Prince of Brabant, tabbing his nephew, who was his 
 next heir, when he himfclf was near dying, for having ravifhed a maid of that 
 country. In both hiftories the painter has fhewn great abilities, and good ex- 
 preffion •, and in the countenance of the Prince of Brabant, there is fomewhat 
 ftrikingly terrible, a mixture of grief and revenge, combined in the face of a 
 dying perfon. 
 
 Gerard WIGMANA. 
 
 Painted Hijlory. 
 Died 1 741, aged 68. 
 He was born atWorckum inFrifeland, in 1673, andasfoon as he was quali- 
 fied to travel, went to Italy •, where he ftudied the paintings of Titian, Raphael, 
 and Julio Romano. Thofe he made ufe of as his models, and for fome time 
 copied and defigned the works of thofe celebrated artifts, with great attention, 
 and uncommon labour-, fo that when he returned to Holland, he was enabled 
 to compofe his own fubjects, which he ufually took from fome paffages of the 
 Roman, Grecian, or fabulous hiftorians; and he was fo exceedingly diligent at 
 his work, that though his pictures are finifhed extremely high, yet by his un- 
 wearied perfeverancejie finifhed a great number of them. 
 
 He was not more remarkable for the delicacy of his pencil, than for his abun- 
 dant vanity •, he feemed fo fond of lavifhing exorbitant praifes on his own pro- 
 ductions, that he neither afforded an opportunity to others to commend them, 
 nor left them even an inclination to it; but, by his vain compliments to him- 
 felf, difcredited his work, and difgufted his beft friends, as well as the ableft 
 judges who viewed them. As an inftance of his pride and prefumption, it is 
 afferted, that he demanded near three hundred pounds for one picture, of which 
 the fubject was the death of Alexander. It had indeed great merit in feveral 
 parts, but it was not correct in the drawing or defign, and had many imperfections 
 in regard to the difpofition and expreflion •, but the price demanded appearing 
 too exorbitant for any judicious perfon to become a purchafer, it was never fold 
 till after his death. He alfo painted the parting of Hector and Andromache, 
 and many other hiftorical fubjects •, but the rates he expected prevented their 
 being fold, though his works were extremely coveted. 
 
 • difappointments which he perpetually met with, fo effectually mortified 
 "him, that he was at laft induced tovifit London, in hope of greater fuccefs ; but 
 he found that the Englifh nation, though always ready to encourage the ap- 
 pearance of merit, was equally apt to be dilgufted by conceit and vanity, lie 
 therefore met with no other reception in England, than he had before expe- 
 rienced in his own country. However, he certainly had very lingular merit, in 
 feme parts of his profeffion, and deferved a much better lot ; but he fell a facri- 
 fice, to his having too exalted an opinion of his own abilities. 
 
 His pictures are for the molt part tolerably well compofed, and his colouring, 
 in which confided his chiefeft excellence, is remarkably brilliant, and tranfparent, 
 and is moft highly finifhed, with alight, neat, and delicate pencil. But his ex- 
 prefiion is very indifferent ; his figures are not elegantly grouped ; the hiftorical 
 characters are never marked with fufficient precifion ; and his drawing is fre- 
 quently incorrect. And yet the clearnefs and fweetnefs of his colouring, pleaf- 
 
 4 ingbjg 
 
W I L [ 693 ] W I L 
 
 ingly attracts the eye, and may fometimes miflead the judgement. He imagined 
 himfelf equal to Raphael, at leaft in his colouring, and affe&ed to be called, the 
 Raphael of Frifeland. 
 
 Adam WILLAERTS. 
 
 Painted Storms, Calms, and Sea-Ports. 
 Died 1640, aged 63. 
 
 He was born at Antwerp, in 1 577, and was very much efteemed for havino- a 
 good knowledge of perfpe&ive, a free, light pencil, and an agreeable manner of 
 colouring, except that fometimes it was a little too grey. 
 
 His ufual fubjedts were fea-pieces, views of ports, havens, and fhores, with 
 fifh-markets, procefiions, or veffels lading or unlading ; and in all his compo- 
 fitions there are a great number of fmall figures, which he generally fketched 
 after nature, and gave them draperies fuitable to the mode, and to their occu- 
 pations. Sometimes he reprefented the burning of houies, fhips, and villages, 
 in which fubjefts he was allowed to have abundance of merit ; but at prefent his 
 works are not as much efteemed as they have been formerly. Becaufe, although 
 there is a competent fhare ofclearnefs and tranfparence, in many of his pictures, 
 there is alio fomewhat dry and ftiff in his manner •, his figures want "race and 
 elegance ; and though his fcenes and veffels, as well as his figures, were copied 
 from nature, his choice was frequently not commendable. He had a fon, 
 
 Abraham WILLAERTS, 
 
 Who was born at Utrecht, in 1 6 1 3 •, and who fuccefiively was the difciple of hie 
 father, of John Bylert, and alfo of Vouet ; and he continued for feveral years in 
 the fervice of Prince Maurice. 
 
 WILLEBORTS. Vid. Boschaert. 
 
 John WILDE NS. 
 
 Painted Land/capes, and Figures. 
 
 Died 1644, aged 60. 
 
 He was born at Antwerp, in 1584, but the mailer by whom he was inftructed 
 is not mentioned. He ftudied every object after nature, and became an excel- 
 lent painter of landfcape. His Ikies, trees, grounds, and waters, are all true 
 imitations of what he had obferved in his walks through the country ; and every 
 thing he painted was lightly and freely executed. 
 
 Wildens wis very much efteemed by the publick, when Rubens, obfervincr 
 his merit, attached him to himfelf; and the approbation of fo admirable an 
 artift, is more than a thoufand encomiums of other lefs able judges in favour of 
 Wildens. Rubens employed him, as well as Van Uden, to paint the back- 
 grounds of his grand compofitions, where landfcape was neceffary ; and he com- 
 mended him extremely, for adapting his tone of colour to the reft of the de- 
 fign, and to the neighbouring tints, with fuch accuracy and judgement, thit the 
 work of Wildens and Rubens harmonized a3 happily, as if their combined la- 
 bours had only been executed by one pencil. 
 
 T 1 1 1 2 He 
 
W I L. [ 694 J WIN 
 
 He had a good genius, and his choice of nature was exceedingly agreeable ; 
 his execution was very ready, and in that refpect he was fuperior to Van Uden ; 
 he had fomewhat pleafing and natural in his colouring, and he defigned and 
 painted the figures in his landscapes in a good ftyle. Two of the molt capital 
 paintings of Wildens, are in the chapel of S. Joleph at Antwerp •, the fubject of 
 one is the Flight into .Egypt, and of the other, the Repoie of the Virgin, with an- 
 gelick beings miniftring to her. The landfcapein thofe pictures, appears fupe- 
 rior to any of the works of Wildens •, and the figures were painted by Lang . 
 Jan, but they have all the beauty, delicacy, and grace of Vandyck. 
 
 Michael. WILLEMANS. 
 
 Painted Hijlory. 
 
 Died 1697, aged 6y. 
 
 He was born at Lubeck, in 1630, but travelled to Holland to obtain a proper 
 
 inftructor in the art of painting, arrd for fome time ftudied under Backer ; yet 
 
 afterwards he was the difcipleof Rembrant. Under the direction of that great 
 
 mailer, he applied himfelf induftrioufly •, and having by his own practice, as alio 
 
 by the precepts and example of Rembrant, improved himfelf confiderably, he 
 
 returned to his native city, and gradually became very eminent. 
 
 One of his mod celebrated pictures, is Vulcan forging the Arms of Mars, 
 which he painted for the Elector of Brandenburg at Breflau ; but there are few 
 of the churches, or palaces of the nobility in Germany, which are not adorned 
 with fome of the paintings of Willemans. 
 
 Joseph. Van WINGHEN,. called the Old, 
 
 Painted Hijlory. 
 Died 1603, aged 61* 
 
 He was born at Bruflfels, in 1542, and went while he was yet very young to 
 Rome, to purfue his ftudies ; and having fpent four years, in defigning the 
 greateft curiofities of that city,, and received, a proportionable degree of im- 
 provement, he returned to his native city ; where his remarkable talents pro- 
 cured him the favour of the Prince of Parma, who took him into his fervice, 
 and appointed him his principal painter. 
 
 Among the bed: pictures of this matter a Laft'Supper is mentioned, of which 
 Van Mander writes in high terms ; and there is in the cabinet of the Emperor, a 
 fine defign by Van Winghen, reprefenting Apelles failing in love with Cam- 
 pafpe, while he painted her picture. But, the work which contributed moft to 
 the advancement of his reputation, was a noble allegorical compofition, in which, 
 appeared a fkilful union of invention and art. 
 
 Jeremiah Van WINGHEN, called the Young; 
 Painted Flowers^ and Portraits. 
 Died 1648, aged 70. 
 He was the fon and difciple of Jofeph Van Winghen, born at Bruflels in 1 ^78; 
 who (hewed an early genius to painting, and through the careful lnlauctiuii of 
 
 his 
 
WIN [ 695 ] WIS 
 
 his father, being fufficiently qualified to receive improvement by travelling, he 
 vifited Rome and other parts of Italy, and obtained extraordinary applaufe, 
 through every city where his works were exhibited. 
 
 Although he principally ftudied hiftorical compofition while he refided in 
 Italy, yet when he returned from that country to Frankfort, where he fettled, 
 he gave himfelf up entirely to the painting of portraits, in which he was truly ex- 
 cellent ; as he not only finifhed his pictures with great care, but gave them a 
 ftriking refemblance, and the look of life. 
 
 Giles de WINTER, 
 
 Painted Converfations. 
 
 He was born at Leuwarden, in 1650, and was one of the beft difciples of 
 Brackenburg. His fubjects were the fame with thofe of his matter, the amufe- 
 ments and recreations of peafants, their feafts and dancings, which he reprefented 
 in a lively, and an agreeable manner. 
 
 He was remarkable for the clearnefs of his colouring, and his defign was very 
 correct. His imagination was lb ftrong, that he never gave himfelf the trouble 
 to fketch his defigns after nature, but compofed them at once on the canvas, and 
 finifhed them from his own ideas with full as much truth, as if every object had 
 been placed before his view. He lived in the ftricteft intimacy with the old and 
 young Griffier, and fpent feveral years of his life entirely with the latter, by 
 whom the compofitions of De Winter were exceedingly admired. 
 
 Will r am WISSING. 
 
 Painted Portrait. 
 
 Died 1 68 7, aged 31. 
 
 He was born at the Hague, in 1656, and learned the art of painting from Will 
 liam Dodoens, or Doudyns, a painter of hittory, with whom he ftudied hiftorical 
 defign, as well as portrait •, but his genius directed him to the latter. When he had 
 fpent fome years under that mafter, he vifited England, and improved himfelf 
 confiderably by working along with Sir Peter Lely. He imitated the ftyle and 
 colouring of that mafter with fo much fuccefs, that he foon rofe into reputation ; 
 and by painting feveral portraits of the Duke of Monmouth, he obtained the 
 favour of King Charles II, and was employed by the whole court. 
 
 He had the honour to be competitor with Sir Godfrey Kneller, though the 
 fuperiority was allowed to the latter, on account of that dignity, and air, which 
 Kneller generally gave to his portraits ; however, the real merit of Willing as an 
 artift, as alfo the poiitenefs of his manners, fecured to him the efteem of the 
 Great, and provided him employment as long as he lived. 
 
 Houbraken fays, that Willing was principal painter to James II, and fent by 
 that Monarch to the Hague, to paint the portraits of William and Mary, at that 
 time Prince and Princels of Orange, by which performances- Willing gained ex- 
 traordinary reputation. 
 
 Ma t t h e >y 
 
WIT [ 696 ] WIT 
 
 Matthew or Matthias W I T H O S. 
 
 Painted Land/cape, Fruit, Flowers, and Infetts. 
 
 Died 1703, aged 76. 
 
 He was born at Amersfort, in 1627, and was the difciple of Jacques Van 
 Campen, with whom he continued for fix years, and diftinguiihed himfelf above 
 moft of his cotemporaries, in thofe particular fubjects which he painted. When 
 he quitted Van Campen, he wanted no farther improvement, than what he was 
 capable of obtaining by a careful obfervation of nature; and therefore he applied 
 himfelf to that ftudy, with an equal degree of curiofity, and induftry -, and to 
 furnifh himfelf with a greater variety of objects, he travelled along with Otho 
 Mailaeus to Rome, where he ftudied for two years. 
 
 His general fubjects were fruits, flowers, infects, landfcapes, ftill life, and rep- 
 tiles, particularly ferpents and venomous creatures, which he painted with a very 
 uncommon degree of ipirit. He finifhed all his fubjects of the latter kind ex- 
 quifitelv, with great force, nature, and relief. He was much carefied by Car- 
 dinal de Medici, and was principally employed in his fervice, during his conti- 
 nuance at Rome. 
 
 He received great prices for his pictures, which, at that time, they were 
 thought juftly to merit •, and he for the moil part introduced thirties, and other 
 plants, with fnakes, adders, or vipers among them, which he always painted after 
 nature, with an extraordinary neatnefs of pencil. His pictures, even in his life- 
 time, fold for five or fix hundred florins a piece -, and yet, the high finifhing of 
 them, and their lively imitation of nature, conftitute their principal merit. 
 
 John WITH 00 S. 
 
 Painted Landfcape. 
 Died 1685, aged 37. 
 He was the eldeft fon of Matthias, born at Amersfort, in 164S, and inftructed 
 by his father in the art of painting ; but he completed his ftudies at Rome, 
 where he continued for feveral years. Generally he painted landfcapes in water- 
 colours ; and as he fketched moft of the beautiful views in the environs of 
 Rome, having always accuftomed himfelf to ftudy after nature, he brought with 
 him, when he returned from Italy, a great number of drawings of the moft 
 pleafing fcenes which occurred to him, as materials for his landfcapes, which he 
 finifhed highly -, and they received univerfal approbation, as his colouring ap- 
 peared extremely natural, and his pictures had an unufual force. He was re- 
 tained in the court of the Duke of Saxe-Lauwenburg, and died there. 
 
 Peter WITHOOS. 
 
 Painted Flowers, and Infefis. 
 Died 1693. 
 He was the fecond fon of Matthias Withoos, born at Amersfort, and directed 
 in his ftudies by his father. His fubjects were infects, flowers, plants and rep- 
 tiles, which he painted in water-colours, in a moft neat and delicate manner, after 
 nature, and his pictures were highly applauded. Perfons of tafte and curiofity 
 
 in 
 
WIT [ 697 ] WIT 
 
 in Holland, purchafe the works of this matter at very high prices, and preferve 
 them carefully in port-folios. There was alio another ion of Matthias, named 
 
 Francis WITHOOS, 
 
 Who painted in the fame ftyle and manner as his brothers ; but, he was in no 
 degree comparable to either. He was engaged by a Dutch commander, to un- 
 dertake a voyage to Batavia in the Eaft-Indies, to paint the plants and infects pe- 
 culiar to that climate, and country •, but when he returned to Holland, his latter 
 performances were thought to be far inferior to thole of his earlier time. He 
 died in the year 1 705. 
 
 J A C Q_U E S D E WITT. - Vid. D E W I T T. 
 
 Emanuel de WITT. 
 
 Painted Architecture, Portrait, and Hiftory. 
 Died 1692, aged 85. 
 
 He was born at Alcmaer, in 1607, and was the difciple of Evert Van Aelfl: 
 Willemfzon. He painted portraits with very great fuccefs, and fometimes com- 
 pofed hiftorical fubjects •, but his principal excellence coniifled in perfpective ar- 
 chitecture. Thofe fubjects by which he gained the greateit credit, were the 
 views of the infides of churches, and magnificent buildings ; for, in thofe he 
 was accounted equal to the belt of his cotemporaries, not only in the exactnefs 
 with which he defigned every part of his fubject, but in the happy choice of his 
 lights, and his judicious manner of introducing and difpofing them, fo as to pro- 
 duce an excellent effect. 
 
 His figures are well defigned, well coloured, and touched with fpirit ; and as 
 he fpent the greateft part of his life at Amfterdam, moft of his fubjects were the 
 churches in that city, in which he defcribed the organs, monuments, pulpits, 
 and feats crowded with the audience ; and his ftyle of compofition is fo peculiar, 
 that the pictures of his painting are eafily known. In fome of them, he repre- 
 fents the minifter performing divine fervice ; and in others, the congregation 
 afiembling to attend the publick worfhip ; in which he ufually diftinguifhes the 
 different orders of the people by their drefTes. 
 
 The picture which was the moft celebrated work of De Wit, was deftroyed by 
 himfelf in a fudden fit of indignation. It was a view of the choir in the new 
 church at Amfterdam, where the monument of the famous Dutch admiral De 
 Ruyter is erected. The picture was befpoke by the Admiral's fon, who agreed 
 to pay a large fum of money for it; but, young De Ruyter dying, before the 
 painting was finifhed, the gentleman who married De Ruyter's daughter, in- 
 tended to purchafe it. But he having very little judgement in painting, and 
 having offered De Witt a fum far below the original ltipulation ; that painter 
 was fo highly enraged at the contemptuous offer, that he cut the picture in 
 pieces, although at that time he had not one fhilling in his purie. 
 
 He was naturally of a rough, ill bred, and morofe diipofition, and too apt to 
 depreciate the works of other artifts •, which procured him univerfal hatred and 
 contempt, and occauoned bis being reduced to extreme poverty. From very 
 
 ftrong 
 
WOL [ 698 ] W O U 
 
 iirong appearances, it was believed that he put an end to his own life through 
 defpair, by endeavouring to hang himfelf on Haerlem-fluice •, for his body was 
 found there in the water, with a cord fattened round his neck. 
 
 Henrietta WOLTERS. 
 Painted Portraits in Miniature. 
 Died 1 741, aged 49. 
 
 This paintrefs was born at Amfterdam, in 1692, and at firft was inftructed by 
 her. father Theodore Van Pee ; but afterwards fhe was directed in her itudy and 
 practice, by the bed artiite in that city ; for, as they obferved the aptnefs of 
 her o-enius, they took pleafure in forming her hand, and improving her tafte of 
 deficrn. But, -when fhe had at laft copied ibme of the works of Chriflopher le 
 Blond, fhe was defirous to have him for an inftructor, which with great diffi- 
 culty fhe obtained ; his compliance being more owing to the extraordinary ta- 
 lents which he difcerned in Henrietta, than to any profpect of advantage to 
 himfelf. 
 
 In the manner of le Blond fhe painted portraits in fmall ; and particularly 
 copied a portrait, and a S. Sebaftian, after Vandyck, which exceedingly ad- 
 vanced her reputation, as her copies refembled the originals to a degree that 
 feemed aftonifhing •, for, there appeared the fame correctness of outline, the 
 fame tone of colouring, and (allowing for the difference of penciling in large and 
 fmall works) the fame freedom of touch in every part. 
 
 After fuch a publick proof of her fkill, fhe undertook to paint portraits from 
 the life, and fhe gradually rofe into fo great reputation, that Peter the Great, 
 Czar of Mulcovy, was very defirous to engage her in his fervice at Peterfbourg, 
 and offered her a very large penfion •, but, he could not by any inducements 
 allure her to leave herown'country, where fhe faw herlelf fo generally carefTed. 
 However, the Czar fat to her for his picture ; but he had not patience to have 
 it finifhed, as fhe ufually required twenty fittings for every portrait, and allowed 
 two hours for each fitting. She was alio honoured with a viiit from the King 
 ofPruflia, who folicited her to relide at his court ; but, his generous propolal 
 was politely rejected, and fhe fpent the remainder of her life in her own country, 
 refpeded by perfons of the higheft diftindion, and efteemed by all the lovers 
 of the art. 
 
 Her works in miniature are moft exquifitely finifhed ; her defign is correct ; 
 and her paintings have all the force of thole which are finifhed in oil. 
 
 Francis W O U T E R S, or W a u t e r. 
 Painted Land/cape, and Hiftory. 
 Died 1659, aged 45. 
 He was born at Lier, in 1614, and learned the art of painting in the cele- 
 brated fchool of Rubens, where he itudied principally to paint land fc ape ; but 
 he alfo painted hiftorical fubjects in large, and in fmall, with great credit. 
 
 The fubjects of his landicapes were ufually wood-land fcenes, with vifta's, 
 through which the eye was agreeably deluded to an immenfe diftance ; and he 
 frequently introduced lbme fabulous hiftories, as of Pan and Syrinx, Venus and 
 
 Adonis, 
 
WOU [699] wou 
 
 Adonis, or Venus attended by Cupids •, his figures being generally naked, and 
 very delicately penciled. His manner of colouring is agreeable; his nymphs 
 and fatyrs are well defigned ; and the hiftorical pictures which he painted in 
 fmall, fhew a competent degree of tafte andfpirit; bur, his paintings in a larger 
 fize are not fo commendable •, as in thole the colouring is heavy, and too much 
 of a yellowifh tint. 
 
 The Emperor Ferdinand II. advanced him to the honour of being his princi- 
 pal painter, and permitted him afterwards to accompany .the Imperial Ambaf- 
 fador to London, in 1637, where his works procured him efteem •, and on the 
 death of the Emperor, he was appointed painter to Charles II, at that time 
 Prince of Wales. But, although he poffeffed a confiderable income by his pen- 
 fion, and the faleofhis pictures, yet in a few years he quitted England, and re- 
 tired to Antwerp, where he continued to follow his profeffion, and had the 
 honour to be appointed Director of the Academy. 
 
 Philip WOUWERM A N S. 
 
 Painted Land/cape, and Cattle. 
 
 Died 1668, aged 48. 
 
 He was born at Haerlem, in 1620, the lbn of Paul Wouwermans, an hiftory 
 painter of very mean talents ; but Philip was placed as a difciple with John 
 Wynants, and arrived at fuch a degree of perfection, as to be efteemed iuperior 
 to all his cotemporaries. By the inftruclions and excellent example of his 
 mafter, the proficiency of Wouwermans was very remarkable ; but, to the 
 knowledge of colouring and penciling, which he acquired in the fchool of Wy- 
 nants, he added the ftudy of nature, in which he employed himfelf with a cu- 
 rious and critical attention ; fo as to render himfelf Iuperior to his mafter, in the 
 choice of his fcenes, in the excellence of his figures, and in the truth of his imi- 
 tations of nature in every object. 
 
 The iubjects which he feemed moft particularly fond of painting, were hunt- 
 ings, hawkings, encampments of armies, farriers ihops, and all kinds of fcenes 
 that afforded him a proper and natural opportunity of introducing horfes •, as he 
 painted thofe animals to the greateft perfection. And when we confider the 
 works of this inimitable artift, we find ourfelves at a lofs to determine, what 
 part is moft worthy of our applaufe and admiration ; whether the iweetnefs of 
 the colouring ; the correctnefs of his defign, his cattle, or his figures ; the 
 charming variety of attitudes in his horfes ; the free, and yet delicate touchings 
 of his trees •, the beautiful choice of his fcenery •, the judicious ufe he makes of 
 the chiaro-fcuro, or the fpirit that animates the whole. 
 
 His genius and invention were fo ftrong and lively, that none of his pictures 
 have the fame grounds, or the fame diftances ; for, he varied them perpetually 
 with inexpreffible fkill •, in fome, reprefenting fimple, unimbellifhed nature, 
 and in others, fcenes enriched with architecture, fountains, or edifices of a pk- 
 turefque conftruction. His figures are always finely drawn, with fuch exprel- 
 iions and attitudes as are fuitable to the fubjeel •, and the attitudes he chofe, 
 were fuch as appeared unconftrained, natural, and moft agreeable. He had an 
 amazing command of his pencil, fo that inftantly and effectually he cxprefled 
 every idea conceived in his mind ; and gave to his pictures an aftonifhing force, by 
 
 4J u n u broad 
 
wou [700] wou 
 
 broad maffes of light and fliadow, by contrafting his lights and fhadows with 
 peculiar judgement, and giving an uncommon degree of tranfparence to the 
 colouring of the whole. The pencil of Wouwermans was mellow, and his touch 
 free, though his pictures wererinifhed molt delicately, his distances recede with 
 true perfpectisre beauty, and his Ikies, air, trees, and plants, are all exadt and 
 lovely imitations of nature. 
 
 It is obferved by the Dutch writers on this fubjecl:, that in his latter time, his 
 pictures had rather too much of the greyifh, and blue tint •, but, in his belt time, 
 he was not inferior either in correctnefis, colouring, or force, to any of the artills 
 of Italy. Yet, notwithftanding his uncommon merit, he had not the good 
 fortune, during his life, to meet with encouragement equal to his defert ; for, 
 with all his afilduity, though he was extremely indultrious, he found it difficult 
 to maintain himfelf, and his family. He feemed to be a ftranger to the artifices 
 of the picture-merchants, who therefore impofed on him under the difguife of 
 zeal for his interelt i and while they artfully enriched themfelves by his works, 
 they contrived to keep him depreffed, and very narrow in his circumftances. 
 But, after the death of Wouwermans, the value of his pictures increafed to an 
 incredible degree •, as they were not only univerfally coveted through every 
 part of Europe, but the Dauphin of France, and the Elector of Bavaria, bought 
 up every picture of Wouwermans that could be procured, and they purchafed 
 them at very large prices. 
 
 That unhappinelsof not being diftinguifhed in proportion to his merit, (which 
 has been the ftvere lot of many perfons of the belt abilities in all profeffions) 
 affected him fo (trongly, that a few hours before he died, he ordered a box, 
 filled with his itudies and defigns, to be burned ; faying, " I have been fo badly 
 " rewarded for all my labours, that I would prevent my fon from being allured 
 •* by thofe defigns, to embrace lb miferable, and fo uncertain a profefiion as 
 mine." However, different authors afcribe the burning of his defigns to different 
 motives. Some lay, it proceeded from his difiike to his brother Peter, being 
 unwilling that he fhould reap the product of his labours ; others alledge, that 
 he intended to compel his fon (if he ibould follow the profefiion) to feek out 
 the knowledge of nature from his own induftry, and not indolently depend on 
 copying thole defigns-, and other writers afilgn a lefs honourable motive, which 
 feems to be unworthy of the genius of Wouwermans, and equally unworthy of 
 being perpetuated. 
 
 Houbraken obferves, that the works of Wouwermans and Bamboccio, were 
 continually placed in competition, by the ableft judges of the art j and the 
 latter having painted a picture which was exceedingly admired, John de Witt 
 prevailed on Wouwermans to paint the fame fu'oject, which he executed in his 
 ufual elegant ftyle. Thofe pictures being afterwards exhibited together to the 
 publick, while both artilts were prefent, De Witt faid, (with a loud voice) 
 " All our connoifi'eurs feem to prefer the works of thofe painters who have 
 " ftudied at Rome ! and obferve only, how far the work of Wouwermans, who 
 " never faw Rome, furpaffes the work of him who refided there for feveral 
 " years ! " That obfervation, which was received with general applaufe, was 
 thought to have had too violent an effect en the fpirits of Bamboccio, and by 
 many if was imagined, that it contributed to his untimely death. 
 
 Peter 
 
W O U [ 701 ] W U L 
 
 Peter WOUWERMANS. 
 
 Painted Land/capes, and Huntings. 
 
 He was brother to Philip, born at Haerlem, and at firft was inftructed by his 
 father, but was afterwards the difciple of Roland Roghman. He ftudied and 
 imitated the ftyle of compofition, and the colouring, of his brother with great 
 fucceis ; and was confefiedly a good painter, although in no degree comparable 
 with Philip. 
 
 His fubjects in general refembled thofe of his brother, farriers fhops, or 
 figures on horfeback going abroad to hunt, or to hawk, and particularly female 
 figures •, alfo different rural recreations, in which, like Philip, he was fond of 
 introducing horfes, which he defigned well. He had a neat pencil, and agree- 
 able colouring, and imitated the manner of Philip - fo happily, in his tafte of defign, 
 in his figures, and animals, that fome of his paintings have been miftaken for 
 the work of his brother, by feveral who, in their own opinion, were competent 
 judges. But, by thofe of true tafte and judicious difcernment, the work of 
 Peter is eafily diftinguiftied from that of Philip, by its not being fo clear, fo 
 tranfparent, lb fweetly and freely touched, nor fo well defigned ; nor are his 
 figures drawn with fuch correctnefs and expreffion ; and, in fhort, in many other 
 refpects, he muft appear to an able connoifTeur, far inferior to his incomparable 
 brother. 
 
 John WOUWERMANS. 
 
 Painted Land/cape. 
 Died 1666. 
 
 He was the youngeft brother of Philip, born at Haerlem; whofe landfcapes 
 were painted in a very pleafing ftyle, with an agreeable tone of colouring, and 
 an excellent touch •, but as he died young, he left no great number of paintings 
 toeftablifh a reputation. 
 
 Houbraken mentions his having feen a picture of this matter's hand, in the 
 poffeffion of L. Vander Vinne. It was a landfcape, repreienting a rocky 
 mountainous country ; the fore-ground was dark, with rough bufhes and trees ; 
 but the diftant profpecl, which conveyed the eye through a low valley, appeared 
 clear, and produced a good effect. The fore-ground was freely touched, with 
 a great deal of fpirit ; it was well broken, and naturally coloured, refembling 
 the colouring of Philip in his early time, before he ufed that variety of tints, 
 which are to be obierved in all his beft works. 
 
 Mathys, or Matthias WULFRAAT. 
 
 Painted Hiftory, Converfations, and Portraits. 
 Died 1727, aged 79. 
 He was born at Arnheim, in 1648', and became the difciple of Diepraam ; 
 for, that mafter having obferved the efforts of Wulfraat's genius, even before 
 he had "any regular inftru&ions, gave him fome fmall afllftance in the knowledge 
 of drawing ; and when his parents found, that he would not fcrioufly apply 
 himfelf to any other profefTion but painting, they placed him entirely under the 
 care and direction of Diepraam. 
 
 U u u u 2 With 
 
W Y C [ 702 ] W Y C 
 
 With that mailer he made a great proficiency •, but he completed himfelf by- 
 a diligent ftudy after nature, and gained a confiderable reputation. He painted 
 hiftorical fubje&s with fuccefs •, but his principal: merit was feen in his conver- 
 sations, in which he introduced characters of diftinction, and always perfons 
 above the common rank. He alfo painted portraits in fmall, for which he had 1 
 a conftant demand, and his performances are very much efteemed through 
 Germany and tne Low Countries. 
 
 Thomas W Y C K E, called the Old. 
 
 Painted Sea-ports, and the Shops of Chymifts. 
 Died 1686, aged 70. 
 
 He was born at Haerlem, in 161 6, and became one of the beft painters of 
 his time. He lpent feveral years in Italy, and fketched many of the havens and 
 fea-ports on the borders of the Mediterranean, particular thofefrom Leghorn to 
 Naples, and reprefented them with abundance of truth and nature. "He alio 
 adorned his views with figures that were extremely well defigned, habited in the 
 dreffes of different nations j but he rarely omitted the red habit of a Turk, and 
 the white turban. 
 
 The ufual fubjects of Wycke were fea-ports, with vefiels varioufly conftructed, 
 and a great number of figures of a final 1 lize •, Italian markets, fairs, and 
 mountebanks •, and he (hewed extraordinary merit in his pictures, of chymifts 
 in their laboratories, iji which he was fo exa<ft, as to reprefant all their utenfils 
 and furnaces. He ftudied to imitate the ftyle and manner of Bamboccio •, and- 
 his paintings were fo highly efteemed, that even in his life time, he fold them for 
 great prices, many being purchafedfor forty, fifty, and fixty guineas. 
 
 Wycke diftinguiihed himfelf by the freedom and delicacy of his penciling, 
 as well as by a judicious manner of grouping his figures •, his colouring is 
 natural and very tranfparent ; and by a proper diftribution of his mattes of 
 light and fliadow, his diftances fhew a charming perfpecYrve truth, and the eye 
 is agreeably deluded to- a very remote point of view. In all his compofitions 
 may be ob'fenved a fine underftanding of the chraro-fcuro ; abundance of exact - 
 i\ets, in every fcene and every object he defcribes ; and great harmony in the 
 whole. 
 
 John WYCKE, called the Young. 
 
 Painted Battles, and Huntings. 
 
 Died 1702. 
 
 He was the fon and difciple of Thomas Wycke, born at Haerlem, but he 
 lpent the greateft part of his life in England ; and under the direction of his 
 father, John proved an excellent painterof battles, and hunting of the deer, 
 and other animals. He leemed to make Wouwermans his model, and in his 
 fmall pictures the horfes, figures, and landfcape were touched with a great deal 
 or fire, and fpirit ; and the colouring of his landfcape is warm, and chearfu!. 
 He frequently painted battles, fieges, and huntings in a large fize ; but as well 
 ia refpeft of penciling, as colouring, they were much inferior to thofe which he 
 painted in fmall. 
 
 He 
 
W Y N [ 703 ] W Y T 
 
 He refided for many years in London, and the neighbouring villages, wherr 
 he never was without employment-, and the mod remarkable works of this 
 mafter, are, the reprefentation of the battle of the Boyne, between William III. 
 and James II •, the fiege of Namur ; and the celebrated picture of Duke 
 Schomberg on horfeback ; Kneller having painted the portrait of that general, 
 but the horie, and the battle in the back ground, were painted by JohnWycke. 
 
 John WYNANTS. 
 
 Painted Land/cape. 
 Died 1670, aged 70. 
 
 He was born at Haerlem, in 1600, and was a painter of very great merit? 
 but, what contributed moll to his honour, was his having been the mafter of 
 Philip Wouwermans. 
 
 The works of Wynants are defervedly in great efteem, for the lightnefs and 
 freedom of his touch, for the clearnefs of his ikies, and for the tranfparence of 
 his colouring. His choice of nature in his fituations is extremely agreeable, 
 having fomewhat peculiar in the breaking of his grounds, and the whole has a - 
 very plealing appearance. The figures in his landfcapes were not painted by 
 himfelf, but by Oftade, Wouwermans, Linglebach, Van Tulden, and others,, 
 which now give an additional value to the pictures of Wynants. 
 
 The works of this mafter are not common, as he mifappiied a great portion 
 of his time in parties of pleafure, and diflipation - T but they are eagerly purchafed,. 
 whenever they are offered to fale, and bring large prices. 
 
 Matthew WYTMAN. 
 Painted Converfations, and Landfcapes, Fruit and Flowers. 
 Died 1689, aged %g. 
 He wa3 born at Gorcum, in 1 650, and at firft was a difciple of Henry 
 Verfchuring •, but afterwards completed his ftudies in the fchool of John 
 Bylaert. His fubjecls were landfcapes, and converfations ; the former, he 
 defigned in a very pleafing ftyle •, and the latter, he compofed and finiihed in 
 the manner of Netfcher ; though he differs from that mafter, by introducing, 
 very elegant landfcapes in his back-grounds, which he finifhed highly, and with 
 a tone of colour that appeared exceedingly natural; 
 
 In the latter part of his life, he employed himfelf principally, in painting 
 fruit, and flowers ; in which fubjects he feemed rather fuperior, to what he had 
 painted in any other ftyle ; and made it probable, that if he had not died fo 
 young, he would have equalled the beft artifts of his time. 
 
 z. 
 
Z A A [ 704 ] Z A N 
 
 Z. 
 
 Martin ZAAGMOOLEN. 
 
 Painted Hijiory. 
 m This matter, though efteemed by feveral of his own countrymen, cannot be 
 juftly mentioned with much honour, either to himfelf or to the place of his 
 nativity. He had indeed a bold manner of colouring, and a freepencil, bu 
 his drawing and defign were extremely incorrect, and his expreffion even worfc 
 dian indifferent ; yet he thought to compenfate for thofe capital defects, by 
 ftiong oppofmons of light and lhadow, although he made ufe of thofe oppofi- 
 tions with remarkable inaccuracy. ^ 
 
 Houbraken mentions aLaft Judgement, painted by Zaagmoolen, in which 
 the painter had introduced an abundance of figures, of all aget; but he obierves, 
 that all of them 1 were coloured fo exceedingly pale, that they had in reality the 
 appearance of fpmts. ; ' "' 
 
 Matteo ZACCOLINO. 
 
 Painted Hijiory, and Perfpetlive. 
 
 Died 1630, aged 40. 
 
 He was born at Venice, in 1590, and became a very confiderable artiit in 
 
 hiftoncalcompofit.ons. but his chief excellence appeared in thofe pain in s 
 
 where he introduced perfpeftive ; for, he executed thole with the utmoft pr£ 
 
 cfion, and therefore was conftantly attentive, to have fomewhat of that kind in 
 
 p V art ry of° n p ainti^ ^ t0 T** ^ UnC ° mm ° n P° Wer in ^ iS*5 
 
 ZACHTLEVEN. Vid. Sachtlevem 
 Z A M P I E R I. Vid. Domenichino. 
 
 Filippo ZANIMBERTI. 
 
 Painted Hijiory. 
 Died 1636, aged 51. 
 He was born at Brefcia, in 1585, and was a difciple of Santo PennH, 
 under whole d.reftion he continued for ten years, till b? the p««pts rffot* 
 complied a mafter, Improved very eminent in his profeffion. His Jenius 
 was very ferule, and h,s imagination lively • fo that he compofed his fuS 
 w.th eale and readinefs, and generally filled his defigns with agreat number c f 
 fmall figures, which he touched delicately, and gave them a gfacefuUir w4 
 an abundance of nature. b««.hui «t, wkb 
 
 ZEGRES. Vid. Sbgers. 
 
 Bat- 
 
Z E L [ 705 ] Z U C 
 
 Battista ZELOTTI, called Cavaliere. 
 
 P ran ted Hijlory. 
 Died 1592, aged 60. 
 
 He was born at Verona, in 1532, and at firft was the difciple of Antonio 
 Badile ; but afterwards he ftudied under Titian, though he principally adhered 
 to the manner of his mafter Badile. He was Angularly excellent in defign, had 
 great readineis of invention, and freedom of hand, and his tone of colouring 
 was truly beautiful. His merit in every branch of his profeflion, was univerially 
 allowed, it recommended him to the favour of the moft eminent perfons of his 
 time, and procured him the honour of knighthood. 
 
 He affociated in feveral works with Paolo Veronefe ; and had the diftinclion 
 of being his competitor at Venice, where he was one of the fix painters appoint- 
 ed by Titian, to contend for a prize of a rich gold chain. The prize indeed 
 was defervedly given to Paolo, but Zelotti's compofition was extremely admired, 
 and he obtained credit by the competition. Some charming paintings by this 
 mafter, are in the grand hall of the Council of Ten at Venice, which are incon- 
 teftable proofs of the excellence of his colouring ; of the grandeur of his tafte of 
 defign ; and above all of the fineneis of his imagination •, as moft of the fubjects 
 of thofe paintings are allegorical, and allude to the dignity and importance of the 
 Council of Ten. 
 
 Z O O N. Vid. Son. 
 
 Marco ZOPPO. 
 
 Painted Hijiory, and Portrait. 
 
 Died 1517, aged 66. 
 
 He was born at Bologna, in 1451, and was the difciple of Andrea Mantegna. 
 
 He imitated the ftyle of his mafter with great fuccefs, and excelled in portrait, 
 
 as well as in hiftory. Moft of the works which he nnifhed are in his native 
 
 city, where they are much efteemed. 
 
 ZORGH. Vid. S o r g h. 
 Z O U S T. Vid. Soe st. 
 ZOUTERMANS. Vid. Svbtermans. 
 
 Taddeo ZUCCHERO. 
 
 Painted Hijiory, and Portraits. 
 Died 1566, aged 37. 
 
 He was born at San Agnolo inVado, in the Duchy of Urbino, in 1529, and 
 received his earlieft inftruction from his father Ottaviano Zucchero, who was but 
 an indifferent painter •, but as Taddeo advanced in years, and in ibme degree 
 of knowledge, his natural genius enabled him foon to perceive, that he could 
 profit but little under iuch a director ; and therefore, when he arrived at the age 
 of fourteen, he went to Rome, hoping to improve himielf in that city. 
 
 As at that time he was very young, and totally unknown in Rome, he found 
 himfclf in a moil: uncomfortable, or rather miferable fituation for many months ; 
 
 2 frequently 
 
Z U C [ 706 ] z u c 
 
 frequently deftitute of the common neccflaries of life, and being reduced to the 
 wretched neceffity of fleeping in the porticoes of fome of the palaces ; though 
 even then, he had furfkient fortitude of mind to preferve him from deipondency. 
 I Ie was compelled to fupport himielf, by grinding colours for the fhops at very 
 i'mali wages, whenever he could procure work ot that kind ; and his difengaged 
 hours he fpent induftrioufly, in deligning after the antiques, or in ftudying the 
 works of Raphael •, till at lull he appropriated one half of the week to labour 
 for his fupport, and the remainder to the cultivation of his talents. However, 
 after practiling under Pictro Calavrefe, and receiving profitable inilruitions 
 from Daniello of Parma, (who had for fome years refided with Correggio, and 
 alio painted in conjunction with Parmigiano) he improved fo confiderably, as 
 to be qualified to appear in his profefTion with credit. 
 
 lie ibon difcinguilhed himielf in Rome, Urbino, Verona, and other cities of 
 Italy, by many noble compofitions in frefco as well as in oil, which are particu- 
 larly defcribed by Vafari •, and he equally excelled in portrait, and in hiftory. 
 The Popes, Julius III. and Paul IV. employed him in the Vatican ; and the 
 Cardinal Farnefe patronized him fo far, as to entruft him with the intire deco- 
 ration of his palace of Caprarola, and allowed him a confiderable penfion. 
 
 His ftyle of compofition was grand, and he fhewed great elevation in his ideas ; 
 his difpofition was judicious, and his pencil mellow and free •, and by being 
 competently {killed in anatomy, he defigned naked figures furficiently correct, 
 and was particularly excellent in the heads, the hair, and the extremities ; but 
 ftill he was accounted a mannerift, and not equal to his brother and difciple 
 Federirro Zucchero. His real merit confifted in the genteel manner of his 
 defign, and the elegance of his difpofition ; but his colouring was not admired, 
 becaufe it rather refembled the colour of a marble ltatue, than the warmth of 
 nature, and life. 
 
 Federigo ZUCCHERO, Cavaliere. 
 Painted Htftory, and Portrait. 
 
 * Died 1609, aged 66. 
 
 He was the brother of Taddeo Zucchero, born at San Agnolo in Vado, in the 
 Dutchy of Urbino, in -f 1543, and derived his knowledge of drawing from his 
 father, being at that time extremely young •, but as he appeared to have extraor- 
 dinary talents, his father conducted him to Rome, in the year of the Jubilee 
 1 550, and left him under the care of his brother Taddeo, who was then in great 
 reputation. 
 
 Taddeo took all poffible care of his education, and alio exerted himielf to 
 inftrucl and improve Federigo in defign, and obferved with pleafure that his 
 genius readiiy enabled him to make a happy ufe of every precept; fo that in a 
 few years, he was quahfied to aflUl his brother in feveral of his grand compoii- 
 
 • De Piles fays he died in i6c2, at the age of 66, by which computation he mull have been 
 torn in 15^6, though others affirm, that he was born in 154V 
 
 •(■ The author ofthe Chronological Tables fays, that Zuccharo was born in 15SO; but Vafari 
 poiitivtly allures us, that ' e was brought to Rome, and left under the care of his brother Taddeo, 
 i;i that very year, which was remarkable by being the year of the Jubik.e. But indeed the Chro- 
 • |i «'ical Table: arc extremely inaccurate. 
 
 5 tions, 
 
ZUC [ 707 ] z u c 
 
 t'tons, and to exhibit to the publick fome of his own compofitions, which even 
 then fhewedthe beginning of that excellence, at which he afterwards arrived. 
 
 While Taddeo was engaged at Caprarola by the Cardinal Farnefe, Federigo 
 was invited to Venice, and employed by the Patriarch Grimani, to finifh a chapel 
 which had been left imperfect by Battiita Franco ; and he executed feveral 
 other works in frefco as well as in oil, which procured him extraordinary ho- 
 nour and applaufe-i but after the death of Taddeo, fee was employed at Cap- 
 rarola to perfect thofe works, which had been left unfinifhed by the unexpected 
 death of his brother. 
 
 He was likewife engaged at Florence in fome confiderable defigns, till Gregory 
 XIII. invited him to Rome, to work in the Vatican ; which afforded him a 
 noble opportunity to advance his reputation. But, having received fome indig- 
 nity from the principal officers of the Pope, and on that account being deter- 
 mined to difcontinue his work, and retire from Rome ; he painted an allegorical 
 picture of calumny, to expole thole officers, in which he introduced the por- 
 traits of all thofe who had given him offence, and reprefented them with afles 
 ears. That picture he caufed to be placed over the gate of S. Luke's church, 
 on the feftival of that Saint, in order to make it more publick ; and to avoid the 
 reientment of the Pope, he quitted his dominions, and vifited France, and 
 England. 
 
 In the latter of thofe kingdoms, which may juftly be called the paradife of 
 painters, he received all poffible marks of diftinction and encouragement ; and 
 had the honour to paint the portrait of Queen Elizabeth, and many of the nobi- 
 lity, as well as the moft memorable peribns of that illuilrious age •, by which he 
 obtained the reputation of being the belt portrait painter of his time. He was 
 not indeed fo fuccefsful, in the defigns which he executed in Spain for Philip 
 II. for, although that monarch rewarded him in a princely manner, and loaded 
 him with prefents •, yet, as foon as Zucchero had left that kingdom, his whole 
 work was defaced by order of the king, and another artift was employed. 
 
 After an abfence of feveral years from Rome, during which time he had 
 vifited moft parts of Italy, he returned to that city; and erected an academy 
 of painting at his own expence, of which he was declared prince, by the pope. 
 He was fuperior to his brother Taddeo, in many refpects ; he poflefTed a very 
 extenfive genius, and an invention that was furprizingly ready and lively. His 
 -colouring had abundance of force, and his drawing is generally good •, but, like 
 his brother, he alfo is a mannerilt, and they both wanted a more thorough ftudy 
 of nature, and more grace in the airs of the heads, to render them highly excel- 
 lent. Yet, notwithstanding thofe defects, the paintings of Federigo are exceed- 
 ingly prized, and his portraits will for ever preferve to him the reputation of 
 being a very eminent matter. 
 
 At Venice there is a picture by Zucchero, painted in oil, reprefenting the 
 adoration of the Magi, which for the compofition and colouring deferves the 
 largeft commendation ; and it excited the envy of all the Venetian artifts. He 
 worked, in concurrence with Paolo Veronefe, Tintoretto, Baflan, and Palma, in 
 the grand council chamber at Venice •, and his performance afforded fo great 
 fatisfaction to the Senate, that the Doge, as a publick teftimony of his merit, 
 conferred on him the honour of knighthood. 
 
 X x x x Lambert 
 
z u s 
 
 [ 708 ] 
 
 zus 
 
 Lambert ZUSTRUS. 
 
 Painted Hijtory, and Land/cape. 
 
 He was a difciple of Titian, and imitated his manner, as well in refpecl of 
 defign, as of colouring. 
 
 A very capital pidlure of this mailer's hand, is in the cabinet of the king of 
 France. It is a landfcape, in which is introduced the hiftory of Chrift baptized 
 by S. John ; it is very highly efteemed, and may be accounted a fufficient evi- 
 dence of the merit of Zuftrus. 
 
 A CAT A. 
 
CATALOGUE 
 
 OF THE 
 
 DISCIPLES of the Most Eminent PAINTERS. 
 
 MASTERS. 
 
 P. Van Aelft 
 Ev. Van Aelft 
 
 Albano 
 
 Alberto Alberti 
 Albertinelli 
 
 Aleflandro Allori 
 
 Giov. Angelico 
 
 Antonello 
 Artois 
 
 John Affelyn 
 Aihfield, 
 
 Ottavio Amigoni 
 
 Baccio 
 
 Jac. Backer 
 Adr. Backer 
 
 Gilles Backereel 
 Lud. Backhuyfen 
 
 DISCIPLES. 
 
 Gilles Conixlo 
 William Van Aelft 
 Emanuel de Witt 
 J. Baptis Mola 
 Pietro Francefco Mola 
 Andrea Sacchi 
 Carlo Cignani 
 Ferdinand Galli 
 Pietro Torri 
 Filippo Menzani 
 Pianori 
 Taruffi 
 
 Giov. Battifta Albano 
 Ant. Maria del Sole 
 
 iCherubino Alberti 
 Giovanni Alberti 
 {Francia Bigio 
 Giacomo Puntormo 
 Jnnocentio da Imola 
 Vifino 
 f Chriftofano Allori 
 J Ludovico Cardi 
 (_ Lucretia Quiftella 
 fBenozzo Gazzoli 
 J Gentile da Fabriano 
 J Zanobio Strozzi 
 { Domenico di Michelino 
 Domenico Venetiano 
 Cornelius Houfeman 
 Frederick Moucherou 
 Henry Lutterel 
 C Pompeio Ghiti 
 I Rufca 
 
 iCecchino del Frate 
 Benedetto Ciamfanini 
 Gabrk-1 Ruftici 
 Fra. Paolo Piftolefe 
 John Van Neck 
 Chriilo. Lubienetzki 
 ( Abraham Genoels 
 \ J.unes Hcufeman 
 ( John Rietfchoof 
 I Mich. Madderfteg 
 
 MASTERS. 
 
 DISCIPLES. 
 
 Baccici Giov. Odazzi 
 
 Francis Badens John Nieulant 
 
 P. Veronefe 
 P. Earinato 
 Battifta Zelotti 
 Anton. Giufti 
 Andrea Scacciati 
 Domen. Ghirlandaio 
 f Anthony Vandyck 
 
 < Francis Snyders 
 (_ Peter Snayers 
 f Pietro Longhi 
 
 < Carlo Salis 
 
 £ Pietro Rotari 
 JohnBaptiftMonnoyer J. Baptift Fontenay 
 
 {Vannius da Siena 
 11 Sordo 
 Felice Pellegrini 
 Francefco Baroccio 
 Antoniano Urbinati 
 Bartolomeo Paflerotti 
 
 Anton. Badile 
 
 Mario Balaffi 
 Alefl*. Baldovinetti 
 
 Hen. Van Balen 
 Ant. Baleftra 
 
 Federigo Baroccio 
 
 Jacopo Bajozzi 
 
 Pietro Barfotti 
 
 Bartolet 
 
 Baccio Bandinelli 
 
 Abbate Bartolomeo 
 
 Giacomo Baflano 
 
 William Baur 
 Giov. Batt. Beinafchi 
 
 Giacomo Bellino 
 
 Giov. Bellino 
 
 Anton. Belluci 
 
 Nich. Berchem 
 
 Xx 
 
 Pietro Montanini 
 
 Gerard Lairefle 
 
 Francefco Salviati 
 
 Gherardo 
 f Francifco Baflano 
 \ Leandro BafTano 
 J Giov. Battilta Baflano 
 (.Girolamo Baflano 
 
 Francis Gobeau 
 
 Angela Beinafchi 
 f Giovanni Bellino 
 J Gentile Bellino 
 J Liberale Veronefe 
 L Giovanni da Udino 
 
 Titiano Vecclli 
 
 Giorgione 
 
 Lorerzo Lotto 
 
 Sebailian del Piombo 
 
 Antonio Balellra 
 
 Karel du J.irdyn 
 
 John Glauber 
 
 Irlugtenburgh 
 
 Peter de Kooge 
 
 I iftus I an fum 
 
 Di^k 
 
 Vander Meeren de Jong he 
 Ferd. 
 
 { 
 
 X. X 2 
 
yio 
 
 MASTERS. 
 
 Ferd. Galli Bihiena 
 
 Giovanni Maria Galli 
 
 Bibiena 
 Adrian de Bie 
 Pietro Bianchi 
 Ant. Bilircni 
 
 DISCIPLES. 
 
 {Giufeppe Civoli 
 Giov. Batt. Alberoni 
 Pietro Scandtllari 
 Giuf. Anton. Landi 
 Roberto Clerici da Parma 
 
 • Marc Anton. Francckhini 
 
 Abra. Blocmf.rt 
 
 Anthony Blockland 
 John Bol 
 
 Ferdinand Bol 
 
 Peter Bol 
 Bonefacio 
 Fabricio Bofchi 
 Andrea Bofcoli 
 Sandro Boticelli 
 
 John Both 
 
 Giov. Bat. Bolognini 
 
 Bon Boullongne 
 
 Louis Boullongne 
 
 Sebaft. Bourdon 
 
 Theodore Roos 
 Gaetano Sardi 
 Giov. Maria Morandi 
 -John Both of Italy 
 Andrew Both 
 Gerard Honthoril 
 Henry Bloemart 
 Adrian Bloemart 
 William Honthorft 
 Cornelius Poelemburgh 
 > John Baptill Weeninx 
 j Will. Van Drillenburgh 
 Nicholas Knupfer 
 Henry Verbruggen 
 Dirk Hals 
 John Bylert 
 Jacob Gerritze Kuvp 
 < "Michael Mircvelt 
 / Cornelius Kettel 
 ; Roland Savery 
 " James Savery 
 Ij Godfrey Knellcr 
 ' Cornelius Bifchop 
 David de Koninck 
 Giacomo BafTano 
 Simon Pignoni 
 Giov. Stefano Marueelli 
 Filippo Lippi, the Young 
 f Henry Verfchuring 
 3 Barent Bifbink 
 £ William de Heufch 
 C Lorenzo Bergunzoni 
 | Giacomo Bolognini 
 "Genevieve Boullongne 
 Magdalen Boullongne 
 John Bapt. Santerre 
 Louis Sylveftre 
 Jean Raoux 
 ! Claude Verdot 
 Cazes 
 
 Nicholas Bertin 
 Madem. Chriilophe 
 Dulin 
 Le Clerc 
 [Tourniere 
 Bon Boullongne 
 Sieur Comical 
 Madem. Gailoche 
 Courtin 
 Dclobel 
 Guillerot 
 
 Theodore Van Schuur 
 Daniel Savoyen 
 Monier 
 Friquet 
 
 MASTERS. 
 
 Bourgognone 
 
 GiacintoBrandi 
 
 Barih. Breenberg 
 Fred. Brendel 
 
 Peter Bruc<rhcl 
 
 John Brueghel 
 Matthew Bril 
 
 Paul Bril 
 
 John Bronkhorft 
 
 Agnolo Bronzino 
 
 f Par< 
 <Gio 
 (Anj 
 5 Rof 
 1 Feli 
 
 Gof 
 
 William 
 C John Bri 
 i Peter Gi 
 t Peter Br 
 
 DISCIPLES. 
 
 roccl, the Old 
 icfeft'o Pinaoci 
 gelo Eierardi 
 I Rofa da Tivoli 
 ( Felice Ottini, or Felicetto 
 Gofredy 
 William Baur 
 
 rueghel, his fon 
 uofche 
 rueghel 
 egers 
 ,'zen 
 :e Waal 
 i Fouquierea 
 Paul" Bril 
 William Nieulant 
 Agoilino TaiTi 
 Paul Ryccaert 
 Spicrings 
 Roland Savery 
 Balthafar Laura 
 .Cornelius Vroom 
 Ca.far Van Everdingen.- 
 Jacques Van Campen 
 Ak-ffendro Allori 
 Giov. Maria Butteri 
 Stefano Fieri 
 Battilta Naldini 
 
 ! 
 
 Adrian Brouwer 
 
 I. Lorenzo della Sciorina 
 
 {Jan Steen 
 Gonzales 
 David Teniers, jan. 
 Joos Van Kraelbeck 
 pGabriel Le Brurt 
 
 I Claude Audran 
 Verdier 
 Charles La FoiTe 
 . Houaife 
 j Vernanfal 
 I Le Fevre 
 I Nicholas Loir 
 J Jofeph Vivien 
 ^Gregory Brandmuller 
 Marc Ant. Bafletti 
 'Giuliano Bugiardini 
 Maitre Roux, or Rofla 
 Pierino del Vaga 
 Seballian del Piombo 
 Battilla Franco 
 M. Ang. Buonaroti ^ Tintoretto 
 
 Giorgio Vafari 
 Antonio Minio 
 Pietro Urbano Piftolefe 
 Afcanio del. ripaTranfone 
 .Marcello Venulti 
 Giovanni da Ponte 
 Giov. Bat. Moroni 
 
 Charles Le Brun 
 
 Felice Brufaforci 
 
 Buonam.Buffalmacco 
 AlciT. Buonvincino 
 
 Batt. Cairo 
 
 Carlo Cignani 
 
 Denis 
 
[ 7" ] 
 
 MASTERS. 
 
 DISCIPLES. 
 
 Denis Calvart 
 
 [acq Van Campen 
 Bernardino Campi 
 
 Luca Cangiagio 
 
 Domenico Canuti 
 
 called 
 
 Ludovico Cardi 
 
 •Guido 
 Domenichino 
 Vincenzo Spifanelli 
 Gab. Ferramini 
 Alb.ino 
 Petro da Crevalcuore 
 
 .Giov. Bertufio 
 Matthias Withoos 
 Sophonilba Angofcicla 
 C Horatio Cambiali 
 
 < Giov^Batt. Pagi 
 (_ Lazaro Tavarone 
 C Girolamo Negi i 
 
 < Giufeppe da! Sole 
 t Antonio Burino 
 fBartol. Manfredi 
 
 I Carlo Saraciao 
 Giufeppe Ribera, 
 M. A. Caravaggio -^ Spagnoletto 
 Leonelio Spada 
 Gerard Honthorft 
 _Carlo Loth 
 Andrea Commodi 
 ''Antonio Caracci 
 Albano 
 Guido 
 
 Domenichino 
 Lanfranc 
 Gucrcino 
 
 Innocenza Tacconi 
 Viola 
 ,' Pietro Pacini 
 Leonelio Spada 
 Giacomo Cavedone 
 Francefco Bolognefe 
 Bart. Schidone 
 Anton. Maria Panico 
 Sifto Badolochi 
 Pietro Paolo Gobbo, called 
 
 Gobbo Caracci 
 .Baldaffare Alloifi 
 "Annibal Caracci 
 Agollino Caracci 
 Annibal Maflari 
 Lorenzo Garbieri 
 Francefco Brizio 
 Ludovico Valefio 
 Aleflandro Albini 
 j Francefco Caracci, called 
 L Francefchino 
 f Paolo Veronefe 
 J Anfelmo Cannieri 
 (_ Domenico Riccio 
 Filippo Laura 
 Spinello Aretino 
 'Giacopo del Corfo 
 Lorenzo Coila 
 "Vitore Pifano 
 Pifanello 
 11 Marchino 
 Pietro Pollainolo 
 Giov. da Rovezzano 
 .Pefello Pefelli 
 
 Annibal Caracci 
 
 < 
 
 Ludovico Caracci 
 
 Giovanni Caroto 
 
 Angelo Carofel'o 
 Giac. del Cairentino 
 
 Andr. del Caitagno 
 
 M A S T B R S. 
 
 Bernardo Caftelli 
 
 Valerio Caftelli 
 
 Benedetto Cafliglione 
 Pietro Cavallini 
 
 Jacomo Cavedone 
 
 Frederico Cervelli 
 Jac. Chiavidelli 
 Philip de Champagne 
 
 Carlo Gignani 
 
 Girolamo Cignolo 
 Giovanni Cimabue 
 
 Circignano 
 
 Ludovico Civoli 
 
 Claus 
 
 Claud. Lorraine 
 
 Gilles Coignet 
 Andrea Commodi 
 M. Ang. Colonna 
 Giov. Contarini 
 
 Simon Contarini 
 Jacques Cornelis 
 AatonioCorreggio 
 
 Pietro da Coitona 
 
 D I SC I PL B 3£ 
 
 f Gic.v. Maria Caftelli 
 J Bernardino Cailelli 
 J Gio. Andr. daFcrrara 
 (.Valerio Caitelli 
 
 iGiov. Paolo Cerveto 
 Stefano Magnefco 
 BartolomeoBilcaintr 
 Giov. Batt. Merano 
 r Francefco Caftiglione 
 j Salvator Caftiglione 
 Giovanni da Piiloia. 
 
 {Ottavio Corradi 
 Battilta Cavazza 
 Flamminio Torre- 
 Andrea Sirani 
 Borboni 
 
 Sebaftian Ricci 
 C Giovanni Sacconi 
 •i Rinaldo Botti 
 
 Giufeppe Tonelli 
 
 J. Bapt. Champagne 
 ■Felice Cignani 
 
 Stcf. Maria Legnano 
 
 Marc. Ant. Francefchinii 
 
 Ludovico Quaini 
 
 Paolo Ant. Paderna 
 
 Francefco Mancini 
 
 Lamberti 
 
 AltifandTO Marcherini 
 
 Giuf. Maria Crefpi 
 
 Giov. Girolamo Boneli 
 "Giovanni Ghilolji 
 
 Giotto 
 t ChriilofanoRoncalli, called 
 l Pomerancio 
 ^Domenico Fetti 
 
 Pietro Medici 
 
 JeronimoBuratti 
 
 Auielio Lomi 
 
 Antonio Lelli 
 
 Giov. Biliverti 
 
 Sigifmondo Coccapani 
 
 John Kupetlki 
 f John. Domenick Romain 
 \ Herman Swanefeld 
 "j Angeluccio 
 ^Courtois 
 
 Cornelius Van Haerlenv 
 
 Pietro da Cortona 
 
 AutonioRoli 
 
 Tiberio Tinelli 
 
 Lorenzo Pafinelli 
 
 John Schoorel 
 
 Bernardo Soiaro 
 "Ciro Ferri 
 
 Vincentio Dandini 
 
 Romanelli 
 
 Giovanni Francefco 
 «( Lazaro Baldi 
 
 Pietro Tefta 
 
 Bourgognone 
 
 Giacinto Geminiani 
 
 Filippo Gherardi 
 
 Pietr* 
 
[ 7^2 ] 
 
 WASTERS. 
 
 Pietro da Cortona 
 
 Alexander Cooper 
 Pietro di Cofimo 
 
 Raphael Coxis 
 
 Lorenzo di Credi 
 
 Sebaftian Concha 
 Giov. Batt. Crefpi 
 Giov. Maria Crefpi 
 
 Franc. Curradi 
 
 D 
 
 Will. Van Dalen 
 Vincentio Dandini 
 
 Ca;fare Dandini 
 
 Abbate Danefe 
 Giov. Diamantini 
 Abr. Dipraam 
 Dornen. Ditinico 
 
 Will. Dodoens 
 
 Jacob Winder Does 
 La'lo Dolce 
 D< n.enico 
 
 Domenichino 
 
 Gerard Douw 
 
 Jt hn Fran. Douven 
 Hen. DubbcK 
 
 Albeit Duier 
 
 DISCIPLES. 
 
 Nicholas Duval 
 Luca Giordano 
 Giovanni Maracci 
 . Livio Melius 
 ] Salvio Caitelucci 
 
 I Pietro Caftelucci 
 Peter Puget 
 (_Francefco Bonifacio 
 
 Jfmael Mengs 
 ("Andrea del Sarto 
 j Giacomo da Puntorrao 
 J Lorenzo Coda 
 'S Ercole Ferrarcfe 
 I Ludovico Malino 
 (.Francifco da San Gallo 
 
 Cafpar de Craycr 
 5 Giov. Ant. Sogliani 
 ( Torr.afo di Stetano 
 Rofalba Mar. Salvioni 
 Daniello Crefpi 
 Antonio Gionima 
 C Pietro Curradi 
 \ Cofimo Curradi 
 
 Dirk Van Dalen 
 
 Ant. Domon. Gabbiani 
 f Aleffandro Rofli 
 < Antonio GiulU 
 t Vincentio Dandini 
 
 Felice Ramelli 
 
 Rofalba Camera 
 
 Matthias Wulfraat 
 
 Antonio Bellucci 
 f Daniel Mytens 
 jMch. Ravefkin 
 J Ausuftin Terweflen 
 (.William Wilting 
 
 Simon Vander Does 
 ( Alefl'andro Loni 
 I Onorio Marinari 
 
 Aiulr. del Caliagno 
 
 {Pietro Tcfta 
 Andrea Camafiei 
 Antonio da Meflina 
 Franccfco Cozza 
 f Francis Mieris 
 Herman Swanefeld 
 « I'eter Slingeland 
 "S Ka'rel de Moor 
 | Godfrey Schalcken 
 (.M.tthys Neveo 
 Fr. Bartholomew Douven 
 Liulolph Backhuyien 
 ("Albert Aldegraaf 
 j John dc Culmbach 
 J John Birkcmeir 
 } Krhard Schocn 
 
 rtholomew Boehm 
 LJohn Scheurflein 
 
 MASTERS. 
 
 Ad. Elflieimer 
 
 Corn. Engelbrecht 
 
 Angelo Everardi 
 Alb. Everdingen 
 Cxfar Everdingen 
 
 John Van Eyck 
 
 DISCIPLES. 
 
 "John Erneft Thomas, of 
 
 Landau 
 David Teniers, the Old 
 Solomon 
 .Moles, called Little Mofes 
 Lucas Van Leyden 
 Arto Leone 
 Aertgen de Lcide 
 Luca Cornelisz 
 Fauftino Bocchi 
 ( Ludoiph B;ickhuyfen 
 I Gerard Edema 
 Adrian Dekker 
 r R"^er \an Bruges, or 
 anderweydc 
 go Vai -...- Goes 
 tonello da Meflina 
 
 8 
 
 F 
 
 rRc-e 
 1 Hug, 
 
 I 
 
 Gentile da Fabriano 
 D-niel Falcone 
 Paolo Farinato 
 
 Ciro Ferri 
 
 Domen. Fiafella 
 Cajfare Fiori 
 Mario da Fiori 
 Fioravanti 
 Covert Flink 
 
 Francis Floris 
 
 James Fouquieres 
 
 Corto Ferrarefe 
 Mich. Forabofco 
 Giacomo della Fonte 
 
 Profpera Fontana 
 
 Charles la Fofle 
 Francefco Francazano 
 Frari da Modena 
 
 ! 
 
 ! 
 
 Gincomo Bellini 
 Salvator Rofa 
 Orazio 1 arinato 
 Corbel till i 
 Pietro Montanini 
 Giufeppe Niccola Nanni 
 Giovanni Odazzi 
 Filii po Maria Galetti 
 Valerio Caftelli 
 Andrea J'orta 
 Laura Beinafconi 
 M. Ang. Campidoglio 
 John Spilberg 
 Martin de Vos 
 Francis Pourbus 
 Anthony Blockland 
 Vandcr.broeck 
 [oris Van Ghent 
 Henry Van Cleef 
 Lucas de Heere 
 Benjamin Sammeling 
 Jerom Franckens 
 Ambrofe Franckens 
 Philip de Champagne 
 Rendu 
 Bellin 
 
 Bcnvenuto Garofalo 
 Pietro Bellotti 
 Antonio Sodoma Vecelli 
 Ludovico Caracci 
 Agoflino Caracci 
 Denis Calvart 
 Aleffandro Tiarini 
 Francis Marot 
 Salvator Rofa 
 Anton. Correggio 
 
 Mar. 
 
[ 7*3 ] 
 
 MASTERS. 
 
 Mar.An.Francefchini 
 
 Balth. Francefchini 
 Francefco Francia 
 
 Pietro della Francefca 
 
 Laurentius Franck 
 Ch. Alphonfe Frefnoy 
 
 Francis Frank 
 
 Giov. Fratellini 
 Tomafo daSan Friano 
 F'urini 
 John Fytt 
 
 DISCIPLES. 
 
 pGirolamo Gatti 
 J Giacinto Garofalini 
 } Francefco Meloni 
 j Giacomo Boni 
 I Antonio Roffi 
 l_Luca Biltega 
 
 Antonio Franchi 
 
 Amico Afpertino 
 fLorentino D'Arezzo 
 \ Luca Signorelli 
 J Pietro Borghefe 
 (_Giov. Angelico da Fiefole 
 
 Francefco Mille 
 r Guillerot 
 2 Monier 
 C Friquet 
 
 I Gualdorp Gortzius 
 ( John de Waal 
 
 Violante Beatrice Siries 
 
 Jacopo da Empoli 
 
 Lorenzo Bertucci 
 
 David de Koninck 
 
 r Lorenzo Mar. Fratellini 
 Dornen. Gabbiani 2 Tommafo Redi 
 
 CGiovanna Reda 
 Ant. Domen. Gabbiani Benedetto Luti 
 
 Gabriello, d'Occhiale 
 Camillo Gabrielli 
 Taddco Gaddi 
 Agnolo Gaddi 
 Hipolito Galantini 
 Benozzo Gazzoli 
 Antonio Gaudino 
 Giov. BattiUa Gauli 
 
 Girolamo Genga 
 
 Horatio Gentilefchi 
 
 Gerrard 
 
 Giacomo del Po 
 Giacinto Geminiani 
 
 Lorenzo Ghiberti 
 
 Pompeo Ghiti 
 
 Domen. Ghirlandaio 
 
 Agoltino Metelli 
 
 Giofeffo Maria Milani 
 
 Jacopo da Cafentino 
 
 Antonio Venetiano 
 
 Giovanna Fratellini 
 
 Zanobi Machiavelli 
 
 Ottavio Amigoni 
 
 Giovanni Odazzi 
 f Bartolomeo Genga 
 ) Francefco Menzochi 
 ) BaldafTare Lancia, da Ur- 
 £ bino 
 
 ( Orazio RLminaldi 
 l Artemifia Gentilefchi 
 
 Jan Verkolie 
 
 Martirelli 
 
 Luigi Geminiani 
 ^ Mallblino da Panicale 
 ^ Paris Spinello 
 
 Giov. Antonio. Capelli 
 
 Benedetto Ghirlandaio 
 
 David Ghirlandaio 
 
 Rodolfo Ghirlandaio 
 
 Domenico Puligo 
 
 Baftiano Mainardi 
 j M. Ang. Buonaroti 
 
 Francefco Granaccio 
 
 Nicholo Cieco 
 
 Jacopo del Tedefco 
 
 Jacnpo del Indaco 
 
 Saldino Br.ldinclli 
 ^Barbatelli 
 
 MASTERS. 
 
 Ridol. Ghirlandaio 
 
 Benedetto Gennari 
 Carfare Gennari 
 Giov. Ghifolfi 
 
 Luca Giordano 
 
 Giorgione 
 
 Cav. Giofeppino 
 
 Giotto 
 
 Giottino 
 
 John Glauber 
 
 Nicolo Golfino 
 
 Henry Goltzius 
 
 Gobbo 
 
 Francis Goubeau 
 Diederick Govertze 
 Baftian Govertze 
 Peter Goukind 
 
 John Van Goyen 
 
 Barent Graat 
 
 Fran. Peter Grebber 
 
 Feter Grcbher 
 
 DISCIPLES. 
 
 S Mariano da Pefcio 
 Antonio del Caraiolo 
 Toto del Nuntiata 
 Lorenzo di Credi 
 Carlo Portelli 
 
 Guercino da Cento 
 C Simone Gionima 
 l Aureliano Milani 
 
 Bernardo Racchetti 
 ("Nuzio Ferajuoli 
 I Paolo Mattei 
 I Pacelli 
 J Simonelli 
 ». Nicolo Malinchonic© 
 
 Mateo 
 ] Aniello Roffi 
 L Nicolo Roffi 
 pSebailian del Piombo 
 j Titiano 
 
 1 Francefco Torbido 
 j Giovanni daUJino 
 { Ant. Licinio, called Por- 
 \_ denone 
 \ Francefco Allegrini 
 ( Pietro Francefco Mola. 
 f Taddeo Gaddi 
 i Agnoio Gaddi 
 J Pietro Cavallini 
 j Simone Memmi 
 J Ottaviano da Faenza 
 | Pace da Faenza 
 j Giuglielmo ai. Foili 
 I StefanoFlortniino 
 I Ambrogio Lorenzetti 
 ( Giovanni Angelico 
 i Giovanni Toflicani 
 ) Michelino 
 J Giovanni da Ponte 
 [.Lippo 
 
 C John Gotlicf Glauber 
 l Diana Gl luber 
 
 Paolo Farin.HO 
 f Peter Grebber 
 "J John Vandfer Cys 
 
 M. Ang. di Battaglia 
 
 Nich. Largilliere 
 
 Raphael Camphuyfen 
 
 Gabriel Yander Leeuw 
 
 John, or Velvet Brueghel 
 f Nicholas Berche.n 
 \ Adrian Vander Kabel 
 J Herman Sachtkv eu 
 £jan Steen 
 
 John Hendrick Roos 
 ( Peter Grebber, hi fon 
 < Maria Grebbi i 
 I 1'etei Saenrcdam 
 f Theodore Helmbrcke* 
 \ Ni< holas B ■ hem 
 i I gbert I lemfkirk 
 £ Peter : 
 
 G uer- 
 
t 7'4 ] 
 
 ■ma STERS. 
 
 DISCIPLES. 
 
 GuiJo 
 
 'Ercole Gennari 
 Ca:fare Gennari 
 Paolo Anton. Paderna 
 Francefco Paglia 
 Mattco Loves 
 Seballinn Bonibelli 
 Guercino, da Cer.to ■( Mattia Preti, or Calabrefe 
 
 | Lucas Scaramucia 
 Paolo Anton. Barbieri, da 
 
 Cento 
 Antonio Triva 
 Padre Cxfare da Ravenna 
 Giovanni Bonatti 
 "Guido Cagnacci 
 Giovanni And. Sirani 
 Simon Contarini da PefTaro 
 Francifco Gefli 
 Giacomo Sementa 
 | Flamminio Torre 
 
 J Marercotti 
 
 *\ John Bolanger 
 Girolamo Rofli 
 Rugieri 
 
 Domer.ico Mar. Canuti 
 Giov. Batt. Bolognini 
 Pietro Francefco 
 Filippo Brizio 
 
 II 
 
 {Adrian Brouwer 
 Adrian Oltade 
 Dirk Van Delen 
 Peter Roeftraeten 
 Vincent Vander \ r inne 
 r Gerard Peters 
 Cornelius Jacobs 
 I Cornelius Fnghelfens 
 Cornel. Van Haerlem<( Qcrard Nrp F e 
 
 j Zach.ry D'Akmaer 
 i Peter Laftmaa 
 Abraham Mignon 
 
 David de Heem 
 
 Lucas deHeere 
 Martin llemfiurk 
 cifco Hefrera 
 William de Hcufch 
 
 Hans Holbein 
 
 Gilles Hondekoeter 
 Gy Inert Hondekoeter 
 Melch. Hondekoeter 
 Gerard Honthorit 
 
 Henry Schook 
 Cornelius Kick 
 Cornelius de Heem 
 Maria Van Gliertw) ke 
 Charles Vanmander 
 
 i Rawnert 
 Don Diego Vclafqucz 
 Jacob de Heufch 
 John Holbein, his fon 
 Chriflopher Amberger 
 John Afper 
 Gylbert Hndekoeter 
 Melchior Hondekoeter 
 William Romeyn 
 Joachim Sandrart 
 
 ( Godfrev Schalcken 
 ft,actcn |Arnold'Houbraken 
 
 Abraham Hondius 
 John Hofkins 
 
 ju.ius \ an iluyfum 
 
 MASTERS. 
 
 i 
 
 Lambert Jacobsz 
 
 Abraham Janflens 
 
 Julius Jardyn 
 Charles Jardin 
 Jacopino dal Conte 
 Innocentio da Imola 
 ImperialeGrammatica 
 William Van Inghen 
 
 DISCIPLES. 
 
 Jacques Jordaens 
 
 Julio Romano 
 
 K 
 
 John Van KefTel 
 Cornelius Kettel 
 Nicholas Knupfer 
 Albert Kuyp 
 
 Govert Flink 
 C Gerard Segers 
 l Theodore Rombouts 
 Hendrick Roos 
 Jacques Vander Does 
 Scipio Gaetano 
 Profpero Fontana 
 Antiveduto 
 Albert Spiers 
 pCafpar de Crayer 
 | Bartolet Flamed 
 ! Peter Donker 
 • Leonard Vander Koogcn 
 Peter Reuven 
 _ Henry Carre 
 * Pirro Ligorio 
 Tomafo Parerello da Cor- 
 
 tona 
 Raphael dal Colle 
 Primaticcio 
 Benedetto Pagni 
 Figurino da Faenza 
 j Bartol. da Calliglione 
 Giov. Batt. Mantuano 
 JEneas Vico 
 Giovanni da Lione 
 Ferrao Guiloni 
 Rinaldo Mantuano 
 Giov. Batt. Bertano 
 Giulio Clovio 
 Bonafone 
 
 Ferd. Van Keftol, his Ton 
 Wouter Crabeth 
 Ary de Voys 
 Barent Knlraat 
 
 I Albert Kuyp 
 Jacob Gemtze Kuyp } ^{^ ^ mdet Leeiiw 
 
 Gerard LairelFe 
 
 Peter Cornelius Verhocck 
 Samuel Cooper 
 John \ an Huyfum 
 
 Peter Laflman 
 
 Peter Lely 
 
 f Erneft Lairefle 
 | James Lairefle 
 
 John Laireile 
 j Philip Tideman 
 
 Jacob Vander Does 
 
 Otton.ar Elliger 
 
 Theod. Lubienetfki 
 
 John Hoogzaat 
 
 Repibrant Van Rhine 
 
 [an Licvens 
 
 John Pinas 
 
 Peter Nedek 
 
 John Albcrtz Roodfeus 
 I |ohn Grecnhill 
 1 Mary Beal 
 £ Buckthorn 
 
 L:be- 
 
[ 7M ] 
 
 MASTERS. 
 
 DISCIPLES. 
 
 Mario £>al 
 f Raphaelir 
 \ Nicolo Zc 
 t Nicolo C; 
 
 {Giovanni Francefco Caroto 
 Giovanni Caroto 
 Franc. Torbido, or II Moro 
 Paolo Cavazzuola 
 Carlo Loti 
 John Verkolie 
 Mario Balafli 
 
 lino del Garbo 
 Zoccolo 
 Cartoni 
 Giov. Paolo Lomazzo Ambrogio Figino 
 C Francis Floris 
 < William Kay 
 C Hubert Goltzius 
 ( Domenico Fiafcella 
 s Orazio Gentilefchi 
 C Riminaldi 
 Carlo Loth, or Loti, his fon 
 'ander Meerea 
 Strudel 
 Syder 
 f Gaetano Sardi 
 | Pietro Bianchi 
 J Placido Conftanza 
 j Domenico Piaflrini 
 I Jonn Baptift Vanloo 
 LCarlo Vanloo 
 
 Libcrale Veronefe 
 
 Pietro Liberi 
 Jan Lievens 
 Jacopo Ligozzi 
 
 Filippo Lippi 
 
 Lambert Lombard 
 
 Aurelio Lomi 
 John Ulrich Loth 
 Carlo Loti 
 
 Benedetto Luti 
 
 Carlo Lc 
 C John Va 
 < Peter Sti 
 I Daniel S 
 
 M 
 
 John de Mabufe 
 Vincentio Malo 
 
 Andrea Mantegna 
 
 Bartelemi di S. Marco 
 
 Carlo Maratti 
 
 Otho MafFeus 
 Fran.Mazzuoli, called 
 
 Parmigiano 
 Tomafo Mafaccio 
 MaiTolino 
 
 Agoflino Metelli 
 
 John Schoorel 
 
 Antonio Maria Vafallo 
 5 Francefco Monfignori 
 ( Marco Zoppo 
 
 SCecchino del Frate 
 Benedetto Ciamfanini 
 Gabriel Ruftici 
 Fra. Paolo Piftolefe 
 "Giufeppe PaiTari 
 Nicolo Berretoni 
 Giufeppe Chiari 
 Pietro da Petri 
 Girolamo Adam Romano 
 Andrea Lanzano 
 Robert Van Oudenarde 
 j Giov. Paolo Melchiori 
 Antonio Baleftra 
 Andrea Procaccini 
 Giacinto Calandrucci 
 Agoftino Mafucci 
 Mark Duvenede 
 William Van Inghen 
 Don Vincenzio Vittoria 
 Vromans 
 Jeronimo Mazzuoli, called 
 
 Parmigianino 
 Filippo Lippi, the Old 
 Tomafo Mafaccio 
 ("Domenico Santi, called 
 J Mingaccino 
 } Andrea Momicclli 
 ! Alborefi 
 
 MASTERS. 
 
 Agoftino Metelli 
 
 Gabriel Metzu 
 Jan Miel 
 
 DISCIPLES. 
 
 Giacomo Monti 
 Balchafar Bianchini 
 Giacomo Friani 
 Profpero Mangiiu 
 Mondivi 
 Rolli 
 
 _Ludovico Quaini 
 Michael Van MulTcher 
 
 5 John Afl'elyn 
 1 Chrift 
 
 Francis Mieris 
 
 Abraham Mignon 
 
 Francefco Mille 
 
 
 iftopher Orlandi 
 fLermans 
 Peter Van Slingeland 
 Karel de Moor 
 John Mieris, his brother 
 Will. Mieiis, his fon, called 
 
 Young Mieris 
 His two daughters 
 Ernell Stuven 
 Maria Sybilla Merian 
 His two fons 
 Theodore 
 "Paul Moreelze 
 Peter Gerritze 
 Claude Cornelifze 
 MichJanfenMixevelt^^DietenckKluyt 
 
 IHendrick Van Vliet 
 Peter Mirevelt, his fon 
 l_Jacq. Delft, his grandfoa 
 C Madem. Natoire 
 < Boucher 
 I Nonotte 
 ■"Giovanni Bonati 
 Giov. Batt. Buoncuori 
 Antonio Gherardi 
 John Baptift Foreft 
 Collandon 
 " Reynier Brakenburg 
 Bernard Schyndal 
 Dirk Maas 
 ^ James Fouquieres 
 r Jacob Vander Does 
 ■J John Baptift Weeninx 
 * Paolo Cavazzuola 
 Francefco Moroni 
 GiofefFo Laudati 
 Ifaac Moucheron, his fori 
 rjofeph Murillio, his fon 
 | Cavalier Villavicienfo 
 l Clement de Torres 
 K Don John Siraon 
 I Stephen Marquez 
 I Sebaftian le Mulat* 
 Caefar Nebula 
 
 Le Moine 
 
 Francefco Mola 
 
 Henry Mommers 
 
 Jodocus Mompert 
 
 Nicholas Moojart 
 
 Francefco Moroni 
 Domenico Moroni 
 Pietro Montanini 
 Frederick Moucheron 
 
 Barthol. Murillio 
 
 Jeronimo Mutiano 
 
 N 
 
 Battifta Naldini 
 Peter Neefs 
 
 y y 
 
 
 Domenico Crefli, 
 
 Paffignano 
 Francefio Curradi 
 Balducci 
 Pettr Neefs, his fon 
 
 railed 
 
 Arnold 
 
C 716 ] 
 
 MASTERS. 
 
 Arnold VanderNeer 
 Lglon Vander Neer 
 
 DISCIPLES. 
 
 Eglon Vander Neer 
 Adrian Vander Werf 
 
 Gafpard Netfcher 
 Conftantine Netfcher 
 
 1 
 
 Theod. Netfcher ) his 
 Conftant.Netfcher J fons 
 Jacob Vander Does 
 John Vollevens 
 Conrade Roepel 
 Mario Nuzzi, called f Batt. Gauli, called Baccici 
 da Fiori LDomenico Bettini 
 
 MASTERS. 
 
 Lorenzo Paffinelli 
 
 Joachim Patenier 
 Santo Peranda 
 
 Adam Van Oort 
 
 Anthony Van Opftal 
 
 Bernardo Orgagna 
 Andrea Orgagna 
 Bernard Van Orlay 
 
 Adrian Oftade 
 
 Albert Van Ouwater 
 
 {Peter Paul Rubens 
 Jacques Jordaens 
 Sebailian Frank 
 Henry Van Balen 
 \ John Mytens 
 I Jacques de Roore 
 Andrea Orgagna 
 Andrea Pifano 
 Peter Kouc 
 f Cornelius Bega 
 < Cornelius Dufart 
 {Ifaac Oftade 
 Gerrard Van Haerlem 
 
 Francifco Pachcco 
 
 Battifta Pagi 
 
 Antonio Palermo 
 
 Palma Vecchio 
 
 Voung Palma 
 
 Parofilio 
 
 Carlo Fran. Pamfilio 
 PietroPaolini 
 John Parccllcs. 
 
 Jofcph Parrocel 
 
 Bartol. PafTerotti 
 Giov. Batt. Paflari 
 
 Faffignano 
 
 i,o£eruo Paffinelli 
 
 Don Diego Velafquez 
 C Pietro Maria Gropallo 
 < Benedetto Cafliglione 
 ( Doinenico Fiafella 
 
 Jacques Bakker 
 C Lorenzo- Lotto 
 ■j Venetiano Bonefacio 
 C Francefco Zugni 
 Jacopo Albarelli 
 5 Carlo Francifco Nuvalone, 
 \ called Pamfilio 
 Fcderigo Panza 
 Giovanni Maracci 
 Julius Parcelles 
 f Charles Parrocel, his fon 
 \ I m at. Parrocel ) his 
 } Peter Parrocel J nephews 
 t Francis Sylveftre 
 f Francefco Brizio 
 < Francefco Vanni 
 ( Agoftino Caracci 
 Glufeppe Pallati 
 ("Mario B a I alii 
 
 Francefco Furini 
 J Simon Pignoni 
 * I Letro Sorri 
 I Aleifandro Thriui 
 l^Ottavio Vannini 
 fQiufeppe dal sole 
 1 Gftuieppe Mazza 
 1 Candido Vital] 
 ] Giofeffo Ma.-i » Bartolini 
 
 IGiov. Petro Zanotti 
 GiofcifoGambarini 
 
 Pietro Ferugino 
 
 Gerrard Peters 
 Alexander Petit 
 
 Bakhafar Peruzzi 
 
 Pierino del Vaga 
 
 DISCIPLES. 
 
 I Aureliano Milani 
 ' Aleifandro Mar. Furinefe 
 "S Therefia Muratori 
 l_Francefco Baifi 
 
 Francis Mofkrt 
 
 Filippo Zanimberti 
 "Raphael Santio da Urbino 
 
 Girolamo Genga 
 
 Rocco Zoppo 
 
 Nicolo Soggi 
 
 Pietro il Monte Varchi 
 
 Gerino daPiftoia 
 
 Baccio Ubertino 
 
 Andrea Luigi D'Affifi 
 
 Bernardino Pinturiccio 
 
 Giov. Antonio L'Appoli 
 ^Benedetto Caporali 
 
 Govarts 
 
 William Doudyns 
 f Daniel Ricciarelli da Vol- 
 J terra 
 
 J Francefco Sanefe 
 LDomenico Beccafiumi 
 
 "Marcello Venufti 
 
 Mantuano 
 
 . Siciolante da Sermoneta 
 
 Ludovico Vargas 
 
 „Livio Agrefti 
 
 Li 
 
 It 
 I 
 
 Pietro da Vecchia 
 Sebaflian del Piombo 
 
 \ Aeoftino Litterini 
 Ijw 
 
 „ j an Segala 
 Tomafo Laurati 
 John Vander Lis 
 Daniel Vertangen 
 Varrege 
 Francis Venvilt 
 Cornel. Poelemburg ^ Warnard Van Rifeit 
 
 John David Hanibergcn 
 William V;:n Steenrcc 
 Little Mofcs 
 ^Gerard Hott 
 Antonio Pollajuolo, his fon 
 Bartokmeo Manfredi 
 Andrea Celefti 
 Ferdinar.do Porta, his fen 
 
 Pietro Pollajuolo 
 Pomerancro 
 
 Giov. Maiteo Ponzoni 
 Andrea Porta 
 
 Licinio Pordenone 
 
 Peter Potter 
 Henry Pott 
 Francis Pourbus 
 Micolo PoulTm 
 
 C Julio Licinio Pordenone 
 
 V 
 
 GafparPouffin 
 
 Primaticcio 
 Ercole Procaccini 
 
 Jul. Cxf. Procaccini 
 
 Pompenio Amaltheo 
 
 Paul Potter 
 
 William Kalf 
 
 Gualdorp Gortzius 
 
 G.ifpar Pouflin, or Dughet 
 
 Crefcentio 
 
 Jacques de Rocfter, of 
 Mechlin 
 
 Vincentio 
 
 MelTer Nicolo da Modena 
 
 Camilla Procaccini 
 
 Jul. Of. Procaccini 
 ^ Carlo Ant. Procaccini 
 ( Ercole Juniore 
 I Damello Crefpi 
 
 CamiUo 
 
 1 
 
[ 7i7 ] 
 
 MASTERS. 
 
 DISCIPLES. 
 
 iCaliilo Toccagni 
 Giacinto da Medea 
 Lorenzo Franchi 
 Ludovico Caracci 
 Carlo Biffi 
 Adam Pynaker Gyibei t Verhoeck 
 
 Domenico Puligo Domen. Beceri. Florentino 
 
 Giacomo daPuntormo Battiita Naldini 
 
 Q- 
 
 Erafmus Quellinus 
 
 R 
 
 rErafmus Quellinus, his fon 
 1 Artus Quellinus 
 < Jof. Vanden Kerckhove 
 I Anthony Schoonjans 
 (.Wallerant Vaillant 
 
 Raphael 
 
 Raphael de Reggio 
 Raphael dal Colle 
 Hubert Raveitein 
 
 "Julio Romano 
 Francef.Penni, or II Fattore 
 Polidoro da Caravaggio 
 Maturino 
 Pierino del Vaga 
 Pelegrino da Modena 
 Michael Coxis 
 Gaudentio 
 Giovanni daUdino 
 Raphael dal Colle 
 BenvenutoGarofalo 
 Bartol. daBagnacavallo 
 Timoteo da Urbino 
 Vincen. da San Geminiano 
 Bernard Van Orlay 
 
 _ Peter Campanna 
 
 Raphaelino del Garbo J B J2£™° 
 
 Giufeppe D'Arpino 
 Chrittofano Gerardi 
 John Hanneman 
 
 "Leonard Bramer 
 Gerard Douw 
 Govert. Flink 
 Adrian Verdoel 
 Heyman Dullaert 
 Ferdinand Bol 
 Gerbrant Vander Eeckhout 
 Jacob Laveque 
 Nicholas Maas 
 Bern. Keillh, ofDenmark 
 Jurian Ovens 
 Paudits 
 
 Michael Willemans 
 Sam. Van Hoogellraeten 
 Arent d&Gelder 
 Droft 
 Philip de Koningh 
 
 (_ Godfrey Kneller 
 Marco Ricci 
 Pietro Anton. Barbieri 
 
 C Alexan. Veronefe, called 
 
 'I Turchi 
 
 Yy 
 
 Rembrant 
 
 < 
 
 Sebaftian Ricci 
 Baptilla Ricci 
 
 Felice Riccio 
 
 MASTERS. 
 
 Claudio Ridolfi 
 Hyacinth Rigaud 
 
 Anthony Rivalz 
 
 Roland Roghman 
 
 John Hendrick Roos 
 
 Giov.Fran. Romanelli 
 Girolamo Romanino 
 
 Salvator Rofa 
 
 Cofimo Rofelli 
 
 DISCIPLES. 
 
 Simone Cantar. da Peffaro 
 
 5 Nicholas Defportes 
 
 I Jean Rane 
 
 r Chevalier Rivalz, his fon 
 
 J Bartholomew Rivalz 
 
 C Peter Subleyras 
 
 C Peter Wouwermans 
 
 I John Griffier, the Old 
 
 C Philip Roos, called Rofa 
 
 < da Tivoli 
 
 { John Melchior Roos 
 
 Urbano Romanelli, his fon 
 
 Jeronimo Mutiano 
 
 f Augullin Rofa, his fon 
 
 \ Bartolomeo Torregiani 
 
 Giov. Grifolfi, da Milan* 
 
 , Pietro Montanini 
 
 Pietro di Cofimo 
 
 Andrea di Cofimo 
 
 Mariotto Albertinelli 
 
 Mario Balaffi 
 
 Baldaffare Francefchini 
 
 J Francefco Furini 
 
 j Baccio, or Bartelemi da 
 
 l_ S. Marco 
 
 f Lorenzo Lippi 
 
 Matteo Rofelli 1 Giov.Manozzi, called Gio- 
 
 l vanni da San Giovanni 
 
 t Marcello Provenzale da 
 
 l Cento 
 
 Philip Meufnier 
 
 Domenico Barbieri 
 
 "Anthony Vandyck 
 
 David Teniers, the Old 
 
 Jacques Jordaens 
 
 Peter Soutman 
 
 Francis Wouters 
 
 Van Mol 
 
 Abraham Diepenbeck 
 
 Mathys Vandenberg 
 
 . Theodore Van Thulde« 
 
 "> Samuel Hoffman 
 
 Deodate del Mont 
 
 John Van Hoeck 
 
 Erafmus Quellinus 
 
 Lang Jan 
 
 Julius, or Jouft 
 
 Cornelius Schut 
 
 Gerard Segers 
 
 William Backereel 
 
 Francefco Rufca Antonio Zanchi 
 
 Giov. Franc. Ruftici Baccio Bandinelli 
 
 Jacob Ruyfdal Ifaac Koene 
 
 David Ryckaert, the7x T - i i j , T i o j 
 
 qjj ' > Nicholas de Hen Stcccado 
 
 David Ryckaert, the ) „ , _ 
 Young $ Gonzales Coques 
 
 Warnard Van Ryfen Gerard Hoet 
 
 Rofetti 
 
 James Rouffeau 
 Maitre Roux, or Roflb 
 
 Peter Paul Rubens 
 
 y y a 
 
 Andrea 
 
[ 7i8 ] 
 
 MASTERS. 
 
 DISCIPLES. 
 
 Andrea Sacchi 
 Carlo Sacchi 
 
 Herman Sachtleven 
 
 Archang. Salimbeni 
 Tommafo Salini 
 
 Francefco Salviati 
 
 Andrea del Sarto 
 
 ( Carlo Maratti 
 
 \ Ludovico Garzi 
 
 i Carlo Girolarao Berfotti 
 
 ( Bernardino Ciceri 
 
 {John Vollerman 
 John Griffier 
 Ludolph de Jonghe 
 William Van Bemmel 
 John Van Bunnik 
 { Francefco Vanni 
 ( Pietro Sorri 
 Maria Nuzzi, or daFiori 
 
 {Roviale Spagnuolo 
 Domenico Romani 
 Giufeppe Porta 
 Annibal Nanni 
 Ant. Salviati, of Bo- r M. Ang. Cerquozzi, di 
 
 logna l Battaglia 
 
 Jacopo di Sandro Tomafo Manzuoli 
 
 Tomafo Sandrino Ottavio Viviani 
 
 Giov. Giofeffo Santi Angelo Mich. Cavazzoni 
 ^Cecchino Salviati 
 Jacomo Puntormo 
 Francefco Salviati. 
 Giorgio Vafari 
 Giacinto Sandro 
 Nannoccio 
 Tacone 
 
 Andrea Squazzella. 
 Domenico Conti 
 Lambert Lombard 
 Giacomo dal Conte 
 i Ifaac Major 
 <Aldret Van Everdingen 
 (William Nieulant 
 i Andrea Lanzano 
 \ Andrea Polfo 
 David Boon of Amderdam 
 Gemvyn- 
 e Moor 
 an Benttim. 
 Daniel Schellinks 
 Antonio More 
 Martin Hemfliirk 
 George Gefel 
 George Befam 
 J. Phil. Van Thielen, or 
 
 C'ouwcnberg 
 Jan Miol 
 
 Ottomar Elliger, the Old 
 Lucas Francois, the Young 
 Lucalz Peters 
 
 . rho. Wilieborts Boflchart 
 Philip Van Thielen 
 Bernardino CatU'ili 
 Girolamo Genga 
 Eiizabetha Sirani 
 Ajith.F.ran.VanderMeulerj 
 
 Itoland Savery 
 
 Ludov, Scaramuccia 
 
 Godfrey Schalcken 
 
 William Schellinks 
 John Schoreel \ 
 
 Anthony Schoonjans 
 
 Chri.topher bi.ii a. trtz 
 
 Gerard Segcrs. 
 
 I nimi eat 
 
 i David Bo 
 Simon G 
 Karel de 
 Julius Va 
 
 Daniel Segers 
 Andrea Semini 
 Liii i SignorelH 
 (.i.i •..-., d . ^ Irani 
 fitter Sua; 
 
 MASTERS. 
 
 Francis Snyders 
 
 Bernardo Soiaro 
 Ant. Maria dal Sole 
 
 Giufeppe dal Sole 
 
 Matteo Sorella 
 Pietro Sorri 
 
 Francefco Solimena 
 
 Spinello Aretino 
 Barthol. Sprangher 
 
 Spagnoletto 
 
 Francefco Squarcione 
 Gherardo della Star 
 
 nina 
 Stefano Fiorentina 
 Lorenzo di Stefano 
 
 Giov. Bat. Stefanefch 
 Henry Stenwyck. 
 John Stradanus 
 Bernardino Strozzi 
 
 Erneft Stuven 
 
 Herman Swanefeld 
 Julius Subtermans 
 
 Euftachius le Sueur 
 
 DISCIPLES. 
 
 {Nicafius Bernaert 
 Jurian Jacobfz 
 Van Boucle 
 Boul 
 . . . Griff 
 ( Bartholomew Sprangher 
 J Sophonilba Angofciola 
 Giufeppe dal Sole 
 
 {Therefia Muratori 
 Girolamo Donini 
 Felice Torelli 
 Battiilino Grati 
 Baldaffare Francefchini 
 1 Bernardiao Strozzi, called 
 "! Prete Genovefe 
 Giacinto Corrado 
 Sebaftian Concha 
 Francef. della Mura, called 
 
 Francefchiello 
 Giufeppe Guerra 
 Nicolo Maria Roffi 
 Giufeppe da Cartel da mare 
 Terdinando da San Felice 
 , Paris Spinello, his fon. 
 1 Lorenzo di Bicci 
 
 John Van Ach 
 t Luca Giordano 
 % Adrian Van Linfchoten 
 C Salvator Rofa 
 Andrea Mantegna 
 
 > Maflblino da Panicale 
 
 Domenico Moroni 
 
 I.iberale Veronefe 
 . t HippolitoGalantino, called 
 \ Cappuccino 
 I Peter Neefs, the Old 
 
 < Henry Stenwyck, . his fon 
 (_ WolfFAveanan 
 ( Antonio Tempefta- 
 I Scipio Stradanus, his fon 
 f Clemen te Bocciardi 
 
 < Giov. Francefco Caflkna 
 (_ Antonio Travi da Scllri 
 l Herman Vandcr Myn 
 I Elias Vanden Broek 
 
 James Roufleau 
 
 Ant. Domenico Gabbiani 
 (" Peter le Sueur 
 I Philip le Sueur 
 ! Anthony le Sueur 
 ) Thomas Goulai 
 J Nicholas Colombcl- 
 l_Le Fevre 
 
 Andrea Tafii 
 Emilio Taruffi 
 
 A-roftinoTaiTi 
 
 1 
 
 I 
 
 Buonamico BufTalmacco 
 Maria Helena Panzacchia 
 Ottavio Viviani, called 
 
 Codazzo 
 Claude Lorraine 
 
 Adx. 
 
[ 7'9 ] 
 
 MASTERS. 
 
 DISCIPLES. 
 C Francis Mieris 
 
 1 Ary de Voys 
 Adr.Vanden Tempel { Haac Palling 
 
 Peter Tempefta 
 
 David Teniers, 
 Young 
 
 the 
 
 Gabriel Terrantino 
 Gerard Terburg 
 
 Auguftin Terweflen 
 
 Tintoretto. 
 
 Santi di Titi 
 
 / Michael Van MufTcher 
 (_Karel de Moor 
 Scipio Cignaroli 
 „ _ .' , ... C David Teniers > his 
 Dav. Teniers, the Old J Abraham Teniers J fons 
 - Abfhoven of Antwerp 
 De Hont 
 Ertebout 
 
 Arnold Van Maas 
 Abra. Teniers, his brother 
 VincentioMalo 
 Hendrick Martenze Sorgh 
 Domenick Ryckaert 
 Van Helmont 
 Mich. Ang. Colonna 
 t Gafpar Netfcher 
 ) Roel of Koets 
 r Elias Terweflen 
 ■> Matthew Terweflen 
 rYoung Palma 
 I Domen. Tintoretto, his fon 
 I Maria Tintoretto, his 
 J daughter 
 J H. Staben 
 John Rothenamer 
 Martin de Vos 
 Agoftino Ciampelli 
 "Francef.Vecelli, his brother 
 Horatio Vecelli, his fon 
 Giacomo Tintoretto 
 Battifta Zelotti 
 Paris Bordone 
 ohn Calkar 
 ndrea Schiavone 
 Hernandez el Mudo 
 Giacomo Palma 
 Nadalino del Murano 
 Damiano Mazza 
 Giovanni Fiamingo 
 Akflandro Buonvincine 
 Alcflandro Maganza 
 Giov. Mar. Verdizzotto 
 ^Dieterick Barent 
 Jacopo da Empoli 
 C Francis Mieris, the Old 
 I Mathys Neveu 
 Giov. di Giorgio Torellino 
 Giovanni Viani 
 Antonio Meloni 
 
 [j 
 
 Titiano Vecelli 
 
 fc 1 
 
 < 
 
 Tomafo da SanFriano 
 Jacques Toornvliet 
 Felice Torelli 
 
 Flamminio Torre 
 Francefco Trevifani 
 
 Louis de Vadder 
 Simon de Valk 
 Gilles Valkenburgh 
 Charles Vanmanjer 
 
 Lucas Achtfhellinks 
 Adr'an Vander \ enne 
 Hendrick Vander Borcht 
 Francis rials 
 
 MASTERS. 
 
 Anthony Vandyck 
 
 Eglon Vanderneer 
 
 A.c ■ it- j r Martin, tl 
 Ant Francis Vander^ Boudouin 
 
 DISCIPLES. 
 
 "John Hanneman 
 
 Lang ]an 
 
 DavidBeck 
 
 James Gandy 
 .Bertram de Fouchier 
 
 Adrian Vander WerfF 
 
 Martin, the Elder 
 
 Meulen 
 
 C Bonnart 
 Rutilio Manetti 
 Raphael Vanni 
 Aftolpho PetrazzI 
 Mich. Ang. Vanni 
 Eglon Vanderneer 
 Jacques Van Uden 
 Dirk Vandenberg 
 Jacob Koning 
 John Vander Bent 
 Peter Vander Leeuw 
 John Van Goyen 
 William Vandervelde, £ William Vandervelde, 
 
 Francifcus Vannius 
 
 Jacob Vanloo 
 Lucas Van Uden 
 
 Adrian Vandervelde 
 
 Efaias Vandervelde 
 
 the 
 
 the Old 
 Aleflandro Varotari 
 
 Antonio Vaffilacchi 
 
 3 Young 
 f Julio Carpione 
 * Pietro di Vecchia 
 £ Clara Varotari 
 " Paolo Farinato 
 
 1 
 
 Battifta Zelotti 
 
 t-. tv it i /■ S T" an de Pareja 
 Don Diego Velafquez j fc artholomew J Murill 
 
 Paolo Mazocchi, 
 
 Antonio Venetiano 
 
 Domenico Venetiano 
 
 Otho Venius 
 
 Peter Verbeek 
 Ant. Vercelli, Sodoma 
 Gafpar Pet. Verburgh 
 (ohn Verburgh 
 Verendaal 
 
 Tobias Verhaecht 
 
 Jan Verkolie 
 
 Andrea Veroccio 
 
 10 
 
 called- 
 Uccello 
 
 Gherardo Stamina 
 
 Andrea del Caftagno 
 f Peter Paul Rubens 
 < Gertrude Veniusj his 
 I daughter 
 
 Gilles Schagen 
 
 Daniel da Volterra 
 
 David Bailii 
 
 John Bronkhorft 
 
 N. Morell 
 f Peter Paul Rubens 
 { Martin Ryckaert 
 fNich. Verkolie, his foa 
 1 Vander Wilt 
 J Vander Spreet 
 } Albert Vanderburgh 
 
 Henry Steenwinkle 
 _ William Verfchuring 
 "Pietro Perugino 
 '. Lionardo da Vinci 
 J Francefco di Simone 
 v Agnolo di Polo 
 
 Lorenzo di Credi 
 
 Giov. Francefco Ruft!ci 
 
 Bened Gagliari, his brother 
 
 Paolo Veronefe 
 
 Liberale Veronefe 
 
 ! Carletto Cag'iari, j 
 J Gabriel Cagiiari, J 
 \ Dario Vprotari 
 | Claudio Ridolfi. 
 (_Antonio Vallilacchi 
 l Francefco TcrbiJo, 
 | li Moro 
 
 his 
 fons 
 
 called. 
 
 Henry 
 
( 720 ] 
 
 MASTERS. 
 
 Henry Verfchuring < 
 Philip Uffenbach 
 Giovanni Viani < 
 
 Domenico Mar. Viani 
 
 i 
 
 Jacopo Vignali •< 
 
 Vinccnzo da Stefano 
 Vincentio 
 
 Lionardo da Vinci ■{ 
 
 Daniel Voltelmans 
 Simon de Vlieger 
 
 Daniel da Volterra < { 
 
 John Voorhout 
 Conftantine Voorhout 
 John Vofterman 
 William De Vos 
 
 Simon Vouet 
 
 Ferdinand Voet 
 John de Vries 
 
 DISCIPLES. 
 
 William Verfchuring 
 Matthew Wytman 
 Adam Elfheimer 
 Domenico Maria Viani 
 1'ietro Francefco Cavazza 
 Mich. Ang. Monticclli 
 Carlo Antonio Rambaldi 
 GiofefTo Orfoni 
 Carlo Dolce 
 Domenico Bettini 
 Liberale Veronefe 
 Mich. Ang. di Battaglia 
 Antonio Boltrafiio 
 Caefare da Sello 
 Jacopo Puntormo 
 Fr.wcifco Melzi 
 Giov. Francefco Ruilici 
 Bernardo Lovino 
 Andrea Salaino 
 Marco Uggioni 
 Paolo Lomazzo 
 Paul Bril 
 
 Will. Vandervelde, junior 
 Paolo Rofetti, da Volterra 
 Rocca 
 
 Marco da Siena 
 Michael Alberti 
 Pellegrino Tibaldi 
 Feliciano da San Vito 
 Biagio da Carigliano 
 Giulio Mazzoni 
 Erneft Stuven 
 John Voorhout 
 John Soukens 
 Julius Subtermans 
 Charles le Brun 
 Francis Perrier 
 Nicholas Chaperon 
 Eullachius le Sueur 
 John Baptifl Mole 
 Tartebat 
 
 Nicholas Dorigny 
 Char. Alphonle du Frefnoy 
 Valentino 
 Peter Mignard 
 Charles Poerfon 
 Michael Corneille 
 Louis Teilelin 
 Belli 
 
 Aubin Vouet, his brother 
 _Noel Coypel 
 Jacopo D'Agar 
 Henry Stenwyck 
 
 MASTERS. DISCIPLES. 
 
 Cornelius Vroom John Parcelles 
 
 W 
 
 John de Waal 
 Anthony Wattcau 
 
 \ 
 
 Cornelius de Waal 
 
 John Baptift Pater, called 
 
 Paterre 
 Nicholas Lancret 
 John Weeninx, his fon 
 Nicholas Berchem 
 
 John Baptift Weeninx 
 
 / Theodore Valckenburgh 
 
 f Peter Vander Werff ' 
 | John Chriilian Sperling 
 
 Adrian Vander Werff J JyH"""* Domen 
 >. Julius Linihourg 
 
 J John Abel Waflenburg 
 
 l_ Vandyck 
 
 \ Nicholas Duval 
 
 I Augullin Terweftcn 
 
 Nicholas Wieling 
 
 Adam Willaerts 
 Jan Wils 
 
 John Van Winghen 
 Emanuel de Witt 
 Michael Wolgemuth 
 
 Philip Wouwermans 
 
 Thomas Wycke 
 John Wycke 
 
 John Wynants 
 
 Abraham Willaerts, his fon 
 
 Nicholas Berchem 
 
 Otho Venius 
 
 Henry Van Streek 
 
 Albert Durer 
 ("Peter Wouwermans, 
 | John Wouwermans, 
 | his brothers 
 ■<[ John Griffier 
 | John Vander Bent 
 | Barent Gaal 
 l_Emanual Murant 
 
 John Wycke 
 C . . . . Wootou 
 I John Van Hugtenburgh 
 i Philip Wouwermans 
 ( Adrian Vandervelde 
 
 Martin Zaagmoolen 
 Antonio Zanchi 
 Hendric Mart. Zorgh, 
 or Sorgh 
 
 Taddeo Zucchero 
 
 Federigo Zucchero 
 
 Jacques Van Zwanen^ 
 burg 
 
 Michael Van MuiTcher 
 Francefco Trevifani 
 
 Abraham Diepraam 
 
 C Bartol. Paflerotti 
 \ Federigo Zucchero 
 "Otho Venius 
 Raphael da Reggio 
 - Domen. Paflignano 
 | Francefco Vanni 
 (. Jacob Buncl 
 
 £ Rembrant Van Ryn 
 
CATALOGUE 
 
 O F 
 
 Thofe PAINTERS who Imitated the Works of the 
 Most Eminent MASTERS, with fo great a Similitude of 
 Style, Touch, and Colouring, that the Works of the former, are 
 frequently miftaken for the Works of the latter ; though, to a 
 penetrating Judgement, the Difference may be plainly perceptible. 
 
 masters. 
 
 imitators. 
 
 Albano, imitated by Giov. Battifla Mola 
 B 
 
 Backhuyfen, 
 Giacomo BafTano, 
 
 Bamboccio, 
 Baroccio, 
 B.-eenberg, 
 Berchem, 
 Paul Bril, 
 
 M. A. Buonaroti, 
 
 Bourgognone, 
 John Brueghel, 
 
 by Henry Rietfchoof 
 ("Leandro BafTano 
 j Francefco Baflano 
 , j Pet. Cornelius Derick 
 •*\ David Teniers, the Young 
 j TiberioTinelli 
 (_Luca Giordano 
 by Barent Graat 
 by Giufeppe Maria Crefpi 
 by Gofredy 
 by John Sibrechts 
 by William Nieulant 
 , C Gregorio Pagani 
 
 ^ I Pellegrino Tibaldi 
 by Peter Verhoeck 
 by John Van Breda 
 
 r y 
 
 Annibal Caracci, by < ■>, 
 
 Ludovico Caracci, by < 
 
 Caravaggio, by < 
 
 Valerio CaftelH, by 
 Benedetto Caftiglione, 
 Carlo Cignani, by 
 Claude Lorraine, by 
 
 acomo Cavedone 
 
 acques Van Ooft, the Old 
 Annibal Maffari 
 Paolo daMattei 
 Mantredi 
 Anthony Rivalz 
 Valentino 
 
 Giov. Paolo Cervetto 
 Francefco Caftiglione 
 Ludovico Qjaini 
 John Domenique 
 4 
 
 MASTERS. 
 
 IMITATORS. 
 
 fCasfar Arethufi 
 Ludov. Cardi, called Cigolj 
 Bartol. Schidone 
 Girolamo da Carpi 
 Paolo da Mattei 
 Pietro daCortona, by Ciro Ferri 
 
 D 
 
 Lewis Deyfter, 
 Carlo Dolce, 
 
 Gerard Douw, 
 
 Adam Elfheimer, 
 
 by Anna Deyfter 
 by Onorio Marinari 
 
 f Peter Slingeland 
 by < Gafpar Netfcher 
 
 C Godfrey Schalcken 
 
 f James Erneft Thomas, of 
 t J Landaw 
 y | Little Mofes 
 £ Solomon 
 
 Fouquieres, by 
 
 Pietro del la Francefca, 
 John Fytt, by 
 
 Belin 
 
 Luca Signorelli 
 
 David de Konincic 
 
 Gerrard, by Jan Vcrkolie 
 
 Ghifolh, by Bernardo Racchetti 
 
 f Pietro da Veccbia 
 Giorgione, by<J Sebailian del Piombo 
 
 { Bart, da Bagnacavallo 
 
 Giotto, 
 
[ 722 ] 
 
 Tvl ASTERS. 
 
 IMITATORS. 
 
 Giotto, 
 
 John Glauber, 
 
 Guido, 
 
 Tomafo di Stefano, called 
 
 Giottino 
 John Gotlief Glauber, his 
 
 ' I Giottino 
 
 y I brother 
 pFlaniminio Torre 
 [ Giov. Batt. Bolognini 
 I Bon Boullongne 
 by-{ Luca Giordano 
 Francifco Gefli 
 I Paolo da Mattei 
 LGiacorao Sementa 
 
 H 
 
 David de Heem, by Cornelius de Heem 
 William de Heufch, Jacob de Heufch 
 
 , i Chriftopher Amberger 
 
 D )"l Tnhn Afnpr 
 
 I John Afper 
 
 Hans Holbein, 
 
 », i i tt j i i John Van Alen, or Olen 
 
 Melch. Honderkoeter,| J. ran Pet£r Ver ' k;eyden en 
 
 John Van Huyfum, by Jacob Van Huyfum. 
 
 Jardyn, by John Sibrechts 
 
 Lanfranc, by Cavalier Beinafchi 
 
 -, , T . , t Daniel Syder, called 
 
 Carlo Lot., by J valiere Danielle- 
 
 Ca- 
 
 M 
 
 Manfredi, 
 
 by{ 
 
 Gerard Segers 
 Valentino 
 Andrea Mantegna, by " Giov. Francefco Caroto 
 Mazzuoli, called ) ■ C Francefco Mazzuoli 
 
 J M Vincenzo Caccianemici 
 by John Van Geel 
 by John Aflelyn 
 
 Parmigiano, 
 Metzu, 
 Jan Miel, 
 
 lVlicris, the Old, 
 
 Moojart, 
 
 N 
 
 Nctfcher, 
 
 ( 
 
 Oilade, 
 
 ] 
 Palma, 
 
 John Parcelles, 
 F-ilignano, 
 
 f Peter Slingeland 
 y I William Mieris, his fon 
 by Old Weeninx 
 
 r Gerard Terburg 
 by ^ Paul Ryckaert 
 t Matthew Wytman 
 
 by Cornelius Bcga 
 
 by 
 by 
 by 
 
 Venetiano Bonefacio 
 Julius Parcelles — Both of 
 them marked their pic- 
 tures with J. P. 
 Mario Balafli 
 
 MASTERS. 
 
 Parrocel, the Old, by 5 
 
 Parmigiano, by 
 
 Piazetta, by 
 
 Bonaventure Peters, 
 Pierino del Vaga, by 
 
 Foelemburg, 
 
 by 
 
 Pietro, dal Borgo } , 
 
 SanSepulchro, J ' 
 Paul Potter, by 
 
 Gafpar Pouflin, by j 
 
 Pordenone, the Old, 
 Puntormo, by 
 
 IMITATORS. 
 
 Charles Parrocel, his fon 
 
 Ignat. Parrocel, his nephew 
 
 Bartelemi Schidone 
 
 Francis Kraufe 
 
 John Peters, his brother 
 
 Bon Boullongne 
 
 Little Mofes 
 
 Daniel Vertangen 
 
 Jan Lis 
 
 Old Griffier 
 
 John Hanlbergen 
 
 Luca Signorelii 
 
 John le Due 
 Peter Rylbraeck 
 Antonio Calza 
 Pordenone, the Voung 
 Bronzino 
 
 Raphael, 
 
 Rembrant, 
 
 Salvator Rofa, 
 
 Rubens, 
 Ruyfdael, 
 
 SafTo Ferrato 
 Jacopo da Empoli 
 Andrea del Sarto 
 by s Timoteo da Urbino 
 John Calkar 
 Bartol. da Bagnacavallo 
 Paolo da Mattei 
 •Leonard Bramer 
 Gerbra. Vanden Eeckhout 
 by J Heyman Dullaert 
 I Go'vert Flink 
 (^ Arent de Gelder 
 f Monunini 
 by ) H. Spiermgs 
 
 / Bartolomeo 
 by Van Ooft 
 by Old Griffier 
 
 Andrea del Sarto, by 
 John Schoorel, by 
 . . . Segers, by 
 
 Henry Stcenwyck, by 
 
 Snyders, 
 
 David Teniers, 
 the Young, 
 
 Tintoretto, 
 
 by 
 
 Si 
 
 £fi 
 
 Tacone, and Jac. da Empoli 
 Martin Hemfkirk 
 Ottomar Elliger, the Old 
 David Bailii 
 Vanboucle 
 
 e Vos 
 
 rancis Mierhop 
 
 "Old Griffier 
 Domenick Ryckaert 
 Van Helmont 
 Francis du Chatel 
 Luca Giordano 
 
 Titiano 
 
[ 723 ] 
 
 MASTERS. 
 
 IMITATORS. 
 
 Titiano Vccelli, 
 
 Valentino, 
 Vandyck, 
 
 Yenetiano, 
 Velafquez, 
 
 ("Girolamo da Titiano 
 I Francefco Cairo 
 I John Calkar 
 . J Luca Giordano 
 b ^ Paolo da Mattei 
 Jacopo da Empoli 
 J Damiano Mazza 
 LFlamminio Torre 
 
 by Anthony Rivalz 
 
 ! Theodore Netfcher 
 Lang Jan 
 Mvtens 
 Van Oofl 
 John Hanneman 
 by John le Clerc 
 by Juan de Pareja 
 
 MASTERS. 
 
 IMITATORS. 
 
 ! Benedetto Cagliari 
 Carletto Cagliari 
 Francefco Cairo 
 Jacopo da Empoli 
 Flamminio Torre 
 . C Jacques Van Uden, 
 ' \ brother 
 
 Lorenzo di Credi 
 Paolo Lomazzo 
 
 Lucas Van Uden, 
 Lionardi da Vinci, by < 
 
 W 
 
 his 
 
 Watteau, by < 
 
 Weeninx, the Old, by 
 
 Philip Wouwermans, 
 
 { 
 
 Nicholas Lancret 
 John Baptiit Pater 
 Young Weeninx 
 Peter Wouwermans 
 John Linglebach 
 Peter Van Bloemen 
 John Van Breda 
 
 It having been doubted by feveral writers, whether Hans Holbein was not the 
 only Painter who worked with his left hand ; I thought it might not be unacceptable 
 to the lovers of the art, to mention the names of fuch artifts, who are noticed in the 
 Biographic, and were remarkable for working with the left hand, and alfo with 
 both hands. 
 
 Amico Afpertino, 
 
 Ludovico Cangiagio, 
 Hans Holbein, 
 Cornelius Kettel, 
 
 Nicholas Mignard, 
 Mozzo of Antwerp, 
 Rugendas, 
 Antonio dal Sole, 
 John Jo uve net, 
 
 Worked equally eafy with both hands, and on that ac- 
 count was called, Amico da due Penelli. 
 
 Worked with both hands. 
 
 Worked with the left. 
 
 Worked not only with his left, hut painted with the ends 
 of his fingers, inltead of brufhes. 
 
 Worked with the left. 
 
 Worked with the left. 
 
 Worked with both. 
 
 Worked with the left. 
 
 Worked with the left, being deprived of the ufe of his 
 right hand, by a paralytick dilbrder. 
 
 F I N I S. 
 

THE GETTY 
 
^ 3? 
 
 is